Interview

Interviewer：Joshua Thomas

Location：Whitby

Recorder：Yuanxiao Zhang

Recording time: 1 hour

Interviewee: Fishermen

1. The main fishing target
2. Tools used for fishing
3. How the fishing tools are made
4. How to use fishing tools and the specific process (do demonstrations if possible)
5. The interesting or dangerous things met during fishing (please talk about them: for instance, the scars left by some kind of danger)
6. Whether have time to rest in the course of voyage and what you usually do in these times.
7. How to solve the food problem in the course of voyage
8. How to handle the caught seafood (private selling, sell to the market or particular purchasing merchant)
9. If the price is a problem during selling
10. Fishing time period
11. How family members think about this job
12. Whether government ever interfered with this sector (and if so, what the Government’s policy was)

13. Traditional seafood dishes

1.  捕捞的主要对象

2.  用什么工具捕捞

3.  捕捞工具怎样制成的

4.  怎么使用工具捕捞，具体过程（有可能的情况下，请做示范）

5.  在捕捞过程中是否曾遇到过有趣或危险的事情（请讲述一下：比如在遇到危险时，所留下的伤痕）

6.  在航海过程中是否有休息时间，一般这些时间做什么。

7.  在航海过程中怎么解决食物问题的

8.  捕捞回来后如何处理海鲜（自己出售、卖给市场、有特定商人收货）

9.  在出售时是否有价格上的问题？

10.捕鱼时间周期

11.家人是怎么想这个工作的

12.政府是否有干扰过这个行业（如果有，政府的政策是什么）

13.传统海鲜美食

冒充者 The Imposter (2012)

This documentary begins in mystery and ends in horror – a disturbing vision of the lengths we go to, to fool ourselves.

Bizarre true-life stories, in documentary or feature form, have long been a staple of the Sundance film festival – increasingly so since the breakout debut of Andrew Jarecki's startling Capturing the Friedmans in 2003. This year, the shock ticket looked to be Craig Zobel's dramatized piece Compliance, in which the staff of a small-town fast-food joint are pranked into astoundingly serious sexual misconduct. But while it never strays into such lurid territory, Bart Layton's documentary The Impostereclipses it with a story that is really two in one: starting as a macabre Patricia High smith-like Ripley story and ending as a full-blown American gothic horror.

It begins in 1994, when 13-year-old Nicholas Barclay goes missing from his home in San Antonio, Texas. Three years later, a boy answering to a similar, but by no means identical, description turns up in Linares, Spain. Without really conducting any in-depth inquiries, his sister arrives to whisk him home, where even his mother doesn't seem to notice that her once fair-haired son is now a bottle-blond with a five o'clock shadow, speaking with a pronounced French accent.

Layton doesn't waste much time on the mystery, revealing in the film's set-up that the boy is not a boy at all but a 23-year-old drifter with a penchant for being taken in by care homes. But what Layton keeps carefully at bay for the film's trim 95-minute running time is the stranger's identity. Talking to camera, he talks us through his ruse with a sociopathic good humour, and the callousness of his thinking is matched for sheer horror only by the ineptitude of the authorities who allowed him to get away with it. In these scenes, the film resembles Man on Wire, with the stranger letting us in on his plan, just as, in that film, Philippe Petit invited us to marvel at his assault on the World Trade Centre.

This story in itself would be enough, but, like any good modern documentary, The Imposter has more twists and turns to reveal. These come courtesy of American private eye Charlie Parker, who was asked to investigate the story by a national news channel. But what Parker found out didn't just blow the lid on the real identity of the interloper, it shed a disturbing new light on the Barclays, suggesting a hideous game of double-cross in which the new "Nicholas" was actually a pawn rather than a player. Despite eyewitness accounts from almost all concerned, The Imposter never actually resolves this tantalising new storyline, and its ambiguous ending borders on unsatisfactory, given the depth of the research undertaken.

