近日，导演郭煜（小爱，Nadia ）接受了国际期刊CULT CRITIC（《文化评论》）的专访。

小爱，导演、编剧、制片人、剪辑指导，影视工业网电影课程独家签约导师，重庆对外经贸大学影视融媒体学院客座教授，CCTV“佳片有约”等国家一级媒体资深电影评论嘉宾 ，FILMMAKERLIFE杂志评选“2024全球顶级独立创作者”。

电影代表作《秋水水秋》《寒夜李查德》《电影》《瓶子》，荣获包括瑞典电影学院奖最佳导演、迈阿密电影评论奖最佳导演、东京国际短片电影节最佳导演、罗马短片电影节最佳导演、日本国际电影节最佳导演、洛杉矶国际电影节最佳导演、柏林女性电影节最佳导演、萨格勒布国际电影节最佳导演、慕尼黑新浪潮短片电影节最佳女导演等海外电影节奖项 ；电影教学代表作：【小爱聊电影导演思维成长】课程系列、【小爱聊电影原创电影创作心理学】

《电影》海报

Q1 

Cult Critic : What was the initial spark that led you to create ‘The Film’?

《文化评论》期刊：最初是什么灵感导致你创作了《电影》？

Nadia :  For a long time, I have been deeply interested in topics like artificial intelligence and human-machine relationships. I believe that regardless of whether it involves humanity, AI, or other species, human emotions, life experiences, and the essence of humanity are fundamentally the same; they are universally present. A few years ago, while researching the "Singularity" theory by American AI scholar Ray Kurzweil, I began to conceive a series of stories exploring universal emotions and themes of life through the lens of human-machine relationships. "The Film" is one of these stories. It portrays a near-future scenario where AI has overtaken the film industry, and human creators are fighting back in their own way.

Nadia：长期以来，我一直对人工智能和人机关系等话题非常感兴趣。我认为，无论它是否涉及人类、人工智能或其他物种，在人类的情感、生命经验和人性本质方面，从根本上来说，都是一样的；它们是普世的。几年前，在研究美国人工智能学者Ray Kurzweil的“奇点”理论时，我开始构思一系列通过人机关系视角探索普世情感和生命主题的故事。《电影》就是其中之一。它描绘了一个近未来的场景，在那个场景下，人工智能已经占领了电影产业，而人类创作者正在以自己的方式反击。 

Today, I am also using various AI image-generation tools to create short films. However, when I was making "The Film," these tools did not exist. I believe that "The Film" may have presaged a world that emerged after Runway. Of course, my intention is not merely to make simple predictions through film; rather, the purpose of creating "The Film" is to express some inner feelings. At that time, many independent filmmakers around me were struggling in their creative journeys, yet everyone remained undeterred. Some risked everything to make films, and I, too, sacrificed a job that many considered prestigious for the sake of cinema. In filmmaking, we hold our own beliefs and commitments. Thus, I infused this sentiment into the story of "The Film.”

今天，我仍然使用各种人工智能图像生成工具来创作短片。然而，当我开始拍摄《电影》这部短片时，这些工具就不存在了。我相信《电影》可能预示着一个新世界，尤其是在Runway 这样的AI独角兽公司。当然，我的意图不仅仅是通过电影做出简单的预测；相反，创作《电影》这部短片的目的是表达一些内心的感受。当下，我身边的许多独立电影制片人，在他们的创作过程中都很挣扎，但到现在为止，没有人退缩。有些人倾家荡产冒着风险拍电影，我同样也是，牺牲了一份许多电影业内人人认为很有声望的工作。在创作电影的过程中，我们有自己的信念和承诺。因此，我把这种情感注入《电影》这个故事中。 

《电影》剧照

Although it is a science fiction piece, beneath its sci-fi exterior, I want to convey to the world that the belief and persistence of human creators in their craft will never waver with the advancement of technology or changes in life. Due to funding issues, I decided to express the story I had previously conceived in a short film format. Given my extremely limited budget, I positioned "The Film" as an art film, allowing me to use audiovisual language for expression while avoiding the financial and capital investments required for commercial genre films during this low-cost production.

