第一篇：影视美联英语 一线明星最爱的夜店大亨
小编给你一个美联英语官方免费试听课申请链接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0
美联英语提供：影视英语 一线明星最爱的夜店大亨
Miley Cyrus posed with Sean Combs.Kendall Jenner hung out with Justin Bieber.Vanessa Hudgens chatted with Selena Gomez.John Legend and Chrissy Teigen held court in one corner, while Madonna danced in another.麦莉·赛勒斯(Miley Cyrus)和肖恩·库姆斯(Sean Combs)合影。肯德尔·詹纳(Kendall Jenner)和贾斯汀·比伯(Justin Bieber)在一起玩。凡妮莎·哈金斯(Vanessa Hudgens)和赛琳娜·戈麦斯(Selena Gomez)闲聊。约翰·传奇(John Legend)和克丽茜·泰根(Chrissy Teigen)占据了一个角落，麦当娜(Madonna)在另一个角落跳舞。
It was the night of the Met Gala, and after all the red-carpet posing, cocktails, dinner and assorted parties, the A-list celebrities ended their night at Up & Down, a two-story club on West 14th Street.那是大都会艺术博物馆慈善晚宴(Met Gala)之夜，在红毯拍照、鸡尾酒会、晚宴和各式派对之后，这些一线明星在西14街的两层俱乐部Up & Down结束这个夜晚。
Sure, that may have had something to do with the host, Rihanna.But it was also a testament to the celebrity-charming magnetism of Richie Akiva, one of the club’s owners, who is becoming a boldface name in his own right.当然，这可能与派对主人蕾哈娜(Rihanna)有关。但它也证明，这家俱乐部的其中一位老板里奇·阿基瓦(Richie Akiva)具有吸引名人的魅力。他正凭借自己的能力成为一位知名人物。
After buying out his longtime partner, he is now the sole owner of the Butter Group, a company that runs a growing empire including 1Oak clubs(the name stands for “one of a kind”)in New York, Las Vegas, Los Angeles and Mexico City, which cater to celebrities and hangers-on.在买下长期合作伙伴的股份后，他现在是Butter Group公司的唯一所有者。该公司经营的帝国在不断扩张，包括1Oak俱乐部（俱乐部名字的意思是“独一无二”[one of a kind]）。这个俱乐部在纽约、拉斯维加斯、洛杉矶和墨西哥城设有分店，专为名人及其随从服务。
They are places where the bass always throbs, the champagne is perpetually being popped, bottles of vodka are delivered by beautiful women in lingerie and celebrities are coddled — with their comings and goings dutifully reported in the tabloids the next day.“Bella Hadid parties at 1OAK with Miley Cyrus in NYC,” the Daily Mail announced in a recent headline.在这些俱乐部里，低音炮永远在震响，永远有香槟在被打开，身穿性感内衣的美女们奉上一瓶瓶伏特加，名人们在这里被悉心呵护——第二天，各种小报会尽职尽责地报道他们的行踪。“贝拉·哈迪德(Bella Hadid)和麦莉·赛勒斯在纽约市的1OAK聚会，”前不久，《每日邮报》(Daily Mail)的一个头条这样写道。
“I don’t use them to better my business, they’re my friends,” Mr.Akiva said.“I try to protect them as much as I can.”
“我不是利用他们提升我的生意，他们是我的朋友，”阿基瓦说，“我尽可能努力保护他们。”
His ease around his star clientele was evident on a recent afternoon, during lunch at the Four Seasons Hotel in Beverly Hills, Calif.Wearing a crisp blue button-down shirt and a gold Rolex, Mr.Akiva, 37, carried himself like the coolest kid in school, who is humble enough not to brag about it.前不久的一个下午，他在加利福尼亚州贝弗利山的四季酒店(Four Seasons Hotel)用午餐，他和明星客户们交往时的轻松自在显而易见。37岁的阿基瓦穿着一件湛蓝色衬衫，戴着劳力士(Rolex)金表，他的姿态像是学校里最酷的孩子，同时非常谦虚，没有炫耀。
On his way in, he ran into Naomi Campbell.They kissed cheeks and chatted like old pals about their evening plans and whose house they would meet at beforehand.在进餐厅的路上，他碰见了娜奥米·坎贝尔(Naomi Campbell)。他们互吻双颊，像老朋友一样谈论晚上的计划以及先在谁家碰头。
“I host all my parties with him,” Ms.Campbell said.“I don’t go to any other clubs in New York but his.I know I’m safe, and I know I’m taken care of.”
“我所有的派对都是和他一起举办的，”坎贝尔说，“在纽约，我只去他的俱乐部。在那里，我知道我很安全，有人会照顾我。”
Famous friends echoed a similar sentiment.“Richie creates an experience, it’s much more than just a club,” said Sean Combs, who attended Mr.Akiva’s birthday party at 1Oak in West Hollywood last September.“No matter what
property, whether it’s 1Oak New York, L.A.or Cannes” — where Mr.Akiva organized a pop-up during the annual film festival — “it’s always a good time.”
其他名人也表达了类似的感觉。“里奇创造了一种体验，远远超越普通俱乐部的感觉，”肖恩·库姆斯说。去年9月，他在西好莱坞的1Oak参加阿基瓦的生日派对。“不管是哪里的1Oak，不管是在纽约、洛杉矶还是戛纳（阿基瓦在一年一度的戛纳电影节上组织品牌游击店），你总能获得美好的体验。”
Mr.Akiva has also been romantically linked in the tabloids to various celebrities, including Rihanna and Heidi Klum.He neither confirms nor denies those reports.“I take a page from friends of mine who are celebrities,” he said.“Let people believe whatever they want to believe.”
一些小报还声称，阿基瓦与多位名人有过恋情，包括蕾哈娜和海蒂·克鲁姆(Heidi Klum)。他从未承认或否定这些报道。“我听从名人朋友们的吩咐，”他说，“人们愿意怎么想，就怎么想吧。”
He was not born for flashbulbs and gossip.Mr.Akiva grew up in TriBeCa with his father, who manufactured and imported sportswear, and two sisters(his mother died when he was 3).阿基瓦不是生在被闪光灯追逐、被八卦新闻困扰的名人之家。他和父亲、两个姐姐（他妈妈在他3岁时去世了）在翠贝卡区(TriBeCa)长大。他父亲从事运动服装制作和进口生意。
He lived on two tracks, spending days at the private Dwight School on the Upper West Side, and nights on a skateboard, scrawling graffiti and partying downtown.He started going to nightclubs before he was of legal age and began promoting parties, like Monday nights at Lot 61 in Chelsea and Friday nights at Life
in Greenwich Village, as a way to meld his uptown and downtown circles and to make a little money.他过着双重生活，白天在上西区的德怀特私立学校(Dwight School)上课，晚上滑着滑板，在市中心涂鸦或聚会。还没到法定年龄，他就开始去夜总会，开始推广派对，比如周一晚上在切尔西(Chelsea)的Lot 61咖啡馆或周五晚上在格林尼治村(Greenwich Village)的Life俱乐部，他用这种方式把他在住宅区和商业区的圈子融合在一起，同时挣点小钱。
That is also how he met Scott Sartiano, a Columbia University student, who would become his business partner for more than a decade.As promoters, cultivating the connections they made at Lot 61 and Life, they turned the nightclub Spa, near Union Square, into a celebrity hive during the early 2000s.在这个过程中，他结识了哥伦比亚大学学生斯科特·萨尔蒂亚诺(Scott Sartiano)，在之后的十多年里，他们是商业合作伙伴。新千年之初，利用他们在Lot 61和Life建立的关系网，他们把联合广场(Union Square)附近的夜总会Spa推广成为名人聚集之地。
“It was the No.1 club for four years in New York,” Mr.Akiva said.“It was where Justin Timberlake met Pharrell, where Pharrell met Jay-Z.”