猫咪物语 にゃんこ Nyanko The Music (2007)

Human beings are not the only survivals on this world, and there are also many creatures live through the dependence on human. One of them is cat, which is also a kind of “deadly” lovely creature. It is so often that an unmindful movement fascinates us so much. They are never tired of repeating their favorite things and rarely get bored. Whether it is rainy, windy or sunny, they always have an optimist expression, comfortable and tranquil. It seems that all their life is about the things they like, regardless of everything; while sometimes, they are also so humane. 

Nyanko The Music is a Japanese documentary about cats. It does not characterize the life state of many cats than mainly describes the relationship between the lives of human and cats. In the documentary, the various moods of cats are mostly expressed by the close-ups of cats with voiceover. By using episodic interspersion method, the cats at different time points are interspersed in chronological order, which makes the whole documentary extremely enriched and full of compact sense.

After the earthquake in Japan in 2011, many Shironeko fans were so worried about it, because it was located in the disaster area then! Fortunately, it turned out Shironeko was safe, which is very gratifying. However, there is also a hardest-hit area in this movie, and that is Tashiro-jima, Miyagi Prefecture. The film recorded about 100 cats on the island, and they are divided into several groups. Among them, there is a cat that lives on the fish given by seaside fishermen in charity, and it is named Jack the Lop Ear, which is very popular.

Except Jack’s lots of fragments, there are also several moving pieces, in which the story about Heizo is the most touching one. Its hind legs have been crippled, but it survives depending on strong willpower! While the care from kind master are more admirable. Both the small animals and we human beings are creatures on the planet, so we, as a high-grade species, have the responsibility and obligation to treat those small animals around us well. Of course, situations vary, so it’s fine if you have done your best！As long as you have experienced those processes and remembered this habit in your heart, will you go through a kind of beautiful sublimation.

世界上不只有人生存，还有很多的生物依附于人生存，猫就是其中的一个，并且是一种可爱到“令人发指”的生物，它们往往漫不经心的一个动作就使人着迷。它们单纯的乐此不疲的重复做着自己喜欢的事情，很少感到厌烦。无论是刮风下雨还是晴空万里，它们总是一副乐天派的表情，闲适而宁静。它们的生活似乎仅仅是围绕着自己喜欢的事情，而不顾一切，但有时它们却是那么的充满人情味。
猫咪物语是一部日本拍的关于猫纪录片，与其说里面刻画了很多猫咪的生活状态，毋宁说主要刻画了人与猫咪的生活关系。在记录片中多使用猫咪的特写配以画外音表现猫咪的各种心情，用片段式的穿插方法，将不同时间点的猫咪按照时间顺序进行穿插，使整个纪录片变得十分的饱满，充满了紧凑感。
对于2011年日本大地震发生后，很多喜欢猫叔的人都非常焦急，因为猫叔是在灾区啊！还好最后证明猫叔很安全，这是非常令人欣慰的。但是在这部影片中，正好有一个地方正是重灾区吧，那就是宫城县田代岛。影片里面记录着岛上大约有100只猫，其中分成了好几个组织，里面有一只靠沿岸捕鱼的人施舍的鱼过活的猫，叫垂耳杰克，非常有名。
除了杰克的片段蛮多的外，还有几个感人的片段，其中关于平藏的故事的最感人。它后腿都已经残废，但是靠着坚强的毅力生存着！而善良的主人的关爱，更人令人敬佩。小动物和我们人类都是一个星球上的生物，作为高等级的物种善待在身边的小动物们使我们的一种责任和义务。当然因人而异，尽力就好！只要经历了这些过程，当心已经记着这种习惯的话，那就能给予人一种升华，美好的升华！

Scripts (story)

This question was proposed because I was depressed when my documentary teacher asked me to write a script before shooting. I became completely confused: how can a documentary have a script? Documentaries are all about real things, and there will be so many unforeseen circumstances, which is impossible for me to predict. Then the teacher explained the reason. Such scripts are different from movie scripts which take section, rather than lens as basic unit. Before shooting, one should decide what kind of scenes he wants to shoot, such as family, corporate, and event site, etc., and then estimate how much time each edited section will be presented on the screen. So there will be a basic content in the mind and you won’t forget it during shooting.

