控制的极限

想了想为何突然痴迷贾木许。

因为他总站在一个足以鄙视全世界的高度，拍自己喜欢的东西；全世界说晦涩高深甚至艰酸虚无，他笑笑，无知的人群。

我喜欢他忽略大多数是白痴的观众，用任性对待自己的电影。

在他的电影面前，我觉得自己简直还在读幼稚园。

《控制的极限》，是杜可风作摄影的，而这部戏本身，有很多会出现在商业片的大牌演员，唯独Isaach De Bankolé依旧面瘫着耍着帅。

贾木许的众多电影，有许多著名的空镜头，而在杜可风的镜头下，每一个地方的景色和建筑的美都被极致地放大。

而电影本身主旨？

确实很虚无。

其实这电影是一首诗。

骨架是Two espressos, in separate cups.You don’t speak Spanish, right?两杯特浓，分开两个杯子。

你不会说西班牙语吧？

你喜欢音乐吗？

我相信音乐，每一个木制的乐器，有它们的记忆，即使静止时都会产生共鸣的音符。

红火柴盒，绿火柴盒。

两杯特浓，分开两个杯子。

你不会说西班牙语吧？

你喜欢电影吗？

我相信老电影，好的老电影，能令你知道数十年前的人怎样抽一支雪茄。

绿火柴盒，红火柴盒。

两杯特浓，分开两个杯子。

你不会说西班牙语吧？

你喜欢科学吗？

我相信分子学。

每个人都是可转化的分子，在狂喜中旋转。

红火柴盒，绿火柴盒。

两杯特浓，分开两个杯子。

你不会说西班牙语吧？

你喜欢艺术吗？

我相信艺术。

波西米亚风格该是一种固有的艺术形式，而不是大街上随处可见的披肩。

红火柴盒，绿火柴盒。

两杯特浓，分开两个杯子。

你不会说西班牙语吧？

你喜欢幻觉吗？

我相信幻觉。

眼光所能触及的只是物体表面被带颜色的玻璃覆盖的一层，幻觉有时候来得更真实。

人生，不断相遇，不断吸收。

很多不同的意见，会连绵不绝地走进你逐梦的过程中。

你吸收也好不听也罢，别人或许只是想找个人唠唠叨，并没有谁在乎你接受与否。

如贾木许的电影，总有个人平静地一直说一直说，说导演想说的话，他才不会在乎荧幕前的你是否赏识。

光影，颜料，分子，致幻，或者一直是导演钟爱的，而在现实生活中不断有人叫他放弃。

天啊，老贾，你何必活得像个苦行僧，捉住个跳蚤都想到盘古去？

然后导演说，为什么你们做人可以如此单细胞？

胡思乱想，是艺术家的通病吧。

毕竟不是谁都可以找个黑人面瘫叔叔耍太极的。

禅得高深莫测。

I like very old films, you can really see what the world looked like, thirty, fifty, a hundred years ago. You know the clothes, the telephones, the trains, the way people smoked cigarettes. The little details of life. The best films are like dreams, you’re never sure you’ve really had.It’s like a game. Deception，glamour，a shootout with shattered mirrors.这是让我感动得一塌糊涂的台词。

