Last Sunday, in a movie theater in central Beijing, a reunion took place of three men who had made possible one of the defining works of Chinese cinema.
上周日，在北京市中心的一家电影院，让中国电影史上一部具有标志性意义的作品成为可能的三个男人再度重逢。
Two of them, the Chinese actor and director Jiang Wen and the German filmmaker Volker Schl?ndorff, sat on stage in a conversation on the opening weekend of the Festival of German Cinema. The festival, from Oct. 12 to 26, travels to four Chinese cities. The third man, Jean-Louis Piel, a veteran French producer and resident of Beijing, watched from one of the front rows.
其中的两个人是中国演员兼导演姜文和德国电影制作人沃克·施隆多夫(Volker Schl ndorff)，在德国电影节(Festival of German Cinema)开幕的周末，他们坐在台上进行了对话。本届德国电影节从10月12日持续到26日，在中国四个城市举办活动。第三个人是现居北京的资深法国电影制作人让·路易·派(Jean Louis Piel)，他就坐在前排看着他们。
Mr. Piel had just escorted Mr. Schl?ndorff, 74, an old friend, and Mr. Schl?ndorff's wife, Angelika, through a throng of Chinese film students who had mobbed the German director outside the theater, at Broadway Cinematheque. They had thrust at Mr. Schl?ndorff pens and copies of his memoir, "Light, Shadows and Movement: My Life and My Films."
派刚刚陪同他的老朋友、74岁的施隆多夫及其夫人安格莉卡(Angelika)从一群电影专业的学生中走了进来，这群学生在百老汇电影中心(Broadway Cinematheque)的影院外把这名德国导演团团围住，争着把笔和施隆多夫的回忆录《光·影·移动：我的电影人生》(Light, Shadows and Movement: My Life and My Films)塞到他手里。

"I'm so proud of the book being translated into Chinese," Mr. Schl?ndorff had said in English as he signed the tomes. It was his first time in China.
施隆多夫在厚厚的书上签名时用英语说，“我为这本书被翻译成中文感到骄傲。”这是他第一次来到中国。
The three men had each played a part in the making of "In the Heat of the Sun," a 1994 film about Beijing youth during the Cultural Revolution that had been the directing debut of Mr. Jiang, now 50. The film unfolds as a dream of childhood remembered. It brims with nostalgia and longing and sexual tension. Foreign critics often judge it one of the best works of Chinese cinema of the past two decades.
这三个男人在《阳光灿烂的日子》的制作过程中都扮演了一定角色。《阳光灿烂的日子》拍摄于1994年，讲的是文革中一群北京青年人的故事。这部电影是现年50岁的姜文的导演处女作。这部电影从一个童年记忆的梦境展开。片中充满了怀旧、渴望和性张力。外国的影评人士常常认为它是中国过去20年最优秀的电影作品之一。
The German film festival, largely organized by the Goethe-Institut China, had as its centerpiece a retrospective of Mr. Schl?ndorff's films.
德国电影节基本上由中国的歌德学院(Goethe-Institut China)主办，施隆多夫作品的回顾展是本届电影节的重头戏。
"The Tin Drum," a 1979 adaptation of the Günter Grass novel, is arguably the most famous, and it had just been shown earlier on Sunday. Now Mr. Schl?ndorff was ready to discuss his work with students in the theater. For this event, Mr. Jiang had taken a break from shooting his latest film to pay his respects to Mr. Schl?ndorff and to tell the audience of their history together.
拍摄于1979年、根据君特·格拉斯(Günter Grass)的小说改编的《铁皮鼓》大概是他最出名的作品。电影节在周日早些时候放映了这部电影。现在，施隆多夫准备好了与电影系的学生讨论他的作品。为了这次活动，姜文中断了其最新电影的拍摄，为的是向施隆多夫致敬，并向观众讲述他们合作的经历。
"I used to be an actor," said Mr. Jiang, dressed in jeans, a black sports jacket and a black hat. "Then I became a director. In between there was a very big predicament. If it hadn't been for Schl?ndorff reaching out to me, then I would still be an actor. I would not have realized my dream of becoming a director. He and Jean-Louis gave me a hand."
姜文身穿牛仔裤和黑色休闲西服，戴着一顶黑帽子。他说，“我曾经是个演员。后来我成为了导演。这中间有一个非常大的障碍。如果不是施隆多夫主动帮助我，我现在仍然是演员。我不会实现成为导演的梦想。他和让·路易帮助了我。”
As told by Mr. Jiang, the story went like this:
根据姜文的讲述，事情是这样的：
When Mr. Jiang was trying to edit "In the Heat of the Sun" in the early 1990s, he was strapped for cash, and the Beijing hotel where he was working evicted him. The hotel seized his editing equipment as collateral for overdue rent payments. The novelist Wang Shuo, who was co-writing the film with Mr. Jiang, introduced Mr. Jiang to Mr. Piel, the French producer. Mr. Piel had been working with Zhang Yimou, then a favorite of the European art house cinema circuit.