My theme is fishermen this time. I have decided two different countries for shooting: one is Britain, while the other is China. This work is mainly to record the life and work of fishermen. Chinese fishermen generally catch fish, while British catch crabs and lobsters. If there’s any possibility, I hope that I can go fishing with them. I need to record their preparations before setting sail, their fishing at sea, their daily life on board, as well as unloading scenes after returning. As for the outdoor scenes, I will take the fish-killing in fish market and the netting of fishermen at home. Of course, there is also local beautiful scenery. I will arrange two cameras in each country to be shot, for large scenes and close-ups respectively. I will also make two interviews with fishermen, where they will talk about various difficulties they experienced in many year’s fishing and about their happiness as well.

It is impossible to be purely objective for documentaries, which will inevitably carry the director’s subjective consciousness more or less. But there is one principle - to guarantee that the life is authentic and natural. Only based on this can a director find related materials from their own viewpoint. The director’s subjective viewpoint is expressed in the position of the machine, the viewing angle, the focal length selection, the camera movement, as well as recording and editing. What it demonstrates finally is not only life itself, more importantly, is the director’s attitude toward life via audiovisual language.

提出这个问题是因为我自己很郁闷，我的纪录片老师要我们在拍之前先写一个剧本，我当时就傻了，纪录片怎么能有剧本？纪录片不是都是真实发生的事情，突发的情况这么多，我怎么能预料得到。后来老师解释，这个剧本不像电影剧本，以镜头为单位，而是以场为单位，拍之前要想好我要去拍些什么场景，比如家，公司，活动现场等等，然后估摸一下每个场景剪出来呈现在银幕上会有多少分钟，这样会有一个基本的内容在脑中，就不会到时候拍起来忘了。
我这次的主题是渔民。拍摄地决定在两个不同国家，一是英国，二是中国。片子主要会记录渔民的生活和工作。中国渔民会捕捞一般的鱼类，英国渔民会捕捞螃蟹和龙虾。在有可能的基础上，我希望可以跟着他们出海捕鱼。我需要记录出海前他们的准备工作，在海上他们的捕鱼工作，他们在船上的日常生活，还有回来卸货的场景。外场景我会拍摄鱼市场内杀鱼的场景和渔民家人在就家中织网的场景。当然还有当地美丽的风景。每个国家拍摄地我都会安排两个摄像机。分别拍摄大场景和特写。我还会做两段对渔民的访谈。通过访谈讲述他们在多年的捕鱼工作中经历的种种困难和幸福感。
纪录片不可能做到纯客观，纪录片不可避免地带有导演的主观意识。但是有一个原则——必须保证生活的原汁原味。以此为前提，导演才能用自己的视点寻找相关的素材。导演的主观视点表现在架机器的位置，取景的角度，焦距的选择，摄影机的运动，再加上录音、剪辑。最后表现出的其实不只是生活本身，更重要的是它通过视听语言体现出导演对生活的态度。

寿司之神 二郎は鮨の夢を見る Jiro Dreams of Sushi (2011)

Jiro Dreams of Sushi is a 2011 American documentary film directed by David Gelb. The film follows Jiro Ono, an 85-year-old sushi master and owner ofSukiyabashi Jiro, a Michelin three-star restaurant, on his continuing quest to perfect the art of sushi. The film also profiles Jiro's two sons, both of whom are also sushi chefs. The younger son, Takashi, left Sukiyabashi Jiro to open a mirror image of his father's restaurant in Roppongi Hills. The 50-year-old elder son, Yoshikazu, obligated to succeed his father, still works for Jiro and is faced with the prospect of one day taking over the flagship restaurant.

In my understanding about Japan, in addition to “etiquette”, I am most impressed by the Japanese “Zhiren Spirit”.