“它曾连续四年是纽约排名第一的俱乐部，”阿基瓦说，“贾斯汀·汀布莱克(Justin Timberlake)就是在那里遇见法雷尔(Pharrell)的，法雷尔也是在那里认识Jay-Z的。”
But they wanted more.“I said, ‘You know what, I’m tired of making money for all these owners, I’ve got to do my own thing,’ ” Mr.Akiva said.So in 2002, he and Mr.Sartiano, with money raised from friends and investors, opened Butter, a scene-y restaurant on Lafayette Street.Their reputation preceded them.但是他们想要的更多。“当时我说，‘你知道吗，我厌倦了为所有这些老板挣钱，我 得自己做点事情，’”阿基瓦说。所以，2002年，他和萨尔蒂亚诺从朋友和投资者那里筹钱，在拉菲尔街(Lafayette Street)开设了外观醒目的Butter餐馆。当时他们已经声名远扬。”
“The day we opened, there was a line around the block because people thought it was a nightclub,” Mr.Akiva said.“We went and took business cards and said, ‘It’s a restaurant, please make a reservation.’ ”
“开业那天，排队等候的人绕了一个街区，人们以为它是夜总会，”阿基瓦说，“我们走过去，拿出名片说，‘这是餐馆，请预订。’”
In 2007, they opened their first nightclub, 1Oak, on West 17th Street in Chelsea.“We didn’t want to force people to spend money,” Mr.Akiva said, a reference to the mandatory bottle service that ruled night life at the time.“It was about great music and enjoying a room filled with a beautiful mix of models, celebrities, artists, photographers and fashion designers.”
2007年，他们在切尔西的西17街开设了自己的第一家夜总会1Oak。“我们不想强迫人们消费，”阿基瓦说。他指的是当时夜总会盛行的强制性酒水消费。“重要的是有美妙的音乐，房间里全是美人——模特、名人、艺术家、摄影师和时装设计师。”
Their clubs sometimes land in the news for the wrong reasons.In April, the N.B.A.player Chris Copeland was stabbed outside 1Oak in Manhattan, and last August, Suge Knight was shot at a pre-MTV Video Music Awards party at 1Oak Los Angeles.有时，他们的俱乐部会因坏消息出现在新闻报道中。今年4月，NBA球员克里斯·科普兰(Chris Copeland)在曼哈顿1Oak俱乐部外被刺伤。去年8月，苏吉·奈特(Suge Knight)在洛杉矶1Oak的MTV音乐录影带大奖(MTV Video Music Awards)预热派对上遭到枪击。
“It was an unfortunate, isolated incident that happened to be at 1Oak,” Mr.Akiva said about the shooting.“I hire the right security, I make sure my door is as tight as it can be.”
“那是碰巧发生在1Oak的不幸的孤立事件，”阿基瓦谈起那次枪击事件时说，“我安排了严密的保安，我确保我的大门看管得很严。”
The fast pace of night life may have contributed to Mr.Sartiano’s decision to leave the partnership in March.“My passion for things I wanted to do in the future shifted,” said Mr.Sartiano, who got married last year and now splits his time between New York and Los Angeles.今年3月，萨尔蒂亚诺决定结束合伙关系，原因之一可能是夜生活的节奏太快。“未来我有激情去做的事情已经不同了，”萨尔蒂亚诺说。去年他结婚了，现在在纽约和洛杉矶两地工作和生活。
“I’m on a different path right now,” he said.“I don’t really want to stay in this nightclub business.”
“现在我在另一条路上，”他说，“我不太想做俱乐部生意了。”
For Mr.Akiva, last call seems far off.He plans to open outposts of 1Oak in London, Dubai and Tokyo in the coming year, and bring Up & Down to Los Angeles.对阿基瓦来说，打烊时间还远未到来。在未来一年里，他计划在伦敦、迪拜和东京开设1Oak分店，在洛杉矶开设Up & Down分店。
Still, he knows that even the most prolific club kid must eventually hang up his snapback hat.He recently broke ground on a 140-room hotel in the NoMad district
of Manhattan in partnership with Richard Born and Ira Drukier, whose past projects include the Mercer Hotel and the Jane.While Mr.Akiva has yet to decide on a name, it won’t borrow from one of his club franchises.不过，他知道，甚至连最赚钱的俱乐部最终也会收场。前不久，他和理查德·博恩(Richard Born)、伊拉·德吕基耶(Ira Drukier)合作在曼哈顿诺玛德区(NoMad district)开始动工兴建一家有140个房间的酒店。他的两位合作伙伴以前的项目包括默瑟酒店(Mercer Hotel)和简酒店(Jane)。阿基瓦还没给新酒店起好名字，但他不会借用自己连锁俱乐部的名字。
“This is going to be a Richie Akiva project,” he said.“这将是里奇·阿基瓦的项目，”他说。
第二篇：影视美联英语 宫崎骏 真的要退休了吗
小编给你一个美联英语官方免费试听课申请链接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0
美联英语提供：影视英语 宫崎骏 真的要退休了吗? The nominations won’t be announced until Jan.15, but it’s safe to say that the greatest filmmaker associated with the 2015 Academy Awards has already received his Oscar, delivered a modest but revealing acceptance speech and flown home to Japan and, perhaps, retirement.2015年的奥斯卡奖提名要到1月15日才宣布，但是毫无疑问，最优秀的电影人今年已经得到了他的奥斯卡奖杯，他发表了谦逊而又真情流露的获奖致辞后便乘飞机回到日本家中，或许从此就会退休。
Hayao Miyazaki was given an honorary Oscar on Nov.8 at the Governors Awards ceremony, one that he can put on the shelf next to the statuette he won in 2003 when his masterpiece, “Spirited Away,” was named best animated feature.He got off a sly one-liner about his wife and paid an impish tribute to the Hollywood veteran Maureen O’Hara, a fellow Governors Award honoree along with Harry Belafonte and the French screenwriter Jean-Claude Carrière.11月8日，宫崎骏在奥斯卡主席奖的典礼上获得终身成就奖，这是他第二次获得奥斯卡奖杯，第一次是在2003年，他的杰作《千与千寻的神隐》获得了最佳动画长片奖。他说了一句关于妻子的玩笑话，并且顽皮地向好莱坞资深演员玛琳·奥哈拉(Maureen O’Hara)致意，她和哈里·贝拉方特(Harry Belafonte)及法国编剧让-克劳德·卡瑞尔亦获得了主席奖
荣誉。
Between those two humorous notes, he was serious — honest, elegiac, rueful — on the subjects of animation and his country’s history, which gave his brief remarks something in common with his films.“I think I’ve been lucky because I’ve been able to participate in the last era when we can make films with paper, pencils and film,” he said through a translator.“Another fact of luck is that my country has not been at war for the 50 years that I have been making films.Of course, we’ve profited from wars, but we’re very fortunate that we have not had to go to war ourselves.”
