界黄盖台词听不清:翻译成英文，谢谢！

翻译前先明确两点：第一，所有的人名和地名（包括电影的名字）请自行到google上搜索；第二，搜索的方式为：键入中文名，在其后输入“英语”或者English或者“英文译文”字样即可，谢谢。第三，新京报用A表示，Jiang Digui用B代替。

关于中国导演

《英雄》和《十面埋伏》不太有共鸣；冯小刚周星驰也是我喜欢的

新京报：我知道这两年张艺谋的几部影片在韩国都取得了不错的票房和口碑，你对他的电影是怎么看的？
About the Chinese directors
I don't have any resonance with Hero and Lovers, and Feng Xiaogang and Zhou Xingchi are the two l like.
A: I know that in these two years, many films of Zhang have got good box office and public praise in Korea. What do you think about his films?

姜帝圭：张艺谋是我很尊敬的导演，他以前很多的作品我都很喜欢，我觉得张艺谋的电影总是可以把一个很小的故事用非常宏大的场面表现出来，换句话说，他的电影对内容的表现力很宽广，这是他的优点。不过最近在韩国上映的《英雄》和《恋人》（《十面埋伏》）我不太有共鸣，因为我从中看不到人性的力量。
B: Zhang is a director I respect and I like many of his previous productions. I think Zhang's films can modify a short story in a large-scale way, which is to say the expression of his films is vast, and this is his advantages. I don't have any resonance with Hero and Lovers, the recent two films showed in Korea, for I cannot see the strength of humanity in them.

新京报：中国的媒体报道过你有意和冯小刚导演合作的事情，他是你喜欢的中国导演吗？
A: The Chinese media has it that you have got intentions to cooperate with Feng Xiaogang, and is he the Chinese director you like?

姜帝圭：我和冯导演是不错的朋友。我们之前确实谈过一起合作的事情，但是他的档期太紧张了，影片总是一部接着一部，我们还没有就具体的项目进行过更多的交流，但是他确实是我认为能够拍出好电影的中国导演。另外周星驰也是我喜欢的一个中国导演，他表现幽默的方法很特别，是我想不到的。
B: Director Feng and I are good friends. We did talk about the matter of coperation before, but as his limited time as well as the waiting list of too many films being conducted, we did not make any further communication on the specific items. However, he is the Chinese director whom I think can conduct nice films. By the way, Zhou Xingchi is another Chinese director I like, he has a unique way to express humor, which is out of my imagination.

关于电影政策
一个国家电影的兴盛并不取决于导演的才能，它是综合条件促成的
新京报：前些天的评审团记者会上，你曾经提到韩国电影的成功首先要归功于政策的支持。今天的韩国电影可以说已经被国民认可，那么此前制定的种种政策是不是也没有一开始那么有效了？
About the policy for films
The booming of the film industry of a country is not decided by the talent of directors. It is decided by the synthesis conditions.
A: You mentioned few days ago on the press conference of the Judge Committee that the success of Korean film is due to the support of the policies. Korean films nowadays are acknowledged by the Korean people, then, I wonder if the policies previously made as effetive as before.

姜帝圭：这些保护政策确实对《太极旗飘扬》这样的大制作不会有效了，但是韩国还有很大比例的艺术电影，如果没有电影配额制度，它们在影院上映的机会都会少得多，而它们恰恰是电影产业中必不可少的一部分。
B: The protect policy does have little effect in large-scaled production such as 《太极旗飘扬》, but in Korea the artistic film also take up a large proportion and without the film quota policy they will have less chance to show in the cinemas. They are just the inalienable part of the film industry.

另外电影也是民族文化的一部分，国家出台政策保护电影文化是不用讨论的，因为你不保护它就不存在。现在全世界20多个国家是自己不拍电影的，为什么？因为他们的院线里放的都是美国电影。国家没有保护，等于放弃了本国的电影文化。
B: Besides, film is part of the national culture, and it needn't any discussion for the state carry out the policy to protect the culture of the film, for they would vanish if you don't protect. All over the world, there are 20 countries which do not produce films themselves, why? Because all in their cinemas are American films. Lack of the potections of the state, it means the abandon of the national culture of film.

新京报：日本电影和香港电影都曾经在世界范围内都取得过很大的辉煌。如今韩国电影取而之成为国际电影界瞩目的焦点，你觉得这股“韩流”会持续多久？
A: Japanese films and Hong Kong films have once won the world's great glories. Now that Korean films has replaced them to be the focus of international film field, how long do you think the "Korean Tide" will last?

