現(xiàn)場(chǎng)錄了一下，大概整理如下：

Interviewer: In this film, the child actor plays such an important role. I heard you were ready to audition hundreds or even thousands of kids, but Fuki was the first who really stood out? 采訪者(cǎi fǎng zhě)： 在這部電影??中，小演員的角色非常(fēi cháng)關(guān)鍵。聽(tīng)說(shuō)您原本準(zhǔn)備面試成百上千的(de)孩子??，但 Fuki 是第一個(gè)讓您眼前一亮的(de)人？

Director: Yes. The moment she came to the audition, I felt she was the one. I asked what she could do, and she said she could imitate animals. I asked her to imitate a cat, but she replied, “No, I recommend a horse.” On the very same day, I wrote the “horse imitation” scene into the script. 導(dǎo)演： 是的。她一來(lái)試鏡，我(wǒ)就覺(jué)得對(duì)了。我問(wèn)她會(huì)(huì)什么，她說(shuō)會(huì)模仿動(dòng)物。我讓(ràng)她學(xué)貓，她卻說(shuō)：“不，我推薦馬(mǎ)?！碑?dāng)天我就把“模仿馬”的情節(jié)(qíng jié)寫(xiě)進(jìn)了劇本。

Interviewer: And the racetrack scene came from that as well? 采訪者： 賽馬場(chǎng)的場(chǎng)景也(yě)是因此而來(lái)的嗎？

Director: Exactly. While scouting for locations, we came across the racecourse, and I immediately thought, “This is it.” 導(dǎo)演： 對(duì)。當(dāng)時(shí)(dāng shí)我們?cè)谡彝饩?，偶然?lái)到賽馬場(chǎng)，我(wǒ)立刻覺(jué)得——就是這里了。

Interviewer: The film feels very autobiographical. Fuki seems like a projection of yourself as a child. How did you approach directing a version of yourself? 采訪者： 這部電影??(diàn yǐng)帶有很強(qiáng)的自傳色彩。Fuki 似乎是您(nín)童年的投射。您是如何執(zhí)導(dǎo)這樣(zhè yàng)一個(gè)帶有自我映射的角色的？

Director: Although the story is fictional, it’s deeply inspired by the emotions I experienced as a child. In that sense, Fuki is an extension of myself. But because the actor is so wonderful, she brought her own spirit to the role, not just my experience. 導(dǎo)演(dǎo yǎn)： 雖然故事是虛構(gòu)的，但它深深(shēn shēn)受到我童年情感的啟發(fā)。Fuki 既是(shì)角色，也是我的延伸。不過(guò)演員(yǎn yuán)本身非常優(yōu)秀，她為角色注入了(le)我之外的靈魂。

Interviewer: And the title 《雷諾阿》 —where did that come from? 采訪者： 那么片名(piàn míng)《雷諾阿》的由來(lái)呢？

Director: I wanted a title not directly related to the film’s core message. I enjoy the gap between naming it after a French painter, while the story is about a kid in 1980s Japan. Later, some audiences even compared the film to Impressionist paintings—small fragments coming together to create a bigger picture. 導(dǎo)演： 我想要(xiǎng yào)一個(gè)和電影??核心信息無(wú)關(guān)的標(biāo)題(biāo tí)。我喜歡這種落差：片名來(lái)自法國(guó)畫(huà)家(huà jiā)，而故事講的是80年代日本的(de)一個(gè)孩子??。后來(lái)觀眾還說(shuō)，這部電影??(diàn yǐng)像印象派繪畫(huà)——由一個(gè)個(gè)小片段拼湊(pīn còu)成整體。

Interviewer: Your previous film Plan 75 《歲月自珍》was about grief and loneliness among the elderly. This time, you portray a very lonely family. Why is loneliness so central to your work? 采訪者： 您的上(shàng)一部作品《歲月自珍》探討了老年人的(de)孤獨(dú)與哀傷。這次，您又描繪了(le)一個(gè)孤獨(dú)的家庭。為什么“孤獨(dú)”如此核心(hé xīn)？

Director: All my life, whenever I felt sad, I would watch films, and they always comforted me. So when I make films, I want to give that same comfort to people who might be feeling sad or lonely. 導(dǎo)演： 從小到大，每當(dāng)我感到難過(guò)時(shí)，我(wǒ)都會(huì)去看電影??，而電影??總能(zǒng néng)安慰我。所以我希望我的電影??(diàn yǐng)也能給予觀眾同樣的慰藉。

Interviewer: There’s a detail in the film—the ribbon on the window. Could you talk about its meaning? 采訪者(cǎi fǎng zhě)： 片中有一個(gè)細(xì)節(jié)——窗戶上的絲帶(sī dài)。它的意義是什么？

Director: Fuki tied the ribbon because she went to the hospital every day. She wanted to see from outside where her father was. As the story progresses, the ribbon changes shape, symbolizing the father’s gradual approach toward death. 導(dǎo)演： Fuki 每天去(qù)醫(yī)院都會(huì)把絲帶綁在窗戶(chuāng hù)上，這樣她就能從外面看到(kàn dào)父親的位置。隨著劇情推進(jìn)，絲帶逐漸(zhú jiàn)變形，也象征著父親一步步走向死亡(sǐ wáng)。