在这两句幽默的话语之间，宫崎骏非常严肃，他诚恳、伤感而悲哀地谈起动画片与日本的历史，这些话题令他简短的致辞有了和他的影片同样的气质。“我觉得自己非常幸运，因为我可以参与到使用纸张、铅笔和胶片制作电影的最后时代。”他借助翻译说道。“另一个幸运之处是，我的祖国在我拍电影的这50年时间里，没有战争。当然，我们从战争中获益，但我们非常幸运，可以不必亲自参与战争。”
Many things contribute to the enchantment of the 11 animated feature films Mr.Miyazaki has made, beginning with “The Castle of Cagliostro” in 1979.Their sheer pictorial beauty, in the lush, painterly style he developed during years of apprenticeship as a hands-on animator for film and television and as a comic book, or manga, artist.Their swooping, beautifully constructed action sequences, breathless scenes of racing, leaping and, always, flight — in vintage airplanes, on broomsticks or mounted atop mysterious beasts.And, of course, the beasts, spirits，demons and familiars themselves, a seemingly inexhaustible menagerie of companions and impediments for his plucky young heroes(who are most often heroines).宫崎骏共制作了11部动画长片，最早一部是1979年的《鲁邦三世：卡里奥斯特罗城》，这些动画的魅力是由很多因素共同造成的。它们有着纯粹的绘画之美，宫崎骏曾经当过电视和电影动画绘制的学徒，还做过漫画家，他从那时便开始发展出自己丰富的、油画般的风格。他的影片中，一系列动作有着全面而美丽的结构；赛跑和跳跃的情景令人透不过气，更有乘着老式飞机、女巫扫帚与神秘野兽的打斗场面。当然，那些野兽、神灵、怪物和常见的形象，如同一个无穷尽的小动物园，为他笔下年轻勇敢的英雄们（大部分是女英雄们）充当伙伴和敌人。
None of these things are unique to Mr.Miyazaki, though he conjures them with an unmatched variety and generosity.What makes his films so memorable — from the great ones, like “Spirited Away,” which is a coming-of-age tale, and the ecological fables “Princess Mononoke” and “Nausicaa of the Valley of the Wind,” to less profound but still captivating works like “Kiki’s Delivery Service” and the mesmerizing “My Neighbor Totoro” — is something that’s harder to label.You know it when you feel it: the mastery of tone and emotion, embodied in every gesture, expression, movement and setting, that give the films a watchfulness, a thoughtfulness, an unaffected gravity.To watch a Miyazaki movie is to remember what it was like to be a smart and curious child.这些东西并不是宫崎骏所独有的，但他以前所未有的多样化与丰富性使用了这些元素。
他有非常宏大的作品：《千与千寻》是关于成长的故事、《幽灵公主》和《风之谷的娜乌西卡》则是生态寓言；还有一些作品虽然没这么深刻，但同样引人入胜，比如《魔女宅急便》和迷人的《龙猫》，这些作品全都如此令人难忘，个中原因很难说清。只要你体会到了就能明白：对基调和情感的把握体现在每个手势、表情、动作和场景里，令他的动画充满观赏性和思想性，以及毫不做作的庄重。观看宫崎骏的电影会让你感觉自己重新成了聪明好奇的孩子。
Even at its high end, in the works of the Pixar studio or the director Henry Selick, the American children’s movie(a category that these days is pretty much congruent with the animated feature film)approaches its young viewers in a different and less rewarding way.There is always a sense of the filmmakers looking across a divide at their audience, trying with various degrees of grace or desperation to create an entertainment for them, to figure out what will keep those allegedly hyperdistracted children from losing interest.反观皮克斯生产的电影或亨利·塞利克(Henry Selick)导演的作品，即便是在最好的情况之下，美国儿童电影（这个类别目前已经基本上等同于动画片）也是以一种完全不同、效果也不那么好的方式去接近年轻的观众。电影工作者们在审视观众时，总是带着区别对待的观念，刻意以不同程度的趣味或努力程度，努力去娱乐他们，努力想让那些据说特别容易分心的小观众们对影片保持兴趣。
Mr.Miyazaki cares deeply about that young audience, but you get the feeling that he doesn’t waste any time trying to guess what it wants.Like other great directors of films for and about children — Carroll Ballard(“The Black Stallion”)Steven Spielberg(“E.T.”), Alfonso Cuarón(“A Little Princess” and “Harry Potter
and the Prisoner of Azkaban”)— he inhabits the child’s point of view and directly communicates her joys, her trepidations and, perhaps most important, her endless curiosity.宫崎骏也非常重视年轻的观众，但你可以感觉到，他并不浪费时间去猜测他们想要什么。有许多导演为孩子们拍出了伟大影片，或拍出了关于孩子们的伟大影片，比如拍了《黑神驹》(The Black Stallion)的卡罗尔·巴拉德(Carroll BAllard)、拍了《ET》的史蒂文·斯皮尔伯格(Steven Spielberg)，以及拍了《小公主》(A Little Princess)和《哈利·波特与阿兹卡班的囚徒》(Harry Potter and the Prisoner of Azkaban)的阿方索·卡隆(Alfonso Cuarón)。宫崎骏和他们一样，能以孩子的视角看待世界，能直接了解到这个孩子的喜悦与不安，或许最重要的是，能够了解到她无穷无尽的好奇。
With his ability to pass so easily through the membrane between youth and adulthood, Mr.Miyazaki is also able to invest his fairy-tale scenarios with thematic weight.In his public life, he has spoken out on issues including pollution, the dangers of nuclear power, and Japan’s recent swing toward nationalism and militarism.His films, correspondingly, have sent messages — sometimes allegorical, but never unclear — in favor of environmentalism(“Nausicaa,” “Princess Mononoke,” “Ponyo”)and against war(“Howl’s Moving Castle,” “The Wind Rises”).他能轻易穿透横亘在年轻人与成人之间的隔膜，因此便可以为笔下童话般的情节赋予沉重的主题。在公众生活中，他曾为环境污染、核战争的危险，乃至日本近期的民族主义与军事主义倾向而大声疾呼。他的影片亦传递出同样的信息，有时可能是寓言性的，但一直都是清晰的——诸如支持环保主义的《风之谷》、《幽灵公主》和《悬崖上的金鱼姬》，以
及反战的《哈尔的移动城堡》和《起风了》。
The messages are never what the films are about, though.Mr.Miyazaki does not promote outcomes;he explores possibilities.As he says in “The Kingdom of Dreams and Madness,” Mami Sunada’s indispensable 2013 documentary: “You don’t depict fate;you depict will.Even if fate exists.” Like all of us, his characters are born with infinite possibilities and shape their own lives as they close off those options one by one.“To choose one thing is to give up another,” he says.不过，这些信息从来不是他的影片的核心。宫崎骏从不宣传成果，只是探索可能性。2013年，在砂田麻美重要的纪录片《梦与狂想的王国》中，宫崎骏说：“你无法描绘命运，你只能描绘意志，就算真的有命运存在。”和我们大家一样，他笔下的角色也是从一出生就拥有无穷无尽的可能性，之后他们摒弃了一个又一个的选择，塑造自己人生的形状，“选择一样东西就意味着放弃另一样东西，”他说。
For her documentary, Ms.Sunada embedded herself with Mr.Miyazaki and Studio Ghibli, the animation studio he founded with his colleague and mentor Isao Takahata and the producer Toshio Suzuki.The film provides an intimate view of a man whose disarming, sardonic humor and modest manner don’t hide the tremendous demands he places on his young staff of animators and technicians or the way he feeds on their energy.砂田麻美在这部纪录片中深入探索了宫崎骏的人生，以及他与同事兼导师高畑勋和制作人铃木敏夫联合创建的吉卜力工作室。影片以亲切的视角拍出了他那令人放下戒备，同时又充满讽刺的幽默感；他虽然态度温和，却对年轻的动画师和技术员工们有着极高的要求，同时吸取着他们的能量。
Of course he places even greater demands on himself, and anyone tempted to sentimentalize him as a head-in-the-clouds fabulist will be set straight by Ms.Sunada’s depiction of his working method, disciplined to the point of regimentation, machine-like in the service of the magical.While workers one-third his age chat or stare into space, Mr.Miyazaki(who will turn 74 on Monday)strides past in his printer’s apron, headed to the next task.当然，他对自己的要求更高。如果有人带着伤感之情，想把他描述为一个想入非非的寓言家形象，看了这部纪录片肯定会打消这种看法。砂田麻美在片中记述了他的工作方式，强调纪律到了严格控制的地步，像机器一样为动画中的魔法王国服务。当年纪是他1/3的员工们闲聊或发呆的时候，宫崎骏（周一他就74岁了）穿着画师的围裙，大步走过去，开始做下一项工作。
Mr.Miyazaki has announced that “The Wind Rises,” released in 2013 in Japan, will be his last feature film, and in his Oscar speech and in “The Kingdom of Dreams and Madness” there are indications that he’s had enough.The darkness that is often present in his films but never overwhelms them, emerges when he talks to Ms.Sunada about “cursed dreams” and he tells her: “How do we know movies are even worthwhile? If you really think about it, is this not just some grand hobby? Maybe there was a time when you could make films that mattered, but now? Most of our world is rubbish.It’s difficult.”