天知道，我身边很多朋友一直劝我不要太代入电影，我一直把他们当做不了解我的蠢货。

有些东西，不是我逃避生活的理由，却是我热爱生活的源头。

很喜欢工藤夕贵。

影片讲了一个杀手的任务之旅，充满诗意。

依然是反戏剧性的设计。

当迷幻喜剧片看的话就挺不错。

基本就是讲这个杀手和一个又一个的人接头的过程，最终杀掉目标，然后踏上下一段任务之旅。

这部影片有非常重的后面《唯爱永生》、《帕特森》甚至是《丧尸未至》的影子。

但想讲的可能跟这三部比都少多了。

感觉像是在实验用影像配合迷幻乐表达那些感受。

但真的很棒。

比如几次主角看画、一次下地铁与一个坐着的老人对视、喝咖啡的时候看路人等。

充满诗意…（这种表达也在后面《帕特森》里达到一种顶峰）配乐上非常像唯爱永生，用了大量小调五声的迷幻乐，以吉他为主。

用法也和唯爱永生的相似。

加强人物感受的张力，非常有贾木许的风格，特别喜欢。

摄影上也像唯爱永生，但不得不说和唯爱永生比差多了。

这部影片和早期的也挺不同，开始用了不少特写。

但个人感觉确实差点意思，感觉像是后面风格的萌芽阶段。

吉姆.贾木许的电影不适合喜欢酒吧嘈杂气氛的人观看，那会挑战你的忍耐极限，他的电影太安静，安静得大多数人会觉得沉闷。

看多了所谓大片的观众们，对于电影的定义似乎仅限于“刺激度”，场面是否宏大，情节是否紧张，明星是否耀眼等等。

我们在生活中习惯了快，也把这种经验带到了观影的体验当中。

其实，就像书一样，有小说，有散文，有诗歌，电影也可也有区别于类型片的分类。

贾木许的电影，更像散文。

华人电影里也有那么一位：王家卫。

所以，当贾木许拍《控制的极限》时，他也选择了杜可风。

在一部故事和情节都不重要的电影里，画面或者是影像起到了给整部电影确定基调和节奏主要作用。

杜可风证明了，他既可以把王家卫的香港或者上海拍得摇曳迷离也可以把西班牙拍得如梦似幻。

区别在于，本片的镜头和主人公一样以静止为主，再无以前令人眩晕的感觉。

讨论这样一部电影要表达的东西是费力不讨好的事，我觉得最主要的是影片营造了一种气氛，非常疏离，非常安静非常缓慢。

你也可以说，这是贾版的《重庆森林》。

两部片子都是犯罪题材，但是有都没有把重点放在案件本身上，都是通过对于杀手这个特殊职业的身份上让观众从熟悉的生活中抽离出来，强调了我们与他人的距离，以及人与人相互了解的困难，另外也给整个旅程找了个借口。

不同的是王家卫的线索更多。

片中人物，我们看一下蒂尔达.斯文顿的造型就会联想起林青霞的金色假发还有那段著名的：不知道什么时候开始，我变成一个很小心的人，每次我穿雨衣的时候，我都会戴太阳眼镜，你永远都不会知道什么时候会下雨，什么时候出太阳。

那个杀手对于两杯Espresso的执着可以对应金城武对五月一号的凤梨罐头的执着。

贾木许的裸体女和王菲演得痴情女也可相互对照。

区别是：贾木许的人物更安静，杀手完全没有独白，让你无法确定他脑子里想的是什么。

但是，如果我们仔细看和他接头的几个人在他面前的自言自语，其实和他的独自一人参观博物馆，听音乐，看弗拉明戈都有联系。

也许，这是贾木许式的独白，只不过每一次都从别人口中说出。

也许，这一切都是一场梦。

正如影片的结尾，他脱下标签似的笔挺的西装，换上最随意的运动服，点明过去一段时间的生活都是非常不真实的。

我们看到的一切，也许只是一个很人在一个阳光明媚的下午，发呆神游的幻想。

正如杜可风抓住了香港的精髓一样，他镜头里的西班牙可能在很长时间都会成为我们对那个国家的印象。

在火车上我们看到了广袤的乡村，绵延的群山，不断变换的林木，或昼或夜；在咖啡馆，我们看到窄小的街道，空旷的广场，惊飞的鸟群；在杀手住过的三个地方，有城市的警笛嘈杂，小镇的稀疏人语，乡间的一派静谧。

