帮忙翻译一下,谢谢Who Needs Cachet if You Have New York?Over the cour

帮忙翻译一下,谢谢
Who Needs Cachet if You Have New York?
Over the course of its seven-year history the Tribeca Film Festival has built a following, hosted numerous world premieres and played a significant role in helping a neighborhood find its footing after Sept. 11. Every year thousands of filmmakers clamor for hundreds of slots before the festival starts, and once it does, stars and directors mingle at downtown boîtes while the public queues up outside theaters in numbers that suggest that free whiskey is being handed out. The festival’s main sponsor, American Express, just signed up for five additional years.
It is an enviable record of growth and accomplishment, to which the cinephiles say, “Is that all you got?” Tough crowd, it’s true. But for a film festival to enter the pantheon of Cannes-Sundance-Toronto-Berlin-Venice it has to have a commercial or cultural salience born of big movie sales or impossibly exclusive content, neither of which is a calling card of Tribeca.
The festival, a civic gesture conceived by the business partners Robert De Niro and Jane Rosenthal to help downtown New York overcome a nightmare, has assets, including its enormous size, a catholic range of film interests and a backdrop in a world-class city. But those advantages raise expectations, and the event has had trouble establishing an identity and a niche to match.
Factor in a democratic history of inviting all manner of film that has left the festival open to criticism that it is overbooked and not discriminating enough.
Positioned just weeks before the storied Cannes Film Festival begins, in the middle of May, Tribeca is viewed as flyover territory by many in the industry seeking sales or buzz. Physical geography works against it too. Anybody who has been trapped on a Sundance shuttle bus will tell you that much of the kinetic energy and serendipity that makes for the festival experience derives from isolation and an absence of distraction. New York City is the headquarters of distractions, making it difficult for Tribeca to grab attention.
“We have to work hard to rise above the din of New York,” Ms. Rosenthal said, sitting at lunch at Megu in TriBeCa on Monday. “And maintaining attention in a city where many of the people who work in the film industry can go home at night to their families, well, I always say to them, what’s so bad about that?”

谁需要纪念印如果您有新纽约?
超过的过程中其7年的历史了翠贝卡电影节修建了以下主办,众多世界首演,并发挥了重要作用,在帮助社区中找到自己的立足点之后,9月11日.每年数以千计的电影制片人鼓噪数以百计的时段前,电影节开始,一旦它,星级及董事交织在市中心boîtes而市民排长龙外,在战区的数字表明,免费的威士忌,正在移交.艺术节的主要赞助商,美国运通银行,刚刚签署了5年增加.
这是一个令人羡慕的纪录,增长和成就,这是cinephiles说：“是,所有你明白吗?”强硬的人群,它的真实.但对于电影节进入神殿的康城-圣丹斯-多伦多-柏林-威尼斯,它需要有一个商业或文化的突出所生的大电影销售或极端的独家内容,都没有这是一个电话卡翠贝卡.
艺术节,公民的姿态所设想的商业伙伴罗伯特德尼罗和简罗森塔尔,以帮助纽约市中心的新克服了一场恶梦,拥有资产,包括其巨大的规模,一个天主教的一系列电影的利益和背景,在世界一流的城市.但这些优势提高的期望,以及事件已建立一个麻烦的身份和地位相匹配.
因素,在一个民主的历史,邀请所有方式的电影已经离开节公开批评,这是overbooked和不歧视不够的.
定位仅数周前层,戛纳电影节开始,在5月中旬,翠贝卡被认为是天桥地区,许多在业界寻求销售或铃声.自然地理工程的反对.任何人谁一直被困在一圣丹斯穿梭巴士,都会告诉你,大部分的动能和serendipity ,使为艺术节的经验,来自孤立和缺乏分心.纽约市的总部,分散注意力,从而很难为特里贝卡攫取注意.
“我们必须努力超越声纽约,”女士罗森塔尔说,坐在午餐会上megu在翠贝卡对周一.“和保持注意的一个城市,那里的许多人谁的工作,在电影界可以回家,晚上给自己的家庭,那么,我总是对他们说,有什么不好呢?”