THE CONCEPT OF FATE comes up a lot in conversation with Julia Roberts. 'I don't want to toy with the gods,' she'll say. Or, 'I don't want to tempt the fates.' This is understandable since by any accounting she has been phenomenally lucky: a career that has lasted more than 25 years and includes a best-actress Oscar, legs that are still coltish at 46 and a marriage that has sailed past the decade mark and given her three kids. But these days, she's trying to live a life more ordinary, admittedly a difficult proposition for someone who found superstardom at 22 with 1990's Pretty Woman and to date has brought in $2.6 billion in box office receipts-almost twice the annual GDP of Belize. So tinkering is not something that Roberts is keen to do.
命运的概念反复出现在和茱莉亚・罗伯茨(Julia Roberts)的交谈中。她会说：“我可不想和神明闹着玩，”；或者“我不想试探命运。”不难理解她为什么会这样说。想想看，无论从哪方面看，上天对她都是那么地眷顾：坚持了超过25年的演艺事业和一项奥斯卡最佳女主角奖、46岁依然修长的美腿、一宗超过十年的婚姻和三个孩子。不过，最近她开始尝试过普通一些的生活，坦白地讲，对于一个22岁就以《风月俏佳人》(Pretty Woman)一举成名、迄今带来26亿美元票房收入（是拉美小国伯利兹年GDP的近两倍）的人而言，这并不容易。所以，无谓忙碌的生活也并非罗伯茨所热衷的。
Nor is she eager to scrutinize the inner workings of her life, as though doing so might destroy the fine balance between being an acclaimed actress director Mike Nichols compares to Greta Garbo and her quiet existence in Malibu, where she has lived since 2007. 'We're just grateful for the sense we have of being like any other family down the street. I don't question it, frankly,' says Roberts, who the morning of WSJ.'s photo shoot is settling in with a plate of scrambled eggs and toast that she offers to her tousle-haired children, 9-year-old twins Hazel and Finn and 6-year-old Henry. (She tries to instill sibling harmony as much as the next mother, handling a skirmish over toys with a quick 'Guess what? We are sharing everything.')
她也并不急于去研究自己生活的内在轨迹，做为一个被导演麦克・尼科尔斯(Mike Nichols)认为可与葛丽泰・嘉宝(Greta Garbo)相提并论的著名女演员 , 仿佛这样做会摧毁这种身份与过平静生活之间的微妙平衡。罗伯茨从2007年开始就一直住在加州马布里市。“我们只是对能和街上的其他家庭一样过普通的生活而心存感激。坦率地说，我并不怀疑这一点，”罗伯茨说。她在为WSJ.杂志拍摄照片的那个早晨，还准备了一盘摊鸡蛋和烤面包给她几个头发还乱糟糟的孩子：九岁的双胞胎夏素(Hazel)和芬恩(Finn)、六岁的亨利(Henry)。（和普通的妈妈一样，她一有机会就会向孩子们灌输兄弟姊妹间要和睦相处的观念，解决他们争抢玩具的小纠纷时不忘匆忙说句：“猜猜怎么着？我们什么东西都会和彼此分享。”）
This is the life that Roberts, in her own Garbo-esque way, is trying to protect-a relative rarity in today's Hollywood, where so many stars mine their personal lives to generate self-branded mini-industries. But that would go against another cornerstone of Roberts's philosophy: that of deep gratitude for 'having found your 'people,'' as she calls the family she created with cinematographer husband Danny Moder, whom she married in 2002. So although last night she made an appearance at a party thrown by one of her agents, CAA's Kevin Huvane, and tomorrow she will walk the Academy Awards' red carpet in a custom Givenchy gown, she seems content right where she is-dressed in a sweater and jeans, newly blond hair pulled back, her delicately lined face free of makeup, with her children climbing into her lap to collect hugs.
