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do you think have contributed to its success.
? LOMBARD: The success can be attributed to several things: the diversity of the culture
year’s theme, the museum’s generosity in providing exhibits, devotion of many partners, coverage of media and the French public’s great interest in Chinese culture.
莱姆巴德：中国文化年的成功主要由以下几个原因：文化年主题的多样性、博物馆提供展品时的慷慨、很多合作伙伴、媒体的报道以及法国公众对中国文化的巨大兴趣
? 记者：我们都知道，法国文化年很快就要开幕了。作为总协调人，您能不能给我们
介绍一下这个文化年的计划？
REPORTER: As we know, the French Culture Year is soon to open. Could you please introduce the plan of the French Culture Year as the commissioner general?
? LOMBARD: We are dedicated to bring about large-scale activities with diversified
subjects, including about 200 exhibitions, which cover exhibition of French cultural relics, modern stage arts and achievements in science and technology.
? 莱姆巴德：我们想组织一些主题多样的大型活动，包括大约200场展览，展览内容
包括法国的文化遗产、现代舞台艺术及在科技方面取得的成就。 ? 记者：中国地广人多，您有没有想过如何来吸引更多的中国观众来观看展览和表演？ REPORTER: Have you ever considered how to make more Chinese audience see the exhibitions and shows because China has a vast territory with a huge population
? LOMBARD: Making the French culture approach the Chinese public is the key to
success. We will arrange some large activities, for example, the Forbidden City Concert in Beijing at the opening ceremony.
? 莱姆巴德：使法国文化走近中国公众是成功的关键。我们会安排一些大型活动，比
方说开幕式时有在北京举行的紫禁城音乐会。 ? 记者：其他城市也有这些活动吗？
? REPORTER: Can such activities be seen in other cities in China.
? LOMBARD: Of course. Other cities like Guangzhou, Chengdu, Wuhan and Shenzhen
will see such activities. What’s more, many important activities will be broadcast on the TV.
? 莱姆巴德：当然，在广州、成都、武汉、深圳等城市也会有一些这样的活动。而且
很多重要活动都会在电视上播出。 ? 记者：您曾在一场记者招待会上说：“法国人的形象不应只限于落后而又狭隘的烂
漫”。您这么说具体指的是什么？
? REPORTER: You said at a press conference “France should not be restricted by the
out-of-date and narrow-minded impression of ‘romantic’”. What do you mean by that? ? LOMBARD: France is indeed a romantic country. We will not blush for the word. But
France is not just romantic. It is modern country full of vigor and creativity.
? 莱姆巴德：法国确实是一个浪漫的国度。我们并不为这个词觉得脸红。只是法国不
仅仅是浪漫。她还是一个充满了活力和创造性的现代国家。 ? 记者：不过我们还是在这次文化年的主题中看到了这个词，“创新与浪漫”。看起来
您并不真正想改变这一形象。
? REPORTER: However, the word can still be found in the cultural year’s theme
“Romantic and Innovation”. It seems that you don’t really want to change that image. ? LOMBARD: We should consider enriching the image of France now that the Chinese
public likes such an image, we hope the French Culture Year will make the Chinese
know France in all-round way and feel the creative of France.
? 莱姆巴德：既然中国公众喜欢浪漫这一形象，我们职能考虑丰富这个形象。我们希
望通过这次法国文化年，中国人们能更全面地了解法国，感受到法国的创造性。 ? 记者：这样互办文化年可以深化对他国人民的了解，也可以拓宽看待他国的事业。
我想以您所在的位置，应该对此有所体会吧。
? REPORTER: Hosting culture years in each other’s country deepens understanding of the
people and broadens visions in looking at the other country. You must have experienced this at your position.
? LOMBARD: I personally like Chinese culture and have read a number of Chinese books. ? 莱姆巴德：我个人比较喜欢中国文化，看过很多中国的书。 ? 记者：您对即将到来的法国文化年有什么期待吗？
? REPORTER: What do you expect from the forthcoming French Culture Year?
? LOMBARD: Through the Chinese Culture Year, the French have got a new impression on
China, which used to be a mysterious country for them. So I have the same expectation for the French Culture Year.
? 莱姆巴德：通过中国文化年，法国人民对中国，这个对他们来说一度神秘的国家，
有了一个新的印象。我对于法国文化年也有同样的期待 ? 记者：有人说，文化就是对话，您就此有何看法？
REPORTER: It is said that culture is dialogue. What is your view on that point?
? LOMBARD: In my opinion, dialogue is to respect diversity of culture and promote
exchanges between different cultures and civilizations. This is the basis for building a world with mutual trust.
? 莱姆巴德：我的理解是，对话即是要尊重文化多样性，促进不同文化和文明之间的
交流。这是建立一个相互信任的世界的基础。 ? 记者：您怎么理解“文化外交”这一说法？
? REPORTER: How do you interpret the term “cultural diplomacy”?
