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平行世界,平行生命
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平行世界平行生命 Parallel Worlds, Paralle

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简介

  • 导演: BBC    演员: Mark Oliver Everett

    英国Eels乐队的一名歌手Mark Oliver Everett将为你讲述他的天才父亲的传奇悲剧人生和神奇经历。他的父亲曾在24岁发表了一篇"多重世界"的物理论文,震惊了全世界,但物理学界并不买账,他的父亲只能放弃了量子物理学。现在这件事被认为是物理学界最严重的悲剧之一,他的理论如此超前以至于当时的人无法理解,50年后的今天人们才证明了他的理论... Singer Mark Oliver Everett - E from the Eels - explains why he made a film about his brilliant, tragic father Shortly after my father died the phone started ringing. My father was Hugh Everett III. When he was 24 he wrote a ground-breaking thesis about physics most commonly known as "the many worlds theory". It challenged the accepted notion of how the world works in such a huge way, stating that there were actually countless versions of ourselves splitting off and going through as many different scenarios as you could imagine, and the physics powers that be (Albert Einstein, Niels Bohr) were having none of this. They weren't about to let a 24-year-old knock their faces off the Mount Rushmore of physics. Getting no encouragement, my father gave up on quantum physics. It's now considered to be one of the greatest tragedies in physics that my father wasn't taken seriously. He was so ahead of his time that there weren't even ways to prove his theory mathematically, but now, 50 years later, there are. And it checks out quite well. I knew this day was coming ever since the phone started ringing in 1982. It was always some "physics groupie" asking for my mother so they could grill her for information about my father. And, as time went on and technology caught up with him, the interest kept mounting. I'm a singer and songwriter in a rock band called Eels. I never knew much about physics and my father was a complete mystery to me, even though I lived in the same house with him for 18 or 19 years. He rarely spoke. He was an ever-present lump of flesh sitting at the dining room table every night writing out crazy calculations on a pad of paper. That's about all I saw of him. When the BBC asked if I was interested in making a film, I jumped at the chance. I have tended to deal with my family by making them into little art projects. I made an album in 1998 called Electro-shock Blues that dealt extensively with my sister's and mother's deaths. While my sister's suicide note did indeed contain a passage about going off to meet our father in a parallel universe, I hadn't made anything that dealt with my father the way I had dealt with the rest of my family, and this was the way I liked to do it: make something that is therapeutic for me personally that, hopefully, can offer something for the rest of the world. The idea made me both excited and uncomfortable. And the uncomfortable part was what made me know it was something I'd have to do. I didn't like the idea of opening up that world of pain and going back to Virginia and Washington DC, places where I can smell the dread in the air because of all the painful memories. But to get the chance to hang out with my father's college roommates, who are all still alive, friends and coworkers, was too interesting for me not to go through with. I knew I was going to learn a lot about both physics and my father. And I did. The first few days of shooting were awkward and I felt pretty uptight. Then one day while I was being interviewed on camera about some painful experience, I heard Louise [Lockwood], the director, softly click her mouth and whisper, "Aw, E..." Suddenly I thought: "These people actually care about me." I then relaxed and probably started saying all sorts of things I would have been too guarded about before. I was struck by what a tragedy my father's life was. He has contributed something huge to the world, but for him it was painful. How would you like to come up with something so mind-blowing about how the world works, co......

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