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The Fifth Element(1997)
Director:Luc Besson
Cinematographer:Thierry Arbogast
2nd unit DOP:Nick Tebbet
Production Designer:Dan Weil
Key grip:Joe Celeste
Camera grip:Jean Pierre Mas
Stunt coordinator:Marc Boyle
Costume Designer:Jean-Paul Gaultier
Visual Effects supervisor:Mark Stetson
Creature Effects supervisor:Nick Dudman
Miniature Effects supervisor:Niels Nielsen
Visual Effects DOP:Bill Neil
Special Effects supervisor:Neil Corbould
Pyrotechnics supervisor:Thaine Morris

Luc Besson said he started writing the screenplay when he was 16, creating the vivid fantasy universes to combat the boredom he experienced living in rural France. But it didn't reach the screen until he was 38 years old; by that time, he felt he was old enough to actually have something to say about life.

According to costume designer Jean Paul Gaultier, the enfant terrible of the fashion world who once gave Madonna conical breasts, designed the futuristic costumes for The Fifth Element—more than 1000 of them. He didn't just design them, either For crowd scenes, where there might be hundreds of extras wearing his costume designs, he'd go around making adjustments to ensure everyone looked right before the cameras rolled.

According to Gaultier, Besson had lined up Mel Gibson, Julia Roberts, and Prince to play the leads in 1992, before financial problems delayed the project. (It's not clear whether any of them had officially signed on or were merely considering it.) Besson arranged for Gaultier to meet with Prince when the singer was in Paris so he could show him sketches of his designs. The meeting proved awkward (as one assumes many meetings with Prince are), and The Purple One later told Besson that he found the costumes "a bit too effeminate." It's entirely possible that the production delays would have prevented Prince from committing anyway, but it's fun to think about what Ruby Rhod would have been like in different hands. Gaultier had also unwittingly offended Prince with his description of one proposed outfit, a mesh suit with a padded, fringe-bedecked rear. Gaultier kept referring to this part of the suit as a "faux cul" ("fake ass"), but because of his thick accent, he said Prince misheard him as saying, "F-\-\- you!" Tucker has said he took inspiration from both Prince and Michael Jackson in crafting his performance as Ruby Rhod.

When filming began, the production decided to dye Milla Jovovich's hair from its natural brown color to her character's signature orange color. However, due to the fact that her hair had to be re-dyed regularly to maintain the bright color, Milla's hair quickly became too damaged and broken to withstand the dye. Eventually a wig was created to match the color and style of Leeloo's hair, and was used for the remainder of the production.

Luc Besson, an admitted comic book fan, had two famous French comic book artists in mind for this movie's visual style when he started writing the movie in high school, Jean Giraud (Moebius) and Jean-Claude Mézières. Both artists have long-standing comic book series in France. Moebius is best known for "Blueberry" and the (French) Magazine and (U.S.) movie Heavy Metal (1981). Mézières is best known for the "Valerian" series. Both series are still in production today. Moebius and Mezieres, who attended art school together but had never collaborated on a project until this movie, started renderings for this movie in the early 1990s and are responsible for the majority of the overall look of the movie, including the vehicles, spacecrafts, buildings, human characters, and aliens. However, only Giraud is credited, and even then, he wasn't even granted a premium when the movie was eventually produced.

Some of the most memorable moments from the film are views of a future New York, complete with flying cars and a mass of new and old skyscrapers. The film was one of Digital Domain’s huge miniature shows released that year – the others being Dante’s Peak and Titanic – while also heralding the fast-moving world of CGI in the movies. The New York scenes were created using a combination of CGI (for the flying cars), live action (the people), and scale models (the buildings). A crew of 80 on the production design team spent five months building dozens of city blocks at 1/24th scale.The visual effects for The Fifth Element were realized with a masterful combination of motion control miniatures, CG, digital compositing and effects simulations by Digital Domain. The flying traffic created by the visual Effects team allowed artists to create personalized license plates. Though never visible in the movie, the state slogan printed on all license plates reads "New York, The F***-You State."The people populating the roofs, decks, and windows during the visual effects sequences in New York City are the artists and employees at Digital Domain.
The text scrolling across a Times Square theater marquee as Korben dives down through traffic is actually an excerpt from an e-mail dispute between several artists at Digital Domain. Other signs on digital and practical, miniature buildings contain similar in-jokes and references and the large cylindrical tanker truck that Korben's cab almost hits at the end of his descent is decorated with the logo of a Venice, California, pizza parlor that was a favorite of Digital Domain artists.

‘You know, Mark, I don’t want to do these ‘fancy panning around and seeing the whole world shots’. I’d much rather set a camera looking down a street, having a cab rush towards me, and cut as it passes by, and then cut to a reverse of it passing by, and construct my film that way.’ – The Fifth Element visual effects supervisor Mark Stetson relates what director Luc Besson said to him about staging the film’s New York City shots.

