01.馬特·戴蒙和本·阿弗萊特

奧斯卡獲獎(jiǎng)感言“一要”：即興發(fā)揮很可愛
事先準(zhǔn)備好一些小噱頭是有必要的，但是字對(duì)字地對(duì)稿背詞兒就顯得狠沒愛。98年馬特·戴蒙和本·阿弗萊克憑借《心靈捕手》獲獎(jiǎng)時(shí)，顯然是有備而來，但那些即興發(fā)揮的孩子氣的揮拳樣兒，就可愛得不得了。



Do allow for spontaneity. It's wise to strategize a few endearing anecdotes, but don't memorize a written speech complete with stage directions such as "Gulp for air here." As Walker points out, "People who recite a speech that's been scripted down to the pauses usually sound horrible. They forget to put in conversational contractions like 'can't' and 'don't.' And their sentences go on forever, always a dead giveaway." Here, Matt Damon and Ben Affleck, accepting for their Good Will Hunting screenplay in 1998, demonstrate the value of mixing a little preparation with a lot of irrepressibly boyish fist-pumping.

02.奧黛麗·赫本

奧斯卡獲獎(jiǎng)感言“二要”：言簡(jiǎn)意賅
當(dāng)然上去說“我很激動(dòng)，謝謝”就完了那也忒簡(jiǎn)短了。獲獎(jiǎng)致辭應(yīng)該“簡(jiǎn)短、真摯、感人”。下面1954年公主氣質(zhì)的奧黛麗·赫本憑借《羅馬假日》贏得最佳女主角的時(shí)候的致辭堪稱奧斯卡獲獎(jiǎng)感言精簡(jiǎn)典范，抑揚(yáng)頓挫恰到好處“感謝所有人”，加上動(dòng)人的眼神，簡(jiǎn)直完美無缺。



Do be brief. While many feel that Joe Pesci (Best Supporting Actor, 1990's Goodfellas) was too terse—"It's been a privilege. Thank you"—Temescu defines a winning Oscar speech as "short, sincere, and eloquent." This 1954 clip of Audrey Hepburn (Best Actress, Roman Holiday) is a master class in brevity, emphasis ("…thank you to EVERYbody…") and eloquent eyelash fluttering.

03.阿德里恩·布洛迪

奧斯卡獲獎(jiǎng)感言“三要”：感謝母親大人的時(shí)候要哽噎
適當(dāng)?shù)那榈缴钐庪y以自禁總是能夠打動(dòng)人?！朵撉賻煛钒⒌吕锒鳌げ悸宓贤C獎(jiǎng)嘉賓哈莉貝瑞一番親昵后，卻用了幾近完美的嗓音向母親致辭。上演這樣的令觀眾動(dòng)容的獲獎(jiǎng)橋段需得選對(duì)家長(zhǎng)，感謝媽媽的時(shí)候自然動(dòng)人，你要感謝父親大人就不一定有這個(gè)效果了。另外也不能過，一路哭哭啼啼也受不了。



Do choke up, ideally while thanking your mother. Molesting Halle Berry was a bit much, but then Adrien Brody (Best Actor, The Pianist) executes a near-perfect voice crack while paying tribute to his mom. "You want emotion," says Walker approvingly, "but you don't want to go overboard. Unhinged can equal 'scary.'" In general, you can't go wrong thanking parents. Heartfelt mom-gratitude, in particular, is guaranteed to make audiences cry, even in tightly wound Tokyo or officially neutral Geneva. A father is more ignorable, unless you can reasonably address him as "Daddy," and you need only thank spouses, says Temescu, "if they're famous."

04.羅素·克勞

奧斯卡獲獎(jiǎng)感言“四要”：就算是裝，也要顯得很謙虛
需得既親切又謙虛，就算你本性并非如此，裝也得裝出來。羅素·克勞拿影帝的時(shí)候，戴著一小撮的領(lǐng)結(jié)，然后語重心長(zhǎng)地說到自己童年時(shí)不可能實(shí)現(xiàn)的夢(mèng)想，引起了很多人的共鳴。最重要的一句話就是“對(duì)于所有先天不足，全靠后天的一股子闖勁的人來說，成功并非遙不可及。”而最要緊的一個(gè)動(dòng)作就是最終“并非遙不可及”之時(shí)的一個(gè)昂頭。



Do demonstrate—or simulate—humility. "You want to project the best parts of your true self," says Jason DeSanto, a senior lecturer at Northwestern University who's written speeches for members of Congress. "It's important to be both gracious and humble. And if that's not who you are, be fake." Russell Crowe (Best Actor, Gladiator) overcame both an embarrassingly wispy tie and a reputation for being a jerk with this eloquent 2001 meditation on unlikely childhood dreams. Key line: "For anyone who's on the downside of advantage and relying purely on courage, it's possible." Key bit of body language: The Michelangelo-esque head lift on the word "possible."