? LOMBARD: In France, the Ministry of Foreign Affairs is in charge of cultural exchange,
because France attaches importance to the role cultural exchange plays in international relations. Perhaps that is why we have the term “cultural diplomacy”.
? 莱姆巴德：在法国，是由外交部来管理文化交流的，因为法国对文化交流在国际关
系中的作用很重视。这可能就是为什么有“文化外交”这一说法的原因吧。 Unit 8
第四部分 对话口译 Dialogue Interpreting Dialogue One
A: 今晚有什么特别安排吗？
A: Are you doing anything special tonight? B：No idea. Why don’t you decide? B: 没有。你有什么建议？
A：那去看电影，怎样？
A: Shall we go to the movies tonight?
B: That sounds like a good idea. Do you happen to know what’s on? B:这主意听起来不错。你知道现在上映那部片吗？
A: 不知道。我们先查查报纸上的电影预告吧。对了，你喜欢什么类型的电影？
A: I don’t know. Oh, hang on. Let me check the movie reviews in today’s newspaper. By the way, what kind of movie do you like?
B: Well, I like horror films. They are exciting and give me a thrill. B:恐怖片，又惊险又刺激。
A：啊呀，别。我讨厌恐怖片，上次我看了恐怖片后，吓得我连续几个星期每晚都做恶梦。
A: Oh, no. I hate them. Last time I went to see a horror film. It frightened me so much that I had nightmares for several weeks afterwards. B: How about action films? B:动作片如何？
A:我也不怎么喜欢。太暴力，而且血腥味太浓。
A: I don’t like them either. That kind of film tends to be violent and bloody. B: What kind do you prefer, then? B:那么，你喜欢哪一类电影啊？
A：我比较喜欢看浪漫爱情片和喜剧片。看，友谊剧院今晚上映一部美国喜剧大片，由罗格米·雪儿执导，朱利亚·罗伯茨和休·格兰特领衔主演《诺丁山》。这是一部近年来最佳的浪漫爱情喜剧片，在美国非常卖座。
A: I prefer romantic films and comedies. Oh, there is a comedy on at the Friendship Cinema tonight. It’s an American film called Notting Hill, featuring Julia Roberts and Hugh Grant, and directed by Roger Michell. It is “the best romantic comedy in years, and is a box-office hit in the U.S.”.
B：Unfortunately I’ve already seen it. Is there any other film? B:这部电影我看过。还有别的吗？ A：人民剧院在上映《改编剧本》，这是斯特里普主演的。 A: Adaptation is on at the People’s Cinema. It features Streep.
B: Really? I like her films very much. Do you know she is an excellent actress? She is known for her ability to disappear inside her characters, transforming herself physically to meet the demands of her roles.
B:是吗？我很喜欢她的电影。 你知道吗？他是一位非常优秀的演员，以隐身于角色的千面演员著称，她能依据所饰角色的需要完全改变自己的形象。
A：我对她不怎么熟悉。她获得过什么奖项吗？
A: I do not know much about her. Has she ever granted any reward?
B: For her sparkling performances, she won 2 Oscar Best Actress awards and 13 Oscar nominations, a number that made her the most Oscar-nominated actor in history. Adaptation is one for which she earned an Oscar nomination.
B:她以才华闪烁的表演，先后赢得过两次奥斯卡最佳女主角奖和13次奥斯卡奖提名。她是历史上获得奥斯卡提名次数最多的演员。《改编剧本》就是她获得奥斯卡奖提名的影片之一。
A: 那我们就去看《改编剧本》吧。 A: Then, let’s go to see Adaptation. Dialogue Two
陈雨： 您制作了许多著名的动画形象，那么您认为一部成功的动画片应该具备哪些要素呢？
(Chen Yu: You have produced many famous animation characters. So what elements do you think a successful animated film should possess?)
Becky Bristow：Well, the most important element is a good story. The second most important element is telling that good story well in a visual form. As long as you have a well-told story and a good idea, whether it’s a sad story or happy story or any kind of story, it will be a successful film. It’s just simple like that. （贝琦·布里斯托：最重要的要素就是一个好故事。其次就是用视觉的形式把这个好故事讲述好。不论是个悲伤的故事，高兴的故事，还是任何一种故事，只要你有一个好故事和好想法，这就会是个成功的动画片。就这么简单。）
陈雨：日本动画片《千与千寻》获得了2003年奥斯卡最佳动画片奖。作为奥斯卡奖评审委员会成员，您能说说成为获奖动画的标准吗？
(Chen Yu: Japanese animated film Sprinted Away won the Oscar for Best Animated Feature Film for 2003. As a member of Academy Awards Committee, could you tell me the criterion for being a winner?)