This was Mark Stetson’s first visual effects supervisor role, this is what he had to say about it in a VFX blog article

Mark Stetson: I wasn’t afraid of the size of it. I didn’t think it was huge at the time. I mean, it was sort of standard tent pole-ish at the time and I was confident that I could do that, but it was my first one and there was a ton I had to learn, especially about digital visual effects. And I was very supported by Digital Domain. It was Digital Domain 1.0 back then, and they really gave me a great team. It was a great experience all around.

During the prep period, cinematographer Thierry Arbogast worked extensively with production designer Dan Weil to integrate various lighting units — primarily fluorescent and occasionally ultraviolet fixtures — within the sets themselves. More often than not, the futuristic spaces dictated the types of fixtures that could be used.
Arbogast had some challenges on the film he said this about the opera scene.
“Most of the lights you see in the opera house were already there. The difficulty was in lighting the people in the audience without illuminating the white facades of the balcony. Therefore, we used a lot of flags to focus our lighting precisely on the people.”

Gary Oldman played Zorg as a cross between then-Presidential candidate Ross Perot and Bugs Bunny.

In most shots of Gary Oldman, there is a circle around his head. In fact, a circle in the middle of the frame is a nearly constant motif in this movie. Bruce Willis, on the other hand, is more often framed by a rectangle or doorway behind him.

In keeping with the hands-on approach Besson established on Le Dernier Combat and has practiced on all of his successive films — Subway (1985), The Big Blue (1988), Atlantis (1990), La Femme Nikita (1991) and The Professional (1994) — the filmmaker operated the camera himself throughout the entire shoot. While such a working situation is rare for directors working within the Hollywood system, Besson prefers it because he can maintain better control of the onscreen action. "I create the frame and the movement within it," he explains. "Why lose time explaining everything to someone else? He's going to be slightly off, and then I'm going to freak out and say, 'No, this is not what we discussed. I want the camera here!' So it's better for everyone involved if I just do it myself.

"I write each action scene as if it is a ballet; the movements fit with the music. Generally, I'll shoot a fight sequence for 10 days using just one or two cameras and a very small crew. I've already written out the fight scene in my head, shot by shot. I do this for each and every sequence so that we can just shoot it, and then put the scene together in the editing room. At the same time, when you're on the set, you can have an idea at the last moment; you realize that from a different angle the light might be better, so you change the perspective [of the shot]. But I'll always write down and block out this [new] progression."

The explosion in the Fhloston main hall was the largest indoor explosion ever filmed. The resulting fire almost went beyond control. It took twenty-five minutes to put out.

At the time, it was the most expensive movie ever produced outside of Hollywood, most expensive French production history, and at $80 million USD, the visual effects budget of the movie was the highest of its time.

The wonder on Bruce Willis' face when the Diva sings is real. That was the first time he'd heard it and seen the actress in full make-up.

Bruce Willis, Milla Jovovich, Chris Tucker and Gary Oldman are all left-handed.

The director had been married to Maïwenn Le Besco, who plays the Diva Plavalaguna, since 1992 (when she was 16 and he was 33, but that's another story). She didn't want to be in the film, adhering to the old adage that married people shouldn't work together and co-workers shouldn't marry each other. But when the actress Besson had cast as the Diva dropped out, Le Besco took the part got painted blue and gave a memorable performance. Alas, Besson didn't share his wife's policy of not mixing work with relationships. He left her during the production for Milla Jovovich, whom he married at the end of 1997 and divorced two years later... then that happened

From Mental floss,vfx blog,ASCmag article,IMDb,YouTube visual element doc.

誤譯的終結？不如等世界末日來臨
——《信仰的終結》翻譯初窺

趁時事正熱打個比方：終結不了的翻譯問題，跟宗教為人世帶來的種種災禍一樣，不可能完全根除。

彷彿語言的誤解和誤譯本身，已趕在被台灣宗教財團收攏的不肖政客通過「宗教基本法」之前，悄悄成立了宗教——The Universal Church of Miscomprehension and Mistranslation——以防人心發展出理性思考去加以干涉、甚至「迫害」。

酸話說完了。有機會，還是儘量把語言可經由理性解讀的真相呈現出來。

以下以【……】標出知名無神論者Sam Harris精彩可期的
著作The End of Faith的部分翻譯問題。

統計資料供參：

中譯是博客來上可讀到的4小頁內容，對應原文約1700字，大約每67原文字出現一個我認爲需要改正的理解與翻譯問題。原文書估計11萬6千字，在如此微小的樣本下，粗估整部中譯會有超過1700個這種語言問題。