这就是罗伯茨用她自己那种“嘉宝式”的方式要努力保护的生活。这在当今的好莱坞实属罕见，这里有许许多多的明星为了树立自我品牌、打造自己的小天地不惜挖掘炒作个人生活。而这和罗伯茨的另一大人生观相违背：对“找到属于自己的人”深怀感激，“自己的人”在她口中是指和身为电影摄影师的丈夫丹尼・莫德(Danny Moder)所组建的家庭。他们2002年结婚。因此，虽然前一个晚上她会出席她的一个经纪人CAA的凯文・霍维恩(Kevin Huvane)组织的派对、第二天又身穿纪梵希(Givenchy)的定制礼服走上奥斯卡金像奖的红毯，但下一分钟她又一脸满足地过着平常人的生活：身穿T恤牛仔、新作的金发扎在脑后，皱纹隐现的脸上不施粉黛，孩子们爬上膝头要和她拥抱。
Almost all of her acting work is shot around their schedule, even her most recent: an adaptation of The Normal Heart, a play about the early fight against AIDS, airing on HBO this month. 'By the time we had kids, I had accomplished things and felt secure about that part of my life,' says Roberts. 'I was so joyful moving into the family phase of my life in a sincere way.' When the twins arrived in 2004, she had been working for 18 years, and she'd been a marquee name since the release of her second film, 1988's Mystic Pizza. From 1997 to 2001, a Julia Roberts vehicle pretty much guaranteed an average opening weekend of $25 million, and most went on to earn well over $100 million. She had become so famous by the time she was expecting Hazel and Finn, her part in 2004's Ocean's Twelve was rewritten so that her character could pretend to be a pregnant Julia Roberts. But from then on, Roberts seems to have tried to slow things down, and after Henry was born in 2007, the family moved full time to a relatively modest, secluded house that Roberts and Moder built on a sprawling lot in Malibu.
她几乎所有拍戏的工作都围绕孩子们的时间表来安排，甚至包括最近的电影：由舞台剧《平常心》(The Normal Heart)改编的一部片子，讲述的是艾滋病出现初期与之斗争的一些事情，今年五月在HBO电视台播出。“在有孩子之前，我完成了许多事情，这部分人生让我感到很安心，”罗伯茨说，“我真的很高兴能进入生命中家庭生活这一阶段。”到2004年双胞胎孩子出生的时候，她已经演18年的戏。自从她第二部电影、1988年的《现代灰姑娘》(Mystic Pizza)之后，她就一直是演艺圈响当当的人物。从1997年到2001年，茱莉亚・罗伯茨的名字就是电影周末首映票房平均2,500万美元的保证，她绝大多数的影片票房都超过了一亿美元。2004年在怀夏素和芬恩的时候，她的名气已经是如日中天，当时她在拍摄《十二罗汉》(Ocean's Twelve)，编剧甚至为她修改了剧本，让她在剧中的人物假装成怀孕了的茱莉亚・罗伯茨。不过从那以后，罗伯茨似乎开始有意让演艺事业慢下来。到2007年亨利出生后，他们一家人几乎把所有的时间都耗在 素而又僻静的家中，这套住宅是罗伯茨和莫德在马里布的一大片地上盖起来的。
As a result, 'for a long time,' she says of her children, 'they weren't even aware I had a job because I was home so much.
因此，“很长一段时间以来，”她说她的孩子们“都不知道我有工作，因为我总是呆在家里面。
Now they get it.' Still, they have never seen the best-actress Oscar she received for 2000's Erin Brockovich, the film for which she became the first Hollywood actress to be paid $20 million.(Her Oscar ended up at her older sister Lisa's New York apartment, Roberts says, breaking into a gleeful smile. 'They were doing this photo album where everyone who visited the apartment would pose with it.')
现在他们知道了。”不过，他们从没看过为她赢得奥斯卡最佳女演员奖的2000年影片《永不妥协》(Erin Brockovich)，她也因为这部片子成为首个片酬达到2,000万美元的好莱坞女演员。（她的奥斯卡小金人最后被摆在了姐姐丽莎(Lisa)在纽约的公寓里面，罗伯茨说到这忍不住笑了起来，“每个到访她公寓的人都会和小金人的合影，他们还为此做了本相册，。”）
'That's what Julia has been best at, maintaining their real life,' says Nichols, who has been a constant reassuring presence for Roberts since directing her in 2004's Closer. 'It's the little things that tell the tale. When you visit them, there is nobody working at their house, sweeping their hall. There are toys all over, and it's just Julia and Danny and the kids. She always slips away from the center.'
