电影课上放的，情节设定很特别（有点扯），但也有一些可取之处：对于长镜头的运用（尤其是提欧在枪林弹雨中去找姬的那段，代入感很强）;朱莉亚在车里中枪那段戏的拍摄是导演组设计了专门的装置才达成的；影片中有很多耐人寻味的motif：动物的出现（狗，猫，挂在天空的猪以及羊群）；提欧经常拿在手边的酒；名画（在谷仓里，姬捂着胸部，扶着鼓起的肚子的动作与一幅名画很相似）。显然这部电影是需要反复观看和深入研究才能看懂的。
摘录对于导演的采访：
“Let’s talk about a few of the most famous shots from the movie. How did you put together the car-chase scene where Julian gets shot?
It was a lot of planning. The problem that I have when I’m writing is, I start imagining the shots. Very early, it was very clear to me that it was going to be a one-shot deal. It was this whole idea of being there in the moment with the character and experiencing violence. We didn’t want glamorous violence. When you constantly cut out, back, forward, you’re presenting the cool ways for a car to crash, as opposed to the random way in which violence happens. So it was in the page, more or less. But then you get into the simple thing of how do you put it together?‘
When Theo runs into a hollowed-out bus in that shot, blood splatters on the camera lens. Can you tell me how that happened?
Initially, there was going to be blood splatter on the lens when they killed Julianne Moore. We were going to add that digitally. But long story short—or long story long—is that for [the refugee camp] shot, we had like 14 days to shoot the whole set piece, except by day 12 we hadn’t rolled cameras yet. As you can guess, by day three that you don’t shoot camera, they send a production guy from the studio to visit you. By the sixth day that you haven’t done it, the creative executive comes to visit you. Well, by the time that you reach the 11th day, the head of the studio is there. That kind of stuff.
And the problem is that we had only two shots a day to do the thing. The morning, then you have to reset the explosions, the screams, the whole thing. Five hours to reset. So you only have another shot right before the light goes away. And the problem is that, we could not extend it to the 15th day, because there was already a commitment with the army or something, one of those things.
So we are in the 13th day, and in the afternoon, we do our first shot. Then after a minute and a half, it just was wrong. So we had to reset for the next day. The next morning we do the first take, and everything is perfect, and we’re about to reach the end. We were running towards getting inside the building, when [camera operator] George [Richardson] tripped, and so the camera fell. So we only had one more shot for one more before we have to move out. It was the end of my career.
Okay, so you get to the final attempt at the shot.
And when we arrived at the bus, the camera goes in, and blood splatters the lens. With my little monitor, I see that I cannot see anything. I yell, “Cut!” But an explosion happens at the same time, so nobody hears me. And that gives me time to think, “Look, I have to roll to the end.” So we kept on going. When we said, “Cut,” Chivo starts dancing like crazy. And I was like, “No, it didn’t work! There’s blood!” And Chivo turns to me and says, “You stupid! That was a miracle! The blood goes here, not with Julianne Moore!” Yeah, that was supposed to go in the other scene, but it happened here.
Let’s talk about the final scene, when Theo and Kee are in the rowboat, waiting for the Human Project’s ship.
What was important was the metaphor of the boat.
What is that metaphor?
We are naturally migrants. I mean, the reason we’re having this conversation is that it’s in the nature of humans to migrate. Otherwise, we wouldn’t be here. There wouldn’t be humans here; they would still be in Africa.” —Alfonso Cuarón on Children of Men
Nothing in this film is on tape accidentally, and even if something was shot by accident (like the famous blood-splashing-on-the-camera-lens detail during the aforementioned thrilling one-take assault scene) was kept in the film for artistically solid reasons...This additional component, however, gives the movie another layer of quality and even greater significance, as well as it perhaps partly explains why Children of Men underachieved at the box office. The Western audience, living in a comfortable bubble, preferred shallow, escapist entertainment which had nothing to do with the unpleasant themes of nationalism, chauvinism, refugee crises and the shape of the future we leave for the following generations."
摘录于https://cinephiliabeyond.org/children-men-alfonso-cuarons-bleak-genious-vision-past-present-future/