这倒是比王家卫眼中逼仄的中环和尖沙咀更丰富。

把两部片子放在一起看，有当年看朱自清和俞平伯各自写的《桨声灯影里的秦淮河》之感，明明是一种景象，不同的人能生出完全不一样的心情，这就是风格吧。

对很多看不下去的人来讲，拿出压箱底的《重庆森林》温习一下，或许会让这部闷片有点意思。

Blonde: Are you interested in films, by any chance? I like really old films. You can really see what the world looked like, thirty, fifty, a hundred years ago. You know the clothes, the telephones, the trains, the way people smoked cigarettes, the little details of life. The best films are like dreams you're never sure you've really had. I have this image in my head of a room full of sand. And a bird flies towards me, and dips its wing into the sand. And I honestly have no idea whether this image came from a dream, or a film. Sometimes I like it in films when people just sit there, not saying anything. ________________________________________Guitar: La vida non vale nada. ________________________________________Molecules: Are you interested in science by any chance? I'm interested in molecules. The Sufis say each one of us is a planet spinning in ecstasy. But I say each one of us is a set of shifting molecules. Spinning in ecstasy. In the near future, worn out things will be made new again by reconfiguring their molecules. A pair of shoes. A tire. Molecular detection will also allow the determination of an object's physical history. This match box for example. Its collection of molecules could indicate everywhere it's ever been. They could do it with your clothes. Or even with your skin, for that matter. Wait three days until you see the bread. The guitar will find you. Among us, there are those who are not among us. Lone Man: I'm among no one. ________________________________________American: How the fuck did you get in here? Lone Man: I used my imagination. ________________________________________American: Is this your twisted idea of revenge for something? Lone Man: No. Revenge is useless. ________________________________________Mexican: Sometimes for me, the reflection is far more present than the thing being reflected. ________________________________________Molecules: The Sufi say each one of us is a planet spinning in ecstasy. But I say each one of us is a set of shifting molecules, spinning in ecstasy.

控制的极限2009年，美国独立电影宗师吉姆·贾木许拍摄了一部鹤立独行、让别人无法复制的电影《控制的极限》，有人说此片是讲艺术和现实的对抗；有人说此片是讲内心世界和外部世界的对抗；也有人说整部电影其实就是杀手男的心灵之旅；更有人把此片看成一部充满寓意的魔幻片，认为电影从头到尾，就是一场幻觉，并对影片中出现的人物、道具、情节一一剖析，解密其中的暗示、寓意，比如：杀手从未和接头人之外的人（即现实世界）发生关系，杀手拒绝了手机（外界沟通工具），杀手“用意念”进入了BOSS老巢。