姜帝圭：我实在没法预测韩国电影还能流行多久，一个国家电影的兴盛并不取决于导演的才能。电影产业的成功通常是综合条件促成的，它往往跟政治、金融、税收、教育等很多相关的因素联系在一起，缺一不可。你提到的日本电影和香港电影没能持续他们的辉煌，我觉得那都是因为美国电影高高在上。依靠某个电影公司或者某个财团去追赶美国电影是不可能的，只有全社会发动所有人去发展自己国家的电影产业，才有希望。
B:I really can not predict how long the film will pop, the prosperity of a country's film industy cannot be depended on directors. The success of the film industry are usually facilitated by the integrated conditions, it is often tied up with politics, finance, taxation, education, and many other related factors which are all inalienable. You mentioned the Japanese films and Hong Kong films failed to sustain their brilliant, I think it is because American films are supreme. Relying on a film company or a consortium is unlikely to catch up with the American film, only the entire society of all country wish to develop their own film industry could we make it.

关于“韩流”危机
现在的韩国电影确实受到了国内政权更替的影响
About the crisis of the "Korean Tide"
Korean film is now affected by the impact of domestic regime turnover

新京报：你觉得目前韩国电影有没有潜在的危机？
A: Do you think the Korean film has potential crisis?

姜帝圭：韩国电影现在确实受到了国内政权更替的影响。韩国电影在金大中政府时代受到了特别的支持，他为了培育韩国电影的发展制定了很多相应的措施，比如建立了电影投资资金等等，但是这个制度是五年一换的；现在五年过去了，也选举出了新的政府，当应该再继续执行这个政策的时候，却处于瘫痪的状态。
B: Korean film now has influenced by the impact of domestic regime turnover. In Kim Dae-jung era, Korean films received special support, he developed many corresponding measures, such as the establishment of a film investment funds, etc., but this system is different every five years; Now five years has passed, we have also elected a new government, when come to implement this policy, it lies down paralysed.

新京报：你刚才提到了电影配额制度，众所周知，韩国导演当年集体发起了著名的“光头运动”来推动这项制度的出台。如果将来韩国电影因为受到政策的制约，你还会采取类似“非常规”的强硬的方式吗？
A: You mentioned the film quota system, as is well known, Korea director in collective launched the famous "zero movement" to promote the introduction of this system. If the Korean films get constrained because of policy in the future, will you also take the similar "unconventional" tough manner?

姜帝圭：在当年的“光头运动”中，我是第一个剃光头的，如果韩国的电影环境因政权的更替、政策的变化而出现危机，我们导演一定会义无反顾地团结在一起！
B:In the year of "negative campaign", I was the first one to have the haircut, if the film environmental emerges crisis, because of the turnover of regime,changeing in policies, and we directors will not certainly hesitate to unite as a whole!

reporter Zhang Wenbai

晕了

Chinese director on the "heroic" and "Ambush from All Sides" is a resonance;
Feng Chiao is what I like Xinjingbao : I know that the past two years Zhang Yi-mo several films made in Korea have good box office and reputation, you can look at his film is? Jiangdi Lilongwe : Zhang Yi-mo is my very distinguished directors, many of his previous works are like me, I always feel that Zhang Yi-mo films can be a small story with a very ambitious scenes shown, in other words, his film on the performance of a broad content, and this is his advantage. But recent exhibition in Korea "heroes" and "Lovers" ( "Ambush from All Sides") I do not have sympathy, because I have not seen the power of humanity. Xin Jing Bao : China's media reported your interest and cooperation director Feng things, he is directing you like Chinese? Jiangdi Lilongwe : I was good friends and Feng director. We really discussed before things together, but his stay was too short, a film is always a then, we have not been more specific projects on the exchange, but I think he is able to produce good films Chinese director. Stephen is also a Chinese director I like his performance very special humorous way, I think. Film policy on the prosperity of a country does not depend on the director of the film can, which was facilitated Xinjingbao integrated conditions : the Jury met the press conference, you mentioned the success of the first film to be attributed to Korea policy support. Today's films can be said to have been Korean nationals recognized, then this policy is not formulated various nor the beginning so effective? Jiangdi Guyana : The protection policy is to "Taijiqipiaoyang" is a big production will not be effective, but there is a considerable proportion of Korean art film without film quota system, they will be opportunities in the film screened less, and they are precisely the essential part of the film industry. In addition to the film is also part of the national culture, the state has policies to protect film culture is not discussed, because you do not protect it does not exist. Now more than 200 countries around the world do not make a film, why? Because they are reported in the American film release. The state has no protection to abandon their film culture. Xinjingbao : Japanese film and film have been made in the context of the world's great glories. Now that South Korea and the film to international film industry as the focus of attention, you feel that this unit "Hanliu" how long it will last? Jiangdi Lilongwe : I really can not predict how long the film will pop, a country does not depend on the prosperity of the film can be directed. The success of the film industry are usually facilitated by the integrated conditions, it is often with political, financial, taxation, education, and many other related factors linked indispensable. You mentioned the Japanese film and film failed to sustain their brilliant, I think it is because American film condescending. Rely on a film company or a consortium is unlikely to catch up with the American film, only the entire society by all countries to develop their own film industry, we hope. On the "Hanliu" crisis of the Korean film is now affected by the impact of domestic regime turnover Xinjingbao : Do you think the Korean film has potential crisis? Jiangdi Lilongwe : Korea now has the film by the impact of domestic regime turnover. Korea Kim Dae-jung government in the era of film received special support to nurture his development of the Korean film developed many corresponding measures, such as the establishment of a film investment funds, etc., but this system is one for the five years;
Now five years later, also elected a new government, when should no longer continue to implement this policy, but in a state of paralysis. Xinjingbao : You mentioned the film quota system, as is well known, Korea director in collective launched the famous "zero movement" to promote the introduction of this system. If the film because of policy constraints, you will also take similar "unconventional" tough manner? Jiangdi Guyana : In the year of "negative campaign", I was the first one off first, because if the film environmental regime turnover, policy changes crisis, and we will certainly not hesitate to directors unite! Write / reporter Zhangwenbai