上世纪90年代初，姜文在剪辑《阳光灿烂的日子》的时候没钱了，他当时的工作室所在的一家北京酒店把他赶了出来。酒店还拿走了他的剪辑器材来抵拖欠的房租。与姜文共同撰写这部电影剧本的小说家王朔把姜文介绍给了法国制作人派。派之前一直在与张艺谋合作，后者当时是欧洲艺术剧院电影圈中一个广受欢迎的人物。
Mr. Piel advised Mr. Jiang to talk to Mr. Schl?ndorff, who had become a pillar of the film establishment in Germany. At the time, he was in charge of the venerable Studio Babelsberg, outside Berlin. The two met in Berlin. Mr. Schl?ndorff decided to give Mr. Wang the chance to finish editing his film at the German studio, with the studio's full financial support. Mr. Schl?ndorff also helped to get the film selected for the Venice Film Festival. There, the young lead actor, Xia Yu, won the best actor award.
派建议姜文与施隆多夫谈谈。施隆多夫当时已经是德国电影体制的一个支柱。那时，他是历史悠久的巴贝尔斯堡电影制片厂(Studio Babelsberg)的负责人，该厂坐落在柏林附近。两人在柏林见了面。施隆多夫决定让姜文在这个电影厂完成电影剪辑，由他们提供全部资金支持。施隆多夫还帮助这部电影参选了威尼斯电影节。在威尼斯电影节上，年轻的男主角夏雨获得了最佳男主角奖。
"When I saw the rough cut of the film without sound, it was obvious to me I had found a brother, and I wanted to help," Mr. Schl?ndorff said. "That was all, because I knew there was a good picture in there."
施隆多夫说，“我看到这部电影无声的粗剪时就知道，我找到了一个兄弟，我要帮他。就是这样，因为我知道这是部好电影。”
Mr. Schl?ndorff said he could still recall scenes from the film — for instance, one where the hero hides beneath a bed as the teenage girl on whom he has a crush, played by Ning Jing, walks into her bedroom. The scene was shot entirely from beneath the bed, with a view of Ms. Ning's ankles as she took off her shoes.
施隆多夫说，他仍然能记得这部电影的一些场景——比如，当男主角迷恋的女孩子（由宁静饰演）走进卧室的时候，男主角躲到了床底下。这个镜头完全是从床下拍的，在宁静脱下鞋子的时候，电影给了她的脚踝一个特写。
"That was nice filmmaking," Mr. Schl?ndorff said.
施隆多夫说，“那部分拍得很棒。”
He and Mr. Jiang talked about "The Tin Drum," which has influenced many Chinese filmmakers and which, like "In the Heat of the Sun," has a boy protagonist. It shared the Palme d'Or at the 1979 Cannes Film Festival with "Apocalypse Now."
他和姜文谈论了《铁皮鼓》，这部电影影响了很多中国电影制作人，就像《阳光灿烂的日子》一样，男主角也是一个男孩。在1979年的戛纳电影节上，《铁皮鼓》和《现代启示录》(Apocalypse Now)共同获得了金棕榈奖。
"It really is unparalleled," Mr. Jiang said. "People asked me why I keep coming back to this. It's really a masterpiece."
姜文说，“它真的是无与伦比。人们问我为什么我总是提起这部电影。它是一部真正的杰作。”
The film was a commercial success in Germany, but it became known in North America more for its sex scenes and battles with censors in the United States and Canada. It is the kind of problem that Mr. Jiang and other Chinese filmmakers are all too familiar with in their own country.
这部电影在德国还获得了商业上的成功，但在北美，它的名气更多来自电影中的性爱镜头以及该片与美国和加拿大审查机构的博弈。在中国，姜文和其他的中国电影制作人对这种问题再熟悉不过了。
"There's no sex in ‘The Tin Drum,'" Mr. Schl?ndorff said, to laughter from the Chinese audience.
施隆多夫说，“《铁皮鼓》中没有性爱。”在场的中国观众笑了起来。
"There's sex and sexy," Mr. Jiang said in English.
姜文用英语说，“性”和“性感”不是一回事。
After 10 minutes, Mr. Jiang stood up and hugged Mr. Schl?ndorff. He had to return to the set of his film, a gangster movie set in old Shanghai that was being shot in a Beijing suburb. There were high expectations for it because Mr. Jiang's last film, "Let the Bullets Fly," earned more than 650 million renminbi, or $106 million, in domestic box office revenue in 2010, setting a record for a Chinese-made movie. Mr. Jiang's first three films had not been commercial hits. His second one, "Devils on the Doorstep," a black comedy about the Japanese invasion, had so angered officials that they put him on an industry blacklist of directors for five years.
10分钟后，姜文站起来，并拥抱了施隆多夫。他要回到片场了。他正在北京郊区执导一部以旧上海为背景的黑帮电影。人们对这部电影有着较高的期许，因为姜文的上一部电影《让子弹飞》在2010年获得了超过人民币6.5亿元（即1.06亿美元）的票房收入，创下了中国国产电影的票房纪录。姜文的前三部电影在商业上都没有大获成功。他的第二部电影、关于日军侵华的黑色喜剧《鬼子来了》惹恼了中国官员，以至于他们把姜文列入禁导的黑名单长达五年。
As Mr. Jiang walked off the stage, Mr. Schl?ndorff grinned. "He invited me to come to his shooting later this week," he said, "and then I will show him how to make a movie."
姜文走下台的时候，施隆多夫咧着嘴笑了一下。他说，“他邀请我本周晚些时候去他的拍摄现场，到时我会教他怎么拍电影。”