“这就是茱莉亚最拿手的：维护他们真实的生活，” 尼科尔斯说。自从罗伯茨参演了他2004年执导的《偷心》(Closer)之后，他们就一直保持联系。“从很多小处能看出她的性格。你去她家的时候，会发现家里没有工人帮她打扫客厅什么的。玩具扔得到处都是，家里只有茱莉亚、丹尼和孩子们。她总是从焦点位置偷偷溜走。”
It's a life she's hard-pressed to give up, so she filmed The Normal Heart during the children's summer and Thanksgiving vacations, with them in tow. The project is not from the typical Julia Roberts playbook: There are no big laughs, no fairy-tale romance and certainly no big hair, which is coiled into a low bun as Roberts plays the tightly wound, wheelchair-bound Dr. Emma Brookner, a polio victim who has become an AIDS doctor. It's a small but pivotal role in an ensemble piece, an unflinching movie about the 1980s AIDS crisis in New York City, adapted by activist playwright Larry Kramer and director Ryan Murphy (the creator of Glee) from Kramer's original 1985 play. The character of Dr. Brookner-based on the real-life Dr. Linda Laubenstein, also a polio survivor and New York City physician who treated early AIDS cases-is a vociferous campaigner for AIDS research funding and a proponent of the wildly unpopular, and at the time scientifically unsupported, recommendation of abstinence.
这是一种她不得不经常放弃的生活。因此在她会选择在孩子暑假和感恩节假期的时候拍摄《平常心》，这样就能带着他们一起工作。这部片子的剧本并不是典型的罗伯茨风格，没有爆笑情节、没有童话般的爱情故事，当然也没有大蓬头，因为罗伯茨扮演的是有小儿麻 症、坐在轮椅上的医生艾玛・布鲁克纳(Emma Brookner)，头发被盘成一个低发髻，她后来成了艾滋病医生，是一个戏份不多、但对情节推动起关键作用的角色。这是部群戏片子，讲述了20世纪80年代纽约市艾滋病危机期间发生的故事。由活动人士、剧作家拉里・克莱默(Larry Kramer)和导演瑞恩・墨菲(Ryan Murphy)（《欢乐合唱团》(Glee)主创）根据克莱默1985年的原创话剧改编。影片中布鲁克纳医生的一角根据琳达・劳本斯特恩(Linda Laubenstein)医生的真实经历创作，劳本斯特恩是纽约市一名内科医生、也是一名小儿麻 症幸存者，她处置了艾滋病出现伊始时的病例。在片子中，布鲁克纳医生为筹集艾滋病研究基金奔走疾呼，她还支持当时在科学上尚不支持、也不被大多数人所认可的禁欲建议。
The material is difficult and, according to Murphy, who also directed her in 2010's Eat Pray Love, calls upon Roberts to evoke the same sort of 'emotional advocacy' she displayed in Erin Brockovich. Roberts deflects his theory with a grin. 'Ryan just likes it when I'm yelling,' she says, laughing and switching into a deep drawl. 'He's like, 'I love it when Lady gets mad, cheeks get red.''
这样的题材很难拍，而且据墨菲说，他找来罗伯茨想激发出她演《永不妥协》时那种为权利而战的情绪状态。墨菲是2010年罗伯茨主演的《美食、祈祷和恋爱》(Eat Pray Love)一片的导演。罗伯茨提到他的想法时咧嘴一笑，打趣道，“瑞恩就是喜欢我大喊大叫的样子，”她笑起来，转而慢吞吞地说，“他是那种‘我就喜欢看女人发怒、两腮通红的样子’”。
'I selfishly wanted to see Julia do this role,' Murphy admits. 'There is a famous scene where her character just explodes. Julia has said her heart is directly connected to her brain, so when she has an explosion you believe it and you feel it. She is someone who has been able to harness not just anger but passion.'
“我希望茱莉亚来演这个角色是有私心的，” 墨菲承认道，“里面一个著名的场景是她演的角色爆发的场面。茱莉亚曾说过，她的心思直接和意念相连，所以当她爆发的时候，很让人信服、也能让人感同身受。她是一个不仅能驾驭愤怒情绪、也能驾驭激情情绪的人。”
Locating that passion is crucial for Roberts. 'Part of the attraction [to a role] is to something that aligns within you to that person,' she says. In fact, she had already turned down the role of Dr. Brookner twice (the film option had previously been held by Barbra Streisand ) because she saw only the character's hostility and rage. But when Murphy brought this version to her, Roberts thought, 'This is getting ridiculous. I need to pay attention to why this keeps coming back to me.' Watching a documentary about polio provided an epiphany. 'I suddenly understood who she was in terms of this scary, inexplicable plague-what originally seemed [to me] to be anger was actually her determined pursuit to be part of a solution that she wasn't part of with the first plague that she experienced. Everything fell into place for me after that. I could see these are just really scared people who won't give up on finding the answers.'
