乔乔:电影路上的执着环保人

The click rate of a micro-film on environmental protection entitled “The Lost Homeland”， which cost five years to make， surpassed 850，000 twelve hours after uploading； and it has won high recommendations from many mainland celebrities including Ma Yun and Wang Shi within half a year's time. Director of the film， Qiao Qiao， has risen from nobody to a “spokesperson of the new generation” for environmental protection overnight by virtue of his close attention to the wildlife. As a modest man who isn't accustomed to boasting about his achievements， Qiao didn't talk too much before a camera and said frankly that he would rather be behind the scene.

“At first， I didn't know when a bird would enter my lens or what course it would take， all I could do was keeping my camera on and waiting. You know， a roll of film worth 1050 Yuan will be used up in just more than four minutes' time.” Hard and costly as the shooting was， Qiao stuck to it. In his words， his conviction of “protecting the ecological environment by means of film-shooting” was set upon his graduation and has remained unchanged ever since. He even sold his car and house to raise up to 8 million Yuan for realizing his goal.

2012年12月21日，历时5年拍摄剪辑的环保微电影《迷失的家园》上传仅12个小时，点击率就超过了85万，并在流传的半年时间内，被马云、王石等多位中国内地名人力推。本片导演乔乔，因为这个短片和他拍摄野生动物的行为迅速成为了环保公益的“新新代言人”。对此，乔乔直言当之有愧，镁光灯、摄像机前的他话不多，相比于抛头露面，乔乔坦言自己更想做一个镜头背后的电影人。

“不知道鸟什么时候入画，也不知道它往什么方向飞，所以我只能开着机撞运气，而每4分多钟的电影画面就要用掉一卷1500多元的胶片。”如此艰难和烧钱的事情，乔乔仍然坚持了下来，用他的话来讲，“用光影保护生态环境”的信念从2008年毕业到卖掉车、房筹集800万的那一刻起，就已铸就于心。

Making a film for Animals

简简单单拍动物

For a young man who is fresh from his university， it's really lucky for Qiao to own a house in China's capital Beijing with rapidly surging house prices. Therefore， it's quite natural that he was besieged with overwhelming doubts and dissents when he decided to sell his house and car for film-making. Even today， Qiao is reluctant to mention that the bygone experience. He told the reporter， “My original idea was to make a film about the wildlife， a true wildlife film without voice-over and completely consisting of wildlife images.” With no scripts at hand， Qiao made the film by selecting and re-combining a large number of materials shot in advance. With a general but bold idea in mind， the young graduate began collecting funds and investments through various channels. “I asked more than ten investors one after another， but no one would bother to give me a helping hand.” Qiao had no alternative but to sell his car and house.

在房价日渐高涨的中国首都――北京，一个年轻人能在大学毕业就拥有一套地处北京市区的房子，何其难得。因此，当乔乔决定卖掉房子、车子来拍电影的时候，身边充斥着各种不解的眼光与反对的声音。对于这段心路历程，乔乔到现在也不愿过多提及，“最初就是想拍一部野生动物的电影。中国的关于动物的视频（片子）基本上都是画面加旁白，我想拍的是一部真正的野生动物电影，没有旁白，全部由拍摄的野生动物画面来讲故事。”乔乔告诉媒体，这个电影没有剧本，全靠先拍摄海量的素材，再从中选取画面来讲故事。抱着这个大胆的想法，初出茅庐的大学毕业生开始通过各种渠道寻找投资。“前后找了不下10家投资人，根本没人理睬。”最终，乔乔做了卖掉车子、房子的决定。

“No more than two months later after my graduation in July， Our team came straight to the downstream of the Yellow River and began shooting on a wetland there.” Qiao told the reporter that luck was the No.1 factor in the shooting， because no wild animal would listen to your command. This idea resembled a drop in the sea and no one knew whether it would work or not. “As one’s visual impression lasts only three seconds， we have to keep a bird stopping there for at least three seconds when it enters the sight of a camera， which proves to be especially difficult as no one knows which direction a bird will take. Consequently， we made detours at the very beginning and used large sums of money.”

By the end of that year， members of Qiao's film crew decreased from six to two， only Qiao himself and a post-90s who wanted to learn skills were left. “We could barely make any money， nor could we find pleasures in it. When there was no bird in sight， we had to search everywhere for a bird， carrying a filming machine weighing over 50kg； and if we did find one， it was more often than not that it would fly away before we turned on the video， which meant another endless searching.” Qiao admitted that he felt really upset whenever a member decided to leave. He respected other people’s choices， but found it hard to find someone who shares his dream. “The idea that pushed me ahead was very simple： the money spent must count， and I must come up with something. Gradually， I became increasingly attached to the animal world.”