虽然这是一部科幻作品，但在其科幻外表下，我想向世界传达，人类创作者对艺术的信念和坚持永远不会随着技术的进步或生活的变化而动摇和退缩。由于资金问题，我决定以短片的形式表达我之前构思的这个故事。鉴于我的预算极其有限，我将《电影》定位为一部艺术电影，允许我使用视听语言进行表达，同时，在这种低成本制作过程中，也就不像商业类型电影，需要金融和资本的投入。

《电影》海报

Q2

Cult Critic : What were some of the biggest challenges you've faced throughout your career? How did you overcome them?

《文化评论》期刊：你在整个职业生涯中面临的最大挑战是什么？你是怎么克服它们的？

Nadia :  Securing fund while staying true to personal expression is a challenge all independent filmmakers face. But I don’t see environment or budget as constraints on creativity. For filmmakers, it's about using a director's mindset and the psychology of storytelling to carve out creative space within limitations, and discovering endless possibilities through imagination. That’s what I strive to do.

Nadia：在忠实于个人表达的同时确保资金是所有独立电影制作人都面临的挑战。但我不认为环境或预算是创作力的桎梏。对于电影制作人来说，这是利用导演思维和讲故事的导演创作心理学思维，在有限的范围内开辟创意空间的过程，并通过想象力发现无限的可能性。这就是我努力要做的。

Throughout my directing career, every project has been made on a shoestring budget, and each one has brought new challenges. My first short film, Wish You Well, was shot during the pandemic. At the time, strict COVID-19 regulations posed major hurdles: key crew members couldn’t travel to set, locations were suddenly locked down, and our team couldn’t gather as planned. In the end, we had no choice but to retreat to a small, temporary rental apartment with just our equipment.

在我的导演生涯中，每个项目都是以微薄的预算完成的，并且每个项目都带来了新的挑战。我的第一部短片《秋水水秋》是在疫情期间拍摄的。当时，新冠疫情是最大的阻碍：剧组核心成员无法前往片场，拍摄地突发疫情等诸如此类的情况导致我们的团队无法按计划汇合。最后，我们别无选择，只能撤退到一个只有我们设备的小型临时出租公寓。

《秋水水秋》海报

Faced with these unexpected circumstances, I had to rethink my entire approach on the spot. Drawing from the layout of the rental space and working with the limited props we had, I quickly adjusted the visual style and even revised parts of the script. Ultimately, we shot the entire film in that small room. As a director, my job is to use audiovisual language to tell a story, build emotion, and guide the audience's experience. This gave me a surprising amount of creative freedom.

面对这些意想不到的情况，我不得不当场重新思考我的整个拍摄方法。从租赁空间的布局中汲取灵感，并使用我们有限的道具，我迅速调整了视觉风格，甚至修改了剧本的部分内容。最终，我们在那个小房间里拍摄了整部电影。作为一名导演，我的工作是使用视听语言来讲述一个故事，建立情感，并引导观众的体验。这给了我惊人的创作自由。 

*《秋水水秋》2023年拍摄完毕，之后获得东京国际短片电影节最佳导演、罗马短片电影节最佳导演、日本国际电影节最佳导演、萨格勒布国际电影节最佳导演、慕尼黑新浪潮短片电影节最佳女导演、柏林国际艺术电影节最佳实验影片、纽约国际电影奖最佳独立短片、伦敦独立电影奖最佳外语短片、蒙特利尔艺术电影节最佳剪辑等二十余项海外电影节奖项。

Due to our tight budget, we didn’t have much equipment—not even a zoom lens. But when it came to capturing the protagonist's intense emotional moments, I realized I didn’t need the originally planned dolly zoom shot. Using composition and lighting, I was able to create the same emotional effect in that confined space and connect with the audience. What I learned is that filmmakers have many tools at their disposal to overcome the limitations of budget and environment.