找准这样的激情对于罗伯茨很重要。“一个角色的吸引力部分在于把你的内心与角色贴近在一起的东西，”她说。事实上，她曾两次拒绝出演布鲁克纳一角（电影改编权原为芭芭拉・史翠珊(Barbra Streisand)所有），因为她在这个角色身上只看到了敌意和愤怒。不过，当墨菲把这一版的剧本拿给她看时，罗伯茨想，“这太滑稽了，我倒要看看为什么这个剧本总是来找我。”一部有关小儿麻 症的纪录片让她茅塞顿开。“我突然明白从这个可怕难解的病症角度看她是怎样的一个人，最初我看到的愤怒情绪实际上是她一种坚定追求，追求因为自己的病患让她之前无法企及的答案。自那以后，对我而言所有的事情豁然开朗。我可以理解这些不过是真正心怀恐惧的人，他们不会放弃寻找答案。
Roberts prepared extensively for the role, interviewing a doctor who worked with the late Dr. Laubenstein and bringing a 1980s-era wheelchair home for practice. 'It was the most actor-y I've ever been,' she says. 'But you don't want to be bumping into walls and doorjambs and scraping your knuckles on things. I thought being in a wheelchair would be so easy and quiet, but it was actually quite tiring.'
罗伯茨为这个角色做了大量的准备工作，她采访了和劳本斯特恩一起工作过的一名医生、还找来上世纪80年代的轮椅在家练习。“这是我见过的最难演的角色，”她说，“不过没人想总是撞倒 上、门柱上，让膝关节到处磕磕碰碰。我以为坐在轮椅里很轻松也不费力，实际上这是件很累人的事情。”
Despite being shot mostly from the waist up, she wore a heavy orthotic shoe with a significant lift to mimic a polio survivor's leg. 'It was really just for me,' she says. Roberts also studied the effect a slightly paralyzed lung would have on her breathing pattern. 'I think I drove Ryan crazy.'
虽然绝大部分的镜头只拍腰部以上，但罗伯茨还是穿了只沉重的矫正鞋，大幅提升腿部高度来模仿出小儿麻 症患者的腿。“这真的只是为我自己，”她说。她还研究了轻微的肺部麻 对人呼吸方式的影响效果。“我想我快把瑞恩逼疯了。”
'I've never seen her work harder,' says Murphy. Her efforts also earned her the respect of her co-stars, including Mark Ruffalo, who plays Ned Weeks, a writer and activist who joins forces with Dr. Brookner in the fight against AIDS. 'My first couple days I was terrified-she is part of the royalty of Hollywood,' he says. 'But it was like butter. She was so easy and accommodating and egoless. You had this person who is the star of all their movies be an ensemble player in a humble, timid, reflective way.'
“我从没见她这样地用功过，” 墨菲说。她的努力也为她赢得了戏里其他演员的尊重，包括马克・鲁法洛（(Mark Ruffalo)，他在戏中扮演作家、活动人士内德・维克斯(Ned Weeks)，他布鲁克纳医生并肩作战一起对抗艾滋病。“最开始的几天我有点提心吊胆的，她可是好莱坞最大牌的明星之一啊，”他说，“不过这听起来像是奉承话，但她真是平易近人、随和无私。这个在其他电影里的大明星，却甘心出演一个群戏角色，而且那么谦卑、小心、有想法。”
'My preference would forever be ensemble,' says Roberts. 'It's where I started, and it's what I love. It's just fun and interesting to see what your fellow actors are coming up with. Mystic Pizza was like that, Steel Magnolias was like that. It's like being in a big family.'
“群戏角色永远都是我的最爱，”罗伯茨说，“它是我演艺生涯的起点，也是我所爱的。和对手演员?戏真的好玩又有趣。《现代灰姑娘》就是这样的戏、《钢木兰花》(Steel Magnolias)也是。大家就像一个大家庭。”
THIS LATEST FILM was literally a family affair, as Moder was the director of photography. He and Roberts have collaborated on six films, starting with The Mexican in 2001, where they first met on set. 'I find it nerve-wracking in the best schoolgirl kind of way, and he knows that and is a good sport,' she says. 'I am usually hoping he's not looking into the camera and thinking, 'What is she doing?' We have worked together a lot and whenever we get there, I think, 'Why are we doing this again?' But it's great, and it allows us to travel together.'
