A movie about book editing may not sound promising on the excitement scale. But wait – what if the editor in question was the legendary Maxwell Perkins, who worked with F. Scott Fitzgerald and Ernest Hemingway? And what if the writer being edited was Thomas Wolfe, the wild American literary giant with the personality to match? Genius, right?
Based on A. Scott Berg’s superb and award-winning book “Max Perkins: Editor of Genius,” this is a fictionalized description of the relationship between the legendary editing bellwether. Maxwell Perkins and his most treasured, his most beloved and his most troublesome author: Thomas Wolfe, author of “Look Homeward, Angel,” “Of Time and the River” and “You Can’t Go Home Again”
早些时候看了这片子的开头,灰冷的色调,绵绵的阴雨,行进中的火车,读书的乘客。在这个地铁上全体低头玩手机的时代,反而更为怀念那样的风景。更何况,阅读的还是托马斯·沃尔夫梦幻一般的低语,文字有如符咒,拥有诱人的魔力。简短到几乎不存在的对白,平淡无奇的生活景象,伴随着旁白的阅读声,瞬间便引人入胜。因为我知道,当阅读到一本好书,一个好的故事,书中的世界替代了身边的真实,带给人生无数的感触与可能,是一种多么奇妙的感觉。《天才捕手》的开头,完美地诠释了这种感觉。
可惜的是,我眼中的丝丝入扣却是旁人眼中的味同嚼蜡,这个“沉闷”的开头成为了换台的理由。
所以只有一个人窝在家里,调暗灯光,才可以不受打扰地静静观看完整部影片。
伯金斯应该是所有编辑人的人生标杆了吧,然而他仍然战战兢兢,“我是让这本书变得更好?还是,我只是改变了这本书?”写作是一种太过主观的事情,没有硬性的指标去评判好坏,很多时候只是喜欢与不喜欢的问题。然而编辑则要在这样的情况下做出挑选,生怕错过,可又必需严苛
《天才捕手》关于合作关系的最情深的诠释
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