Quotes of All Topics . Occasions . Authors
I have some English words on the first album, but any time I try to do it, you miss something. You think it's just a simple translation from French to English, but it's so different as far as the understanding.
I've realized I have to be very careful in what I say. I speak my heart out. Such honesty is not appreciated in the film industry. Instead, it is twisted and distorted. A lot of what I say is lost in translation.
Scarlett Johansson was wonderful in 'Lost in Translation,' and then, seemingly within a couple of weeks, she became completely Hollywoodised. I was shocked. I didn't recognise her. I hope to God it's just a phase.
When it comes to translation quality, it's not a question of accuracy but of nuance, especially in fiction. The prose has to read fluidly in fiction, and this is a completely different issue from literal accuracy.
Scarlett Johansson has a smile she tries to suppress in every movie she makes. She's been trying to keep a straight face since she appeared with Bill Murray 11 years ago in her breakthrough, 'Lost in Translation.'
Walter Benjamin used to think that languages expand their register thanks to translation, because translation forces ways of using words and structures that were alien to the original speaker of the target language.
If a translation doesn't have obvious writing problems, it may seem quite all right at first glance. We readers, after all, quickly adapt to the style of a translator, stop noticing it, and get caught up in the story.
During the decade following the discovery of the double-helical structure of DNA, the problem of translation - namely, how genetic information is used to synthesize proteins - was a central topic in molecular biology.
I love the song 'El Rey.' And for years, I never knew what the song was totally about. It was something new for me. I'd never sung a song in Spanish before. Then I got the translation and saw what a really cool song it was.
It was my great good fortune, while I was still a student at college, to have possessed a copy of an English translation of his great work 'The Sensations of Tone.' As is well known, this was one of Helmholtz's masterpieces.
Like 'Lost in Translation,' I worked on an advertisement where a Hollywood star was doing a commercial just for Japan. The star was Hugh Jackman. Since I'm Australian, they just assumed I knew him, and I didn't correct them.
The thing that I just discovered, which fascinates me really - my name, McCann, the translation isn't 'Son of Ann'... It comes from 'Canis' - as in 'canine' - as in 'dog!' My name - Rory McCann - means Rory Hound, Rory Wolfhound.
There is the intent of the writer and the interpretation by the artist. What the writer intended and what the artist interprets is not a 1-to-1 translation. It's a crossing of ideas that generates the stories that you see in print.
Sometimes it can be difficult when you're talking to a journo after the game, saying, 'Yeah mate, I was on the burst.' And then the translator is trying to translate that into Japanese, and apparently there is no actual translation.
There comes a time as you continue to write and work on scripts and screenplays where you realize that you have opinions about the next step of the process, and you kind of want more control over the translation from page to screen.
You don't have to say something directly to affect someone. You can make a piece of music without words that can capture a feeling of tragedy or struggle or anger or triumph. It's the translation of the human experience into another form.
By the age of nine, I had a thorough knowledge of contemporary Polish literature as well as of foreign literature in Polish translation, and I began to write poems in honour of a lady of thirty years. Naturally, she knew nothing about them.
I've done a lot of translation in TV, and I can do it. I'm trained to do it. I know how to inject a certain amount of my naturalness into that and where I come from into those things, but it helps if somebody's writing with my experience in mind.
AI has been making tremendous progress in machine translation, self-driving cars, etc. Basically, all the progress I see is in specialised intelligence. It might be hundreds or thousands of years or, if there is an unexpected breakthrough, decades.
My metaphor for translation has always been that translation is really a performance art. You take the original and try to perform it, really, in a different medium. Part of that is about interpretation and what you think the author's voice really is.
A translation needs to read convincingly. There's no limit to what can go into it in terms of background research, feeling, or your own interests in form and history. But what should come out is something that reads as convincing English-language text.
Each language has its own take on the world. That's why a translation can never be absolutely exact, and therefore, when you enter another language and speak with its speakers, you become a slightly different person; you learn a different sort of world.
I have six or seven 'what to name the baby' books, the Oxford dictionary of names, and a fabulous tome that's 26 languages in simultaneous translation - French, German, all the European majors, plus Esperanto, Arabic, Hebrew, Chinese, Japanese, and so on.
Deep learning is already working in Google search and in image search; it allows you to image-search a term like 'hug.' It's used to getting you Smart Replies to your Gmail. It's in speech and vision. It will soon be used in machine translation, I believe.
In poetry, I have, since very young, loved poetry in translation. The Chinese, the French, the Russians, Italians, Indians and early Celts: the formality of the translator's voice, their measured breath and anxiety moves me as it lingers over the original.
When a translation is very good, it is fascinating to see how the book changes and yet stays the same. I think 'Out Stealing Horses' sounds more American for Americans than it does in Norway, and still, it is all there, everything that I wrote. It's amazing.
I've always been interested in the Greek tragedies. A few years back, I re-read a translation of the 'The Oresteia,' and that stayed with me, and slowly this idea of using some of those old legends and plays to tell a new story about modern urban life began to form.
I encourage the translators of my books to take as much license as they feel that they need. This is not quite the heroic gesture it might seem, because I've learned, from working with translators over the years, that the original novel is, in a way, a translation itself.
