WIPO China: Peruvian Filmmaker Rossana Díaz Costa on her Passion for Cinema and an Hispanic Classic
本文原载于2023年第4期《WIPO杂志》。作者为产权组织信息和数字外联司Catherine Jewell。
The article was originally published in the issue 1/2024 of WIPO Magazine. The author is Catherine Jewell, Information and Digital Outreach Division, WIPO.
2022年，迪亚斯·科斯塔完成了自己的夙愿，
将最喜爱的小说，即秘鲁知名小说家 阿尔弗雷多
·布莱斯·埃切尼克撰写的 《朱利叶斯的世界》
（Un Mundo para Julius） 改编成电影。
（图：罗萨纳·迪亚斯·科斯塔提供）
In 2022, Díaz Costa fulfilled a long-held ambition
to make a film adaptation of her favorite novel,
A World for Julius (Un Mundo para Julius) by
the renowned Peruvian novelist Alfredo Bryce
Echenique. (Photo: Courtesy of Rossana Díaz Costa)
罗萨纳·迪亚斯·科斯塔从小就热爱文学和电影。她学习文学，但自认为是个“电影狂人”，很快就决定将精力重点放在电影制作上。“我热爱自己的文学生涯，但这是我独自完成的事情，而电影制作在你有资金时则令人惊叹。拍摄电影就像变魔法，你看到自己的剧本活了过来。”罗萨纳·迪亚斯·科斯塔解释道。
Rossana Díaz Costa grew up with a passion for literature and film. She studied literature, but as a self-confessed “movie maniac,” soon decided to focus her attention on filmmaking. “I love my life in literature, but it’s something I do alone, whereas filmmaking, when you have the money, is amazing. Shooting a film is like magic, you see your script come to life,” Díaz Costa explains.
迪亚斯·科斯塔在西班牙攻读完文学博士后，继续追求自己的电影制作梦想，在拉科鲁尼亚和马德里的电影学院学习导演和编剧。但回到秘鲁后，如何开创电影事业是一个挑战。迪亚斯·科斯塔解释说：“在没有电影产业的秘鲁，要成为一名电影制作人非常困难，而身为女性则难上加难。这很复杂。但是，当你的脑中有一个小怪兽告诉你要拍电影时，你就会去做。”
Having completed her PhD in literature in Spain, Díaz Costa pursued her filmmaking ambitions, studying directing and screenwriting at film schools in La Coruña and Madrid. But on returning to Peru, carving out a filmmaking career was a challenge. Díaz Costa explains: “It was very difficult to be a filmmaker in Peru, where there's no cinema industry, and being a woman makes it twice as difficult. It’s very complicated. But when there's a little monster in your head that tells you to make a film, you do it.”
2022年，迪亚斯·科斯塔完成了自己的夙愿，将最喜爱的小说，即秘鲁知名小说家阿尔弗雷多·布莱斯·埃切尼克撰写的《朱利叶斯的世界》（Un Mundo para Julius）改编成电影。该片于2021年首映，备受好评，并获得2022年高迪奖提名。迪亚斯·科斯塔近期接受《WIPO杂志》的采访，讲述自己的电影制作历程，作为女性导演面临的挑战以及她如何在秘鲁，尤其是在女童和妇女中推广电影制作。
In 2022, Díaz Costa fulfilled a long-held ambition to make a film adaptation of her favorite novel, A World for Julius (Un Mundo para Julius) by the renowned Peruvian novelist Alfredo Bryce Echenique. The film premiered in 2021 to much acclaim and was nominated for a 2022 Gaudi Award. Díaz Costa recently spoke with WIPO Magazine about her filmmaking journey, the challenges she faced as a female director and how she is promoting filmmaking in Peru, especially among girls and women.
《WIPO杂志》：《朱利叶斯的世界》中有什么使您神往？
WM: What was it about A World for Julius that captured your imagination?