“Zhiren” refers to “craftsman” in Japanese language. If a disciple is called by his master as “Zhiren”, it means he has gained the basic recognition for the skill. Traditional Japanese Zhiren usually is engaged in just one craft, which is the so-called “hanging lifelong over one thing”. If the whole life is hung on one craft, how can we name this kind of realm? The secret maybe lie in the item of “hanging”, which vividly interprets a kind of care that is difficult to put down, a kind of disturbance as if treading on eggs, and also a kind of vigilance to seek for increasing skills. Jiro Ono says: “Once you decide your job, you have to devote yourself to it and you must love you work without any complaint, and you have to hone your skill in the lifelong period”.

The film does not focus on the food too much, but turns its lens to these godlike people. And look! The one who carries the camera is the film’s director, and another crew member is responsible for film editing. Both of them are students of the American Film Institute and they totally do not understand Japanese.

When shooting the film, the director David worked in Tokyo with translators, while the editor Brandon gave a remote control in LA. The original video was about 200 hours. The editing was difficult for the editors who completely do not understand Japanese, so they paid a lot to ask someone to translate the whole 200-hour original video. The director’s uncle is a very famous violinist, so there is a piece of original soundtrack in this film.

"While watching it, I found myself drawn into the mystery of this man. Are there any unrealized wishes in his life? Secret diversions? Regrets? If you find an occupation you love and spend your entire life working at it, is that enough? Standing behind his counter, Jiro notices things. Some customers are left-handed, some right-handed. That helps determine where they are seated at his counter. As he serves a perfect piece of sushi, he observes it being eaten. He knows the history of that piece of seafood. He knows his staff has recently started massaging an octopus for 45 minutes and not half an hour, for example. Does he search a customer's eyes for a signal that this change has been an improvement? Half an hour of massage was good enough to win threeMichelin stars. You realize the tragedy of Jiro Ono's life is that there are not, and will never be, four stars."

在我对日本的所有了解中，除了“礼仪”，日本人的“职人精神”是给我印象最深刻的。
“职人”，在日语中有“手艺人”的意思。一个弟子被师父以“职人”相称，是登堂入室的认可。传统的日本职人往往一生只从事一职，也就是所谓的“一生悬命”。一生把命都悬在一项职事上，这是怎样的境界？奥妙或许都在这“悬”字，传神演绎着一种放不下的牵挂，一种如履薄冰的忐忑，一种日求精进的警醒。用小野二郎的话说：“一旦你决定好职业，你必须全身心投入工作，你必须爱你的工作，千万不要有怨言，你必须穷尽一生磨练技能。”
影片没有过多聚焦于美食，而是把镜头对准了那些神一样的人们。哦，对了，扛镜头的就是本片的导演，另一名剧组成员负责剪辑。他们俩是美国电影学院的学生，完全不懂日语。
拍摄的时候是导演David和翻译在东京拍，剪辑师Brandon在LA远程遥控。原始录像200小时。剪辑很困难，因为剪辑师完全不懂日语，于是花高价请人把200小时原始录像全部翻译了一遍。 导演的叔叔是一个非常有名的小提琴家，片子里有段音乐就是此人的原声。

车轮不息 Where The Trail Ends (2012)

Where the Trail Ends is a film following the worlds top ferried mountain bikers as they search for untraveled terrain around the globe, ultimately shaping the future of big mountain free riding. This unparalleled story documents man's challenge of mother nature and himself showcased through a cast of colorful characters. This is the most progressive and ambitious mountain biking ever attempted resulting in an entertainment adventure unlike anything experienced before.

