十五年以来,达斯廷·霍夫曼在《毕业生》、《拉索·里佐》(即:《午夜牛郎》)、《小大人》、《宝贝儿》等影片中塑造的银幕形象明确了一些问题,表达了我们时代的态度,它们走出银幕之外,成为我们文化行囊中的一个部分。霍夫曼在影片中塑造的这些人物,尤其是他本人作为电影“工业”中的名演员,具有异乎寻常的影响。这既不寻常,又引起了争议,在霍夫曼从影生涯中无处不见对他的一阵阵需求和他本人对电影的遐想。在这篇对话里,达斯廷·霍夫曼与美国作家、电影评论家米奇·塔奇曼讨论了电影演员的工作,他个人与导演和制片人的关系,他的拍片设想,以及他不喜欢人们常常把他看成是一个为了争论而争论的人。正如他所说的“你不能不争论,这样才能相互受益无穷”。 For 15 years, Dustin Hoffman has created a screen image in films like “The Graduate,” “La Rosa Rizzol” (“Midnight Cowboy”), “Little Adults” and “Baby” Clarified some issues and expressed our attitude toward the times, they are out of the screen and become a part of our culture. Hoffman in the film shape these characters, especially himself as the movie “industry” in the actress, has an extraordinary influence. This is neither unusual nor controversial, as Hoffman has seen his glittering demand everywhere and his reverie of the movie. In this conversation, Dustin Hoffman discusses the work of the film actor with the American writer and film critic Mickey Tagchman, his personal relationship with the director and the producer, his filming assumptions, and his Do not like people often think of him as a controversial debate. As he said, “You can not argue, so as to benefit each other.”