由于我们的预算紧张，我们没有很多设备——甚至连变焦镜头都没有。但当说到捕捉主角强烈的情感时刻时，我意识到我不需要最初计划的推轨变焦镜头。使用构图和灯光，我照样能够在那个狭小的空间里创造出同样的情感效果，并与观众建立情感链接。我认为电影人手边有很多工具或者方式可用于创作，用来克服预算和环境的限制。

Q3

Cult Critic : Did you have any mentors or role models who guided you during your early career? 

《文化评论》期刊：在你职业生涯的早期，你是否有任何导师或榜样指导过你？

Nadia :  I admire many directors, such as Kubrick, Orson Welles, Tarkovsky, Ridley Scott, Denis Villeneuve, Tarantino, and Nolan. Their films have been guiding lights on my creative journey. I didn’t attend film school, but I like to think of cinema itself as my greatest teacher.

Nadia：我钦佩许多导演，如导演库布里克、奥逊·威尔斯、塔可夫斯基、雷德利·斯科特、丹尼斯·维伦纽瓦、昆汀·塔伦蒂诺和诺兰。他们的电影一直为我的创作之旅提供指引。我没有上过电影学校，但我喜欢把电影本身当成我最伟大的老师。 

I’m honored now be in a position where I’ve developed courses on the director’s mindset and the psychology of filmmaking. When I’m not on set, I’m teaching other filmmakers how to make great films. My hope is that, years from now, when someone is asked this same question, they might mention my name.

我很荣幸现在能开发关于导演思维和电影创作制作心理学的课程。当我不在片场时，我就在教其他电影制作人如何制作好电影。我希望，几年后，当有人被问到同样的问题时，他们可能会提到我的名字。

Q4

Cult Critic : What was the defining moment or project that launched your career? How did it change your life and opportunities?

《文化评论》期刊：开启你职业生涯的决定性时刻或项目是什么？它如何改变了你的生活和机会？

Nadia :  There used to be a bias in the industry that film mentors only teach but can’t produce great work themselves. My first short film, Wish You Well, proved that wasn’t the case. Among the awards it received at film festivals, the most recognition and praise came from France. I believe that's because the film employed a poetic style, and its visual storytelling and artistic essence resonated well with the French art scene.

Nadia：这个行业曾经存在一种偏见，即电影导师只教，但不能自己制作出伟大的作品。我的第一部短片《秋水水秋》证明了事实并非如此。这部电影获得的奖项中，最多的认可和赞扬来自法国。我相信这是因为这部电影采用了诗意的风格，其视觉表达和叙事，以及艺术精髓与法国艺术氛围相得益彰。

After Wish You Well, I shifted to making sci-fi films, including Run, Chad Run, The Film, Sunrise in a Cold Night, and the AI short film The Bottle. Perhaps it's because my approach to certain themes—like the relationship between creator and creation, the origin and evolution of life, and the essence of human nature—reflects a more global perspective that I've gained attention from filmmakers in the West, particularly in the U.S.

拍完《秋水水秋》之后，我转而制作科幻电影，包括《寒夜李查德》、《电影》、《寒夜日出》和人工智能短片《瓶子》。也许是因为我对某些主题的表现方法——如创造者和创造之间的关系、生命的起源和进化以及人性的本质——反映了一个更全球化的观点，才引起了国际电影制作人的关注。

《寒夜李查德》剧照

《寒夜日出》海报

《瓶子》海报

Moving forward, I plan to continue making sci-fi films. I hope this journey helps me connect with more people, as film, after all, is a universal language.

展望未来，我计划继续制作科幻电影。我希望这段旅程能帮助我与更多的人建立联系，毕竟电影，是一种通用语言。

Q5

Cult Critic : How have you adapted to the changing landscape of the film industry over the years?

