A:listen to them.
B:I just don't want them to change me.
A:How would they change you?
B:I don't know.They'd ture me into something I'm not.
I just don't want to be another piece in their game, you know?
A:You mean you would't kill anybody?
B:No.
I mean, I'm sure I would, just like anybody else when the time came,but I just keep wishing that I could think of a way to show them that they don't own me.
If I'm gonna die,I want to still be me.
Does that make any sense?
A:Yeah.
I just can't offord to think like that.
地大物博、资源众多的美国人无法理解身处岛国的日本人的忧患意识，所以把充满了绝望和末世情绪的人性纠结拍成了商业包装下的马戏表演。这是地域和文化上的差异，无可厚非。
但是情节上的硬伤不可原谅。比较明显的有两处，一处是男猪脚在游戏开始后立即投靠敌人，一起追杀女猪脚，险些把她逼上绝路，女猪脚拼命脱身之后再遇到男猪脚便立刻冰释前嫌，并且在毫无感情基础的情况下迅速如胶似漆起来，这样的情节跳跃严重动摇了我的三观；另一处是女猪脚掩埋了战友的尸体，背起行囊，打起精神，对着镜头做出胜利手势，于是大屏幕前的群众沸腾了，开始了暴乱，仿佛之前对过暗号似的，可是他们根本不是一个区的，事先也未做任何交代，这都哪儿焊哪儿啊。其他的硬伤还有很多，就不一一列举了。
就这种水准的片子还能在北美创造票房佳绩，美国人民实在需要代表先进文化发展方向的大陆影片陶冶下情操了。
《饥饿游戏》谈下我认为的问题
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