Becky Bristow: Again, the same thing. It’s a good story, an imaginative story, a well-told story visually and it touches the heart. Sprinted Away certainly did that. It’s a fantastic film. I think it’s very interesting, and we were very surprised, (贝琦·布里斯托:还是一样的道理。它要是个好故事，富于想象，视觉讲述效果好，而且感人心弦。《千与千寻》当然做到了这些。这是一部绝妙的影片，我认为它很有趣，而且我们感到非常惊讶。) because Disney had a film in the competition, Dreamwork had a film and also all of these other studios had films in the competition, but a Japanese film won. So that’s an important message to the U.S. animation business that something they are doing is not right.
迪斯尼有动画作品参赛，梦工厂有一部作品参赛，所有这些电影制片厂都有作品。但一部日本动画片获胜了。这向美国动画界传达了一个重要信息，那就是他们的制作有问题。
陈：我想，一个能够制作出如此应和孩子心理的动画片的人，一定有一颗童心。您认为自己是这样的人吗？
Chen Yu: I think a person who could produce animated films catering so much to children’s mind must possess a childlike heart. Do you think you are that kind of person?
Becky brisfow: I think so, and I think a lot of animators I know are very childlike and innocent, because you have to have that sort of way of looking at things. But a lot of us care about children being given good things to watch. 贝琦·布里斯托：我想是的，而且我想我所认识的很多动画人都非常有童心，非常天真，因为你必须用那种方式看待事物。但是我们当中很多人注重孩子们有好的动画看。 ? They should be fun, but also children should learn something from it. So you need to
make it appeal to them, and you also have to look from the angle of the adult and protect them from certain things, but not protect them too much. I think kids know too much today.
? 这些动画应该有趣，但孩子们也能从中学到东西。所以你需要做出能够吸引他们的
东西，你还要从一个大人的角度出发，保护他们不受某些事物侵害，但不要过分保护。我觉得现在的孩子知道的太多了。
? 陈：在您所制作的所有这些形象中，你最喜欢的是哪个？
? Chen: what’s your favorite character of all the characters you have produced?
? Becky brisfow: oh, that’s like asking a mother which child is her favorite. I wouldn’t want
my mother’s answer. I can only say that all of them are my favorite, ‘cause everyone is special in some way. ? 贝琦·布里斯托: 哦，这就好像问一个母亲她最喜欢的孩子是哪个。我可不想知道我
妈妈的答案。我只能说每个都是我最喜欢的 ，因为每个都有特别的地方。 ? 陈：中国动画产业的现状如何？您怎样预测中国动画未来的发展？
? chen: what’s the current state of chinese animation industry? How do you predict the
future development of chinese animation? ? Becky brisfow: well, it’s healthy I think. From the end of the 1980s, when I first visited
china, to about 2 years ago, most of the animations being done in china were for the west. So I was worried about Chinese animation because I didn’t see any original animation being done. ? 贝琦·布里斯托: 我认为是健康的。从20世纪80年代末我第一次访问中国到大约两
年前，中国上映的大多数动画都是西方制作的。所以我很担心中国的动画，因为我没有看到任何原创的动画作品。
? There was a big interest in opening Chinese animation to western appeal, not losing the
special flavor of Chinese art in animation, but creating understanding of what is more appealing to a wider audience of the world.
? 但在过去的两年里，中国动画业有了很大进展。人们很希望把中国动画展示给西方
业界。这并不是丢掉中国艺术的特点，而是了解什么更能吸引世界上更广泛的观众群。
? Chen: now you are the Chair of Department of Digital Arts Design of Peking University.
What advice would you give to the students who want to join in the animation industry? What skills do you think are important to be a successful animator?
? 陈：您现在是北京大学数字艺术系的系主任。您对想要进入动画业的学生有哪些建
议呢？您认为成为一个成功的动画人，哪些技能是重要的呢？
? Becky brisfow: Well, they should know how to draw. That should be a no.1 thing. They
should learn how to draw in different ways. When you are sitting on a bus in the traffic in beijing, look at the people and the person next to him. And then sketch them. ? 贝琦·布里斯托: 他们要有绘画技能，这是第一位的。他们应该学会多种不同的绘画
技能。当北京交通繁忙时，你坐在公交车上，看看路上来往的行人，想想这个行人跟他旁边的那个有什么不同，然后把他们素描下来。
? You just have to expand your vision of world and fill it into your body and your mind.
And you also have to develop ideas and learn the craft.
? 你需要扩展视野，融会贯通，充实自己。你同时还要提出创意，学习制作工艺。 ? If you work for a studio and you are not that experienced, talk to everybody, and also help
as many people as you can. That’s the best advice I can give. But obviously coming to art school will help you a lot.
? 如果你在画室工作，没什么经验，你就要和每个人交谈，尽可能地帮助别人。这是
我最好的建议。但很明显，到艺术学校学习会对你大有帮助。 ? Chen: so how can we enter your school?
? 陈：那么我们怎样才能进入您的学院学习呢？
? Becky brisfow: well, what we want to see is a lot of drawing. When people hear digital