当然，这些人物也都是幻觉的一部分，这也是裸女为什么能无处不在的原因。

你得承认这是一部很有张力的影片，容易让人如坠云里雾里，不知所云。

当你无所适从的时候，我对《控制的极限》的另类解读或许可以让你豁然开朗。

面对一个复杂的方程式，不知如何下手的时候，我习惯用特殊值带进去，往往达到事半功倍的效果；解读这部电影，这种方法同样奏效。

我取的特殊值是：这部电影是反霸权题材，杀手男的终极目标就是杀死美国驻外的情报机构首脑，向美国的霸权主义示威。

有了这个特殊值，电影里所有的谜题顿时迎刃而解。

1、较量双方的实力对比电影开篇就是雇佣杀手，奇怪的是，他们不谈佣金，却对杀手进行一番思想教育；与杀手接头的人来自不同阶层、不同国家，这些说明了什么？

说明无论是杀手方还是被杀方，其财力、物力、人力都十分雄厚，其势力几乎遍布全球，无所不在！

所以，片中反应的绝不是个人恩怨，也不可能是帮派之争，黑手党算是大的帮派了吧，但他们的势力范围也只局限与意大利、美国等地方。

因此，除了美国的情报机构和世界反美反霸权势力具有这样实力外，你还能找到更合适的目标吗？

有人说影片讲述一个神秘的陌生人在计划一桩罪案，他一直谨慎地把握着和法律制裁之间的界限。

在整个过程中，他不信任任何人，他的目标也没有暴露，他始终游离于专注和恍惚之间...... 这简直是胡扯！

2、杀手男为什么不停地转移、接头？

美国情报部门的实力是不可小觑的，杀手男如果直奔目标，必然会引起怀疑，他不停地转移、接头，目的只有一个：迷惑对手。

即便是如此小心翼翼，钟爱电影的白衣女子还是暴露被抓。

3、众多的单线联系人杀手男和众多的单线联系人接头，这些联系人有中，有谨小慎微但热爱音乐的中年男子（路伊斯·托沙 Luis Tosar 饰），有打扮出众酷爱电影的白衣女子（蒂尔达·斯维顿 Tilda Swinton 饰），有醉心波希米亚文化的老人（约翰·赫特 John Hurt 饰），更有沉迷分子学的神秘东方女性（工藤夕贵饰）。

他们和杀手男分别谈论了音乐（提琴男）、电影（白发女）、科学（日本女，当然《神秘列车》里的女人，老了）、波西米亚（即流浪，John Hurt演的老杆子）、迷幻药（墨西哥男）。

这些人国籍不同，身份、职业、性格、专业相去甚远。

这些人为什么冒着生命危险，甘心情愿加入刺杀行动？

是发自内心的对霸权主义的憎恨，把这些人凝聚到了一起。

4、不时出现的直升飞机和白鸽直升飞机每一次出场，几乎都有白鸽出现。

白鸽代表着和平和自由，可是飞机的出现，惊扰了白鸽，打破了宁静与和平；在美丽迷人的自然风光中，直升机的出现是那么的不合时宜，那么的令人厌恶，因为它代表着掠夺、战争与罪恶！

小男孩看见飞机，没有丝毫的惊讶，指着飞机道：那是美国人。

真是意味深长。

5、其他一些细节杀手男永远只点两杯咖啡，在无聊的时候练习太极，不为任何诱惑所动，即使裸体的美女在他身边，他依旧作怀不乱；唯一一次表现出微笑，是在一个排练大厅欣赏长段的歌舞，听着优雅的琴声、深情的歌唱，看着优美的舞蹈。