这部《平常心》也确实是个家庭活动，莫德在其中担任摄影导演。他和罗伯茨从2001年的《墨西哥人》(The Mexican)开始，已经合作了六部电影。《墨西哥人》也是他们俩人第一次在片场见面。“我发现这就像学校尖子生那样让人大伤脑筋，他知道这一点，也应付得来，”她说，“我总是希望他不要一边盯着摄像机一边想‘她在干嘛？’我们合作过很多次，每次合作的时候，我总想‘我们为什么又要一起拍戏？’不过，这样其实挺好，因为我们可以一起旅行。”
'Her family is a major part of what she does,' adds Bradley Cooper, her co-star in 2010's Valentine's Day and the 2006 Broadway play Three Days of Rain, during which, he recalls, a dressing room was turned into a playroom for the 1½-year-old twins. 'Her children are always around.'
“家庭是她工作生活的重要部分，”和她一起出演2010年《情人节》(Valentine's Day)一片的布莱德利・库柏(Bradley Cooper)说。他们还一起主演了2006年百老汇舞台剧《三日雨》(Three Days of Rain)，他回忆说，当时她把一个化妆间变成了游戏室，供当时还只有一岁半的双胞胎儿女玩耍。“她总是把孩子带在身边。”
And as several hapless paparazzi have found, she is willing to go into lioness mode to protect her cubs. 'I think there is a dehumanization that goes with fame, especially in the present culture of it, which isn't the culture I started off in,' she says. 'There wasn't this analysis of every iota of every moment of every day,' she continues. 'Nobody cared about what you wore, nobody cared what haircut you had, if you had on makeup or didn't-it's become this sort of sport.'
而且，几个倒霉的狗仔队已经发现，为了保护自己的孩子，她会不惜把自己变成像母狮一样彪悍。“我觉得伴随名气而来的还有人性的失丧，特别是在当下名利文化氛围中，我刚入行的时候不是这样的境况，”她说，“那时没有人在意你穿什么衣服、梳什么样的发型、是不是化了装。现在它已经变成了一种游戏。”
Roberts is nostalgic for the Hollywood of her early career, where having arrived meant a dinner invitation to agent Sue Mengers's house and 'there seemed to be a method to it,' she says. 'You had your job and you got paid $1, and you got your next job and got paid $2. It made sense to me.' Today, when the only surefire hits are star-packed blockbusters like The Avengers or tentpole franchises starring relatively unknown actors, it's unclear who can reliably open a movie anymore. (It's telling that both Roberts's current film and her most recent one, August: Osage County, were adapted from plays that have a more narrow, focused appeal. Meanwhile, Pretty Woman is currently being transformed into a splashy Broadway musical.) 'It used to be that you could build from weekend to weekend and people talked,' says Roberts, who also has a production company. 'Now, if there have been two showtimes and it hasn't sold 10 bazillion tickets, you're dead in the water.
罗伯茨十分怀念她刚出道时好莱坞的时光，那时候跻身好莱坞意味着一份去经纪人苏・曼杰斯(Sue Mengers)家晚宴的邀请函，“似乎总有种办法可以做到”，她说。“我做完工作，拿到一美元；然后得到第二份工作，拿到两美元。这对我而言合情合理。”如今，一定能保证有高票房的影片只有像《复仇者联盟》(The Avengers)这类群星云集的大制作和由名气较小演员主演的系列片，没有人知道谁会是票房的灵药。（值得一提的是，罗伯茨目前这部片子和最近一部作品：《八月：奥色治郡》(August: Osage County)都改编自舞台剧，它们吸引的观众群更加狭窄和集中。而同时，《风月俏佳人》也正在被改编成炫目的百老汇音乐剧。）“以前你可以从一个周末演到下一个周末，人们慢慢发表评论，”罗伯茨说，她也有自己的制作公司，“而如今，如果已经给了你两个好的档期，但票房没有卖出天文数字，那你就算彻底完蛋了。”
'I don't consider myself a celebrity, [at least not] how it is fostered in our culture today,' she adds. 'I don't know if I'm old and slow, but there seems to be a frenzy to it.'
