阿米尔汗吧 关注：153,273贴子：618,485
The actor could easily have kept on a lucrative path of romantic and action blockbusters but opted for a different trajectory, making only one or two films a year (unusual in an industry where leading actors can churn out more than eight a year), and building an eclectic repertoire of roles — amnesiac avenger, reclusive artist, nationalist rebel, apathetic college kid, special education teacher — across an unusually varied slate of films, many with a social justice bent, tackling everything from political corruption to caste to Indian’s troubled higher education system.
这位演员本可以轻易地用爱情片以及大制作的动作片赚个盆满钵溢，但他却作出了不一样的选择：一年只接一到两部片子（在影星们可以一年就量产八部影片的宝莱坞显得极不同寻常），还会折衷地考虑角色们的特质——失忆的复仇者，孤僻索居的画家，独立主义的反政府者，麻木不仁的大学生，特殊教育教师——通过这些多数描绘了社会公义的折腰，不同寻常而多变的影片题材，从政治腐败到种姓矛盾再到混乱的高等教育系统等种种问题对每个人发出了质问。
His credits range from Deepa Mehta’s arthouse film Earth to the unexpected hit Taare Zameen Par, where he played an art teacher captivated by a dyslexic student. Of his limited annual output, Khan says he can’t concentrate on more than one film at a time (“it’s like a traditional handloomer; once they put the thread on, they can’t put anything else on until they’ve finished making the sari or whatever”), and says he chooses films on their emotional pull and “not on commerce”. There’s a shrewd pragmatic streak behind the idealism, however; he is a sharp reader of audience moods and tastes, and will often subsidise his more niche films because while “I will make whatever I want, I will make sure no one — exhibitors, producers, distributors — loses money.”
从Deepa Mehta的艺术片《大地1947》到由他饰演了一位被一名阅读障碍的学生所吸引的美术老师的冷门黑马电影《地球上的星星》，他无不因之备受赞誉。而谈到他的年产量问题时，阿米尔表示他就是没法同时专注于多部影片（“那就像是一位传统纺织工，一旦他们绑好了线，那就直到做完这套纱丽或者其他什么东西都不能再绑上去其他的了”），他还说他是通过影片所带来的感情震撼而不是商业因素来选择电影的。而在这种观念之后确实隐藏着一种精明的实用主义倾向，无论如何，他对于观众的心情与口味确乎十足敏锐并时常更加青睐那些蕴含着商机的影片，因为“我会拍任何我想拍的电影，但我也会确保没人——无论是院线，制作人，发行者——没人会因此把钱打了水漂。”
He has had his flops, certainly, but his off-beat choices have often struck gold; influential film critic Anupama Chopra says: “Aamir has the instinct for a great story.” In an industry dominated by box-office figures, Khan prizes the organic, laborious process of filmmaking rather than the end result. He says bluntly that “you can safely assume 90 per cent of the production houses giving out figures are not giving accurate figures … so you should take it with a sackful of salt. Don’t believe that records are being broken every three months.”
而他也确实有过低谷，但即便如此他那些慢半拍的选择也常常化石成金；影响力巨大的影评家Anupama Chopra曾言：“阿米尔对好故事有一种本能的直觉。”在这个受到票房操控的行业之中，阿米尔却更注重并赞赏那些成系统的辛劳不已的影片制作流程而非最终成果。他直率地说：“可以说有百分之九十的制片公司给出的数据都不是真实数字……你应该清楚那些都是添过油加过醋的，可别相信那些每三个月就会被打破一次的记录。”
Also unorthodox is his laissez-faire approach to fame and his public image. In an industry where flamboyant self-promotion reigns, Khan rarely attends film award ceremonies — he also audaciously declined Madame Tussauds’ offer of a wax statue in London — and keeps a relatively low profile. Unlike fierce rival Shah Rukh Khan, whom Forbes India branded “Shah Rukh Inc” courtesy of a vast commercial empire worth more than $US600 million ($700m), Aamir Khan does not heavily invest in brand-building. “I think that should be something that happens organically,” he says.
