席导在BAFTA分享的编剧心得，摘取她关于编剧时核心的“欲望”的分享摘取，整个演讲很深入在解析，一点点啃。
（翻译by ai）

I do have my way of doing it, I guess at this stage I could drop a central notion here: Desire. To me, writing is about having desire for ideas, therefore it is always about trying to build an architecture of multiple desires. The word desire is traditionally linked to cinema; it has long been called the industry of desire. This idea is polemical on a lot of levels in 2019 if you want my opinion, but it is our culture, the one we grew up in at least. Yet desire is not a word we associate with screenwriters, or words. It is associated with the idea of images and making images. As a writer, you are only asked about desire as an initial spark that puts you at work: The desire to write that story, or in the more introspective psychoanalytic question: The desire under your story, your secret desire. It is pretty rare that you get to refer to your present desire, or desire building up. Also because the process of writing is so long, it’s like it doesn’t have a present because it is constituted of layers and layers, and it’s all about rewriting. But to me that’s actually the point. The fact that screenwriting is the opportunity to work on your desires rather than acting immediately on them.

我拥有一套属于自己的创作逻辑，今天我想提出一个核心概念：欲望。于我而言，创作就是对灵感怀揣渴望，并且为层层交织的诸多欲望搭建叙事框架。长久以来，电影一直被称作“欲望的产业”。放到2019年的当下，这个说法在很多层面都颇具争议，但它确实是我们成长所处的文化环境。可“欲望”这个词，却极少和编剧、和文字创作联系在一起，人们总把它和画面、视觉创作绑定。作为编剧，旁人谈及你的欲望，无非两种角度：一是驱使你动笔讲述某个故事的初始冲动，二是从精神分析角度，探寻潜藏在故事背后、你个人隐秘的内心诉求。几乎没人会关注创作过程中不断演变、持续生长的当下欲望。编剧工作周期漫长，剧本需要层层打磨、反复改写，整个过程仿佛脱离了“当下”。但在我看来，这恰恰是编剧的核心价值：编剧，是让你打磨欲望，而非仅凭一时冲动肆意抒发。

Here I must say that putting desire at the centre isn’t about making it organic or personal; that would be feminine and despised; it is to make it sharp and uncompromising. It is about the construction and being radical with yourself, not self-indulgent at all. It’s about resisting easy pleasures and resisting the temptation of belonging. At that point I’m sure that feels quite abstract, mostly because desire doesn’t feel reliable as a method. Desire doesn’t even have the reputation of being accurate; can we trust someone’s desires? It seems like a very vast and mysterious feeling or sensation, but make no mistake, it’s not because it’s white, it’s because it is hitting hard somewhere and having a strong echo. Like I rising tide I might say, and that leads to the title.

我将欲望置于创作核心，绝非放纵情绪化的个人表达——这类表达常被贴上“女性化”的标签而遭轻视。我想要的，是让欲望变得锐利、坚定、绝不妥协。创作需要章法，要对自己严苛，拒绝浅薄的愉悦，拒绝随波逐流。听到这里大家或许会觉得概念抽象，毕竟欲望飘忽不定，很难当作一套严谨的创作方法。欲望本身看似宽泛又神秘，我们真的能依靠它创作吗？但请大家明白，欲望的力量极具冲击力，会引发强烈的共鸣，如同翻涌的浪潮，这也正是我本次讲座标题的由来。

I think desire is super accurate, but you have to locate it. My job as a screenwriter is to work on locating that place where desire is precisely hitting. For myself if I write for myself or for my colleague director if I’m writing for somebody, it’s about finding the point of impact and getting accurate about what you want, rather than thinking of desire as a romantic mystery about yourself.

我认为欲望其实是精准的指南针，关键在于找准它的落点。无论是为自己创作，还是和导演搭档合作，身为编剧，我的工作就是锁定欲望的发力点，明确自己真正想要表达的内核，而不是把欲望当成藏在心底的浪漫谜题。