“我不把自己当成一个名人，（至少不是）现今文化氛围下催生的那种名人，”她又说。“我不知道是不是自己老了、反应慢了，但现在人们对名人的态度似乎有些狂躁。”
Recently that frenzy caught up to Roberts when her half-sister Nancy Motes died at 37 from a possible drug overdose in early February. Motes, who had worked on Glee as a production assistant, allegedly left a suicide note reportedly alluding to her estrangement from her family. Interviews with Motes's friends and acquaintances fed daily headlines. Meanwhile, Roberts maintained her silence, choosing to grieve privately.
最近罗伯茨遭遇了这样的狂躁情绪。今年二月初，她同母异父的妹妹南希・莫茨(Nancy Motes)疑因吸毒过量死亡，终年37岁。莫茨曾在《欢乐合唱团》担任制片助理，据称她留下一份遗书，有报道称她在遗书中暗示她和家人关系疏离。一时间莫茨朋友熟人的访谈充斥着每日报纸的头条，与此同时，罗伯茨却始终保持沉默、选择避开公众目光哀悼逝者。
When asked about her sister's death, Roberts's face tightens as she pauses and looks toward the ocean. 'It's just heartbreak,' she says, tearing up. 'It's only been 20 days. There aren't words to explain what any of us have been through in these last 20 days. It's hour by hour some days, but you just keep looking ahead.
当被问及她妹妹之死的问题时，罗伯茨表情变得严峻起来，她停顿片刻、向海上望去，“这真的让我伤心欲绝，”她说着眼泪掉了下来，“到现在只有20天的时间。在过去的20天里，没有什么能形容我们所经历的一切。有时候，我们是一个小时一个小时熬过来的。不过，你要坚持向前看。”
'You don't want anything bad to happen to anyone, but there are so many tragic, painful, inexplicable things in the world. But [as with] any situation of challenge and despair, we must find a way, as a family,' she continues before straightening up in her chair. 'It's so hard to formulate a sentence about it outside the weepy huddle of my family.'
“没人希望别人发生不好的事情，但是世界上有那么多的悲剧、苦难和无法解释的事情。无论是何种困境、经历怎样的绝望，我们作为一个家庭必须想办法解决，”她继续说道，随后从椅子上坐直，“在我哭做一团的家人之外，很难组织起一句话来形容。”
One of the things that surely has helped Roberts through this time is her near-daily meditation. 'Meditation or chanting or any of those things can be so joyous and also very quieting,' says Roberts, who has introduced the practice to her children. 'We share and just say, 'This is a way I comfort myself.''
要说这次真有什么东西帮助罗伯茨度过了难关，那就几乎每天都要进行的冥想。“冥想、或是诵经等等类似的行为可以把人变得很愉悦，也很平安，”罗伯茨说，她还教孩子们也这样做。“我们彼此分享，我说，‘这是我安慰自己的一种方式’。”
Perhaps this too is why she has a very Zen-like calm about not having any other movies lined up after The Normal Heart, something that would have been unthinkable for Roberts a few years ago. But, she says, she's been content to 'find new creative outlets at home, with my family, as I get older and work as an actress less.' It's a commonplace luxury she has worked hard to attain. 'As odd as it is to say,' says Cooper, 'I feel that she is coming into her own.'
这也许还是她在《平常心》之后没有任何片约但仍能保持禅静的原因。要在几年前这对于罗伯茨而言简直是不可想象的事情。不过，她说，她很满意在家里和家人一起找到新的排解方式，随着我日渐变老，作为一个女演员的工作量也会不断减少。”这是她努力了那么长时间才实现的再普通不过的奢望。“听起来有点奇怪，” 库柏说，“我感觉她正在找回自己。”
How does she feel about not having another role in the pipeline? 'It's nice. We have the rest of the school year,' she says, brightening at the thought. 'The thing about being a parent is that as your kids get older, Fridays start to get super exciting again, and Sundays start to get melancholic. Spring break is exciting again.'
她自己是如何看待没有片约这件事的呢？“这不错啊，孩子们还要上课，”她说到这眼睛一亮，“做父母就是这样，随着孩子慢慢长大，会和他们一样一到周五超级兴奋、一到周日就不高兴、等到春假又会再次兴奋起来。”