2013年，《起风了》在日本上映时，宫崎骏宣布这将是自己的最后一部动画长片，在他的奥斯卡奖获奖致辞和《梦与狂想的王国》中，有迹象表明他已经心满意足。他的影片中经常出现黑暗，但黑暗从未压倒一切，然而在他与砂田麻美谈起“被诅咒的梦想”时，这种
黑暗再度浮现出来，“我们怎么知道这些电影是有价值的？如果你真的好好去思考，它也许只是一个宏大的嗜好呢？也许过去曾经有那么一个时刻，你可以拍出真正的好电影，但是现在呢？我们的的世界充斥着垃圾。太困难了。”
Difficult, requiring punishing discipline and ruthless focus, but as he has continually shown, not impossible.When Ms.Sunada filmed the 2013 news conference at which Mr.Miyazaki announced his retirement, he confided to her that he hoped to work for another 10 years.Whether that means short films, comic books or a return to features, whatever he makes is sure to matter.诚然，拍出好电影很困难，需要严格的纪律与艰苦的专注，但正如他长久以来向世人所证明的，这并非不可能做到的事情。2013年，当砂田麻美拍摄宫崎骏宣布退休的新闻发布会时，他向她保证，自己希望继续工作10年。不管是拍短片也好，创作漫画书也好，抑或回归动画长片也好，他所创作的东西肯定是举足轻重的。
第三篇：影视美联英语 有种青春叫不愿将就
小编给你一个美联英语官方免费试听课申请链接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0
美联英语提供：影视英语 有种青春叫不愿将就
Cinderella-style love stories always find their fans, and the recent hit “You Are My Sunshine” gives the old narrative a modern spin.He Yichen, the hero of the movie, is a handsome, competent and devoted lawyer while Zhao Mosheng, his lover, is cast as a relatively ordinary young woman.灰姑娘式的爱情故事永远都不缺捧场的观众。正在热映的电影《何以笙箫默》就是一部现代版《灰姑娘》：男主角何以琛是一个颜值高、能力强、对爱情忠贞的律师，而他心爱的女主角赵默笙却是一个相对平凡的姑娘。
The story begins when He Yichen(Huang Xiaoming)and Zhao Mosheng(Yang Mi)bump into each other at a grocery store after a seven-year-long separation caused by misunderstandings and familial disapproval.电影从这对恋人七年后的重逢开始讲起。七年前，何以琛（黄晓明 饰）和赵默笙（杨幂 饰）因为误会和家人的反对而分手；七年后，他们二人在超市偶遇（重启了未了的缘分）。
For more than a decade, “My Sunshine”, the novel that the movie was adapted from, has dominated online romance novel rankings by depicting a woman's supposed dream relationship.电影改编自同名网络小说。这部小说十几年来一直高居网络爱情小说各大榜单榜首，因为它描述了一段令无数女生向往的爱情。
The movie remains faithful to its source material by keeping the main plot structure and dialogue, including this line from He: “If the one ever appeared, anyone else would just be a compromise.But I don't want to compromise.”
电影版《何以笙箫默》基本忠实了原著，保留了书中的主线情节和部分对白。何以琛的经典独白：“如果世界上曾经有那个人出现过，其他人都会变成将就。而我不愿意将就”自然也在其中。
Production company Le Vision said they intended to “satisfy audiences' desires for a story about pure romantic love that survives across time”.制作方乐视影业表示，他们希望能“满足观众想看一段跨越时间、初心不变的纯爱故事的愿望”。
The movie casts aside those “must-have” ingredients in young adult romance films like “Tiny Times”, “Fleet of Time” and “The Left Ear”– cheating, abortion and the third wheel.不同于《小时代》、《匆匆那年》、《左耳》等青春爱情片，《何以笙箫默》中并没有青春电影“必备”的欺骗、堕胎、三角恋等元素。
A TV series based on the same novel starring Wallace Chung and Tang Yan topped audience ratings in January, proving the story still has the steam to sell.But when making the big-screen version, directors seem to have put a lot of effort into bringing out something new.早在今年一月，由钟汉良和唐嫣领衔主演的电视剧版《何以笙箫默》就已经掀起收视
高潮，也说明这个故事依旧有卖点。但是，电影版的导演们却过于着力于拍出新意。
They attempt to pull viewers in by combining love and humor.And many Internet catchphrases have entered the movie's script, like “Don't forget to take your pills”.But with so many bits of humor peppered throughout the film, audiences may have a hard time readjusting for the more touching scenes that follow.他们给爱情故事中加入了很多幽默元素，希望可以吸引观众。许多网上的段子也出现在电影台词里，比如“别忘了吃药”。但是影片中太多的幽默段子，也让一些观众在接下来的感人场景中难以入戏。
Then, to cater to fujoshi culture, the movie introduces a new character, an assistant played by Huang Zitao(whose stage name is Tao), former member of South Korean band EXO.The guy cares about He so much that one might think he has feelings for him.为了迎合腐女文化，电影中还新添了一个角色——何律师的助理William，由韩国组合EXO前成员黄子韬（艺名：Tao）扮演。他对何律师无微不至的照顾可谓“基情满满”。
Efforts to experiment and do something different should always be appreciated.But maybe this film would have been better if it were just a love story, not a hodgepodge.努力实验、敢于创新的态度本应受到支持，但是比之现在的“大杂烩”，如果只是讲述一个单纯的爱情故事，这部电影也许会更好。
第四篇：影视美联英语 泰勒斯威夫特向乡村音乐告别
小编给你一个美联英语官方免费试听课申请链接： http://m.meten.com/test/waijiao.aspx?tid=16-73675-0
美联英语提供：影视英语 泰勒斯威夫特向乡村音乐告别
For almost a decade, Taylor Swift has been waging, and winning, a war, smiling all the while.近十年来，泰勒·斯威夫特(Taylor Swift)一直都在一边作战一边微笑，而且不断取得胜利。
Country music has been — was — a natural enemy for her: hidebound, slow moving, lousy with machismo.She could break the rules and make people nervous simply by showing up.And yet country was also a hospitable host body.She faced almost no direct competition there, and it's a genre that embraces success, grudgingly if need be.乡村音乐一直是——曾经是——她的天敌：它守旧、动作慢、充满大男子主义。她可以打破这些陈规，只凭她的出现就能让人感到不安。然而乡村乐也同样是个好客的东道主。她在这个领域几乎没有直接竞争对手，而且这个音乐类型欢迎成功者，如果有必要的话也可以带上一丝勉强。
Most important, country gave Ms.Swift context.It made her a transgressor, which means even her most benign songs could be read with mischievous intent.From the outside, she looked like a conquering titan.But from the inside looking out, even as the genre's biggest star, she was always something of an underdog，multiplatinum albums and accolades be damned.最重要的是，乡村乐给了斯威夫特一个语境，令她成为叛逆者，也就是说，就连她最温和的歌都可以被解读为带有恶作剧的意图。从外界看来，她像是一个征服的泰坦巨人。但从内部看来，作为乡村乐中最大的明星，她永远都是某种失败者，不管唱片拿多少白金销量、奖项，都受到诅咒。
That she would one day abandon country has long been clear.It's a big box, and a porous one, but a box all the same.“1989”(Big Machine), though, her fifth album and the first that doesn't at all bother with country, manages to find a new foe.很早以前，人们就知道她早晚有一天会抛弃乡村乐。它是一个大盒子，虽然通风良好，但毕竟是个盒子。《1989》（大机器[Big Machine]公司出品）是她的第五张专辑，也是她第一张完全没有乡村乐的专辑，它为她树立了新的敌人。
Full of expertly constructed, slightly neutered songs about heartbreak, “1989,” which is to be released on Monday, doesn't announce itself as oppositional.But there is an implicit enemy on this breezily effective album: the rest of mainstream pop, which “1989” has almost nothing in common with.Modern pop stars — white pop stars, that is — mainly get there by emulating black music.Think of Miley Cyrus, Justin Timberlake, Justin Bieber.In the current ecosystem, Katy Perry is probably the pop star least reliant on hip-hop and R&B to make her sound, but her biggest recent hit featured the rapper Juicy J;she's not immune.《1989》将于周一（2014年10月27日——编注）发行，里面有大量结构娴熟、略带中性色彩的伤心歌曲，它并没有摆出对抗的姿态。但这张给人感觉很温和的专辑有一个毫无疑问的敌人：那就是主流流行乐，《1989》与它格格不入。现代流行歌星——更确切地说，是白人流行歌星——大都是模仿黑人音乐起家的。想想麦莉·塞勒斯(Miley Cyrus)、贾斯汀·汀布莱克(Justin Timberlake)和贾斯汀·比伯(Justin Bieber)吧。在当前音乐的生态系统里，凯蒂·佩里(Katy Perry)或许是对嘻哈乐和R&B依赖最少的流行歌手，但她最近的大热歌曲里也有饶舌乐手杰西·J(Juicy J)献声，她也不能免疫。
