宗薩欽哲仁波切：用電影揭示實相

06-08

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宗薩蔣揚欽哲仁波切

當今最具影響力的佛教上師之一
全世界公認極具創新精神的年輕仁波切

秉承不丹藏傳佛教優良傳承
倡導無宗派運動
著有《正見》、《人間是劇場》、
《佛教的見地與修道》等多部著作

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宗薩欽哲仁波切：用電影揭示實相

倫敦旗幟晚報記者Alix Sharkey在全球上映電影《高山上的世界盃》（The Cup）期間對這部電影的導演宗薩欽哲仁波切進行了採訪（發表於2000年3-4月號），報道文章如下：

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他被認定是一位最偉大的佛教成就者之轉世。他每天凌晨4點鐘起床，開始為時五個小時的祈禱和觀修。他從九歲起到二十三歲期間系統地接受了佛學教育。

與此同時，他在諾丁山有一塊兒自有地，他幾乎不停歇的在全球旅行，他穿著阿瑪尼的襯衫（當然是藏紅色的），而他首次執導的獲獎作品《高山上的世界盃》，第一部藏語電影長片，探究的是宗教、傳統與足球之間的關聯。

幸運的是，為了這篇報道，欽哲諾布——或以全稱尊稱他為:尊貴的宗薩蔣揚欽哲仁波切——對他的學識輕描淡寫，相較於他所接受過的嚴格的佛教訓練而言，他更願意討論足球方面的話題（比如「Kevin Keegan踢得怎麼樣？」）。也正是這種正規教育與他的弟子們之期望之間的隔閡，激發出了他編劇並執導《高山上的世界盃》這部作品的靈感。

這是個關於一個痴迷於足球的年輕僧人決心要看上1998年世界盃總決賽，並因此打破了整個寺院的寧靜生活的故事。諾布的這個有趣的電影入選了戛納「導演雙周「榜單，並在澳大利亞和加拿大電影節上獲獎，近期又在美國聖丹斯電影節獲映。

···

《高山上的世界盃》聚焦於一個名叫鄔金（Orgyen）的十四歲男孩，他視巴西隊的前鋒李奧納多（Ronaldo）為偶像，卻希望法國隊能夠獲勝；他說，「因為法國總是支持西藏」。鄔金和他的同伴們溜出寺院，到村子裡去看電視上的一場半決賽時，被寺院的戒師逮了個正著，並被罰在接下來的一整個月里承擔額外的廚房工作。一切計劃似乎都泡湯了。然而，他們卻請求獲許在寺院里觀看球賽的直播。年長的上師和戒師之間的兩難處境，諾布說，反映的正是整個藏傳佛教傳統所面臨的問題——即如何在一個快速變化的世界裡保持戒律，以及如何在一種流亡文化中維繫古老的宗教傳統。

「《高山上的世界盃》這部電影中95%的內容是基於一個真實的故事。」這位不丹導演說道。他的笑容像是一種寧靜與頑皮的奇特組合。「電影所要刻畫的角色就是佛學院里僧人們。」

與之完美相應的是，《高山上的世界盃》中的主角都是現實生活中真正的僧人和轉世喇嘛，而電影拍攝地點位於喜馬拉雅山麓中的秋林寺（Chokling Monastery）。儘管大部分的演職人員在這之前連攝像機都沒見過，而且大部分對白都是即興創作的，但大多數場景只需要過三遍就完成了——這是一項饋贈，他說，是這些僧侶演員們專註的力量為他們的工作帶來的禮物。

然而三十七歲的諾布也承認說，他也運用了自己的宗教身份對演職人員「施壓」以獲得他想要的表現效果。所以他能否自在地與那些不怕惹他不悅的西方演員們合作呢？

我覺得可以，他一邊說，一邊又露出了那種神秘莫測的微笑。「以我所有的佛教徒訓練和自身的經歷，我已經算得上是一個非常棒的操控者了。只要我的演員們還有自我(ego)，我就總能操控他們。如果他們沒有自我了，那我就遇到麻煩了。」