Interviewer: Speaking of animals, did you really spend time with the horse? 采訪者： 說(shuō)到動(dòng)物，您真的和那匹馬(nà pǐ mǎ)相處過(guò)嗎？

Director: It was a racehorse, not one trained for film. The environment was quite hazardous, so we always kept a safe distance. 導(dǎo)演： 那是一匹賽馬(sài mǎ)，而不是拍攝用的“電影??馬”，環(huán)境(huán jìng)其實(shí)挺危險(xiǎn)的，所以我們始終保持安全(ān quán)距離。

Interviewer: How do you approach your writing process? Was 《雷阿諾》 written differently from 《歲月自珍》? 采訪者： 您的(de)寫(xiě)作過(guò)程是怎樣的？《雷諾阿》和《歲月(suì yuè)自珍》相比有什么不同？

Director: With Plan 75, I had a very clear concept and could articulate my ideas well. But for this film, I wanted to capture emotions that can’t easily be put into words. So I started by writing down key scenes I wanted to include, and then built the script around them. 導(dǎo)演： 《歲月自珍(zì zhēn)》時(shí)，我對(duì)主題和概念都很(hěn)清晰。但這部電影??，我想捕捉那些(nà xiē)無(wú)法完全說(shuō)清的情緒。我先寫(xiě)下(xiě xià)幾個(gè)關(guān)鍵場(chǎng)景，再逐步搭建劇本。

Interviewer: Did you really believe in supernatural powers as a child? 采訪者(cǎi fǎng zhě)： 您小時(shí)候真的相信過(guò)超自然力量嗎(ma)？

Director: Yes, I did. But I think that belief was a form of escapism for me as a child. 導(dǎo)演： 是的，我小時(shí)候真的相信過(guò)(guò)。但我覺(jué)得那其實(shí)是童年時(shí)期的(de)一種逃避方式。

Interviewer: How was it working with actor Lily Franky? 采訪者： 您和演員 Lily Franky 的(de)合作如何？

Director: He’s a wonderful actor. Even just sitting or standing, he can fill the frame with presence. To me, he feels like a modern version of a classic stage actor. 導(dǎo)演： 他非常出色。即便只是(zhǐ shì)站著或坐著，他的存在(cún zài)本身就能撐起一場(chǎng)戲。在我看來(lái)，他(tā)就像是現(xiàn)代版的古典演員。

Interviewer: I loved the bridge scene with the rain. Was that planned? 采訪者： 我(wǒ)特別喜歡橋上那場(chǎng)雨戲。那是(shì)設(shè)計(jì)好的么？

Director: Not at all. The script didn’t include rain, but it happened to pour on the only day we could shoot. It turned into a beautiful, unexpected moment. 導(dǎo)演： 完全不是。本來(lái)(běn lái)劇本里沒(méi)有雨。但那天只能拍(pāi)，結(jié)果下了大雨。意外地成了一個(gè)(yí gè)極美的場(chǎng)景。

Interviewer: The film includes many objects from the 1980s—Walkmans, VHS tapes, broadcast TV. Why was it important to include these? 采訪者： 您不斷在片中(piàn zhōng)加入80年代的實(shí)物媒介——隨身聽(tīng)、錄像帶、電視??(diàn shì)，這是為什么？

Director: Because there was no internet then. TV and phone calls were the main ways people connected. Hearing someone’s voice on the phone gave a strong sense of presence, which is missing today. I wanted to recreate that atmosphere. 導(dǎo)演： 因?yàn)槟菚r(shí)沒(méi)有互聯(lián)網(wǎng)。電視??(diàn shì)、電話是人們連接的主要方式。能(néng)聽(tīng)到對(duì)方的聲音，那種“人的存在(cún zài)感”非常強(qiáng)烈，而如今已不復(fù)存在。我(wǒ)想重建那種氛圍。

Interviewer: Lastly, about the painting—what role does it play? 采訪者： 最后想問(wèn)(wèn)一下，關(guān)于畫(huà)作的部分。

Director: As a child, I even asked my parents to buy me a replica of that painting. In the 1980s, it was common to see Western paintings reproduced in Japanese homes, often in ornate frames. To me, it symbolized Japan’s admiration for Western culture and its desire to catch up. That’s why I used it as a key element of the story. 導(dǎo)演： 我小時(shí)候(xiǎo shí hòu)真的請(qǐng)求父母買(mǎi)過(guò)那幅畫(huà)的復(fù)制品(fù zhì pǐn)。80年代，日本家庭里常見(jiàn)這樣的西方(xī fāng)名畫(huà)復(fù)制品，往往裝在華麗的畫(huà)框里(lǐ)。我覺(jué)得這象征著日本對(duì)西方(xī fāng)文化的仰望與追趕，所以我把(bǎ)它作為故事中的關(guān)鍵符號(hào)。