“7月份大学毕业后，筹备了不到两个月，团队就直奔黄河，在黄河中下游的湿地上开机拍摄。”因为野生动物不能被摆布，所有的画面就全部得靠运气。这个大海捞针的想法有没有可操作性，他也没把握。“人的视觉观感一般3秒钟，好不容易等到鸟飞进画面了，还要保证它停留到至少3秒钟，很难做到。因为不知道鸟要往哪儿飞，所以在开始的时候走了不少弯路，这些弯路着实是靠真金白银铺起来的。”

坚持到年底，最初6个人的剧组最后只剩下他和一名学手艺的90后。“除了钱少，也太苦太枯燥了，湿地上没有鸟的时候，我们要背着上百斤的机器到处转悠找鸟，有时候找到了等着开机，鸟飞走了，还得继续去找。”乔乔坦言，从剧组第一个人离去，他心里就很难受，一方面他理解别人的选择，一方面又因为找不到志同道合的人而沮丧。“最初坚持下来的念头很简单，就是觉得钱不能白花，必须拿出一个作品。但后来是真的为动物世界着了迷。”

A practical environmentalist

实实在在做环保

The accumulated experiences and knowledge of shooting made Qiao， on the one hand， harbor more hatred of human beings' harm to the wildlife； and， on the other， have more love for animals and confidence in wildlife and environmental protection. As for the over 2，000 hours of materials shot within five years， Qiao did not rush to expose his work to the public. Instead， he edited a 12'21'' micro-film out of it "The Lost Homeland".

“This film is from a sea gull's perspective， and I myself is just an onlooker.” The story happens on the Tibetan Plateau： the origin blue sky， white clouds， green mountains and clear water were soon destroyed by roaring excavators and trucks. Qiao explained that the video is made along the Qinghai Lake， where some companies are dredging on the untraversed grassland， which may not disturb people's life， but can surly damage the habitat of Przewalski's gazelles， which is even more precious than the giant panda. In one scene， lives of several gazelles cubs are endangered the dredging machines in the distance.

更多的拍摄见闻和经历，让乔乔对野生动物的爱与对人类侵犯动物世界的憎日渐分明，内心当中要保护野生动物、保护生态环境的信念也越发明了。对于5年内所拍摄的2000多小时的素材，乔乔没有急于向外界展示，而是挑选出其中的一部分剪辑成了12分21秒的环保微电影――《迷失的家园》以纪念“2012世界末日”的到来。

“这个短片其实是用燕鸥的视角来看世界，而我只是一个旁观者。”视频中的故事从青藏高原开始讲起，画面中本是蓝天白云、青山绿水的祥和氛围，但很快便被挖掘机和卡车的轰鸣声打破。乔乔解释说，这是他在青海湖边拍到的画面，当地老板在草原上挖沙。这里人迹罕至，机器的轰鸣虽未影响到人们的日常生活，但却破坏了普氏原羚的生活环境。其中一个画面的前景就是比大熊猫还珍贵的普氏原羚幼崽，远景是机械化的挖沙，草地被破坏使得普氏原羚的命运堪忧。

Qiao's concern stretches as far as to the water conservancy project along the Yellow River. The splendid scene in the Qiaolangdi water conservancy project at the middle reaches of the Yellow River has made it a hydro interest spot. The man-made fall formed when the sluices are opened will definitely attract numerous visitors and media. However， this overlaps with the time when Asian short-toed larks make nests and reproduce. “The river sand washed off by following water at the project can easily destroy the hard-made nests， which has also been included into my video.”

The 12-minute video indicates Qiao's firm idea no voiceover. In front of the scenes made with soul， sweat and even life， any single word will appear redundant and reluctant. It' s those vivid scenes that touch our audiences. The ex-CEO of Alibabacom Ma Yun said in his weibo： maybe some of us would become the bird， or the fish in the next generation…Qiao's film reminds me of the atrocity committed by Hitler. We are all living creature and all need home！ I will extend my appreciation to Qiao and his team for their persistence and undertaking.”

就连黄河周边的水利工程乔乔也摄入了镜头。鉴于开闸放水的壮观景象，位于黄河中游的小浪底水利工程早已被划定为水利枢纽风景区，每到大坝开闸放水的时候，不少人都会慕名前来，观看开闸放水形成的人造瀑布，媒体也会前来报道。殊不知，这个季节刚好是亚洲短趾百灵在黄河下游钻洞做窝、繁殖生衍的好时节。“上游河沙的冲刷轻易间便会破坏掉短趾百灵们辛辛苦苦搭建的巢窝，所以大家会在视频中看到遗留在地上的鸟窝、残破的鸟蛋，还有马上成形的幼鸟。”

12分钟多的片子，乔乔秉持了最初拍摄动物电影时所确定的理念――不要一句旁白，全都由拍摄的画面讲故事。对其而言，在用心血、时间、汗水甚至冒着生命危险拍出的画面面前，任何附加的文字都是污染和干扰。而恰恰是纯粹的画面语言，却更让观者为之动容。辞任阿里巴巴CEO后，真正以“大自然保护协会中国主席”身份回归新浪微博的马云，在其微博中首推《迷失的家园》：“下辈子，你我也许就是那只鸟，那条鱼……震撼的音乐和惊人的场面让我联想到当年希特勒灭绝人性的迫害，同样是生命，是家园！传播就是拯救生命！感谢乔乔和所有制作人的担当和坚守。”