···

諾布第一次迷上電影，是在他十九歲那年。當時他正在印度等候一輛晚點的火車，無意間在電視上看到了一點寶萊塢的電影。後來，他對小津安二郎 (Ozu)、塔科夫斯基(Tarkovsky)和薩蒂亞吉特(Satyajit)的欣賞使他對電影的熱愛也與日俱增，這些人至今仍是他喜愛的導演。在紐約上了一小段導演課程後，他為貝爾托盧奇（Bertolucci）執導的電影《小活佛》（The Little Buddha）擔任了顧問，並因此結交了傑瑞米.托馬斯（Jeremy Thomas），即《高山上的世界盃》的執行製片人。

但是為什麼一個深植於文字傳統的藏傳佛教徒會決定進入電影行業呢？為什麼不是寫一本書呢？「也許其中的一個原因是，我的父親和祖父都被認為是偉大的詩人，而我也被期望能成為一個詩人。整個世界都隨期望而轉，不是嗎？所以我猜我會願意去寫詩，但是會用一種叫做電影的語言。我現在的夢想之一，是創作一部以俳句為基礎的電影。不過我估計找不到哪個製片人會願意拿他的錢來打水漂。」

···

除了他對以詩歌和文字為底蘊的電影的偏好之外，諾布說道，《天生殺人狂》是他特別喜愛的電影之一，因為這部電影的「現實主義」。他自己有可能製作一部包含性、暴力或是吸毒的電影嗎？他不會排拒任何事，他說，只要結果不與佛教徒的根本觀點相悖。

「你看，佛教的目的在於讓人們理解實相，究竟的實相。為了做到這一點，你什麼方法都可以用：禪修，電影，藝術，音樂。」也許，令人驚訝的是，他認為問題並不在於對於暴力、性或其他這類元素的描述，而是在於好萊塢借用這些元素操控觀眾，並藉此強化它自己的世界觀。

「比方說這兒有個房子，而你想往裡面瞧瞧。你有很多方法可以往裡看:「透過窗戶、透過門、透過鑰匙孔，等等。但是現在，好萊塢強勢到逼迫人們以同一種方式去看待事物。」

最後，這位學識廣博的轉世聖賢認為哪些品質對於一個電影製作人來說最為重要呢？

「啊，好吧，」他頑皮的笑起來，說道：「如你所知，我已經被佛教洗腦了，所以我只能給出一個佛教徒式的回答。我認為一個電影製作人肩負著很大的職責，因此他們需要具備佛教徒所描述的完美之人的所有品質——遍知，遍在、慈悲、友善、耐心、堅忍，所有這些。當然，你很難具備全部這些，但是即使你只具備一點點——即使你只是假裝自己具備上述品質中的一點點——我覺得都會有所幫助。」

英文原文：

【Dzongsar Khyentse Rinpoche Uses Film for Seeing Reality】

March-April 2000

Alix Sharkey of the London Evening Standard talked to Dzongsar Khyentse Rinpoche about his film The Cup, showing throughout the world.

He is regarded as the incarnation of one of the greatest Buddhist saints. He rises daily at 4 a.m. to begin five hours of prayer and meditation. He studied philosophy from the age of nine until he was 23.

Yet he has a flat in Notting Hill Gate, travels the world virtually non-stop, wears Armani shirts (maroon of course), and his award-winning directorial debut, The Cup, the first full-length Tibetan language film, is all about the link between religion, tradition and football.

Fortunately for the press, Khyentse Norbu – or to give him his full title, His Eminence Dzongsar Jamyang Khyentse Rinpoche – wears his learning lightly, preferring to pose questions about football (「What about Kevin Keegan, is he any good?」) rather than discuss his own rigorous Buddhist training. Yet it was the gap between this formal education and the aspirations of his fellow students that inspired him to write and direct The Cup.