除了以這種貌似較爲客觀、科學的計數法來判斷翻譯是否合格、過關以外，其實我認爲另一種較人性、直觀、「不科學」的方式：從「會犯哪種錯」、「該不該犯那種錯」這種「微小」地方，來得到對某譯者的整體觀感，至少是同等重要的，有時候這種「見微知著」法所揭露的事更多、更大、更不堪。

暫不一一討論問題的細節、甚至替出版社和譯者提供新的翻譯了，太費時。有興趣的人可以自行研究。問題當中肯定有的很明顯，有的較隱晦。如果你不認爲某一點有什麼問題值得大驚小怪，歡迎指出討論。也許這不失爲一種更積極的理解英語、斟酌中文、激盪思考的方法。我希望把時間花在刀口上。

====================================
書名：The End of Faith: Religion, Terror, and the Future of Reason
信仰的終結：宗教、恐怖行動及理性的未來
作者： Sam Harris
譯者： 孔繁鐘
出版社：八旗文化
出版日期：2015/12/30

作者簡介　山姆．哈里斯（Sam Harris）

美國著名作家、哲學家、神經科學家。著有《紐約時報》暢銷書《信仰的終結》（The End of Faith，美國筆會2005年非小說類得獎著作）、《給基督教國度的一封信》（Letter to a Christian Nation），以及《道德風景》(The Moral Landscape)。他的作品以超過十五種語言出版。文章曾刊於《新聞周刊》、《紐約時報》、《洛杉磯時報》、《泰晤士報》（倫敦）、《波士頓環球報》、《大西洋月刊》、《神經學年鑑》、《外交政策》及其他許多刊物。為理智工程(Project Reason)的共同創始人與董事長，該非營利組織致力於傳播科學知識和社會中世俗價值。

史丹佛大學哲學學士。他研究東方及西方的宗教傳統以及各種靈性教派已二十年。2009年取得神經科學博士學位，研究主題為相信、不相信、及不確定的神經學基礎。請造訪他的網頁 www . smaharris . org.

譯者簡介　 孔繁鐘

衛生署玉里醫院精神科主治醫師，台大化工所畢業後考上台大醫學院學士後醫學系。為孔子第七十四代後裔，因花東地區醫療資源較缺乏，與弟弟孔繁錦長期投入當地的精神醫療，照顧病情嚴重的精神病患，並翻譯多本國內精神醫學與心理學教科書。身為精神科醫師，他相信精神醫學得本執在於人性的幫助關係，而非統計分類；因此不把自己視為一個開藥者，也定義自己為為一個充滿同理心的助人者。

================================

翻譯問題列表（依內容順序）：

The young man takes his seat beside a middle-aged couple. He will wait for the bus to reach its next stop. The couple at his side 【appears to be shopping for a new refrigerator】. The woman has decided on a model, but her husband worries that it will be too expensive. He indicates another one in a brochure that lies open on her lap.
年輕男子靠著一對中年夫婦坐下。他耐心等著公車到下一站。這對夫婦【似乎正要去買新冰箱】。妻子膝蓋上攤著一份冰箱型錄，她已經選定了要買的機型，但是丈夫嫌太貴，指著另一種機型絮絮說著。

The next stop comes into view. 【The bus doors swing】.
下一站已近在眼前。【公車搖晃著】。

The nails, ball bearings, and rat poison 【ensure further casualties on the street and in the surrounding cars.】
釘子、小鋼球和毒老鼠藥【發揮了最大的殺傷力，也造成街道上和四周車輛中其他人員大量】傷亡。

These are 【the facts】. This is all we know for certain about the young man.
這些都是【真人實事】。關於這位年輕男子我們確實知道的所有實情都在這裡了。

A BELIEF is a lever that, once pulled, moves almost everything else in a person’s life. Are you a scientist? A liberal? A racist? These are merely species of 【belief in action】.
信仰是一種控制桿，一旦拉動就能操縱人們生活中幾乎所有層面的每件事。你是個科學家嗎？自由主義者？種族主義者？這些不過是【依據信仰促發的行動】而做的分類罷了。

It seems that if our species ever eradicates itself through war, it will not be because 【it was written in the stars】 but because it was written in our books; 【it is what we do with words like “God” and “paradise” and “sin” in the present】 that will determine our future.
看來若人類終將經由戰爭而自我滅絕，也絕不是因為這些想法【被寫在星空中】，而是因為它被寫在某些書籍裡；【正是我們現在所看到使用「上帝」、「天堂」與「罪惡」這些字眼的那些書籍】，決定了人類的未來。

【People tend to organize themselves into factions according to which of these incompatible claims they accept】—rather than on the basis of language, skin color, location of birth, or any other criterion of tribalism.
這些書籍的主張互不相容，而【人們傾向於把接受相同主張的人歸於同一宗派】，而非依據語言、膚色、出生地、或任何其他區分部落意識的標準。

