介绍:
1964年，导演迈克尔·艾普特开始跟拍一群七岁的英国儿童，请他们畅谈自己的理想生活。此后导演每七年回访一次，每次回访都命名为《人生七年》，到现在这个系列纪录片已经拍到第九部，跨越了半个世纪，是受访人大半生的缩影。艾普特曾说，希望自己能在99岁时完成这个系列的第12部，但却在79岁的时候溘然离世了。他的离世，是否意味着这趟人生观察之旅会提前结束？一起来听今天的讲解。
What Happens Now to Michael Apted’s Lifelong Project ‘Up’?
迈克尔·艾普特用一生拍摄的《人生七年》系列纪录片，将何去何从？
By Joe Coscarelli
His documentary series chronicled the lives of its subjects every seven years since 1964. Now the participants ponder whether it can carry on without him.
自1964年以来，他的系列纪录片每隔七年会对受访人的生活进行追踪。现在，纪录片的参与者们要去思考，这个系列没有他是否还能继续。
Every seven years or so for more than half a century, the filmmaker Michael Apted returned to what he referred to as his life’s work: documenting the same ordinary people he’d known since they were 7 years old.
半个多世纪以来，电影制作人迈克尔·艾普特每隔七年左右就会回到纪录片的拍摄工作中，他把该片称为其一生的工作：记录同一群普通人的生活。这群人七岁时，艾普特就认识他们了。
Throughout nine installments of the “Up” series, Apted turned a restrained lens on class, family, work and dreams, both dashed and achieved, in his native England.
《人生七年》有九部，在这九部纪录片里，艾普特将克制的叙事镜头对准来自他家乡英格兰的不同阶层和家庭，记录他们的工作和梦想。他们有的人默默无闻，有的人功成名就。
So when Apted died last week at 79, he left behind not only his enormous artistic undertaking, but a nontraditional family unit that was at once uncomfortable, transactional and as intimate as could be.
艾普特于上周去世，享年79岁。他留下的不仅是一份庞大的艺术事业，还有因此走到一起的“家人”。这不是一个传统意义上的家庭组织，但是像家人一样，他们也会有不和，有别扭；同时他们也会彼此交流互动，关系很亲近。
Claire Lewis, who started as a researcher on “28 Up” and later became a lead producer, said that Apted had always been “very proprietorial” about the series.
克莱尔·刘易斯一开始是《人生七年4》（28 Up）的研究员，后来成为了纪录片的一个首席制片人。她说，这个系列纪录片一直具有很强烈的艾普特“专属”风格。
The series has remained stubbornly straightforward, with spare narration and no music or modern techniques.
这个系列一直固执地保持着直白的风格，只有少量简约的旁白，没有配乐，也没有运用什么现代技术。
His collaborators said that should they continue without him, this essence would carry through. “Michael felt very, very, very strongly that it must remain as it is,” Lewis said, noting that the director hated “tricksy, artsy-fartsy” documentaries.
艾普特的团队成员称，现在他不在了，如果要继续拍这个纪录片，他们会把这种风格保留下去。刘易斯说：“迈克尔十分强调纪录片的原汁原味。”她说，艾普特讨厌“炫技的、附庸风雅的”纪录片。
“His preference was simplicity, elegance,” she said. “It was about people and what they say and who they are. It was all about the stories.”
她说：“艾普特喜欢简单、优雅的风格。纪录片就是关于人的，记录他们说了什么，他们是谁。纪录片就应该记录故事本身。”