Chinese director on the "heroic" and "Ambush from All Sides" is a resonance;
Feng Chiao is what I like Xinjingbao : I know that the past two years Zhang Yi-mo several films made in Korea have good box office and reputation, you can look at his film is? Jiangdi Lilongwe : Zhang Yi-mo is my very distinguished directors, many of his previous works are like me, I always feel that Zhang Yi-mo films can be a small story with a very ambitious scenes shown, in other words, his film on the performance of a broad content, and this is his advantage. But recent exhibition in Korea "heroes" and "Lovers" ( "Ambush from All Sides") I do not have sympathy, because I have not seen the power of humanity. Xin Jing Bao : China's media reported your interest and cooperation director Feng things, he is directing you like Chinese? Jiangdi Lilongwe : I was good friends and Feng director. We really discussed before things together, but his stay was too short, a film is always a then, we have not been more specific projects on the exchange, but I think he is able to produce good films Chinese director. Stephen is also a Chinese director I like his performance very special humorous way, I think. Film policy on the prosperity of a country does not depend on the director of the film can, which was facilitated Xinjingbao integrated conditions : the Jury met the press conference, you mentioned the success of the first film to be attributed to Korea policy support. Today's films can be said to have been Korean nationals recognized, then this policy is not formulated various nor the beginning so effective? Jiangdi Guyana : The protection policy is to "Taijiqipiaoyang" is a big production will not be effective, but there is a considerable proportion of Korean art film without film quota system, they will be opportunities in the film screened less, and they are precisely the essential part of the film industry. In addition to the film is also part of the national culture, the state has policies to protect film culture is not discussed, because you do not protect it does not exist. Now more than 200 countries around the world do not make a film, why? Because they are reported in the American film release. The state has no protection to abandon their film culture. Xinjingbao : Japanese film and film have been made in the context of the world's great glories. Now that South Korea and the film to international film industry as the focus of attention, you feel that this unit "Hanliu" how long it will last? Jiangdi Lilongwe : I really can not predict how long the film will pop, a country does not depend on the prosperity of the film can be directed. The success of the film industry are usually facilitated by the integrated conditions, it is often with political, financial, taxation, education, and many other related factors linked indispensable. You mentioned the Japanese film and film failed to sustain their brilliant, I think it is because American film condescending. Rely on a film company or a consortium is unlikely to catch up with the American film, only the entire society by all countries to develop their own film industry, we hope. On the "Hanliu" crisis of the Korean film is now affected by the impact of domestic regime turnover Xinjingbao : Do you think the Korean film has potential crisis? Jiangdi Lilongwe : Korea now has the film by the impact of domestic regime turnover. Korea Kim Dae-jung government in the era of film received special support to nurture his development of the Korean film developed many corresponding measures, such as the establishment of a film investment funds, etc., but this system is one for the five years;
Now five years later, also elected a new government, when should no longer continue to implement this policy, but in a state of paralysis. Xinjingbao : You mentioned the film quota system, as is well known, Korea director in collective launched the famous "zero movement" to promote the introduction of this system. If the film because of policy constraints, you will also take similar "unconventional" tough manner? Jiangdi Guyana : In the year of "negative campaign", I was the first one off first, because if the film environmental regime turnover, policy changes crisis, and we will certainly not hesitate to directors unite! Write / reporter Zhangwenbai

As for China direct
《Hero 》and 《the ten noodleses ambush 》have total 鸣 not too;PING2 XIAO3 just week the star 驰 was also the new city report that I like:I know ZHANG YI4 to strive for this two years of how many films all obtained the quite good receipt of a film and public praise in Korea, is your movie to him to how to see?