The following notes are taken during watching the film.
1. Whether a documentary loses its most original meaning if too much set-up shooting is used? For example, the rain at the beginning is obviously not real.
2. Both the camera shake and lens extension can be adjusted at later stage, but it needs to know every outdoor scene very well at early stage in order to get precise composition, which allows no accident. It is thus clear that how many test times and efforts are required from camera crew.
3. Subjective lenses seemingly are the favorites of ESPN and the similar. There is basically no aesthetic dead end throughout the film, ensuring that your eyes won’t get bored at any point, for each of them has combined quiescence and dynamic movements.
4. All the lenses go smoothly, whether it is a long shot or partial close-up. But film editing is not that smooth, sometimes, the cut-off points draw the audience out of their enjoyment of film.
5. The continuity of script is not good, for massive MOUNTAIN RIDE occupying most of the content, which make me feel that it is a long propaganda film co-worked by MTV and ESPN. Thus, I am not eager to finish it once, and I can still get the stress even by finishing it in several parts.

Summary: Basically speaking, there is no bad place throughout the entire content, however, it also highlights nothing. There’s no expected passionate images of extreme sports, even no such excitement as watching live BMX. Therefore, is it actually a soul-exploration film invested by Red Bull? I think this movie selected the soul-oriented route. Whatever, it is a beautifully shot.

以下为观影时做的笔记： 

1. 纪录片如果用了太多的摆拍是否就失去了纪录片最原来的意义？比如开头的那场雨，很明显是假的。

2. 镜头抖动可以后期调，镜头拉伸也可以后期制作，但是精准的构图就需要前期对每一个外景都无比了解，绝不能有任何意外发生。可见摄制组到底试验了多少次，有多用心。

3. 貌似主观镜头一直是ESPN什么的最爱。整个片子基本上做到了审美无死角，保证你目光放在任何一处都不会觉得无聊，都有动静结合的动感。

4. 镜头很流畅，不管是长镜头还是局部特写。但是觉得剪辑不够流畅，有点时候剪辑的切点让人出戏。

5. 剧本连贯性没有很强，大段大段的MOUNTAIN RIDE占了大部分内容，觉得有点像MTV和ESPN连个制作的超长宣传片。以至于根本不急于一次看完，就算分开几次看完也不会觉得很累。

总结，整篇内容基本没有不好的地方，但是亮点也没有很突出。没有期待中的极限运动的激情画面，甚至没有看直播BMX时的激动。所以其实这是一部红牛投资的心灵探索的片子吗？觉得这个电影是走灵魂路线的。但是拍的好漂亮啊！

海洋 Océans (2009)

Winged Migration co-directors Jacques Cluzaud and Jacques Perrin re-team for this documentary produced for Walt Disney Studios' Disneynature banner and exploring the many mysteries of our planet's oceans. Almost three-quarters of the earth's surface is covered by oceans, yet strangely we seem to know more about deep space than the world of the sea. There's no question that the ocean has played a crucial role in the history and sustenance of humankind, but what secrets does the underwater world hold? Follow filmmakers Cluzaud and Perrin beneath the ocean waves as they seek out the answer to this and explore the many dangers and mysteries of the deep. - Jason Buchanan, Rovi

The images in the movie can be called perfect, majestic, and exquisite, including breathtakingly beautiful marine lives and the fine soundtrack. This work is made by a 400-people team for more than four years, embodying lots of painstaking efforts. These efforts are sufficient to worth our salute.

Since the same theme is about oceans, The Cove, which won countless awards last year, is full of murderousness: dolphin’s mournful moan and that bloody bay, like a knife, straightly stab to Japanese government. This is the essay. The “Oceans” is not the case, because it presents pictures of Oceans themselves. It is more like an artless and curious exploration to the oceans, the blue planet that we never lacked interest in. There is full of tender feelings. It is a prose, more accurately, a lyrical prose.