《文化评论》期刊：多年来，你是如何适应电影业不断变化的格局的？

Nadia :  Learning—constantly learning. Since the release of The Jazz Singer in 1927, when sound films began to replace silent ones, the film industry has continuously evolved alongside advancements in technology. Today, with the emergence of Sora, AI has opened up limitless possibilities in filmmaking. As filmmakers, if we want to maintain our creative edge, we must look to the future and stay updated with the latest techniques in film production. Learning and practice are the only constants in this ever-changing landscape.

Nadia：学习——不断学习。自1927年《爵士歌手》上映以来，有声电影开始取代无声电影，电影业随着技术的进步而不断发展。今天，随着Sora的出现，人工智能为电影制作开辟了无限的可能性。作为电影制作人，如果我们想保持我们的创意优势，我们必须展望未来，并随时了解电影制作的最新技术。在这个不断变化的世界，学习和实践是唯一不变的。 

That being said, I also believe there are things that remain timeless. One of them is our compassion and patience in observing the hardships of the world. I hope I will always be able to see the struggles of marginalized communities, to step into their real lives, understand their challenges, and feel their emotions. Through my films, I want to showcase their life experiences and give voice to the words they cannot express themselves. This, for me, is something that will never change.

话虽如此，我也相信有些事情是永恒的。其中之一是我们在观察这个世界的困境时，所产生的同情心和耐心。我希望我能永远看到边缘化地区的挣扎，踏入他们的现实生活，理解他们的挑战，感受他们的情绪。通过我的电影，我想展示他们的生活经历，并为无法表达自己的他们发声。对我来说，这是永远不会改变的事情。

Q6

Cult Critic : What strategies did you adapt to connect to your audience and build your fanbase?

《文化评论》期刊：你采用了哪些策略来与观众建立联系并建立粉丝群？

Nadia :  In my original film course, The Psychology of Filmmaking, I summed it up with this: "Filmmaking starts with a story, but it's true to emotion." I think this is the key to answering the question. No matter what type or genre of film we're making, we're really engaging in a conversation with the audience, sharing thoughts and emotions. The audience might think they're watching a story, but what truly makes them love and remember the film is the emotion behind the story that resonates with and moves them.

Nadia：在我的原创电影课程《电影创作心理学课》中，我曾经总结说：“电影是始于故事，但衷于情绪。”我觉得这个能比较核心回答您刚才的问题。无论我们制作什么类型或类型的电影，我们真的在与观众进行对话，与观众分享想法和情感。观众可能认为他们在看一个故事，但真正让他们爱上并记住这部电影的其实是故事背后的情感，是让他们产生共鸣，能感动到他们的情感。 

In my work, all my efforts are focused on creating and guiding the audience’s emotional experience, allowing them to connect on a deeper level. I have many tools and techniques at my disposal: shot composition, camera angles, lighting, color, movement, sound, focal length, staging, props, set design, and of course, the actors' performances. All of these help me establish a strong connection with the audience.

在我的工作中，我所有的努力都集中在创造和引导观众的情感体验上，让他们和创作者在更深层次上建立联系。我有很多工具和技术可以支配：镜头构图、相机角度、灯光、颜色、运动、声音、焦距、运镜、道具、布景设计，当然还有演员的表演。所有这些都帮助我与观众建立了牢固的联系。 

At the same time, I remind myself not to approach filmmaking from a position of superiority, but to portray a world that feels artistically authentic. Only genuine emotions can create true empathy in the audience, and only honest storytelling can allow the work to stand the test of time.

与此同时，我提醒自己不要从优越的立场来对待电影制作，而要描绘一个能感受真实艺术的世界。只有真正的情感才能引发观众产生真正的同理心，只有诚实的讲述故事才能让作品经受住时间的考验。

Q7

Cult Critic : How do you plan to adapt your own filmmaking style to the changing landscape of the industry? What are your goals for the future? How do you approach filmmaking on a limited budget?