Ginger 帝圭 :ZHANG YI4's strive for is the director that I respect very much, he before a lot of works I liked very much, I felt the movie that ZHANG YI4 strive for always can use the very great condition performance to a pimping story to come out, in other words, his the movie was a comprehensiveness to the performance dint of the contents very, this advantage that is he.However recent be shown in Korea of 《hero 》and 《lover 》 (《the ten noodleses ambush 》)I don't really have total 鸣 , because I could not see the strength of the human nature from it.

New city report:The medium report way of China affair that led you to have intention to director to just cooperate with PING2 XIAO3, is he the China director that you like?

Ginger 帝圭 :I am a quite good friend with director.We really talk over before to cooperate together of affair, but his schedule was too nervous, film always one by one, we haven't yet carried on more exchanges for the concrete item, he really is I think the Chinese director that can clap a good movie.Moreover week the star 驰 is also one inside country director that I like, the method of his performance humor is very special, is I am surprisingly.

Concerning movie policy
Movie in a nation of prosperous be not decided by to direct of then can, it is the new city report that the comprehensive condition help realize:The judge of the first some dayses the regiment news conference up, you have ever spoken of the support that the success of the Korean movie wants to be attributed to a policy first.The Korean movie of today can say that is already approve by citizen, so whether this various policies that draw up ago also has no a beginning so effectively or not?

Ginger 帝圭 :These protection policy really to 《too very the ensign flaunt 》such big creation can't effectively, but there is still the art film of[with] very great comparison in Korea, if have no movie quota system, they are shown in the cinema of opportunities' all woulding be little have to be many, but they are one part of the essential to haves exactly in the movies industry.

Moreover the movie is also the race a part of the culture, national the pedestal policy protection movie culture is need not discussion of, because you don't protect it nonentity.Now whole world more than 200 nations is what oneself shoot a movies, why?Because what to put is American movies all in line in their hospital.The nation protected, being equal to give up the movie culture of the our country.

New city report:The Japanese movie and movies in Hong Kong all have ever all obtained very great brilliancy within the scope of world.The Korean movie take now but it become the focus that the international filmdom focus attention, you feel this"HAN2 LIU2" would keep on how long?

Ginger 帝圭 :I can not predict the Korean movie can also be popular really how long, movie in a nation of prosperous be not decided by to direct of then can.The success of the movie industry usually is a comprehensive condition to help realize of, it usually follows politics,finance,revenue from tax,education...etc. a lot of related factors to contact together, lack a can't.The Japanese movie and movie in Hong Kong that you speak of canned keep on their brilliancy, I felt all of that am because of the American movie to be high at up.Depend on the perhaps a certain financial group of a certain movie company's chasing American movie is impossible, only the whole societieses launch owner to develop the movie industry of oneself's nations, just having a hope.

Concerning "HAN2 LIU2" crisis
The Korean movie of now is really substitute by local political power of influence new city report:Do you feel the Korean movie have a latent crisis currently?

Ginger 帝圭 :The Korean movie is really substitute by local political power now of influence.Korean movie at Kim Dae-jung government the ages was subjected to a special support, he for growing the development of the Korean movie to draw up much homologous measure, built up the movie investment funds etc. for example, but this system is five years a change;Passed by now for five years, also elected a new government, while should continue again to carry out this policy, but be placed in to paralyze of appearance.

New city report:You just spoke of the movie quota system, know to all, that year of director in Korea start"baldheaded sport" of the 著 collectively to push of this system set.If in the future Korean movie because of being subjected to the check and supervision of the policy, would you also adopt the tough way of similar"very rules"?

Ginger 帝圭 :In"baldheaded sport" in that year, I am the first to shave head bald, if the movie environment of Korea because the political power substitute,the variety of the policy but appear a crisis, our director will certainly proceed without hesitation a ground of incorporation together!

Adopt to write/this report reporter ZHANG WEN2 BO2

中国（包括港澳台）当然是最多
此外韩国，日本，美国，加拿大，欧盟（未扩大时的十二国），泰国，马来西亚，印尼，新加坡，文莱，缅甸，阿根廷，巴西都有华侨社团（华社）
其中新加坡更是将华语列为官方语言之一