杀手男为什么会这样？

可以设想一下，杀手男原本有一个幸福的家庭，有一个钟爱的妻子，可是，他的妻子却在一次空袭中丧生了。

排练厅那一幕，勾起他对曾经美好幸福生活的回忆。

所以，杀手男永远只点两杯咖啡；所以，杀手男可以对近在咫尺的裸女无动于衷；所以，杀手男可以不计报酬，义无反顾地成为一名刺客！

接头信物始终是红色或绿色的火柴盒，是否有星星之火可以燎原的意思呢？

杀手男为什么一定要用曼努埃尔 塞维利亚诺的琴弦勒死美国情报基地首脑，必有其用意；可惜我孤陋寡闻，对此人竟然一无所知。

学识广博的朋友不妨为我做个补充。

杀手男如何进入情报机构基地的？

当然不是依靠什么意念，不过是导演也不清楚，或者已无关紧要。

裸女的雨衣、裸女的尸体，说明裸女暴露了，背叛了，被处死了。

是在告诉杀手男，你安全了，你重新开始新的生活吧。

于是，杀手男扔掉压抑的深色西装，换上颜色鲜艳的休闲服，融入到人流之中。

我的另类解读是否靠谱，有待大家去玩味探讨，但吉姆•贾木许这部《控制的极限》无疑是成功的大作，不仅对影片中人物的控制达到了极限，对电影观众的控制也达到了极限。

难怪有人说：如果你能坚持看完这部影片，何尝不是对自己的一种修炼。

《控制的极限》才是原意的合适翻译与其说片子整体在虚幻和现实交织 不如说整个片子都是落在虚幻的时间或臆想的空间是思想的争斗或生活的选择主角的两杯咖啡表现着 主角对争论结果确定的渴望 但是每当有人想要喝另一杯咖啡 总是被主角的态度制止了 说明他还不能接受这样的观点 他还要继续争斗哪个才是正确的最终的杀人任务 是一个强迫的结果 是一个现实 不管你的选择有多么艰难 现实生活过程中你必须选择一个方向 否则你只能停步不前 结尾不表明哪个选择占了上风 只是表明无论多艰难的选择 你还是一定要选择 不断的衡量和思想争斗在行动面前显得并不是最重要了 选择了你才能向前走 才知道到底是对是错 和行动相比较 思想争论和结果的对错都显得微不足道了 主角最后脱下正装 换上便装 也是这种情绪解脱一种表现片子的主题表现大概是生命中的一种常态现象 控制的极限就是要突破这种仅是停留在思想争论控制阶段 只有行动才是能让生命继续前进的真实动力 生命的意义在于实践的过程这点主题导演倒是做到了 不过表现的手法上显得有些生硬和单调 荒诞的情节和对话只是想表现思想斗争的复杂 这点让我觉得满遗憾的

因为Astro Boy失约法国院线，所以找了这部贾木许的新作，看完就一直琢磨，琢磨的脑袋疼，还特饿，最后也没搞懂。

总结起来这就是一部闷骚的电影一个鼻孔占半张脸的男人去完成一个什么任务，经过几趟火车，任务完成，回家，就这样，电影里故事一点都不重要，重要的是意像，西服，火车，火柴盒，咖啡，裸女，太极， 透明雨衣电影里每一个镜头仿佛都在说话，刻意的构图，强调情绪的特写，极度深入心理的音乐，这些元素让这电影实在太让人困惑，我每次看电影都会有很强烈的感性情绪，只有这部没有，因为他太抽象了看到最后的字幕，愕然发现摄影杜可风，好吧，难怪，每个镜头都像刻意画出来的，静物的排列不规则但符合美学观念，杜可风好久不见，太想念这些富于想象力的镜头了，王家卫没有他失色很多音乐，电影的音乐很好听，但很极端，有点电子乐和摇滚的结合，音乐很适合电影的情绪，里面的人脸都是很冷的，或是没有表情的，台词也很少，音乐就成了表达心理活动的重要手段，配乐每次出现的时候，都是在普通电影里演员该做表情的时候，这部没有，完全靠听觉，然后制造或悲伤或恐惧或孤独的心理活动。

看完电影出来一个老太太抓着我愤怒的说，他为什么要杀了他，不明白，然后周围几个人小声对同伴说真是奇怪的电影，现在明白为什么艺术片可以在欧洲活得这么好，片子很闷，但从头到尾都没有人睡觉，好吧，我又被法国人的小资矫情熏陶了谁看了电影麻烦给我讲讲，我脑子转不动了，意象太多，琢磨不过来了

而是还没玩够。

整个电影很简单，讲的就是艺术与现实的对抗。

在最后艺术居然如此轻巧地战胜了现实，既不符合实际，也显得过于乐观。

略显做作的是，贾木许过于死板地让每个与主角见面的线人在见到主角之后都要说一段与艺术有关的话，这些段落一两次尚可，越到后面越感觉别扭，有没话找话的感觉。

不禁让人疑问，贾木许凭什么认为在这样的情境下将话题猛地转换到艺术并开始自说自话是很自然的呢？

当然，也许他就是为了做得不自然。

然而，主角观看弹吉他跳舞唱歌的桥段仍然值得回味。

而在最后，主角在与现实的角力中获胜之后，再回到艺术馆，这才可以真正悠闲地观看一幅白布做成的艺术品。

这样的场景虽然过于乐观，但也确实让人欣慰。

杀个人真的需要拍俩小时吗？

作为吉姆贾木许的脑残粉这部片子我都有些吃不消。

这大概是最另类的一部杀手电影了。

与其说电影的意义是杀死比尔莫瑞不如说是让杀手先生领略人生的真谛。

最后是想象力杀死了生活本身，生活的傲慢和狭隘、无趣和乏味。

就像村上春树在小说里写过的人类最大的敌人是想象力枯竭。

在电影晦涩不明的情节里代表着生活中一切美好事情的人物那些美女被除掉，性、电影、科学、艺术...这些生活中真正美好的东西。

另一方面，这也是贾导在讲自己电影的技巧，控制的极限也正在于电影所展现的缓慢，就像最后那空白的纸条和被白布罩起来的画作，生活本无意义，这部电影大部分确实是在浪费时间，用浪费时间来告诉我们其中的玄妙，充满想象力的杰作。