《文化评论》期刊：你打算如何适应不断变化的行业格局来调整自己的电影制作风格？你未来的目标是什么？你如何用有限的预算来拍摄电影？

Nadia :  I don’t want to change my filmmaking style for any external reasons. To me, the style of a film should always be dictated by the script and the creative expression of its maker. That being said, there are a few things I always strive for. In my market, a lot of films driven by capital don’t show a real commitment to pushing the boundaries of audiovisual language or cinematic storytelling. With each project, my goal is to bring cinema back to what it’s meant to be. Great films should captivate audiences through their use of visuals and sound, and the limitless ways those elements can be combined—not through marketing, distribution strategies, or post-production gimmicks.

Nadia：我不想因为任何外部原因而改变我的电影制作风格。对我来说，电影的风格应该总是由剧本和制作人的创造性表达来决定。话虽如此，仍有几件事我一直在努力坚持。在市场中，许多由资本驱动的电影并没有真正突破视听语言或电影叙事的局限。因此在每个项目中，我所坚持的目标就是让电影回归到它本来面目。伟大的电影应该通过使用视听来吸引观众，以及各种视听元素可以组合的无限方式——而不是通过营销、发行策略或后期制作噱头来博眼球。 

I often say that a skilled director can create something amazing without big-name actors, as long as they understand how to craft the audiovisual language. Dialogue and performances are definitely important, but they’re not the entire essence of cinema. That’s what I’m trying to show with my work.Everyone around me knows I’m a “broke director.” When I shot Run, Chad, Run, I had just $8,000 to work with. The script’s first scene called for a big-budget cyberpunk set, but I didn’t have that kind of money. Instead, I borrowed a café and shot the entire scene indoors. I used the essence of the script to guide me and created a stylized visual approach, turning those limitations into a defining strength. I leaned heavily on lighting and color to handle the art direction and set design. I used costumes and makeup to shape the characters’ personalities and beliefs. I designed the camera work to fit within the space we had, and sound—which is simple, cheap, and effective—became another tool I used to its fullest.

我经常说，一个成熟的导演，只要知道如何利用视听语言，就可以在没有大牌演员的情况下创造出令人惊叹的作品。当然，对白和表演绝对重要，但它们并不是电影的全部精髓。这就是我试图通过我的工作来展示的。我周围的每个人都知道我是一个“破局导演”。当我拍摄《寒夜李查德》时，我只有8000美元可以用于拍摄。那时候，剧本的第一个场景需要一个大预算的赛博朋克场景，但我没有那种钱。相反，我借了一家咖啡馆，在室内拍摄了整个场景。我抓住剧本的精髓，并创造了一种风格化的视觉方法，将这些限制转化为独特而经典的力道。我非常依赖灯光和颜色来处理艺术指导和布景设计，用服装和化妆来塑造角色的个性和信仰。我会去设计摄影机怎么拍，以适应我们有限的空间，声音，这种处理是简单、便宜和有效的，这也是我经常会用到极致的一种方法。

I also owe a lot to my team. They believe in me, but even more than that, they believe in cinema. As I always say: In Film We Trust.

我也欠我的团队很多。他们相信我，但更重要的是，他们相信电影。正如我常说的：在电影中，我们彼此相信。

Q8

Cult Critic : How do you see AI and machine learning impacting the film industry? Are there any specific ways in which you believe these technologies can enhance or disrupt the filmmaking process?

《文化评论》期刊：您认为人工智能和机器学习如何影响电影业？您认为这些技术可以增强或破坏电影制作过程，有什么具体方法吗？

Nadia : This is such an interesting topic. I actually started working with AI in filmmaking about six months ago. From what I’ve experienced so far, we’re in the middle of a rapid transition, with AI tools evolving at lightning speed. Every day, new applications are popping up, allowing more people to dive into filmmaking because the tech is making it accessible to pretty much everyone. In this kind of environment, if filmmakers don’t stay curious and keep learning, they’re going to get left behind pretty quickly.