All are 【in perverse agreement】 on one point of fundamental importance, however: “respect” for other faiths, or for the views of unbelievers, is not an attitude that God endorses.
所有這些書籍都【極力堅持】一項重要基本論點：上帝絕不贊同「尊重其他信仰或不相信者的觀點」這種態度。

【While all faiths have been touched, here and there, by the spirit of ecumenicalism,】 the central tenet of every religious tradition is that all others are mere repositories of error or, at best, dangerously incomplete. Intolerance is thus intrinsic to 【every creed】. Once a person believes—really believes—that certain ideas can lead to eternal happiness, or to its antithesis, he cannot tolerate the possibility that the people he loves might be led astray by the blandishments of unbelievers. Certainty about the next life is 【simply incompatible with tolerance in this one.】
【各處各地所有的信仰都浸潤著「真神唯一」的精神】，每個宗教的傳統核心教義都是：所有其他宗教的組成都是錯誤，若非全錯，至少也是不完全且危險的。不包容正是【所有教條】的本質。某個人一旦真心相信了某種想法能導致永恆幸福或永遠不幸，他必將無法容忍他所愛的人可能會被不相信者的花言巧語所誤導。他對來世的確信，也讓他【無法對此再多包容】。

Observations of this sort pose 【an immediate problem for us, however, because】 criticizing a person’s faith is currently taboo in every corner of our culture.
但這類觀察立即帶給我們【一個問題：因為】在我們當前文化的每個角落，批評他人的信仰都屬禁忌。

But technology has 【a way of creating】 fresh moral 【imperatives】. Our technical advances in the art of war have finally rendered our religious differences—and 【hence our religious beliefs】—antithetical to our survival. We can no longer ignore the fact that billions of our neighbors believe in the metaphysics of martyrdom, or in the literal truth of 【the book of Revelation】,
可是科技【創造了】全新的道德【指令】。人類在戰爭藝術方面的技術如此精進，終於讓我們的宗教差異以及【伴隨的宗教信仰差異】危害到人類的生存。我們再也不能忽視這項事實：我們的鄰居中成億上萬的人都相信殉教的形而上學，或相信【他們聖書】表面字義所揭示的真理，

Consider the case of alchemy: it fascinated human beings for over a thousand years, and yet anyone who seriously claims to be a practicing alchemist today will have disqualified himself for most positions of responsibility in our society. Faith-based religion 【must】 suffer the same slide into obsolescence.
以煉金術為例：它曾蠱惑人類一千多年，但在當今社會，任何人若鄭重自稱是一位煉金術士，將被認為不夠資格擔任絕大多數重要職務。同樣地，以信念為基礎的宗教【必將】落入歷史廢墟之中。

What is the alternative to 【religion as we know it】? As it turns out, this is the wrong question to ask. Chemistry was not an “alternative” to alchemy; it was a wholesale exchange of 【ignorance at its most rococo】 for genuine knowledge.
那麼【就我們所知，宗教】的替代品是什麼？其實這是個錯誤的提問。化學並不是煉金術的「替代品」；它是【以極其精巧華麗的方式，把無知】整批置換成為真正的知識。

OF COURSE, people of faith 【fall】 on a continuum:
當然，秉持信仰的人們【可以分布】在一個連續帶上：

they imagine that the path to peace will be paved once each of us has learned to respect the 【unjustified】 beliefs of others.
他們想像，一旦每個人都學會尊重其他人【無法證實】的信仰，和平之路就能順利展開。

Many religious moderates have taken the 【apparent high road】 of pluralism, asserting the equal validity of all faiths,
許多宗教溫和派已經奉行了多元主義的【大道】，確信所有不同的信仰都同等有效，

As long as a Christian believes that only his baptized brethren will be saved on the Day of Judgment, he cannot possibly “respect” the beliefs of others, for he knows that the flames of hell have been stoked by 【these very ideas】 and await their adherents even now.
只要基督徒相信在最後審判日唯有自家受洗的弟兄們才能得到救贖，他就不可能「尊重」其他信仰，因為他知道地獄的火已被【他們那樣的想法】所激發，正等著焚燒其追隨者呢。

Muslims and Jews generally take the same arrogant view of their own enterprises and have spent millennia passionately reiterating the errors of other faiths. It should go without saying that 【these】 rival belief systems are all equally uncontaminated by evidence.
伊斯蘭教徒和猶太教徒通常也用同樣傲慢的態度只尊崇自己的信仰，並且幾千年來一直狂熱地重申其他信仰的錯誤。但無庸置疑地，這【兩種】相互對抗的信仰系統也都同樣缺乏證據。