电影的张力并不仅限于华丽的镜头和紧凑的情节，这样出奇的缓慢就像太极一样。

杀手先生对着镜头打太极，导演和我们打太极，雇主和杀手打太极，生活和每个人打太极...而这借力打力的功夫令人回味无穷，妙！

加之杜可风的摄影，嚯，贾导也过了回王家卫的瘾吧。

« TRIBECA '09 PODCAST: Damien Chazelle | Main | TRIBECA '09 REVIEWS: Here and There, Seven Minutes in Heaven »May 1, 2009http://daily.greencine.com/archives/007443.html#moreFILM OF THE WEEK (AND INTERVIEW): The Limits of ControlJim Jarmusch, THE LIMITS OF CONTROL Who knew that a Jim Jarmusch film could be the most divisive of the year thus far? I'm not ready to address The Limits of Control and all the knee-jerk, unconstructive naysayings I've read that don't actually engage with what the film is or how it does (or doesn't) work, at least until I see it a second time, since I was too mesmerized by the experience to take many notes. In lieu of that, I present to you the extended version of an interview I did with Jarmusch for IFC.com, the first part of which can be found here.GREENCINE DAILY: Wong Kar-Wai once told me that when working with cinematographer Christopher Doyle, they share a largely unspoken, instinctual shorthand with one another. Was your relationship with Doyle similar?JIM JARMUSCH: We were more the opposite, man. We talked and talked and talked incessantly. When I was preparing, he would come to New York for a week and a half at a time, maybe three times. We spent every day together for eight hours, just talking about the film, not about the film, about things we saw on the street, about photographs Chris had taken, looking at unrelated things, and listening to music. I've known Chris quite a long time, 12 or 15 years. I love just talking to him about anything. He's very quick, so sometimes he'll say things to me, philosophical things we're discussing that I don't understand what his point is, and then a few days later when I'm not with him, I'll be thinking it over and be like, "Oh! I see what he meant." I don't know if I'm just slow, or if his ideas are hard to enter sometimes.Isaach De Bankolé, THE LIMITS OF CONTROL Speaking of music, I'm a big Boris fan, who is all over the soundtrack. I read that you had already planned to fill the film with this conceptual Japanese noise-rock while still sketching it out. What's your process of matching image to music?When I'm writing or trying to think up an idea for a film, I hone in on music that seems to open up my imagination for that particular world in my head. That happens very early over and over, like Neil Young for Dead Man, or [for Ghost Dog,] RZA's beats and instrumental tracks on the B-sides of vinyl Wu-Tang stuff I was collecting. Or Mulatu Astatge in Broken Flowers was inspiring me, and I was like, "How the hell do I get Ethiopian music in a film about a guy in the suburbs?" So then it led me to have Jeffrey Wright's character be of Ethiopian origin. In this case, it was Boris and Sunn 0))), and that electric feedback-y soundscape stuff they make that I love so much. Those things came very early, while I was even just writing the 25-page treatment—well, it was more like a prose short story that we started from. So they were sort of in a little boat I was in, going down the river. I had them inspiring me. Then I got Earth in the movie and a lot of great stuff. I love the Black Angels, but I only used a little instrumental piece at the end of their song, "You on the Run." Anyway, those things were there very early, but the music always leads me. That's always happened.Tilda Swinton, on the set of THE LIMITS OF CONTROLI stay abreast of new music by geeking out on music blogs, but how do you find all this cool music? Do you still go to a lot of record stores, or do friends keep you tuned in to new artists?I'm not a Web guy because I don't have a computer, although I often ask people to look stuff up for me. I don't know, it's sort of a general antenna because I love music. You know, there are music stores that in the past I depended on a lot, like Final Vinyl, that used to be great to order things anywhere in the world that were in print, or what's his name, that little shop on Bowery just south of 8th street. Damn, I love that guy. He's always been really cool. There's Other Music, and in New Paltz, there's Rhino Records that is really run unlike any kind of Rhino