同时，他对于名利与所谓公众形象放任自流的态度也很是非同寻常。在由华丽的自我吹捧主导的业内，阿米尔却几乎从不参加什么电影的颁奖仪式——他还出人意料地婉拒了伦敦杜莎夫人蜡像馆要为他塑一尊蜡像的邀请——而且还对自己的外在形象要求甚低。不像他的竞争对手，有着被印度福布斯称为“沙鲁克集团”的标签，坐拥广阔的资产超过六亿美元（七亿美元）的商业帝国的沙鲁克•汗，阿米尔•汗并未在品牌效应投以重资，“我觉得那应该是自然而然的。”他如是说。
If Shah Rukh Khan is Mr Corporate, and the musclebound, trouble-prone Salman Khan is the nation’s lovable jock, then Aamir Khan is Bollywood’s thinker and intellectual. A report in India Today, crunching box-office averages for their last seven films, neatly delineates the differences thus: “Salman is the Khan of the Indian Box Office, Aamir is the Khan of Quality, and Shah Rukh is the Khan of Wealth”. The report also revealed the net worth of Aamir Khan, incidentally, was $180m, compared with Salman Khan at $200m and SRK at $600m.
如果说沙鲁克•汗是肌肉发达的“企业家”，爱闯祸的萨尔曼•汗是全民爱戴的“运动选手”，那阿米尔•汗则必然是宝莱坞的思想家与智者。据India Today的一篇报道，在鼓捣他们最近的七部影片的平均票房后得出的结论便恰好印证了上述：“萨尔曼是印度票房之汗，阿米尔是影片质量之汗，沙鲁克则是财富之汗。”这篇报道同时还披露了阿米尔•汗净资产为一亿八千万美元，并与萨尔曼•汗两亿美元以及沙鲁克•汗六亿美元的身家进行了比较。
Asked about the curious phenomenon of Muslim dominance in Indian film, he says while there has always been a strong Islamic presence in Bollywood, from actors Dilip Kumar and Feroz Khan to directors such as Naseeruddin Shah, it’s mere coincidence. “We are almost the same age, born in 1965 or thereabouts, all three of us became popular in our own ways and remained popular for 25 years, which in itself is unusual. What it does indicate, however, is that it speaks well of the people of India, the fact that the majority is of a particular religion and the three stars that the country loves happens to be of a different religion.”
对于业内穆斯林影星独领风骚的奇妙现象，他表示尽管宝莱坞中的伊斯兰元素一贯如此之多——从演员Dilip Kumar与Feroz Khan到导演如Naseeruddin Shah——但这都纯粹是巧合。“我们的年龄差不多，都是生于1965年前后，我们三个都是用自己的方法逐渐走红并保持了25年，这倒是不很常见。无论如何，这就表明印度人民并不介意他们中的绝大多数人来自一个宗教，而他们所挚爱的三位明星则信仰另一宗教。”
这位演员本可以轻易地用爱情片以及大制作的动作片赚个盆满钵溢，但他却作出了不一样的选择：一年只接一到两部片子（在影星们可以一年就量产八部影片的宝莱坞显得极不同寻常），还会折衷地考虑角色们的特质——失忆的复仇者，孤僻索居的画家，独立主义的反政府者，麻木不仁的大学生，特殊教育教师——通过这些多数描绘了社会公义的折腰，不同寻常而多变的影片题材，从政治腐败到种姓矛盾再到混乱的高等教育系统等种种问题对每个人发出了质问。
His credits range from Deepa Mehta’s arthouse film Earth to the unexpected hit Taare Zameen Par, where he played an art teacher captivated by a dyslexic student. Of his limited annual output, Khan says he can’t concentrate on more than one film at a time (“it’s like a traditional handloomer; once they put the thread on, they can’t put anything else on until they’ve finished making the sari or whatever”), and says he chooses films on their emotional pull and “not on commerce”. There’s a shrewd pragmatic streak behind the idealism, however; he is a sharp reader of audience moods and tastes, and will often subsidise his more niche films because while “I will make whatever I want, I will make sure no one — exhibitors, producers, distributors — loses money.”
从Deepa Mehta的艺术片《大地1947》到由他饰演了一位被一名阅读障碍的学生所吸引的美术老师的冷门黑马电影《地球上的星星》，他无不因之备受赞誉。而谈到他的年产量问题时，阿米尔表示他就是没法同时专注于多部影片（“那就像是一位传统纺织工，一旦他们绑好了线，那就直到做完这套纱丽或者其他什么东西都不能再绑上去其他的了”），他还说他是通过影片所带来的感情震撼而不是商业因素来选择电影的。而在这种观念之后确实隐藏着一种精明的实用主义倾向，无论如何，他对于观众的心情与口味确乎十足敏锐并时常更加青睐那些蕴含着商机的影片，因为“我会拍任何我想拍的电影，但我也会确保没人——无论是院线，制作人，发行者——没人会因此把钱打了水漂。”
He has had his flops, certainly, but his off-beat choices have often struck gold; influential film critic Anupama Chopra says: “Aamir has the instinct for a great story.” In an industry dominated by box-office figures, Khan prizes the organic, laborious process of filmmaking rather than the end result. He says bluntly that “you can safely assume 90 per cent of the production houses giving out figures are not giving accurate figures … so you should take it with a sackful of salt. Don’t believe that records are being broken every three months.”