Ms.Swift, though, is having none of that;what she doesn't do on this album is as important as what she does.There is no production by Diplo or Mike Will Made-It here, no guest verse by Drake or Pitbull.Her idea of pop music harks back to a period — the mid-1980s — when pop was less overtly hybrid.That choice allows her to stake out popular turf without having to keep up with the latest microtrends, and without being accused of cultural appropriation.但斯威夫特却完全不受影响；她在这张专辑里没有做什么和她做了什么一样重要。它不是由迪普洛(Diplo)或者Mike Will Made-It制作，也没有德雷克(Drake)或皮特布尔(Pitbull)客串。她对流行音乐的概念回溯到了20世纪80年代中期，那时候流行乐还没杂交得这样厉害。这个选择令她可以纵观流行乐的全局，而不必去追逐最新的小风尚，也不会被指责为“文化盗用”。
That Ms.Swift wants to be left out of those debates was clear in the video for this album's first single, the spry “Shake It Off,” in which she surrounds herself with all sorts of hip-hop dancers and bumbles all the moves.Later in the video, she surrounds herself with regular folks, and they all shimmy un-self-consciously, not
trying to be cool.斯威夫特希望置身这些争端之外，这表现在专辑首发单曲《甩掉它》(Shake It Off)的音乐录像里。这是一首活泼的歌，录像中她被各种嘻哈舞者所包围，她自己笨手笨脚地做着每个动作，后来她身周换成了普通人，他们不自觉地摇摆身体，并不是想要摆酷。
See what Ms.Swift did there? The singer most likely to sell the most copies of any album this year has written herself a narrative in which she's still the outsider.She is the butterfingers in a group of experts, the approachable one in a sea of high post, the small-town girl learning to navigate the big city.看出斯威夫特做了什么吗？这位有可能成为今年唱片销量最高的歌手为自己写下一个故事，在其中她仍然是个局外人。在一群专家中间，她是个笨拙的人，是一群高高在上的人当中可亲的一个，是学着在大城市生活的小镇女孩。
In that sense, the most important decision Taylor Swift made in the last couple of years had nothing to do with music: She bought a pad in New York, paying about $20 million for a TriBeCa penthouse.在这种意义上，泰勒·斯威夫特在最近几年间做的最重大的决定和音乐没有关系：她在纽约的翠贝卡买了一处公寓，这个屋顶套房花了2000万美元。
It was a molting, the culmination of several years of outgrowing Nashville combined with interest in Ms.Swift that placed her in tabloid cross-hairs just like any other global star.这是一种蜕变，连续几年，她都处在过度膨胀的纳什维尔的顶点，再加上对她个人的兴趣，这令她和所有全球明星一样，无时无刻不处在小报的关注之下。
But it also afforded her the opportunity once again to be seen as a na?f.In
Nashville, she'd learned all the rules, all the back roads.Now, with that place more or less in the rear view, she is free to make the John Hughes movie of her imagination.That's “1989,” which opens with “Welcome to New York,” a shimmery, if slightly dim celebration of the freedom of getting lost in Gotham: “Everybody here was someone else before/And you can want who you want.”(As a gesture of tolerance, this is about 10 steps behind Kacey Musgraves's “Follow Your Arrow.”)但这也给了她机会，让她可以再度被视为一个天真无邪的人。在纳什维尔，她学会了所有规则，所有背后的门路。现在，纳什维尔已经多少被她抛在脑后了，她可以自由自在地拍出自己想象中的约翰·休斯(John Hughes)式电影。这就是《1989》，第一首歌是《纽约欢迎你》(Welcome to New York)，这是一首轻快的歌，对于沉迷在哥谭市的自由表示一丝模糊的庆祝之意：“这儿的所有人以前都是别的人/你可以渴望你想要的人。”（作为一种宽容的姿态，这首歌比凯西·马斯格雷福斯[Kacey Musgraves]的《跟随你的箭》[Follow Your Arrow]后退了大概有十步那么远）。
Ms.Swift hasn't been the type to ask permission in her career, but she has long seen herself as a stranger to the grand-scale fame that New York signifies.“Someday I'll be living in a big ol' city” she taunted a critic on “Mean,” from her 2010 album “Speak Now”;now here she is, making the New York spotlight her backlight.斯威夫特并不是那种在事业发展中要问别人该做什么的人，但她长久以来始终视自己为纽约所代表的盛大名利场中的异类。“有一天我会住进一座巨大的老城市，”她在《贱》(Mean)这首歌里嘲笑一个评论家，这首歌来自她2010年的专辑《现在就说》(Speak Now)；现在她来了，纽约的聚光灯正从背后照亮她。
On this new stage, Ms.Swift is thriving.And crucially, she is more or less alone, not part of any pop movement of the day.She has set herself apart and, implicitly, above.置身这个崭新的舞台，斯威夫特充满渴望。重要的是，她多少是孤单一人，并不依附当今的任何流行音乐运动。她让自己置身事外，而且，毫无疑问地是置于各种运动之上。
The era of pop she channels here was a collision of sleaze and romanticism, of the human and the digital.But there's barely any loucheness in Ms.Swift's voice.Her take on that sound is sandpapered flat and polished to a sheen.The album, named for the year she was born, is executive produced by Ms.Swift and Max Martin, and most of the songs are written with Mr.Martin and his fellow Swede Shellback.Both men have helped shape the last decade of pop but what's notable here is their restraint.(Mr.Martin also did almost all the vocal production on the album.)Ms.Swift's old running buddy Nathan Chapman produced “This Love,” a mournful ballad that would have been at home of the “Hunger Games: Catching Fire” soundtrack, and the only song here that could be mistaken for a concession to country.她所置身的这个流行时代是一片污秽与浪漫主义的融合，是人类与数码的融合。但斯威夫特的声音里却没有一丝颓废。她把握住这个声音，把它打磨平滑，令它熠熠生辉。这张专辑以她出生的年份命名，由她和马克斯·马丁(Max Martin)共同制作，大多数歌都是马丁与合作伙伴斯维德·谢尔巴克(Swede Shellback)合写。两人对过去十年流行音乐的面貌都有贡献，但这里值得注意的是他们的克制（马丁几乎担任了专辑中所有人声部分的制作）。斯威夫特的老伙伴内森·查普曼(Nathan Chapman)制作了《这份爱》(This Love)，这是一首
悲伤的歌谣，假如作为《饥饿游戏2：星火燎原》(Hunger Games: Catching Fire)也挺合适，这也是专辑中唯一一首可能会被认为带有乡村色彩的歌曲。
The best country-defying songs on her last album, “Red” — especially “I Knew You Were Trouble,” another collaboration with Mr.Martin and Shellback — were also a move toward forward-sounding pop.Ms.Swift has many charms but stylistic envelope pushing has not always been among them.And yet those songs showed her to be more of a risk taker than she'd ever been, and savvy enough to know her fans would follow.她的上一张专辑《红》(Red)也是向流行乐前进的一步，其中有几首向乡村乐表示挑战的歌，特别是《我知道你很棘手》(I Knew You Were Trouble)，也是马丁和谢尔巴克合作创作的。斯威夫特有很多种魅力，但并不总是擅长打破音乐类型的界限。然而《红》中的歌曲表明她比以往更乐于冒险，也清楚地知道歌迷会跟随她。
That vanguard attitude, though, isn't to be found on “1989,” which is largely filled with upbeat, tense songs on which the singer stomps out much of whatever was left of her youthful innocence.The Taylor Swift of this album is savage, wry, and pointed.The high mark is “Style,” which recalls something from the original “Miami Vice” soundtrack, all warm synths and damp vocals.“Midnight/You come and pick me up/No headlights,” she oozes at the beginning of the song.By the chorus, she's flirty, but back in the verses, she's skeptical and a little bedraggled.《1989》中却没有这种先驱者的态度，里面大都是欢快、紧张的歌曲，歌手大步走出了年轻时残余的大部分天真无邪。这张专辑里的泰勒·斯威夫特是凶猛、嘲弄、尖锐的。专辑中的佳作是《风格》(Style)，令人回忆起最早的《迈阿密风云》(Miami Vice)的原声带，全都是温暖的合成器与低沉的人声“午夜/你来带上我/没有照明灯”，她在歌曲一开头慢慢唱着。在副歌部分，她显得轻浮，但回到主歌，她又变得多疑，还有一丝凌乱。
