英國演員艾瑪·湯普森分享她為什么討厭“內(nèi)容”這個詞：這是“對有創(chuàng)造力的人來說很粗魯?shù)脑~”
永遠(yuǎn)不要告訴艾瑪·湯普森你是她的“內(nèi)容”的粉絲。
The Good Luck To You, Leo Grande actress won't take it as a compliment. From her perspective, it's not the right word to describe movies and TV shows — and it's the perfect example of the relationship breakdown between studios and creatives.
《祝你好運(yùn)》，利奧·格蘭德的女演員不會把它當(dāng)作贊美。從她的角度來看，用這個詞來形容電影和電視節(jié)目是不對的——這是工作室和創(chuàng)意人員之間關(guān)系破裂的完美例子。
"I think the relationship between the executives and the creative branch just has to be much, much closer," Thompson said at the Royal Television Society conference, according to Variety. "To hear people talk about 'content' makes me feel like the stuffing inside a sofa cushion."
據(jù)《綜藝》報道，湯普森在英國皇家電視學(xué)會會議上表示：“我認(rèn)為高管和創(chuàng)意部門之間的關(guān)系必須更加密切。”。“聽到人們談?wù)?lsquo;內(nèi)容’，我覺得自己就像沙發(fā)墊里的填充物。”
She continued, "It's just rude, actually. It's just a rude word for creative people."
她繼續(xù)說道：“事實上，這太粗魯了。這對有創(chuàng)造力的人來說只是一個粗魯?shù)脑~。”
The acclaimed actress, who has been in the business for over five decades, went on to explain exactly why she finds the word so insulting.
這位廣受贊譽(yù)的女演員已經(jīng)在這個行業(yè)工作了50多年，她接著解釋了為什么她覺得這個詞如此侮辱人。
Addressing the drama students in the audience, she said, "You don't want to hear your stories described as 'content' or your acting or your producing described as 'content.' That's just like coffee grounds in the sink or something. It's, I think, a very misleading word."
她對觀眾中的戲劇學(xué)生說：“你不想聽到你的故事被描述為‘內(nèi)容’，你的表演或制作被描述為“內(nèi)容”。這就像水槽里的咖啡渣什么的。我認(rèn)為，這是一個非常誤導(dǎo)人的詞。”
Thompson's comments about the complex relationship between studios and creatives come at a notable time, with the WGA and SAG-AFTRA strikes on the verge of entering their fifth and third months, respectively. Among their asks are tighter restrictions surrounding AI usage, and higher compensation, including streaming residuals.
湯普森對工作室和創(chuàng)意人員之間復(fù)雜關(guān)系的評論正值一個值得注意的時刻，WGA和SAG-AFTRA罷工分別即將進(jìn)入第五個月和第三個月。他們的要求包括對人工智能使用的更嚴(yán)格限制，以及更高的補(bǔ)償，包括流媒體殘差。
Speaking to the ongoing conflict, Thompson added, "Everyone is affected. I've been writing to friends who are crew people, who are costume people, who are make-up people who aren't working. It's a very, very, very hard time, people are suffering so much."
在談到正在進(jìn)行的沖突時，湯普森補(bǔ)充道：“每個人都受到了影響。我一直在給那些不工作的劇組人員、服裝人員和化妝人員的朋友寫信。這是一段非常、非常、非常艱難的時期，人們遭受了太多痛苦。”
Later in the conversation, the Oscar-winner argued that approaching creative work as "content" is not as effective as authenticity.
在隨后的對話中，這位奧斯卡獎得主辯稱，將創(chuàng)意作品視為“內(nèi)容”不如真實有效。
"You find your audience by being completely authentic," she said. "These formulas don't work… And then you sit there and you watch them and you wonder why, at the end of it, you feel a bit ill. And I think that's something else that we don't talk about as creators in television and in film. How does it make us feel inside ourselves after we've seen something?"
她說：“你要找到完全真實的觀眾。”。“這些公式不起作用……然后你坐在那里看著它們，你想知道為什么最后你會感到有點(diǎn)不舒服。我認(rèn)為這是我們在電視和電影中作為創(chuàng)作者所不談?wù)摰牧硪患?。?dāng)我們看到一些東西后，它會讓我們?nèi)绾胃惺茏约海?rdquo;
For her part, Thompson says she wants to feel "different" after watching something.
就湯普森而言，她說她想在看完一些東西后感覺“不一樣”。
"I want to feel as though I've been shifted slightly, even if it's just my mood or I've learned something extraordinary," she explained. "That is something we just have to keep on thinking about because that takes you away from this thing of 'content.' What is the story that you want to hear and that you want to tell that you think will make people feel different, safer, stronger?"
