Georgios“Yorgos”Lanthimos是希腊电影导演，电影制片人，编剧，摄影师和剧院导演。他的作品获得了四项奥斯卡金像奖提名：《狗牙》最佳国际长片，《龙虾》最佳原创剧本，《最爱》最佳影片和最佳导演。
The way I work, and the material we work with, I think if you analyze too much and have too many specific ideas, it just becomes a little bit too superficial, and then performances might become too self-conscious and project relatively narrow things.
我的工作方式，和我们的工作材料，我认为如果你分析太多，有太多具体的想法，它只是变得有点太肤浅，然后表演可能会变得太自我意识和项目相对狭窄的东西。
Starting in Greece, you couldn't really say, 'I'm going to become a film-maker.' A 15-year-old boy in Greece in the '80s and '90s? There was nothing like that happening.
从希腊开始，你真的不能说，‘我要成为一名电影制片人。’一个80年代和90年代在希腊的15岁男孩？没有发生过这样的事。
For me, filmmaking is not about making statements but about exposing human behavior so people are eager enough to start thinking on their own and make their own assumptions.
对我来说，电影不是要发表言论，而是要揭露人类的行为，这样人们就有足够的渴望开始独立思考，做出自己的假设。
We were fortunate enough to shoot 'Alps' - write the script and shoot it - right after 'Dogtooth' premiered in Cannes. So we didn't just sit around and wait to figure out what to do because 'Dogtooth' was successful. We just wanted to make another film fast, so we just went ahead and did it.
我们很幸运拍了《阿尔卑斯山》——写剧本然后拍——就在《狗牙》在戛纳首映之后。所以我们不只是坐在那里等着想办法，因为“狗牙”是成功的。我们只是想尽快拍另一部电影，所以我们就这么干了。
Something that's a hilarious comedy, for someone else might be a drama.
对其他人来说，这是一部搞笑的喜剧。
'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.
从某种意义上说，《龙虾》是我最容易上手的电影。后来我拍了《杀死一只神圣的鹿》，结果却没有《龙虾》那么容易上手，这是我想拍的电影，也是我想讲的故事。
I think you can tell a lot about people if you observe them as they're observing.
我认为，如果你像人们观察的那样观察他们，你可以告诉他们很多事情。
I find it very interesting to keep people uncertain about what is what and figure it out as they go.
我发现让人们不确定什么是什么，并在行动中找出答案是非常有趣的。