The story of a football-crazy young monk』s determination to watch the 1998 World Cup Final and the disruption this causes to the serene life of the monastery, Norbu』s delightful drama was selected for the critics』 fortnight at Cannes, has won prizes at festivals in Australia and Canada, and recently screened at the Sundance Film Festival in the US.

The Cup centers on 14-year-old Orgyen who idolizes Brazilian striker Ronaldo but wants France to win because, he says, 「France always sticks up for Tibet.」 After the monastic discipline master catches Orgyen and his pals sneaking out to watch one of the semifinals on TV in the village, they are put on extra kitchen duties for a month and all seems lost. Instead, they plead to have the game broadcast live in the monastery. The dilemma facing the elderly master and the discipline abbot, says Norbu, reflects the problem facing the Tibetan Buddhist tradition as a whole – how to maintain discipline in a rapidly changing world, and uphold ancient religious traditions in a refugee culture.

「The Cup is 95% based on a true story,」 says the Bhutanese director, whose smile suggests a curious mix of serenity and mischief. 「The characters in the film were actual monks in the college of Buddhist philosophy.」

With perfect symmetry, all the leading roles in The Cup were played by real-life monks and reincarnate lamas, while shooting took place in Chokling Monastery in the Himalayan foothills. Despite the fact that most of the cast had never seen a movie camera and that much of the dialogue was improvised, most scenes required only three takes – a tribute, he says, to the powers of concentration that the monastic cast brought to their work.

However, the 37-year-old Norbu admits, he also played on his religious status to 「tyrannize」 the cast and get the performances he wanted. So could he work as freely with Western actors who weren』t so worried about displeasing him?

I think so, he says, with another inscrutable smile. 「In all my Buddhist training and my experience, I have become quite a good manipulator. So as long as my actors have ego, I can always manipulate them. If they don』t have an ego, then I have a problem!」

Norbu was first dazzled by movies as a 19-year-old, waiting for a delayed train in India, when he caught a glimpse of a Bollywood epic on TV. His love of cinema grew through an appreciation of Ozu, Tarkovsky and Satyajit Ray, who remain his favorite directors. After a brief directing course in New York, he worked as consultant on Bertolucci』s The Little Buddha, where he met and befriended Jeremy Thomas, executive producer of The Cup.

But why did someone so rooted in a text-based tradition, as Tibetan Buddhism is, decide to move into film? Why not write a book? 「Maybe one reason is both my father and grandfather are considered great poets and I』m sort of expected to be a poet, too. The whole world moves because of expectations, no? So I guess I like to write poetry but using a different language, namely film. One of my dreams at the moment is to make a film based on haiku. But I didn』t think I will find a producer willing to throw his money into the ocean.」

Despite his penchant for poetic, character-based films, Norbu says that Natural Born Killers is one of his favorite movies because of its 「realism.」 Could he see himself making a film that involved sex, violence or drug-taking? He won』t rule out anything, he says, providing the result did not violate the fundamental Buddhist view.

「You see, the purpose of Buddhism is to make people understand reality, the ultimate reality. In order to do that, you can employ all kinds of methods: meditation, film, art, music.」 Perhaps, surprisingly, his problem isn』t with the depiction of violence or sex per se, he says, but with Hollywood』s use of them to manipulate audiences and reinforce its own world view.

「Say you have a house, and you want to look inside it. There are many different ways you can look: through the window, through the door, through the keyhole and so on. But right now, Hollywood is so strong that we』re all forced to look at things the same way.」

Finally, what qualities would this reincarnate scholar-saint regard as the most important for a filmmaker?

「Ah, well,」 he says, flashing that wicked grin, 「you see I』m brainwashed by the Buddhists, so I can only give you a Buddhist answer. I think a filmmaker has a huge responsibility and so they should have all the qualities that fit the Buddhist description of a perfect being – omniscient, omnipotent, compassionate, kind, patient, tolerant, all of that. Of course, you can』t have all that but even if you have a little bit – even if you pretend to have a little bit – I think that would help.」

本文發表於2000年