05.杰克·帕蘭斯

奧斯卡獲獎(jiǎng)感言“五要”：幽默搞笑屢試不爽
所有人都會(huì)說幽默很有必要，但其實(shí)這招挺傻不拉機(jī)的。你要是周星星，隨便說句“我想上廁所”人家就已經(jīng)笑翻了；不然的話，你再怎么假裝搞笑也還是會(huì)很沒有喜感。瞧瞧下面這段視頻里頭Jack Palance大爺對(duì)于自己年齡的自嘲和單手俯臥撐吧，絕對(duì)博得滿堂喝彩。



Do be funny. Though every expert mentions this guideline, they admit it's a stupid tip, because you're either funny or you're not. If the Academy hadn't pursued its unofficial policy of stiffing comedies and had honored Bill Murray's work in 2003's Lost in Translation, his acceptance speech might have been as witty as the one he delivered at the Independent Spirit Awards. "Given the Academy's prejudice against comedies," says Temescu, "the chance of funny people getting up there is not so great." Which leaves us with this trite, but still instructive clip of Jack Palance and his one-armed push-ups.


06.哈莉·貝瑞

奧斯卡獲獎(jiǎng)感言“一不要”：別連路人都感謝好吧？
最糟糕莫過于一張長(zhǎng)長(zhǎng)長(zhǎng)長(zhǎng)的致謝名單。Sarah Jessia Parker拿艾美獎(jiǎng)的時(shí)候就感謝了“祝我好運(yùn)的路人”，汗一個(gè)，難怪她沒拿奧斯卡。至于首位贏得奧斯卡最佳女主角的哈莉貝瑞的致辭呢，評(píng)論界褒貶不一，前頭抽抽搭搭哭了大半天的地兒，有人喜歡有人討厭，但是后半截一路感謝到第十四個(gè)人她的律師的時(shí)候，臺(tái)下都覺著特噴飯了，她還狠沒有覺悟地繼續(xù)一路哭下去。



Don't thank your lawyers. The worst mistake is thanking an endless list of names. Winners have thanked everyone from their makeup person to "the Maharishi." Sarah Jessica Parker, accepting an Emmy, once expressed gratitude to "passers-by who always wanted the best for me," which may be one reason she's never been nominated for an Oscar. Temescu admits that she often has to negotiate her star clients back to a "reasonable number of thank-yous."

Critics are split on this blubbering, bombastic 2002 speech Halle Berry delivered as the first African-American to win Best Actress (Monster's Ball). Some, like Walker, find it genuinely moving: "She allowed herself to be overwhelmed," he says, "then scaled it back and gave it structure." Even he agrees, however, that Berry should have stopped after her 14th shout-out—to her lawyers—provoked amused laughter. Instead, she scolds the audience and humorlessly sobs on.

To Berry's credit, she enthusiastically mocked her own speech the next year when winning a Worst Actress award for Catwoman at the Golden Razzies ("Thank you so much, I never in my life thought I would be up here!").

07.馬龍·白蘭度

奧斯卡獲獎(jiǎng)感言“二不要”：不要上升到政治高度
除非你能跟喬治·克魯尼那樣，絮絮叨叨都很帥，否則這一分鐘機(jī)會(huì)拿來挪為政治宣講，實(shí)在也沒啥大影響力。比方馬龍·白蘭度因《教父》一片贏得最佳男主角的時(shí)候，讓一印第安打扮的姑娘上臺(tái)拒絕領(lǐng)獎(jiǎng)，然后再解釋說不拿獎(jiǎng)是因?yàn)橛〉诎踩耸艿讲还拇?。呃，這是哪兒跟哪兒??？



Don't politicize your speech. Unless you're George Clooney and can be charmingly preachy, says Temescu, it's risky to use your 60 seconds to agitate for a cause—as demonstrated in this classic 1973 clip of alleged Apache Indian "Sacheen Littlefeather" refusing the Oscar on behalf of Marlon Brando (Best Actor, The Godfather). Ms. Littlefeather, later revealed to be one Maria Cruz, a not particularly indigenous actress and Miss American Vampire of 1970, nonsensically explains that Brando's acting cannot possibly be lauded because American Indians are being mistreated. Even she couldn't be bothered to read his full 739-word tirade which includes the sentence, "Why is this woman standing up here, ruining our evening, invading our lives...?"