而他也确实有过低谷，但即便如此他那些慢半拍的选择也常常化石成金；影响力巨大的影评家Anupama Chopra曾言：“阿米尔对好故事有一种本能的直觉。”在这个受到票房操控的行业之中，阿米尔却更注重并赞赏那些成系统的辛劳不已的影片制作流程而非最终成果。他直率地说：“可以说有百分之九十的制片公司给出的数据都不是真实数字……你应该清楚那些都是添过油加过醋的，可别相信那些每三个月就会被打破一次的记录。”
Also unorthodox is his laissez-faire approach to fame and his public image. In an industry where flamboyant self-promotion reigns, Khan rarely attends film award ceremonies — he also audaciously declined Madame Tussauds’ offer of a wax statue in London — and keeps a relatively low profile. Unlike fierce rival Shah Rukh Khan, whom Forbes India branded “Shah Rukh Inc” courtesy of a vast commercial empire worth more than $US600 million ($700m), Aamir Khan does not heavily invest in brand-building. “I think that should be something that happens organically,” he says.
同时，他对于名利与所谓公众形象放任自流的态度也很是非同寻常。在由华丽的自我吹捧主导的业内，阿米尔却几乎从不参加什么电影的颁奖仪式——他还出人意料地婉拒了伦敦杜莎夫人蜡像馆要为他塑一尊蜡像的邀请——而且还对自己的外在形象要求甚低。不像他的竞争对手，有着被印度福布斯称为“沙鲁克集团”的标签，坐拥广阔的资产超过六亿美元（七亿美元）的商业帝国的沙鲁克•汗，阿米尔•汗并未在品牌效应投以重资，“我觉得那应该是自然而然的。”他如是说。
If Shah Rukh Khan is Mr Corporate, and the musclebound, trouble-prone Salman Khan is the nation’s lovable jock, then Aamir Khan is Bollywood’s thinker and intellectual. A report in India Today, crunching box-office averages for their last seven films, neatly delineates the differences thus: “Salman is the Khan of the Indian Box Office, Aamir is the Khan of Quality, and Shah Rukh is the Khan of Wealth”. The report also revealed the net worth of Aamir Khan, incidentally, was $180m, compared with Salman Khan at $200m and SRK at $600m.
如果说沙鲁克•汗是肌肉发达的“企业家”，爱闯祸的萨尔曼•汗是全民爱戴的“运动选手”，那阿米尔•汗则必然是宝莱坞的思想家与智者。据India Today的一篇报道，在鼓捣他们最近的七部影片的平均票房后得出的结论便恰好印证了上述：“萨尔曼是印度票房之汗，阿米尔是影片质量之汗，沙鲁克则是财富之汗。”这篇报道同时还披露了阿米尔•汗净资产为一亿八千万美元，并与萨尔曼•汗两亿美元以及沙鲁克•汗六亿美元的身家进行了比较。
Asked about the curious phenomenon of Muslim dominance in Indian film, he says while there has always been a strong Islamic presence in Bollywood, from actors Dilip Kumar and Feroz Khan to directors such as Naseeruddin Shah, it’s mere coincidence. “We are almost the same age, born in 1965 or thereabouts, all three of us became popular in our own ways and remained popular for 25 years, which in itself is unusual. What it does indicate, however, is that it speaks well of the people of India, the fact that the majority is of a particular religion and the three stars that the country loves happens to be of a different religion.”
对于业内穆斯林影星独领风骚的奇妙现象，他表示尽管宝莱坞中的伊斯兰元素一贯如此之多——从演员Dilip Kumar与Feroz Khan到导演如Naseeruddin Shah——但这都纯粹是巧合。“我们的年龄差不多，都是生于1965年前后，我们三个都是用自己的方法逐渐走红并保持了25年，这倒是不很常见。无论如何，这就表明印度人民并不介意他们中的绝大多数人来自一个宗教，而他们所挚爱的三位明星则信仰另一宗教。”
）
看完后，更加崇拜米叔了，这个报道一出，估计一大波粉丝翁涌而来，更多做作的只注重票房的演员深受打击