It's not that prison makes you shed your abstract notions. On the contrary, it pares them down to their most succinct articulations. Prison is, indeed, a translation of your metaphysics, ethics, sense of history and whatnot into the compact terms of your daily deportment.
Want to train a machine translation system? Train it on a gazillion pairs of sentences of parallel corpora, and that creates a lot of breakthrough results. Increasingly, I'm seeing results on small data where you want to try to take in results even if you have 1,000 images.
The director Sofia Coppola's new comic melodrama, 'Lost in Translation,' thoroughly and touchingly connects the dots between three standards of yearning in movies: David Lean's 'Brief Encounter,' Richard Linklater's 'Before Sunrise' and Wong Kar-wai's 'In the Mood for Love.'
The existence of another, competing translation is a good thing, in general, and only immediately discouraging to one person - the translator who, after one, two, or three years of more or less careful work, sees another, and perhaps superior, version appear as if overnight.
The guitar for me is a translation device. It's not a goal. And in some ways, jazz isn't a destination for me. For me, jazz is a vehicle that takes you to the true destination - a musical one that describes all kinds of stuff about the human condition and the way music works.
At Translation, we pride ourselves on being one of the most diverse agencies in the industry - and with that diversity comes a wealth of different talents and perspectives. The onus is on us to empower our employees to use those considerable talents to create real systemic change.
I want my words to survive translation. I know when I write a book now I will have to go and spend three days being intensely interrogated by journalists in Denmark or wherever. That fact, I believe, informs the way I write - with those Danish journalists leaning over my shoulder.
There is a new venue for theory, necessarily impure, where it emerges in and as the very event of cultural translation. This is not the displacement of theory by historicism, nor a simple historicization of theory that exposes the contingent limits of its more generalizable claims.
Rational intelligence is dangerous and leads to ratiocination. The painter is a medium who doesn't realize what he is doing. No translation can express the mystery of sensibility, a word, still unreliable, which is nevertheless the basis of painting or poetry, like a kind of alchemy.
I'll try anything, but the pig testicles in Taiwan were a little much. Eh, it wasn't half bad. There was this one dish I had there, the translation is, 'The Monk Jumps over the Fence.' It's a fish dish with all these spices. It was beautiful, man - it was poetry. It had a whole story.
'The Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.
When I hit a block, regardless of what I am writing, what the subject matter is, or what's going on in the plot, I go back and I read Pablo Neruda's poetry. I don't actually speak Spanish, so I read it translation. But I always go back to Neruda. I don't know why, but it calms me, calms my brain.
A screenplay is really an instruction manual, and it can be interpreted in any number of ways. The casting, the choice of location, the costumes and make-up, the actors' reading of a line or emphasis of a word, the choice of lens and the pace of the cutting - these are all part of the translation.
I wrote 'Yellow Submarine' for the Beatles. I wrote the screenplay for 'The Games,' about the Olympic Games. I wrote 'Love Story,' both the novel and the screenplay. I wrote 'RPM' for Stanley Kramer. Plus, I wrote two scholarly books and a 400-page translation from the Latin, and I dated June Wilkinson!
The beautiful despair is never fruitless. It keeps you going. Like when I first heard Bob Dylan do 'Things Have Changed,' or any time I see any work of art really beautifully done, like Michelangelo's 'The David' or that movie 'Lost in Translation' - it inspires me to try and find my own version of that.
The language of all the interpretations, the translations, of the Judaic Bible and the Christian Bible, is musical, just wonderful. I read the Bible to myself; I'll take any translation, any edition, and read it aloud, just to hear the language, hear the rhythm, and remind myself how beautiful English is.
I've always loved cuneiform; I've always loved the way it looks. I love that it's the world's oldest script. And the creative potential of bad translation or misunderstanding or something has always been at the core of the idea of 'Dirty Projectors.' So the cuneiform is pretty playful - basically, just a joke.
I'd love to become like Bill Murray, who was so funny on 'Saturday Night Live' and has gone on to do some of the landmark comedies people like. And then to add this whole other phase to his career with 'Lost in Translation' and 'Rushmore.' I always felt to be able to have something similar to that would be great.
A play is basically a long, formalistic polemic. You can write it without the poetry, and if you do, you may have a pretty good play. We know this because we see plays in translation. Not many people speak Norwegian or Danish or whatever guys like Ibsen spoke, or Russian - yet we understand Chekhov and the others.
Though I have seldom done anything to my own satisfaction, I am better satisfied with the translation of the New Testament than I ever expected to be. The language is, I believe, simple, plain, intelligible; and I have endeavored, I hope successfully, to make every sentence a faithful representation of the original.
It's not a natural translation, transition, to take something from stage to screen. Onstage your action is communicated through the spoken word primarily, and on screen it's communicated through pictures. So it's always been kind of unnatural to take something that lives on the stage and turn it into moving pictures.
I'm interested in the murky areas where there are no clear answers - or sometimes multiple answers. It's here that I try to imagine patterns or codes to make sense of the unknowns that keep us up at night. I'm also interested in the invisible space between people in communication; the space guided by translation and misinterpretation.