版主 原力183
水晶2
共和国币0 注册时间2009-6-30
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版主 原力183
水晶2
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My name is George Lucas. I am a writer, director, and producer of motion pictures and Chairman of the Board of Lucasfilm Ltd., a multi-faceted entertainment corporation.
I am not here today as a writer-director, or as a producer, or as the chairman of a corporation. I’ve come as a citizen of what I believe to be a great society that is in need of a moral anchor to help define and protect its intellectual and cultural heritage. It is not being protected.
The destruction of our film heritage, which is the focus of concern today, is only the tip of the iceberg. American law does not protect our painters, sculptors, recording artists, authors, or filmmakers from having their lifework distorted, and their reputation ruined. If something is not done now to clearly state the moral rights of artists, current and future technologies will alter, mutilate, and destroy for future generations the subtle human truths and highest human feeling that talented individuals within our society have created.
A copyright is held in trust by its owner until it ultimately reverts to public domain. American works of art belong to the American public; they are part of our cultural history.
People who alter or destroy works of art and our cultural heritage for profit or as an exercise of power are barbarians, and if the laws of the United States continue to condone this behavior, history will surely classify us as a barbaric society. The preservation of our cultural heritage may not seem to be as politically sensitive an issue as “when life begins” or “when it should be appropriately terminated,” but it is important because it goes to the heart of what sets mankind apart. Creative expression is at the core of our humanness. Art is a distinctly human endeavor. We must have respect for it if we are to have any respect for the human race.
These current defacements are just the beginning. Today, engineers with their computers can add color to black-and-white movies, change the soundtrack, speed up the pace, and add or subtract material to the philosophical tastes of the copyright holder. Tomorrow, more advanced technology will be able to replace actors with “fresher faces,” or alter dialogue and change the movement of the actor’s lips to match. It will soon be possible to create a new “original” negative with whatever changes or alterations the copyright holder of the moment desires. The copyright holders, so far, have not been completely diligent in preserving the original negatives of films they control. In order to reconstruct old negatives, many archivists have had to go to Eastern bloc countries where American films have been better preserved.
In the future it will become even easier for old negatives to become lost and be “replaced” by new altered negatives. This would be a great loss to our society. Our cultural history must not be allowed to be rewritten.
There is nothing to stop American films, records, books, and paintings from being sold to a foreign entity or egotistical gangsters and having them change our cultural heritage to suit their personal taste.
I accuse the companies and groups, who say that American law is sufficient, of misleading the Congress and the People for their own economic self-interest.
I accuse the corporations, who oppose the moral rights of the artist, of being dishonest and insensitive to American cultural heritage and of being interested only in their quarterly bottom line, and not in the long-term interest of the Nation.
The public’s interest is ultimately dominant over all other interests. And the proof of that is that even a copyright law only permits the creators and their estate a limited amount of time to enjoy the economic fruits of that work.
There are those who say American law is sufficient. That’s an outrage! It’s not sufficient! If it were sufficient, why would I be here? Why would John Houston have been so studiously ignored when he protested the colorization of “The Maltese Falcon?” Why are films cut up and butchered?
Attention should be paid to this question of our soul, and not simply to accounting procedures. Attention should be paid to the interest of those who are yet unborn, who should be able to see this generation as it saw itself, and the past generation as it saw itself.
I hope you have the courage to lead America in acknowledging the importance of American art to the human race, and accord the proper protection for the creators of that art–as it is accorded them in much of the rest of the world communities.
说真的，我存这段话，以及专门取了这话做怼人的那位创作《遭遇超自然》的的EU设定书作者：
其本意都是损那些嚷嚷“卢卡斯的意志就是星战的绝对，他有吃星战作品的权力，他通过TCW动画和其他等吃EU的，你们不能反对也不能骂他的人。”
不过卢卡斯这发言在老外那惹得愤怒跟嘲讽的呢，主要是不满他折腾正传各种修复版。
在美国国会演讲中，卢卡斯很有先见之明的，于1988年3月3日把自己前传时出正传数码修复版，各种改原版正传剧情，把海登的脸塞进正传等行为给骂了个遍。
我终于成为了我曾经恨之入骨的人.JPG
当然这有卢卡斯二三十年来发展的资本方面影响，也有卢卡斯纯粹对作品心态的变化。
做为看原版正传入坑的人，我对卢卡斯改正传的行为是大体算可以理解，但有些地方（比如给换海登的脸）非常不喜。
我对于没看过原版正传的人，也非常吐槽无力。
不过怎么说我对卢卡斯这些折腾的愤怒程度，也是不如那些国外的正传粉。
我自己存这段，主要是损那些说“你有什么权力骂卢卡斯”、“卢卡斯有权力改自己作品”的人。
他 曾经 有这个权力，我也有骂他是 傻 缺 的权力。
为什么我始终比起后传，更恨TCW动画？
因为后传重启后跟旧正史作品是平行世界，后传再怎么折腾，那也不影响旧正史体系。
而TCW动画持续6年对旧正史剧情体系的破坏，这个仇我能够一直记着。
对旧正史体系而言，唯一比星战重启更更糟糕的，就是用TCW动画那所谓的“不重启”去拍后传电影。
顺便再说一点，现在很多人喜欢说在美国，后传也显得前传口碑多么好。
当然，后传是惹得大批正传极为愤怒。
但是说后传改善前传在外国口碑多大的人往往忽略一点，国外恨前传的很多是早年看原版正传长大的人。这批人上网发言的意愿相对是比较低的，起码比那些批新生代低很多。
而即使北美，90后尤其95后的星战迷，并没有明显黑前传趋势。
虽然后传吸引了火力后，如今前传口碑在外网也比当年大为改善是事实，但是网上北美前传口碑的改善，还是有那批现实世界上网发言不频繁的老正传粉发言不多的因素。
诚然，这批人里很多被后传给激怒，但你要说这批人因此就会多么喜欢前传？
所以我是认为，如今北美前传口碑的改善有虚高成分，当然这批老正传粉年事已高，而且随着年龄增长会越来越少，但目前大多还都健在呢。
我想说这点，就是海登回归演爵爷这事
正传反感海登的老人，网上发声不如新生代频繁，当年的正传海登黑大部分可还健在。
而海登虽然前传是被黑得过分，但他的演技也确实不算多高明，当年他是前传演气场跟自己比较接近的阿纳金，这回他回来是演进化成铁皮黑罐头的爵爷，我个人觉得粉丝对这俩的要求绝对不一样。——哦当然，此前有人指出这里我忽略了一点，从正传就负责给爵爷在所有官方电影（以及《义军动画》）里配音的詹姆斯老爷子还在，他的配音可以很大程度上降低对海登演技的要求。
另外这回《欧比万》再给海登演的爵爷，应该会有加戏冲突正传（比如说要俩在EP4前再交手），这么一折腾让我很怀疑本来被后传吸引的火力，确定不会再引来一波喷海登的高潮？
当然有人也指出，可能是正传粉与前传粉的骂战233 |
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发表于 2021-4-4 13:14
发表于 2021-4-6 17:06
