时代周刊 格蕾塔·葛韦格 凭处女作问鼎奥斯卡的好莱坞女导演(2)（在线收听）

The movie has also resonated with audiences.

这部电影也引起了观众的强烈共鸣。

The owner of a stately blue Sacramento house used as a filming location now has droves of devotees taking selfies outside her window on a kind of pilgrimage.

萨克拉门托一座雄伟的蓝色民宅曾被用作该片的拍摄地点，如今，前去朝圣的粉丝络绎不绝，大家纷纷前往那家人的窗户外自拍。

There are more than a few testimonials online from daughters who, after seeing the film, called their mothers to apologize for their nightmarish teenage behavior.

还有不少女生在网上贴感谢信，她们都曾在看完这部电影之后打电话，为她们曾经做出的噩梦般的叛逆行为向她们的母亲道歉。

And a lone film blogger drew the ire of fans when he sullied Lady Bird's perfect Rotten Tomatoes score.

而某电影博主在烂番茄上将《伯德小姐》拉下了满分神坛，此举激起了粉丝们的愤怒。

(The critic entered his review as "rotten" because he thought the film didn't deserve to be "the all-time best reviewed movie" on the review aggregator.)

（该影评人给了该片差评，因为他认为该片不配充当该网站“史上评价最高影片”。）

In Lady Bird, on movie screens from Sacramento to Brooklyn,

从《伯德小姐》中，从萨克拉门托到布鲁克林的电影屏幕上，

women and girls are seeing themselves reflected in all their warts and glory:

女性们看到了自己的疮痍，也看到了自己的光彩：

Mothers whose love for their daughters has at times filtered messily through envy and resentment.

母亲们看到了对女儿的爱时不时夹杂着嫉妒和怨恨的自己。

Women whose double shifts as nurses or police officers render magazines in the supermarket checkout line an extravagance.

轮班的女护士和女警察看到了让买到超市结账队伍里的杂志都变成了奢侈的自己。

Girls who've grown accustomed to being told, through images, that their lives are unworthy of thoughtful consideration.

女孩们儿看到习惯了被，用事例，灌输她们的生活不配得到体贴入微的关照的自己。

Lady Bird is the kind of movie that can make you a little more generous, and a little kinder, not least of all to yourself.

《伯德小姐》是那种能够让你变得慷慨一点，善良一点，尤其是对自己，的电影。

Gerwig has at once become her own success story and a symbol of the future of storytelling—of the not-so-radical notion that we may, perhaps even soon, get to stop qualifying director with female.

葛韦格一举撰写出了自己的成功故事，她象征了故事叙述的未来 - 那种讲述我们可能，甚至很快，得停止限制女性加入导演行业这一不太激进的理念的叙述。

She knows the power of seeing someone like yourself out there doing the thing you yearn to do.

她知道，看到和自己差不多的人做着自己渴望做的事情能够给人带来多大的力量。

But she's hopeful for a time when we won't need to count every woman's accomplishment as evidence.

但她也期盼着我们不再需要用每个女人的成就来证明这一点的那一天。

You just look forward to the day, she says, "when it doesn't mean anything."

“你只要心怀希望就可以了，”她说，“当它不代表任何问题的时候。”

Some kids grow up practicing Oscar speeches in the mirror.

有些孩子在成长的过程中曾在镜子面前反复模仿奥斯卡演讲。

But when she was a kid in Sacramento, Gerwig barely even went to the movies.

但当葛韦格小时候住在萨克拉门托的时候，她几乎从未去电影院看过电影。

When she did, she didn't think about them as being directed—they just seemed like "whole things handed down from gods."

当她真正去看的时候，她也不觉得电影是人拍出来的 - 电影看着就像“全部是神赐予的。”

Even among mortal creators, scant few were women.

即使是凡人导演中间，也很少有女性的身影。

"There was Jane Campion, Nancy Meyers, Nora Ephron, Amy Heckerling," Gerwig says as she counts the few she can recall on one hand.

“只有简·坎皮恩，南希·迈耶斯，诺拉·艾芙隆，艾米·海克林，”葛韦格掰着一只手的手指数到。

"Not a lot."

“不多。”

It wasn't until she was at Barnard College that she realized she might want to add her name to that very short list.

直到进了巴纳德学院，她才意识到她可能想把自己的名字也加到那个很短的名单上。

But directing just didn't seem like a realistic career option.

然而，当导演似乎并不是一个现实的职业选择。

So she immersed herself in theater, her childhood passion, working summers as a stage manager at places like the Ontological-Hysteric Theater.

于是，她一头扎进了童年时自己酷爱的戏剧，去了本体论—歇斯底里剧场等地方当剧务。

As she was finishing school, she began acting in low-budget mumblecore films like Hannah Takes the Stairs and Nights and Weekends (which she co-directed),

由于已经临近毕业，她便开始出演包括《爱的阶梯》和《夜晚与周末》（她也是该片的导演之一）在内的一些小成本“呢喃核”影片，

known for their improvised performances and nonchalant approach to plot.

这类影片以即兴表演和及对情节不拘一格的处理方式著称。