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Of the allegations that Allen abused his adopted daughter Dylan Farrow,
针对艾伦虐待其养女迪伦·法罗的指控，
she has said that she would not have worked with him had she known what she knows today, and she won't work with him in the future.
葛韦格说，如果当时她知情她就不会和他合作了，她还说自己今后不会再和他合作了。
Farrow tweeted her appreciation in response, writing, "Thank you for your words. Please know they are deeply felt and appreciated."
法罗发推文感谢了葛韦格，她写道：“谢谢你说了那些话，请记住，那些话深深地映入了我的心里，我很感激。”
The meticulous preparation Gerwig put herself through, over many years, seems less typical of young male directors.
多年来葛韦格一丝不苟付出的那种努力，在年轻的男导演身上似乎并不多见。
"It might be gendered, it might be a variety of other things. I had this sense of needing to be prepared," she says.
“这个行业可能跟性别有关，也可能跟别的一系列的东西有关。但我还是觉得我需要做好准备，”她说。
"It does seem to be something women struggle with more."
“导演似乎确实是女性需要付出更多的以一个行业。”
But she knew when the time had come:
机会来临时，她是知道的：
"It does reach a point where you think, If I fall on my face and it's dreadful and everybody says it's dreadful, I'd rather have tried than not."
“确实会有想如果自己失败了，败得很惨，而且大家都会说我败得很惨怎么办的时刻，但我还是要尝试。”
Now she is eager to apply her talents to a different kind of story.
如今，她已经迫不及待想用自己的才华尝试讲述不同类型的故事了。
She isn't bound to the constraints of modest indies, she says.
她说，她不会局限在拍摄小成本的独立电影上。
In fact, she wants to make a leap in scale, in the mold of Spielberg, who in her view has mastered the art of making genre movies personal.
事实上，她希望在斯皮尔伯格——在她看来，斯皮尔伯格已经掌握了将类型片个人化的艺术——的模式中实现影片规模的飞跃。
While Lady Bird trades in purposefully "unadorned cinematic language" —conversations in cars and schoolyard skirmishes—for her next trick she'll need CGI and special-effects teams.
尽管《伯德小姐》有意选用了“朴素的电影语言”—— 发生在车里的对话和校园里的小冲突——但要拍好下一步电影，她还是需要CGI和特效团队。
She'll act again, for the right director with the right project—this summer she'll shoot a drama with the French director Mia Hansen-Love—but her priority is clear.
以后她也还是会出演电影，遇到合适的导演和合适的作品的话，—— 这个夏天她就要和法国导演Mia Hansen-Love一起拍一部电视剧——但她很清楚自己的工作重点。
"It's important to know at any given moment what you would drop everything for," she says. "I would drop everything to write and direct movies."
“任何时候，知道自己最愿意为什么事情不顾一切是很重要的，”她说。“我愿意为了写作和导演放弃一切。”
For years, there has been a sense that Hollywood is on the precipice of a change that never arrives.
多年来，人们一直觉得好莱坞马上就要变革了，但变革迟迟未来。
The so-called Bridesmaids effect, proclaimed following that film's blockbuster performance in 2011, failed to fully come to fruition.
所谓的“《伴娘》效应”，在该片2011年票房大卖之后诞生的一个词汇，并没能完全成熟。
In 2017, many wondered if the Wonder Woman effect would prove similarly meaningless.
2017年，许多人又想知道“《神奇女侠》效应”是否会同样毫无价值地收场。
But women's ups and downs in the industry are as old as Hollywood itself.
问题是，自从好莱坞诞生之日起，这个行业里的女性就一直在经历风风雨雨。
译文由可可原创，仅供学习交流使用，未经许可请勿转载。