Ms.Swift has often sung in a talky manner, emphasizing intimacy over power and nuance, but on “1989” she uses her voice — processed more than ever — in different ways than before: the coy confidence of how she shifts gears leading up to the bridge in “Shake It Off,” slithering out the line, “But I keep cruising,” immediately changing the song from gum-snapping glee to powerful release.Or the way she sweetly drags out the long e in “beat” on “Welcome to New York”;or the bratty background chorus chants on “All You Had to Do Was Stay.” 斯威夫特经常以一种谈话式的方式唱歌，强调亲密而非力量和细微区别。但在《1989》中，她用了和之前不同的声音方式，比以往更加精心处理：在《甩掉它》里那种开车变速冲上大桥的腼腆自信在歌中蔓延着，“但我在继续巡行”这句突然把这首歌从街头混混的欢乐合唱变成了强有力的释放。还有她在《纽约欢迎你》中用甜蜜的长音唱“beat”这个字，以及在《你只需要留下》(All You Had to Do Was Stay)里不肯服从的背景合唱。
Her most pronounced vocal tweak is on “Wildest Dreams,” a sweaty and dark tale of dangerous love.In the verses, Ms.Swift sings drowsily, as if seducing or just waking up: “I said ‘No one has to know what we do'/ His hands are in my hair/ His clothes are in my room.” Then, at the bridge, she skips up an octave, sputtering out bleats of ecstasy, before retreating back under the covers.《最疯狂的梦》(Wildest Dreams)是一个性感黑暗的故事，唱的是危险的爱情，这首歌里她的声音有最显著的改变。在主歌里，她懒洋洋地唱着，仿佛在诱惑，要不就是刚睡醒：“我说，‘没人知道我们在干什么'/他的手放在我的头发里/她的衣服在我房间里。”然后，在过渡段，她的声音升高了八度，迸发出狂喜的诉说，之后又退回到隐蔽之中。
On this album, Ms.Swift's songwriting isn't as microdetailed as it has been, instead approaching heartbreak with a wider lens, as on “This Love”: 在这张专辑里，斯威夫特自己写的歌不像以前那样充满细节，而是以更广阔的视角看待伤心，比如《这份爱》：
Tossing, turning, struggled through the night with someone new 辗转反侧，勉强与新人读过长夜 And I could go on and on, on and on 我可以一再这样，一再这样做
Lantern, burning, flickered in my mind for only you 灯罩，燃烧，闪烁在我心里的只有你 But you were still gone, gone, gone 但你还是走了，走了，走了
And while there are certainly references to some of Ms.Swift's high-profile relationships, the album on the whole feels less diaristic than her previous work.这肯定是和斯威夫特与某位名人的恋情有关，但专辑的整体感觉不像她以前的专辑那样，好像写日记了。
But don't be distracted by for whom the belle trolls;she trolls with glee, and that's what matters.Take the clever “Blank Space,” a metanarrative about Ms.Swift's reputation as a dating disaster: 但是别分心去想这个美女唱的是谁；她唱得很欢乐，这才是重要的。听听这首聪明的《空白空间》(Blank Space)吧，这是关于斯威夫特“约会灾星”恶名的元叙事：
Saw you there and I thought 看见你在那儿我就想
Oh my God, look at that face 啊天哪，看这张脸
You look like my next mistake 你看上去就像我的下一个错误 Love's a game, want to plaaaaaay? 爱情就是游戏，想玩吗？
This is Ms.Swift at her peak.It's funny and knowing, and serves to assert both her power and her primness.By contrast, the songs where she sounds the least jaded — “How You Get the Girl,” “Welcome to New York” — are among the least effective.这是巅峰的斯威夫特。它既有趣又世故，强调她的力量，也强调她的一本正经。相比之下，那些听上去最不倦怠的歌，比如《你怎样得到那女孩》(How You Get the Girl)和《纽约欢迎你》是最不动人的几首。
It's hard for Ms.Swift to still sell na?veté;she's too well-known and too good at her job.That's likely at least part of the reason that the bonus edition of this album includes three voice memos recorded by Ms.Swift on her telephone that showcase bits of songs in their early stages.They're there as gifts for obsessives, but also as boasts, flaunting her expertise and also her aw-shucks demeanor.“I Wish You Would” shows her singing without any vocal manipulation, and though the lyrics to “I Know Places” and “Blank Space” changed a bunch from this stage to the final
version, it's clear that the melodies were intact, and sturdy, from the beginning.斯威夫特很难再摆出天真无邪了，她太出名，太擅长自己的工作。至少可能部分是出于这个原因，专辑的附加歌曲部分收入了三首人声小样，是斯威夫特通过电话录下来的，展示她在写歌早期的片段。它们是送给迷恋者们的礼物，但也像是夸耀，炫耀自己的技能，以及她质朴的态度。《我希望你能》(I Wish You Would)展现出她怎样不控制声音地唱歌，尽管《我知道一些地方》(I Know Places)和《空白空间》(Blank Space)的歌词最终版本比起这里的版本改动了很多，但显然旋律从一开始就没怎么改动，非常可靠。
There are a few songs in which production dominates: the two songs written and produced with Jack Antonoff(of fun and Bleachers).“Out of the Woods” and “I Wish You Would,” which burst with erupting drums, moody synths and sizzling guitars;and “Bad Blood,” which has booming drums reminiscent of the Billy Squier ones often sampled in hip-hop.还有一些歌是制作占了主导地位，比如杰克·安托诺夫（Jack Antonoff，“有趣”[Fun]乐队和“漂白者”[Bleachers]乐队）创作和制作的两首歌：《树林之外》(Out of the Woods)和《我希望你能》，它们爆发出激烈的鼓点、无常的合成器和嘶声作响的吉他；《坏血》(Bad Blood)这首歌有轰鸣的鼓声，令人想起比利·斯奎尔(Billy Squier)经常被嘻哈乐采样的那些乐段。
But these are outliers.Ms.Swift has always been melody first, and if she wanted to give herself over to a producer and sound of the moment, she could have gone several different, more obvious routes, or even stayed in country, which is as hip-hop inflected as pop is these days.(For the record, there are a few sort-of-modern phrases sprinkled through the lyrics — “this sick beat,” “ mad love”
and the chorus of “Shake It Off,” where she squeaks “the players gonna play, play, play, play, play/and the haters gonna hate, hate, hate, hate, hate” — though they are mostly there to underscore just how out of place Ms.Swift sounds singing them.)但这些都是外围的东西，斯威夫特一向最注重旋律，如果她希望把自己交给制作人和当下流行的声音，那么她可能会尝试其他几种不同的、更明显的方式，甚至有可能留在乡村乐里，如今乡村乐和流行乐一样，都已经深受嘻哈乐影响了（在这张专辑里，歌词中分布着几个有点时尚的句子——‘恶心的节拍'、‘疯狂的爱'以及《甩掉它》的副歌，她尖声唱道“乐手要演奏，演奏，演奏，演奏/憎恨的人要去恨，恨，恨，恨，恨”——但是它们主要都是为了强调斯威夫特唱这些句子的时候有多么脱离时代）。
But by making pop with almost no contemporary references, Ms.Swift is aiming somewhere even higher, a mode of timelessness that few true pop stars — aside from, say, Adele, who has a vocal gift that demands such an approach — even bother aspiring to.Everyone else striving to sound like now will have to shift gears once the now sound changes.But not Ms.Swift, who's waging, and winning, a new war, one she'd never admit to fighting.斯威夫特做的是几乎不涉及当代的流行乐，目标更为高远，就连真正的流行巨星也很少有人会去渴望这种模式——或者阿黛尔(Adele)除外，她声音的天赋就需要这样的方式。其他人都在努力让自己听上去更有当下的感觉，当下流行的声音变了，他们也得跟着变。但斯威夫特不是这样，她要展开一场新的战争，她要赢，但她永远不会承认自己在打这一仗。
第五篇：娱乐美联英语 奥斯卡颁奖夜使劲洗白
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美联英语提供：娱乐英语 奥斯卡颁奖夜使劲洗白
Chris Rock Takes Aim and Spotlight Wins Best Picture Tom McCarthy’s “Spotlight,” a newspaper drama about the Catholic Church cover-up of sexual abuse by priests, snatched top honors at the 88th Academy Awards on Sunday, even as Leonardo DiCaprio won the best actor prize, his first Oscar, for “The Revenant” and Alejandro G.Iñárritu was named best director for the same film.洛杉矶――汤姆·麦卡锡(Tom McCarthy)的《聚焦》(Spotlight)是一部新闻情节剧，讲述天主教会掩护许多神父的性侵行为，周日它在第88届奥斯卡奖上获得了诸多最高荣誉，此外莱昂纳多·迪卡普里奥(Leonardo DiCaprio)凭借《荒野猎人》(The Revenant)中的表现，首次获得最佳演员奖，该片导演亚历桑德罗·G·伊纳里多(Alejandro G.Iñárritu)获得最佳导演奖。
Michael Sugar, a “Spotlight” producer, said he hoped the win would “resonate all the way to the Vatican.” He added, “Pope Francis, it’s time to protect the children.”
