说起娜塔莉·波特曼这个名字，相信大家都不会陌生：她是《这个杀手不太冷》（Leon: The Professional）中惊艳时光的短发小萝莉。
但年少成名的光鲜背后，却有着不为人知的心酸。而在今年美国“妇女大游行” (Women’s March)的公开演讲中，她讲述了13岁那年初入影坛时的种种艰辛。
在演讲中，娜塔莉提到，12岁的时候，她出演了自己的第一部电影《这个杀手不太冷》(Leon: The Professional)，片中那个酷酷的萝莉杀手令她声名大噪。
Natalie Portman shared the traumatic experience Saturday while speaking to a crowd of thousands of women at the Los Angeles Women’s March.
The Oscar-winning actress explained that she turned 12 on the set of her first film, ‘Leon: The Professional,’ in which she played a young girl who made friends with a hit man in hopes of avenging her parents’ murders.
The French film attracted controversy for its moral ambiguity, with many viewing Portman’s character as a Lolita-esque figure and many were left uncomfortable with the relationship between her and the middle-aged killer, played by Jean Reno.
From that point on the 36-year-old Harvard graduate said she adjusted her personal and professional behavior to avoid this – even going so far as rejecting roles with kissing scenes.
In interviews she emphasized her ‘bookish and serious’ side, and eventually built a reputation as ‘prudish, conservative, nerdy, serious.’
But, she said, it was what she had to do in order to feel safe and be sure her voice was heard.
One year ago on this stage, I was very pregnant, and we talked about the beginning of a revolution. Today, my new daughter is walking, and because of you, the revolution is rolling. You told the world that time’s up on violence. You told the world that time’s up on silence. You told the world that it’s time for a new day, a new locker-room culture, time to think about every person’s desires, needs, wants and pleasure. So let’s talk a little bit more about pleasure.
I keep hearing a particular gripe about this cultural shift, and maybe you have, too. Some people have been calling this movement puritanical or a return to Victorian values, where men can’t behave or speak sexually around dainty, delicate or fragile women. To these people, I want to say, the current system is puritanical. Maybe men can say and do whatever they want, but women cannot. The current system inhibits women from expressing our desires, wants and needs, from seeking our pleasure. Let me tell you about my own experience.
I turned 12 on the set of my first film, ‘The Professional,” in which I played a young girl who befriends a hit man and hopes to avenge the murder of her family. The character is simultaneously discovering and developing her womanhood, her voice and her desire. At that moment in my life, I, too, was discovering my own womanhood, my own desire and my own voice. I was so excited at 13 when the film was released and my work and my art would have a human response. I excitedly opened my first fan-mail to read a rape fantasy that a man had written me. A countdown was started on my local radio station to my 18th birthday, euphemistically the date that I would be legal to sleep with. Movie reviewers talked about my “budding breasts” in reviews.
I understood very quickly even as a 13-year-old, if I were to express myself sexually, that I would feel unsafe, and that men would feel entitled to discuss and objectify my body, to my great discomfort. So I quickly adjusted my behavior. I rejected any role that even had a kissing scene, and talked about that choice deliberately in interviews. I emphasized how bookish I was and how serious I was, and I cultivated an elegant way of dressing. I built a reputation for basically being prudish, conservative, nerdy, serious in an attempt to feel that my body was safe and my voice would be listened to. At 13 years old, the message from our culture was clear to me. I felt the need to cover my body and inhibit my expression and my work in order to send my own message to the world, that I’m someone worthy of safety and respect.
The response to my expression, from small comments about my body to more threatening deliberate statements, served to control my behavior through an environment of sexual terrorism. A world in which I could wear whatever I want, say whatever I want and express my desire however I want without fearing for my physical safety or reputation, that would be the world in which female desire and sexuality could have its greatest expression and fulfillment. That world that we want to build is the opposite of puritanical.
So I’d like to propose one way to continue moving this revolution forward. Let’s declare loud and clear that this is what I want. This is what I need. This is what I desire. This is how you can help me achieve pleasure. To people of all genders here today, let’s find a space where we mutually, consensually, look out for each other’s pleasure, and allow the vast, limitless range of desire to be expressed. Let’s make a revolution of desire.
Portman was discovered in a pizza shop by a Revlon modeling agent at the age of 10, but quickly turned from modeling to acting, according to HDNet Movies.
When Portman originally auditioned for The Professional the casting director had turned her down for the part because she was too young. In a second audition, this time in front of director, Besson, she performed the scene where Mathilda laments the loss of her brother. Besson, impressed with the depth of emotion presented, hand picked her for the role.
比如，在舞台剧《安妮日记》(The Diary of Anne Frank) 中出演女主安妮·法兰克↓↓↓
以及《星球大战》前传三部曲 (Star Wars prequel trilogy) 中的帕德梅·阿米达拉（Padmé Amidala）女王↓↓↓
“I’m going to college. I don’t care if it ruins my career. I’d rather be smart than a movie star.”
At college, Portman was a research assistant in a psychology lab. And after graduation in 2004, she continued to pursue graduate studies at the Hebrew University of Jerusalem. She speaks six languages and has twice been published in scientific journals.
Portman was required to contribute her share of blood, sweat, tears, and thought. First on the list of pains Portman endured for the role was training as a prima ballerina: “It was about a year of ballet preparation that sort of ramped up as the film got closer. It started out for a couple of hours a day, then five hours a day, then more like eight hours and it was very intense but really fun, too.”And if it looks like it hurt on film, that’s because it often did.
A climactic scene where Nina fights the girl in the mirror (literally) proved tough, both emotionally and physically: “A lot of it I was doing with a double. It was great but also physically hard, with all this broken fake glass and fighting and jujitsu—it was kind of insane. I hit my head and had to get an M.R.I. Nothing happened, of course.”
她在《黑天鹅》片场与担任舞蹈指导的本杰明·米派德 (Benjamin Millepied)，两人朝夕相处，坠入爱河。
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