The most important reason why I prefer the “Oceans” is that it completely returns the speaking right to oceans themselves. Watching “The Cove”, it is impossible that we do not admire creators’ courage. However, the focus of the entire film lies in the entanglements between people, the confrontation between dolphin protectors and those Japanese fishermen, as well as the local government, and the focus is also to reveal: a group of people revealed the pain of another group of people. However, the “Oceans” selected another perspective, which is broader, closer to the oceans themselves. It just shows us and tries to guide us to learn about the amazing and incredibly beautiful scenes in oceans that we cannot even imagine: tens of thousands of fish forms a spherical fish school in their corkscrewed marching; many lazy and lighting transparent jellyfish rise up religiously; and a variety of strangely shaped fish, with or without light, are also shown, as well as the fights or affection among them and their fate. One clip is that little turtles that just crawled out of the eggshells on the beach and struggled toward the sea. It is not long distance but defines life or death. The lens is aimed at these fresh lives; the sun is shining brightly, and it is full of harmonious joy of life everywhere. With a black shadow skimming over and launching on the sand, however, a small turtle is taken away. It is completely true that death attends their celebration of the birth. Watching that little turtles are quickly captured by black birds, just like the moves in martial arts films or some kind of magic, we can do nothing but mouth falls open.

The director is clever, because he shows us those beautiful, lively and interesting marine lives at first to make us praise them or smile, and then starts to tell us how they are cruelly killed. This group of lenses is very beautiful and quiet, but then uncertainties and fierce shock come, finally, water reddened by the blood. Throughout this section, there are few shots above the sea. Here we feel like fish, just like those, which are thrown back into the sea with fins cut off, entangled in the net and finally dead, shot by steel fork or guns: both of us have no idea what has happened above the water, and what we can feel is just fierce waves, distorted boats and a glance of human, then, we just fall down and fall down, directly toward the dark at the deep ocean.

影片的画面堪称完美，磅礴精致，美的令人窒息的海洋生物，配乐也同样的精美。这是一个400多人的团队耗时4年多完成的片子，凝聚了多少的心血。其用心，足够让我们向他们致敬。

同样是关于海洋，去年获奖无数的《海豚湾》杀气腾腾，凄厉的海豚哀鸣以及那积郁一湾的鲜血，像一把刀，直直刺向日本政府。这是杂文。而《海洋》不是这样，它把画面还给海洋本身，它更像是一派天真好奇的探究，探究海洋这个我们从来不乏兴趣的蔚蓝星球，并且温情脉脉。它是散文的，抒情散文。 

我更喜欢《海洋》的原因最重要在于它完全把话语权还给给了海洋本身。看《海豚湾》，不可能不佩服主创们的勇气，然而整个片子的重点还是在于人与人之间的纠葛，是保护海豚的与那些日本渔民、当地政府之间的对抗，是一种揭发，一群人揭发了另一群人的伤。而《海洋》选择了另一个视角，一个更广大更亲近海洋本身的视角，它只是展示，试图带着我们去了解，了解海洋里那些惊异而极富美感的我们根本无从想象的场景，由上万条鱼螺旋式前进的结成球形的鱼群，一只只慵懒如灯的透明水母宗教般的上升，各种奇形怪状发光不发光的鱼，它们之间的对抗、亲昵、以及命运。有一幕是沙滩上刚从蛋壳里爬出来的小乌龟奔向大海，距离不远，却是生死迢迢，镜头对准这些新鲜的生命，阳光充裕，一派生的祥和喜悦，然而黑色飞影一掠而过，落在细沙上，乌龟的小背壳上。死亡从它们出生的第一刻便亲临现场，没有半点假。你看着一个个小乌龟迅速的被黑鸟抓走，就像武侠片里的招式，像魔法，不得不张大了嘴巴。 

导演是高明的，在他已经把那些美丽、生动而有趣的海洋生物一一展现给我们，而我们或者赞叹或者莞尔之后，才开始告诉我们，我们是怎样残酷的杀死他们。这一组镜头非常美，宁静，然后暗涌，最后激烈的冲击，血染红了水。整个这一段，少有海面之上的镜头，我们仿佛也成了鱼，和那些被割掉鱼鳍然后丢回海中、被网缠住而终于死去、被钢叉、被枪打中的它们一样，看不到水面之上发生了什么，只有剧烈的水波、扭曲的船与人的一瞥，然后坠落，落向深海黑暗。