It is fitting to recall legendary screenwriter Paddy Chayefsky's response to Vanessa Redgrave's 1978 unfestive rant against "Zionist hoodlums": "I would like to suggest to Miss Redgrave that her winning an Academy Award is not a pivotal moment in history, does not require a proclamation, and a simple 'thank you' would have sufficed."

08.湯姆·漢克斯

奧斯卡獲獎(jiǎng)感言“三不要”：不要打什么虛無縹緲的比方把神啊上帝都扯進(jìn)來
樸實(shí)無華的語言最能打動(dòng)人，1994年湯姆·漢克斯憑借《費(fèi)城故事》封影帝的致辭被評(píng)為奧斯卡世上最差前三甲，一開頭還不錯(cuò)——聲音顫抖，挺情到深處的——接著就開始語無倫次，前言不搭后語起來。什么造物主啦，天使啦，天堂的街道太擁擠了啦，總之讓聽得你云里霧里，不知所云。



Don't attempt ornate metaphors involving the Almighty. Simple chatty language works best. This 1994 acceptance by Tom Hanks (Best Actor, Philadelphia), which The Independent called one of the three worst of all time, starts out OK—nicely tremulous, adequately wry—but eventually devolves into incoherent speechifying. At one point, Hanks insists tautologically that the embrace of the creator allows angels to see the truth that is made manifest by the creator. He also suggests that the "streets of heaven are too crowded" with such angels, which appears to be a swipe at God's urban-planning skills.

Hanks' efforts are no match, however, for the loony, pseudo-Shakespearean grandiloquence of Sir Laurence Olivier (Lifetime Achievement, 1979). Though his reference to "the euphoria that happens to so many of us at the first breath of the majestic glow of a new tomorrow" reduced Jon Voight to stunned awe, Olivier himself crisply dismissed the speech the next day as "utterly meaningless."

09.茱莉亞·羅伯茨

奧斯卡獲獎(jiǎng)感言“四不要”：不要叫人家樂隊(duì)指揮“棍人兒”
無論什么情況，都不應(yīng)該顯得自己傲慢自大、目中無人、頤指氣使。2001年的茱莉亞·羅伯茨雖性感無疑，卻跟這仨統(tǒng)統(tǒng)沾邊兒，上來就特拽跟人家樂隊(duì)指揮說：“你那小棍兒舉得也忒快了點(diǎn)兒，你就淡定坐會(huì)兒?jiǎn)h，說不好我都回不來的?！苯又徒腥思沂裁础肮魅藘骸?，最后不忘一聲女王尖笑，嚇?biāo)廊诉帧?br>


Don't refer to the distinguished conductor as "stick man." "You never want to appear arrogant, presumptuous, or entitled," says Temecsu. In 2001, a recklessly sassy Julia Roberts (Best Actress, Erin Brockovich) managed to be all three. She spends a good part of the time threatening the orchestra's conductor in cocky, lilting Dr. Seuss-like phrases. "Sir…you're so quick with that stick, but why don't you sit, because I may never be here again." She later derides him as "Stick Man," then hoots crazily to cover her near-descent into outright bitchery. While not nearly as obnoxious as James Cameron's "I'm the King of the World" speech for 1997's Best Picture Titanic, Roberts reveals a disturbingly healthy ego.

10.羅貝托·貝尼尼

奧斯卡獲獎(jiǎng)感言“五不要”：別爬椅子上，謝謝
不知道羅貝托·貝尼尼當(dāng)時(shí)那根筋搭錯(cuò)了high到這種地步，爬椅子啦，蹦跶上臺(tái)啦。當(dāng)時(shí)看來吧，覺著還挺好玩的，現(xiàn)在瞧瞧實(shí)在覺得有點(diǎn)不堪回首咧。



Don't walk on the furniture. No one is quite sure what possessed Roberto Benigni (Best Actor, 1997's Life Is Beautiful) to do any of this: the clambering, the hopping, the wild determination to "make love to everyone." At one point, even committed Roberto admirer Sophia Loren looks concerned. "Boy, oh boy, it was kind of charming when it happened," says Temuscu, "but it's almost unwatchable now." As is Roberto Benigni, who has graciously faded into obscurity.