chain—the guy there, Rick, is amazing. Those record stores are important, but they've been less so for me recently, maybe because I haven't stopped in very much. I always read the British music press, and I try to listen to what underground radio exists, or college-type radio. I'm just always scanning, and I've always been that way, like, music, music, music. I love to get playlists off of [Jersey City's] WFMU or WVKR in Poughkeepsie—Vassar has a good radio station. WFUV has a good morning show in New York, and there's some underground hip-hop shows on WKCR, the Columbia station. There's the beautiful Sunday morning country shows that I listen to, classic country.I love radio, and I love finding things randomly. Like, I don't have TiVO for TV because I keep thinking, "Well, then I'll just program everything and I won't scan," and scanning is when you find things you weren't expecting. Not that TV isn't, for the most part, a big wasteland of garbage. But you do learn things if you scan around, more than if you have a programmed idea of what you're going to watch. I don't watch that much TV. I watch Turner Classic Movies, science shows and Antiques Roadshow, you know this one? I love Antiques Roadshow. I have this thing I always imagine. Okay, they think suddenly, they have some vase and it's worth $8,000, you know? I always equate it to: what kind of a used car could they buy with it? [Jarmusch makes a sad horn noise] "You can buy a 1986 Honda Civic!" I don't know why I do that... I'm going off in stupid places.Bill Murray, surrogate Dick Cheney No, I appreciate it. Now, I know why Bill Murray is so great in your films, but what's so great about working with him? In the press notes for this film, you mentioned that you two liked to "talk around the character."Yeah, we like to talk about it in the past. What's really fascinating about Bill is that, since I've known him, his procedure is always evolving. When I first worked with him in Coffee and Cigarettes, he wanted to pretty much improvise everything, and he didn't want to talk about it or rehearse it. Then with Broken Flowers, no rehearsing, no specifics, but we would take long, long walks for hours at a time, and talk about things that eventually affected our idea of that character. I thought he would improvise a lot, and he said, "I want to stick close to the script." Then in this film, he said, "I want to rehearse, and I want to do the dialogue as written. I don't want to add anything." So that was even a different step. He's just an interesting work in progress. I'm always a little surprised, like, "How does he want to approach it this time?"That's fun, and I learn a lot from Bill about a lot of things, especially human nature. His capacity to observe and feel what people are feeling, even strangers, is uncanny. I've seen him numerous times run out of his way to help somebody try to get something out of the trunk of their car, or help with their luggage at the airport, or in a restaurant, talk to someone he doesn't even know that looks sort of down. He'll go over and respond to that: "Hey, the world hasn't ended yet, what's going on?" Amazing. He's really observant with compassion, so I love to just hang out with Bill and see how he's going to react to what we encounter in the world. I learn more from that, maybe, than anything specifically about acting, preparing or filmmaking, because it's all intertwined in the end. I really liked having him play somebody with not an ounce of humor this time, which might be frustrating for people's expectations. I don't know, that's not my problem. I choose the actors I want for the best collaboration to create something, and I really liked him being nasty and condescending. Every fucking school principal or authority figure I've ever had in my life has always, at some point, said, "You just don't understand how the world really works." Hearing Bill's character say those lines for me, I don't know. I certainly heard that a lot in my life.The Limits of Control opens today in New York and Los Angeles, then expands to more cities beginning May 8. For more information, visit the official website.

真的太无聊，情节有点太无语，就跟我的评论一样！

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