迪亚斯·科斯塔：我第一次读这部小说是在12岁的时候。这是我读的第一本成年人世界的小说，尽管故事是关于小孩朱利叶斯的经历。它给我留下了深刻的印象，完全改变了我的人生观，并且提出了许多问题涉及那时我并不真正理解关于我的国家的事情。该小说通过一个孩子的视角探讨了不平等、种族主义和性别暴力问题。作为小孩本身，即便我并不完全理解这些问题，我也能与故事产生共鸣。因此，我每年都会读这本小说，直到高中。在大学，我将它用作通识课的参考；在马德里的电影学院，我在电影改编课上使用。我的老师认为我疯了，竟然用600页的小说来做练习，但我只是必须这么做。这很难解释，但这部小说一直伴随着我。
Díaz Costa: I first read the novel when I was 12 years old. It was the first novel I read from the adult world, although the story is about Julius’ experiences as a child. It made a big impression on me, changed my outlook completely, and raised many questions about things I didn’t really understand about my country at the time. It explored issues of inequality, racism and gender violence through the eyes of a child. As a child myself, I could relate to the story, even when I didn’t fully understand these issues. So, I read the novel every year through high school. At university, I used it as a reference in my general studies class, and at film school in Madrid, I used it in my film adaptation class. My teacher thought I was crazy to use a 600-page novel for that exercise – but I just had to. It’s difficult to explain, but the novel has followed me.
将《朱利叶斯的世界》拍成电影的想法一直在我脑海中挥之不去。但这责任巨大，因为这是秘鲁和西班牙语世界举足轻重的小说。我在西班牙见过作者阿尔弗雷多·布赖斯·埃切尼克。那对我而言是非常重要的时刻。
The idea of making A World for Julius into a film was always at the back of my mind. But that was a huge responsibility, because it’s a very important novel from Peru and the Hispanic world. I met the author, Alfredo Bryce Echenique, when in Spain. That was a very important moment for me.
您在哪个阶段决定将其拍成电影？
At what stage did you decide to make it into a film?
在我拍完自己的第一部电影后，我在秘鲁的大学教了很多年书，每次我向学生提到《朱利叶斯的世界》这部小说时，他们都不知道我在说什么。我无法相信他们在学校里从未学过这部经典作品。与此同时，我发现秘鲁一点都没变，似乎还在重复小说中提到的根源性问题。因此，我觉得拍摄电影的时机已经成熟。以这样的方式，我可以将它介绍给新的一代，并展现其中仍然相关的社会言论。
After I made my first film, I taught at university in Peru for many years, and every time I mentioned the novel A World for Julius to my students, they didn’t know what I was talking about. I couldn’t believe they hadn’t learned about this classic in school. At the same time, I saw that Peru hadn’t changed at all and seemed to be repeating the root problems outlined in the novel. So, I decided the time was ripe to make it into a film. That way, I could introduce it to new generations and shine a light on its social discourse, which remains relevant.
拍摄这部电影融合了我的两大职业爱好——文学和电影，这是完美的结合。我开始写剧本时，并不知道自己能否获得拍摄电影的权利。这是一件很疯狂的事。通常，你会先拿到版权，再写剧本。
Making the film brought together my two professional loves – literature and film – it was a perfect marriage. I started writing the script without knowing if I would ever get the rights to make the film. It was a crazy thing to do. Usually, you get the rights first and then write the script.
随后，我写信给布赖斯·埃切尼克在西班牙的文学经纪人，询问能否获得小说的权利。他们告诉我，埃切尼克年迈多病，之前有五次制片人拿到了版权，但都没有拍成电影。所以，他们只打算授权给已经写好剧本初稿的人。他们以为这样就能打发我，而当我告诉他们我已经写好了时，他们大吃一惊！我在一周之内就把剧本寄给了他们！
Then I wrote to Bryce Echenique’s literary agent in Spain to ask if I could get the rights to the novel. They told me that he was old and sick and that on five previous occasions producers had obtained the rights but had not made the film. So, they were only going to give the rights to people who had written a first draft of the script. They thought they were going to just brush me off with that and were shocked when I told them I had already written it! I sent it to them within a week!
制作这部电影的成本如何以及用时多久？
What did it cost to produce the film and how long did it take to make it?