《聚焦》制片迈克尔·舒格(Michael Sugar)说，希望该片获奖可以“引起梵蒂冈的反应”。他又补充，“方济各教皇(Pope Francis)，现在是时候保护孩子们了。”
It was one of several causes promoted during the night at a ceremony that became a raucous diversity lesson under the guidance of the host, Chris Rock.在主持人克里斯·洛克(Chris Rock)的主导下，当晚的颁奖礼成了关于多样化的喧嚣一课，舒格的发言也是其中的一部分。
Mr.Sugar spoke while accepting an award that to many had seemed pointed toward “The Revenant.”
舒格在做获奖致辞时说了这番话，不少人认为这个奖项本应属于《荒野猎人》。
The split in top prizes capped a chaotic year in which “Spotlight,” seen as a front-runner after its debut in a string of September festivals, watched competitors win key awards from the producers guild, the directors guild and the British film academy.最高奖项的归属为这个喧嚣的年份一锤定音，《聚焦》自从去年九月在一系列电影节上映后就一直领跑，却只能看着竞争对手们获得制片人工会、导演工会和英国电影学院的关键奖项。
But voters from the Academy of Motion Picture Arts and Sciences embraced the confusion, honoring “Spotlight” as the best picture, while spreading its acting awards among four films.Brie Larson was named best actress for “Room”;Alicia Vikander was named best supporting actress for “The Danish Girl”;and Mark Rylance was best supporting actor for “Bridge of Spies.”
但是电影艺术与科学学院的投票者们也同样感染了这种困惑，它将最佳影片奖授予《聚焦》，同时将最佳表演奖分授四部影片。布丽·拉森(Brie Larson)凭借《房间》(Room)获得最佳女主角奖，艾丽西亚·维坎德(Alicia Vikander)凭借《丹麦女孩》(The Danish Girl)获得最佳女配角奖，马克·里朗斯(Mark Rylance)凭《间谍之桥》(Bridge of Spies)获得最佳男配角奖。
Mr.DiCaprio, who had long been considered a lock for his performance as Hugh Glass, a real-life frontiersman left for dead, in “The Revenant,” seemed to be the main event, however.迪卡普里奥在《荒野猎人》中饰演休·格拉斯(Hugh Glass)，这是一个现实生活中存在的拓荒者，长期以来，凭借他的表演，他被视为锁定了这一奖项，他领奖时仿佛是该颁奖礼最重要的环节。
“Making ‘The Revenant’ was about man’s relationship to the natural
world,” Mr.DiCaprio said, adding a political theme that was matched, if not one-upped, by others as the night moved on.“《荒野猎人》讲的是一个男人与自然世界之间的关系，”迪卡普里奥说道，并且还补充了一个就算未能更胜一筹，但却也同当晚其他话题相称的政治观点。
“Climate change is real, it is happening right now,” Mr.DiCaprio said.“全球气候变暖是真实的，它现在正在发生，”迪卡普里奥说。
He also paid tribute to Mr.Iñárritu, who in turn played a diversity theme that dominated the night.他还向导演伊纳里多致敬，伊纳里多也是今晚多样化主题的一部分。
What an opportunity, he said, to “make sure for once and forever that the color of the skin become as irrelevant as the length of our hair,” said Mr.Iñárritu, who is from Mexico.伊纳里多在墨西哥发言说，这是一个很好的机会，“从此确保人们的肤色和头发的长度一样无关紧要。”
While Hollywood may have owed Mr.DiCaprio one after four prior acting nominations, including those for “The Aviator” and “The Wolf of Wall Street,” it apparently figured his prize and the directing award for Mr.Iñárritu were enough.此前好莱坞或许已经欠了迪卡普里奥四个最佳表演奖，包括他在影片《飞行家》(The Aviator)与《华尔街之狼》(The Wolf of Wall Street)中的表现，这一次，似乎授予他最佳男主角奖，并授予伊纳里多最佳导演奖已经足够。
A best picture trophy for “The Revenant” would have made Mr.Iñárritu, whose “Birdman” was best picture last year, the first director in Oscar history to direct back-to-back winners.In fact, he was only the third, after John Ford and Joseph L.Mankiewicz, to win consecutive directing awards.去年，伊纳里多的《鸟人》(Birdman)就获得了最佳影片奖，如果《荒野猎人》再次获得最佳电影奖，将会令伊纳里多成为奥斯卡历史上第一个蝉联最佳影片奖的导演。事实上，他是第三个连续获得最佳导演奖的人，前两位是约翰·福特(John Ford)与约瑟夫·L·曼凯维奇(Joseph L.Mankiewicz)。
Ms.Larson, as was widely expected, won the best actress award, her first Oscar, for “Room.” Her performance as a mother kept captive with her young son by a sexual predator was extraordinary, in that much of it was confined to a tiny room.拉森凭借《房间》一片，众望所归地首次获得最佳女主角奖。她在片中饰演一个与年幼的儿子被性侵者绑架的母亲，主要戏份都发生在一个狭小的房间，她的演出非常精彩。
The earlier awards had gone to a scattershot group of films that was dominated by a run of six craft awards for the brutal action fable “Mad Max: Fury Road.”
更早时颁发的奖项被授予多部电影，其中残暴的动作寓言片《疯狂的麦克斯4：狂暴之路》(Mad Max: Fury Road)获得六个技术奖项。
That had left only one early Oscar, for cinematography, to “The Revenant,” a supposed front-runner.Other winners included “The Danish Girl,” “The Big Short,” “Bridge of Spies,” “Ex Machina” and “Inside Out.”
在较早颁发的奖项中，《荒野猎人》只获得一项最佳摄影奖，它被视为该奖项的领跑者。其他获奖影片还包括《丹麦女孩》、《大空头》(The Big Short)、《间谍之桥》、《机械姬》(Ex Machina)和《头脑特工队》(Inside Out)。
Until the surprising finish, it seemed as if little attention would be paid to the movies.The limelight, at least in the early hours, was squarely on Mr.Rock and prickly questions of race in Hollywood.直到令人惊讶的最后结尾，颁奖礼都没有对电影表现出太多重视。至少是在一开始，众人的目光全都集中在洛克身上，以及他对好莱坞的种族问题的辛辣提问上。
“If they nominated hosts, I wouldn’t even get the job,” Mr.Rock snapped as the show opened.“如果他们给主持人也提名，那我就得不到这份工作了，”洛克用这样一句话给颁奖礼开了场。
In a politically contentious year, Mr.Rock, the evening’s host, took the only safe course: He unloaded on everyone.今年是政治上非常有争议的一年，主持人洛克采取了安全的策略，他讽刺每一个人。
“Jada boycotting the Oscars is like me boycotting Rihanna’s panties,” Mr.Rock said, “I wasn’t invited!”
“贾达抵制奥斯卡就像我抵制跟蕾哈娜(Rihanna)上床一样，”洛克说，“反正我也没接到邀请！”
It was a jab at Jada Pinkett Smith, and at those who had called for a boycott, because the Oscar acting nominees, for the second consecutive year, were all white.他讽刺的是贾达·萍克特·史密斯(Jada Pinkett Smith)，以及其他呼吁抵制奥斯卡的人，因为本届奥斯卡奖所有表演奖项的提名者和去年一样，都是白人。
In the end, Mr.Rock spent virtually the whole monologue on the subject of diversity, mostly spoofing it but occasionally adding more biting commentary, as when he quipped that the annual “In Memoriam” tribute would honor black people who were “shot by the cops on their way to the movies.”
最后，洛克就多样化问题发表了长篇大论，主要是讽刺，偶尔也有辛辣的评论，比如他嘲讽说，的“纪念”奖项应该奖给那些“在看电影路上被警察开枪打死”的黑人们。
Moving on to the awards, he said, “You want diversity? We got diversity.Please welcome Emily Blunt and somebody whiter, Charlize Theron,” and the two actresses appeared to present the night’s first award, for best original screenplay.至于奥斯卡奖，他说，“你们想要多样化？我们有多样化。有请艾米丽·布朗特(Emily Blunt)和更白的查理兹·塞隆(Charlize Theron)，”两位女演员上台后，颁发了当晚的第一个奖项：最佳原创剧本。
Thirty minutes into the show, Mr.Rock was still hitting the diversity theme, hard.He introduced a skit that had Whoopi Goldberg and others trying to edge their way
into acting roles reserved for whites.Ms.Goldberg swished a mop next to Jennifer Lawrence in a scene supposedly from “Joy.” In another spoof, Jeff Daniels declined to spend $2,500 to save a stranded black astronaut, played by Mr.Rock, on Mars, in a takeoff on “The Martian.”