Nadia：这个话题很有意思。我实际是从大约六个月前开始利用人工智能来制作电影。从我现目前的经验来看，我们正处于快速过渡期，人工智能工具正在以闪电般的速度发展。每天，新应用程序都在出现，让更多的人沉浸在电影制作中，技术的进步，让每个人都能很容易去接触到电影的创作。因此在这种环境下，如果电影制作人不保持好奇心并不断学习，我们很快就会落伍。

Now, I’m not saying AI is going to replace human creators—at least, not anytime soon. These tools can help with basic storytelling, but they’re still too limited to handle every frame and second of a film's visual and audio language. Sure, AI can manage a lot of the technical work, but it doesn’t think like a director. As more people start using AI to create films, what will really set professionals apart is their ability to think like directors and use the language of cinema to tell stories. That’s the unique edge we have as filmmakers, and it’s something AI can’t replace.

我不是说人工智能会很快在不久的将来就取代人类创造者。这些工具可以在基础上帮助故事的讲述，但它们仍然太有限，无法处理电影视觉和声音语言的每一帧和每秒。当然，人工智能可以管理很多技术工作，但它不像导演那样思考。随着越来越多的人开始使用人工智能来制作电影，真正让专业人士与众不同的是他们能够像导演一样思考并使用电影语言来讲述故事。这是我们作为电影制作人的独特优势，这是人工智能无法取代的。 

So, I don’t think there’s any need to fear or resist AI. Even if it can write scripts, the emotional depth behind the words is something only humans can bring to the table. The key is to embrace AI as a tool and use it to enhance our creativity. In areas like animation and visual effects, for instance, AI can help cut costs and speed things up, which only opens up more creative possibilities for us.

所以，我认为没有必要害怕或抵制人工智能。即使它能写剧本，文字背后的情感深度也是只有人类才能带来的东西。关键是将人工智能作为工具，并利用它来增强我们的创造力。例如，在动画和视觉效果等领域，人工智能可以帮助降低成本并加快速度，这只会为我们开辟更多创造性的可能性。

Q9

Cult Critic : How do you handle feedback and criticism? Do you find it helpful or challenging? How do you use it to grow as a filmmaker?

《文化评论》期刊：你如何处理反馈和批评？你觉得它有帮助还是具有挑战性？你如何利用它成长为电影制作人？

Nadia : Once a film is finished and released, it no longer solely belongs to the director—it belongs to every viewer. I believe a core skill for any director is the ability to listen openly to all perspectives. Each audience member interprets a film in their own way, whether they love it or criticize it, and that’s exactly what makes cinema so fascinating. So, I’m not afraid of criticism; I see it as something interesting, and it doesn’t influence my creative process.When it comes to filmmaking, I think of myself as a bit of a dictator. I don’t make films to seek approval; I make them to capture and showcase the emotional moments in life that deserve to be remembered.

Nadia：一旦一部电影结束拍摄并上映，它不再只属于导演，而是属于每个观众。我认为导演的核心技能是可以敞开心胸倾听所有观点的能力。每个观众都会以自己的方式诠释一部电影，无论他们喜欢还是批评它，这正是电影如此迷人的原因。所以，我不怕批评；我认为这是有趣的事情，它不会影响我的创作过程。说到电影制作，我认为自己有点像独裁者。我拍电影不是为了获得认可；我拍电影是为了捕捉和展示生活中值得记住的情感时刻。

Q10

Cult Critic : What advice would you give to young filmmakers who are just starting out? What lessons have you learned that you wish you knew earlier in your career?

《文化评论》期刊：你会给刚刚起步的年轻电影制作人什么建议？哪些教训是你希望在职业生涯中本应该更早知道的？

Nadia : Films shouldn’t be something lofty and out of reach. Instead, we should listen to the voices of ordinary people and focus on the lives of those who are out of the marginalized. That’s filmmaker’s job. Cinema has no borders. It breaks down barriers and allows us to connect with audiences around the world, so, let’s use cinema language to communicate with the world.

Nadia：电影不应该是高高在上和遥不可及的东西。相反，我们应该倾听普通人的声音，关注那些被边缘化的人的生活。这是电影制作人的工作。电影没有国界。它打破了障碍，使我们能够与世界各地的观众建立联系，因此，让我们使用电影语言与世界沟通吧。

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