制作成本约为80万美元。这不算什么。影片以20世纪50年代为背景，因此美术指导——符合那个时代的场景、服装和道具，是制作中最昂贵且耗时的部分。拍摄本身时间很短，仅25天。但在这25天之前却花了两年。我希望有更多的时间，但我们没有资金。
It cost around USD 800,000 to make. That’s nothing. It’s set in the 1950s, so art direction – the sets, costumes and props that correspond to that era - was the most expensive and time-consuming part of the production. The shooting itself was very short, just 25 days. But it took two years to get to those 25 days. I would have liked more time, but we didn’t have the money.
“将《朱利叶斯的世界》拍成电影的想法一直在我脑海中挥之不去。”罗萨纳·迪亚斯·科斯塔说。（图：罗萨纳·迪亚斯·科斯塔提供）
“The idea of making A World for Julius into a film was always at the back of my mind,” says Rossana Díaz Costa. (Photo: Courtesy of Rossana Díaz Costa)
您如何看待秘鲁女性导演的未来？
How do you see the future for women directors in Peru?
Nuna中约20名秘鲁女性拍摄过长篇故事片，包括纪录片。另外30位拍摄短片。女性在秘鲁所有电影制作人中仅占15%，其中仅1%不是来自利马。但我对未来非常乐观，因为越来越多的女性对制作电影、编剧、学习导演和摄制影片感兴趣。她们还对电影制片学的技术方面表示兴趣，而这一直以来都由男性主导。在接下来的20年里，我认为我们将在秘鲁看到更多女性电影制作人。
Around 20 Peruvian women in Nuna have made long feature films, including documentaries. Another 30 make short films. Women only represent 15 percent of all filmmakers in Peru and only one percent of them are not from Lima. But I am very optimistic about the future because more and more women are interested in making films, scriptwriting and learning about directing and producing films. They’re also showing interest in the technical side of cinematography, which has always been male dominated. In the next 20 years, I think we’ll see many more women filmmakers in Peru.
您对心怀抱负的年轻电影制作人有什么建议？
What advice do you have for aspiring young filmmakers?
首先，作为电影制作人，需要了解知识产权和自己拥有的权利。这将使你能够保护自己的作品，从中赚取收入，并打击电影盗版。非常重要的是，不要让DVD或YouTube上的盗版版本使自己投入给作品的所有心血付诸东流。许多人认为盗版很正常，但这完全是对自己作品的不尊重。
First, as a filmmaker, you need to understand intellectual property and the rights you have. That will enable you to protect your work, earn income from it and fight against film piracy. It’s very important that you don’t waste all the effort you put into your work by allowing pirated versions on DVD or YouTube. Many people think piracy is normal, but it shows a total lack of respect for your work.
一些人认为，让每个人免费观看自己的作品对公众有利，但如果电影制作人无法靠自己的作品谋生，他们如何能够负担得起新电影的创作呢？如果我们能在公众对艺术的权利和创作者因其作品受到认可和回报的权利之间取得平衡，则皆大欢喜。对此仍有许多教育工作要做。
Some people think that letting everyone see their work for free is good for the public, but if filmmakers can’t earn a living from their work, how can they afford to create new films? Everyone wins if we achieve a balance between the public’s right to art and the creator’s right to be recognized and rewarded for their work. There’s still a lot of education to do around this.
第二，对有兴趣从事电影制作的女孩，我想说：不要害怕。不要因为一次不愉快的经历而止步不前。与其他正在制作电影的女性接触，建立自己的支持团队。
Second, for girls interested in filmmaking, my message is: don’t be afraid. Don’t let one bad experience hold you back. Get in touch with other women who are making films and create your own support group.
《朱利叶斯的世界》是一个成长故事，讲述小孩朱利叶斯目睹发生在自己家中的不公，如何慢慢失去童心。（图：罗萨纳·迪亚斯·科斯塔提供）
A World for Julius is a coming-of-age story about how the child Julius slowly loses his innocence when he witnesses the injustices that take place in his own home. (Photo: Courtesy of Rossana Díaz Costa)
在线阅读访谈全文，进一步了解秘鲁电影制作人罗萨纳·迪亚斯·科斯塔。
Read the full interview online and learn more about peruvian filmmaker Rossana Díaz Costa.
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