感谢中国团队的朋友们帮我翻译

Like five years ago, I was happy and I was living with somebody and she asked me to have a baby. And somehow I was like, I’m not sure about this relationship. So I need to bring something on the table and just be sure that this is what I want. So when I did it, everything just fell apart. So the reason why I brought all these things on the table was because she asked for a baby. And I wasn’t sure about what kind of relationship I was having. So after we break up, I started to think about, I thought my life was one, but in fact it was not the one I thought.

Then, I want to show a person that had one life. It was supposed to be the perfect life. And at some point you break this life and in another reality, you see your life, but it’s much more real than reality of the first one. But in this new reality, there is no baby. So I wanted to show like two realities. One, you have the baby, the other when you don’t have the baby. And what happens in this confrontation? It looks like the mirror. And this is basically where the idea comes from. And of course, this is just based on something personal. And I just separated myself with this person, my personal feelings. And I just did a thriller. It’s what I do. But I thought it was interesting to present somebody who had this perfect life and then break it at some point. And what happens after you wake up one day in a new reality where nobody recognizes you. Who are you supposed to be? But you still have the thought of your baby. So what happens then? That’s the idea.

I tried, my first draft was with the father, because I thought, I’m talking about my personal experience. So it should be a father. But after the first draft, I thought the story was much more powerful with the mother rather than a father. The love of a mother is much more stronger, because a mother would give birth to a child, but I don’t. It would be much more stronger if it was a mother. And then I also needed to separate myself from the material. So I thought it was better with the mother. And then on the second draft, when I change, the farther to the mother, it was much more powerful in my opinion. And um, I mean, there’s something of the power of love, the mother with a child, the bond, it’s much more stronger.

In this film, the strong scene is the key. I always need a strong scene first. I mean I know what do I want to tell, I know how do I want to tell, but I always need the warrior-situation. Like in The Invisible Guests, the situation was: what if you wake up in a hotel, your lover is dead, somebody’s knocking at the door, it’s the police and there was a man inside the room, what would you do in that situation. And you claim you are innocent. That was the strong situation for me. In this one, it was one mother goes to the school to pick up the girl, and they say, no, there is no girl here. This girl doesn’t exist. That was like the strong situation. Once I had this situation of the mother going to the school and just asking for the daughter and the teachers saying there’s no daughter, but we have seen that mother and the teacher know each other. We’ve seen it before. So what the hell is going on? So once I had this strong situation, then I can build around this situation that the whole film.

My last movie is called Contratiempo in in spanish, but in English and Chinese is Invisible Guest. The thing is, Mirage makes a lot of sense in English, in French, in maybe Chinese, but in spanish, the word we have is not beautiful. Espejismo, it doesn’t have the conceptual poetic meaning. So we couldn’t use this concept for the spanish title. I wanted put something poetic to the title. It sounds also like a thriller. It sounds, it has all these meanings.

And it makes sense. So that’s why we change the title.

大概五年前，我和当时的伴侣住在一起，她希望和我有个孩子。不知怎么的，我对这段感情开始感到不确定。所以我开始思考到底什么是我想要的，当我开始这么想的时候，一切都崩溃了。一切的起因是她想要一个孩子。我也不确定自己的感情是什么样的，我们分手后，我开始思考，我以为我的生活是这样的，但事实上不是我想的那个。

所以我开始想，（拍一部电影）展示一个人物的生活。它可能是一个普通人看来完美的生活。某一刻，你打破了这个生活，进入了另外一个现实。在那个现实里，你并没有孩子。我希望展示这样两个平行的故事，在这两个对抗中发生了什么？这更像一个镜面故事，这就是我故事的创作来源。这是来自我个人的思考和体验，我把我个人的想法和剧本中这个人物分享，拍出了这个电影。我觉得展现一个完美的生活然后把他打碎的过程是很有趣的。有一天一觉醒来，你已经处于一个新的现实当中，你是谁，你还保有过去的记忆，那接下来会怎么发展？这个很有趣。

我的第一份初稿主角是个父亲，因为我想，我说的是我的个人经历，所以应该是个父亲的角色。但是在初稿之后，我认为这个主角是母亲的话会比父亲更有力量。母亲的爱更强烈，因为孩子是她生的，但父亲体会不到这种感觉。然后我也需要把自己从故事中分离出来，所以我觉得主角是母亲会更好。然后第二稿，我把主角变成了母亲，它的确强大了很多，有某种爱的力量，有孩子的母亲，这种纽带，它要强得多。

在这部电影中，冲突才是关键。我知道我想说什么，我知道我想怎么说，我总是需要冲突来表现。就像《看不见的客人》的故事是你在酒店醒来，你的爱人死了，警察在敲门，在那个情况下你会怎么做。你伸冤，说自己是无辜的，那是你的冲突。在这个电影中，一位母亲去学校接这个女孩，但被告知这里没有这个女孩，这个女孩不存在。有一次我遇到过这样的情况，妈妈去学校接女儿，老师说没有这个女孩，但妈妈和老师互相认识。到底怎么回事？所以一旦我有了这种强烈的情况，那么我就可以围绕这个情况来构建整个电影。

我上部电影在西班牙语中的意思是“对抗时间”，但在英语和汉语中是《看不见的客人》。这部电影《海市蜃楼》的翻译，Mirage 在英语、法语、汉语中都有很丰富的含义，但在西班牙语中，这并不是一个好听的词汇，它没有诗意的概念。所以我们不能把这个概念用在西班牙语标题上。我想用一个更诗意的标题，听起来也更像一部悬疑片，所以我们改了标题。

来源：知乎 www.zhihu.com

作者：OriolPaulo

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