颁奖礼进行到第30分钟，洛克仍然在猛烈抨击缺乏多样性这个问题。他推出一个讽刺小品，让乌比·哥德堡(Whoopi Goldberg)和其他人拼命挤进那些只为白人预留的角色中去。哥德堡站在詹妮弗·劳伦斯(Jennifer Lawrence)旁边，甩着拖把，好像是《奋斗的乔伊》(Joy)里的一幕。在另一个讽刺小品里，杰夫·丹尼尔斯(Jeff Daniels)拒绝付2500美元拯救一个由洛克饰演的滞留火星的黑人宇航员，这一幕是从《火星救援》里来的。
Ms.Goldberg was back later to introduce a video recap of the Governors Awards, which went to Meryl Streep, Debbie Reynolds, and Spike Lee.“It’s easier to be president of the United States as a black person than be head of a studio,” Mr.Lee had said then.Cheryl Boone Isaacs, the academy’s president, immediately followed Ms.Goldberg with a diversity lecture.哥德堡后来介绍了一段来自理事会奖(Governors Awards)的剪辑录像，这个奖授予了梅丽尔·斯特里普(Meryl Streep)、黛比·雷诺兹(Debbie Reynolds)和斯派克·李(Spike Lee)。“黑人要当上制片公司老大，比当美国总统还难，”李说。学院主席谢丽尔·布恩·艾萨克斯(Cheryl Boone Isaacs)紧接哥德堡之后，做了一番关于多样化的言说。
“It’s not enough to just listen and agree,” Ms.Isaacs said.“We must take action.”
“光是听着表示赞同还不够，”艾萨克斯说，“我们必须采取行动。”
A question that would not be answered until Monday is whether the “In Memoriam” sequence would keep its traditional spot as a ratings high-point of the evening.Those remembered included Jerry Weintraub, Maureen O’Hara, Omar Sharif, David Bowie, Leonard Nimoy and Wes Craven.有个问题直到星期一都未能揭晓，那就是“纪念”环节是否会和往常一样，成为整晚的高潮。此次纪念的人包括杰瑞·温特劳布(Jerry Weintraub)、玛琳·奥哈拉(Maureen O’Hara)、奥玛·沙里夫(Omar Sharif)、大卫·鲍伊(David Bowie)、伦纳德·尼莫伊(Leonard Nimoy)和韦斯·克雷文(Wes Craven)。
For the most part, they were as white as the evening’s presenters were black.At the same time, they represented the academy’s past, while Ms.Isaacs promised that new processes and rules would create a different, more inclusive future.他们都是白人，而今晚的表演者们大都是黑人。与此同时，他们代表了奥斯卡学院的过去，正如艾萨克斯承诺的，新的流程和规则将会作出改变，带来更加兼容并蓄的未来。
As the evening wore on, the causes began to stack up.Vice President Joseph R.Biden added yet another when he showed to introduce Lady Gaga’s performance of “Til It Happens to You,” from “The Hunting Ground,” a documentary about campus sexual assault.“I really mean this, take the pledge,” Mr.Biden urged, as he begged attention for that issue, as Mr.McCarthy, of “Spotlight,” and Mr.McKay, of “The Big Short,” had urged attention for theirs.当晚随着颁奖的继续进行，话题还在走向严肃。副总统约瑟夫·R·拜登(President Joseph R.Biden)也做出了贡献，他登台介绍Lady Gaga表演关于校园性侵的纪录片《狩猎场》(The Hunting Ground)中的歌曲《直到这在你身上发生》(Til It Happens to You)。“我是认真的，抓住机会，”拜登请人们关注这个话题，此外《聚焦》中的麦卡锡先生与《大空头》中的麦凯(McKay)先生也呼吁人们关注自己的影片中所提出的问题。
The original song Oscar went instead to “Writing’s on the Wall” from “Spectre.” It wasn’t a political award, but Sam Smith, one of the composers, dedicated his Oscar to the L.G.B.T.communities around the world.奥斯卡最佳原创歌曲由《007：幽灵党》(Spectre)中的歌曲《墙上的字迹》(Writing’s on the Wall)获得，这并不是一个政治化的奖项，但这首歌作曲者之一的山姆·史密斯(Sam Smith)把自己的奥斯卡奖献给全世界的L.G.B.T群体。
Ms.Vikander’s win, as best supporting actress for “The Danish Girl,” was the
night’s first acting award.Ms.Vikander, a Swede who lives in London, underscored the international quality of the nominated actors.For only the second time since the 1960s, fully half of the 20 acting nominees were not just white, but from countries that belong to the Commonwealth.维坎德凭《丹麦女孩》中饰演的角色获得了最佳女配角奖，这是当晚颁发的第一个表演类奖项。维坎德是居住在伦敦的瑞典人，这强调了提名演员的国际化特征。奥斯卡奖的最佳表演奖提名中，全部获得提名的20名演员不仅全是白人，而且有整整一半都来自英联邦，自从60年代以来，这还是第二次。
Mr.Rylance won the best supporting actor for “Bridge of Spies.” He, too, hails from London, but played a Soviet spy — that ethnic twist was a tribute to the craft of those Commonwealth players, who spoke more about the challenges of performance than the politics of casting.“It’s a wonderful time to be an actor, thank you,” said Mr.Rylance.里朗斯凭《间谍之桥》中的表演获得了最佳男配角奖。他也从伦敦做了发言，里朗斯在片中饰演一个苏联间谍，擅长民族性格上的扭转是英国演员的特征之一，但他更热衷谈论表演上的挑战，而不是选角政治方面的问题。他说，“这是身为演员的好时代，谢谢。”
The best foreign language film, “Son of Saul,” a Holocaust film from Hungary.The win, widely expected, was another reminder that the movie culture is
international, and the woes it examines are larger, even, than racial concerns in the United States.最佳外语片获得者是反映匈牙利纳粹大屠杀的《索尔之子》(Son of Saul)。它的获奖也是众望所归，提醒人们电影文化属于整个世界，它所表达的哀伤甚至大于美国的种族忧患。
Six early wins for “Mad Max: Fury Road” — for costume design, production design, editing, sound editing, sound mixing and makeup and hairstyling — soon signaled that the evening would be an uphill climb for “The Revenant.” That film had been in the running for those same Oscars.But the string of wins brought tribute after tribute not for Mr.Iñárritu, but for George Miller, the seasoned filmmaker behind the brutal, kinetic “Mad Max” series.在较早时候，《疯狂麦克斯4：狂暴之路》获得服装设计、制作设计、剪辑、声音剪辑、混音和化妆与发型六项大奖，这表明《荒野猎人》在今晚经历了一个先苦后甜的历程，因为《荒野猎人》也同时获得了这些提名。但是这一串荣誉没有属于伊纳里多，而是给了残暴、活跃的《疯狂麦克斯》系列背后的资深电影人乔治·米勒(George Miller)。
In one of the night’s oddest moments, Pixar — through its characters Woody and Buzz Lightyear from the “Toy Story” trilogy — presented itself in a best animated feature Oscar for “Inside Out.” The film, about moody characters in a girl’s brain, was filled with colors — red, blue, yellow, green and purple — but
not black.在整晚最奇怪的一个时刻之一，皮克斯公司――通过《玩具总动员》(Toy Story)三部曲中的伍迪牛仔和巴斯光年在最佳动画片环节为自己公司的《头脑总动员》颁奖。这部影片是以一个女孩头脑中的情绪为主人公，里面充满色彩——红、蓝、黄、绿、紫——但是仍然没有黑色。
In the best documentary feature category, “Amy,” about the singer Amy Winehouse, who died of substance abuse, took the award.It was a rarity among documentaries — a popular film that drew a substantial audience at the box-office for A24, and sold well in home markets.The film had edged aside “What Happened, Miss Simone?” and “Winter on Fire: Ukraine’s Fight for Freedom,” both of which had lavish campaigns from their backer, Netflix.最佳纪录片《艾米》(Amy)是关于因滥用药物去世的歌手艾米·怀恩豪斯(Amy Winehouse)的故事。它在获得最佳纪录片提名的影片中是个异数——它来自A24公司，颇受欢迎，票房不俗，在家庭影院市场也销量颇高。这部影片在同《发生什么了，西蒙妮小姐？》(What Happened, Miss Simone)和《凛冬烈火：乌克兰为自由而战》(Winter on Fire: Ukraine’s Fight for Freedom)的角逐中险胜，后两部影片都由其出品公司Netflix做过大肆宣传。
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