她解釋道：“我想感覺自己有點(diǎn)改變了，即使這只是我的心情，或者我學(xué)到了一些非凡的東西。”。“這是我們必須不斷思考的事情，因為這會讓你遠(yuǎn)離‘內(nèi)容’。你想聽什么故事，你想講什么故事，認(rèn)為會讓人們感覺不同、更安全、更強(qiáng)大？”
The Good Luck To You, Leo Grande actress won't take it as a compliment. From her perspective, it's not the right word to describe movies and TV shows — and it's the perfect example of the relationship breakdown between studios and creatives.
《祝你好運(yùn)》，利奧·格蘭德的女演員不會把它當(dāng)作贊美。從她的角度來看，用這個詞來形容電影和電視節(jié)目是不對的——這是工作室和創(chuàng)意人員之間關(guān)系破裂的完美例子。
"I think the relationship between the executives and the creative branch just has to be much, much closer," Thompson said at the Royal Television Society conference, according to Variety. "To hear people talk about 'content' makes me feel like the stuffing inside a sofa cushion."
據(jù)《綜藝》報道，湯普森在英國皇家電視學(xué)會會議上表示：“我認(rèn)為高管和創(chuàng)意部門之間的關(guān)系必須更加密切。”。“聽到人們談?wù)?lsquo;內(nèi)容’，我覺得自己就像沙發(fā)墊里的填充物。”
She continued, "It's just rude, actually. It's just a rude word for creative people."
她繼續(xù)說道：“事實上，這太粗魯了。這對有創(chuàng)造力的人來說只是一個粗魯?shù)脑~。”
The acclaimed actress, who has been in the business for over five decades, went on to explain exactly why she finds the word so insulting.
這位廣受贊譽(yù)的女演員已經(jīng)在這個行業(yè)工作了50多年，她接著解釋了為什么她覺得這個詞如此侮辱人。
Addressing the drama students in the audience, she said, "You don't want to hear your stories described as 'content' or your acting or your producing described as 'content.' That's just like coffee grounds in the sink or something. It's, I think, a very misleading word."
她對觀眾中的戲劇學(xué)生說：“你不想聽到你的故事被描述為‘內(nèi)容’，你的表演或制作被描述為“內(nèi)容”。這就像水槽里的咖啡渣什么的。我認(rèn)為，這是一個非常誤導(dǎo)人的詞。”
Thompson's comments about the complex relationship between studios and creatives come at a notable time, with the WGA and SAG-AFTRA strikes on the verge of entering their fifth and third months, respectively. Among their asks are tighter restrictions surrounding AI usage, and higher compensation, including streaming residuals.
湯普森對工作室和創(chuàng)意人員之間復(fù)雜關(guān)系的評論正值一個值得注意的時刻，WGA和SAG-AFTRA罷工分別即將進(jìn)入第五個月和第三個月。他們的要求包括對人工智能使用的更嚴(yán)格限制，以及更高的補(bǔ)償，包括流媒體殘差。
Speaking to the ongoing conflict, Thompson added, "Everyone is affected. I've been writing to friends who are crew people, who are costume people, who are make-up people who aren't working. It's a very, very, very hard time, people are suffering so much."
在談到正在進(jìn)行的沖突時，湯普森補(bǔ)充道：“每個人都受到了影響。我一直在給那些不工作的劇組人員、服裝人員和化妝人員的朋友寫信。這是一段非常、非常、非常艱難的時期，人們遭受了太多痛苦。”
Later in the conversation, the Oscar-winner argued that approaching creative work as "content" is not as effective as authenticity.
在隨后的對話中，這位奧斯卡獎得主辯稱，將創(chuàng)意作品視為“內(nèi)容”不如真實有效。
"You find your audience by being completely authentic," she said. "These formulas don't work… And then you sit there and you watch them and you wonder why, at the end of it, you feel a bit ill. And I think that's something else that we don't talk about as creators in television and in film. How does it make us feel inside ourselves after we've seen something?"
她說：“你要找到完全真實的觀眾。”。“這些公式不起作用……然后你坐在那里看著它們，你想知道為什么最后你會感到有點(diǎn)不舒服。我認(rèn)為這是我們在電視和電影中作為創(chuàng)作者所不談?wù)摰牧硪患?。?dāng)我們看到一些東西后，它會讓我們?nèi)绾胃惺茏约海?rdquo;
For her part, Thompson says she wants to feel "different" after watching something.
就湯普森而言，她說她想在看完一些東西后感覺“不一樣”。
"I want to feel as though I've been shifted slightly, even if it's just my mood or I've learned something extraordinary," she explained. "That is something we just have to keep on thinking about because that takes you away from this thing of 'content.' What is the story that you want to hear and that you want to tell that you think will make people feel different, safer, stronger?"
她解釋道：“我想感覺自己有點(diǎn)改變了，即使這只是我的心情，或者我學(xué)到了一些非凡的東西。”。“這是我們必須不斷思考的事情，因為這會讓你遠(yuǎn)離‘內(nèi)容’。你想聽什么故事，你想講什么故事，認(rèn)為會讓人們感覺不同、更安全、更強(qiáng)大？”
