During the interview, director Hou Hsiao-hsien seemed very calm about whether to win the award or not. At the same time, he also said that at least three more stories of the Tang Dynasty could be filmed. Shu Qi praised Hou Hsiao-hsien. "As soon as he walked out, he was innately a knight and a knight. And he was the leader of a knight."
Time Network Cannes On May 23, local time, the main creators of the film "Assassin Nie Yinniang" participated in the 68th Cannes Film Festival. The main creators of the film "Assassin Nie Yinniang" were interviewed by Time Network reporters. The main creators interviewed include: director Hou Hsiao-hsien, starring Shu Qi, Zhang Zhen and Zhou Yun. They answered many questions such as the filming, release schedule, performance experience, etc. At this time, there are less than 24 hours left before the announcement of this Cannes Grand Prix. Director Hou Hsiao-hsien seemed very calm about whether to win the award. At the same time, he also said that at least three more stories of the Tang Dynasty could be filmed.
Mtime: Why choose red, black and gold to express the Tang Dynasty? How much budget is spent on the interior?
Hou Xiaoxian: In fact (to show) silk products from the Tang Dynasty, our art (department) went to India to buy handmade silk products, and the clothes and gauze tents were all. Some of them were bought from South Korea and some from Suzhou and Hangzhou in mainland China. Because the Tang Dynasty (the characteristic) was silk, silk products. That kind of silk product is very beautiful in the light.
Mtime: Why are red, gold, and black used?
The set of the video is very exquisite
Hou Hsiao-hsien: Usually gold is a traditional symbol of imperial power in China, and local governments dare not use it, but during the vassal states, each was bigger than it (the court), and each was not afraid of the court. At that time, the three towns of Heshuo were even more arrogant. For a time, I read the information, and later took over it, Tian Ji'an took over it, and he didn't dare to use these. I feel that only silk products can perform best in red. Gold, red, and black are also my favorite colors. Then the art department is heading in this direction (production), and the use of colors is very good.
Mtime: Didn’t it cost a lot of money on the interior?
My entire film went to Hubei and Inner Mongolia and was filmed for more than a year. It cost 90 million yuan.
Mtime: Regarding photography, this time it is Li Pingbin's photography. Film or digital shooting? Which medium do you prefer?
Hou Hsiao-hsien: This movie was shot on film, and it took more than 500,000 feet. Then I used digital first time because I used digital splicing. It was 4K when scanning, and 1K when splicing, because 1K can only be cut, and 4K cannot be cut. I can't stand the digital digits because the process is complicated and the conditions are not good, so I finally adjusted it for a long time. The dimming system is the same. There are two systems. I used one to adjust it before, and then changed it to adjust the depth of the color. Actually, it was not easy, it took a long time to do it.
I really hate digital. I used to print it into film, and the cutting was very fast. After cutting the sound, it was made into vocal cords, and it was printed, which was beautiful and transparent. Now it is time-lapse and slow. The process is extremely high, and the money spent is countless times that I used to use film. This is not over yet, this is the beginning, because it will be upgraded, not disposable, and the equipment will be changed until it is used up. This is always the case. Like your cameras are good now, but not necessarily. But it would be OK to have a photographer you like, so it doesn’t matter. (The key point) is still personal perspective, habits, and literacy.
Mtime: How long has it been taken from the start of filming to the end of the filming of this drama? Have the schedule of the actors been adjusted?
"Assassin Nie Yinniang" clip
Hou Hsiao-hsien: These are all things that need to be adjusted during filming. For example, they both fought, both of them were injured and needed to rest. It takes time to practice after rest and fight after practice. Because neither of them really play stars. Xu Fangyi is faster because she is a dancer and is so amazing. I plan to find her as a martial arts coach in the future. Her movements are beautiful, and then she knows people's limbs very well, and she will notice how likely they are and whether it is possible to do it. As long as I have the heart, I will study it. This is how I feel when I shoot this time. Although the knife and other props are fake, the actor is still injured.
Hou Hsiao-hsien: "I want to shoot three more movies. I like the gorgeousness of the Tang Dynasty."
Mtime: May I ask a few actors, Director Hou looks elegant, but in fact he is ruthless. I wonder if all the actors have experienced it. Shu Qi said before that what she feared the most was Director Hou.
Shu Qi has starred in Hou Hsiao-hsien's movies many times
Shu Qi: Rumor (laughs), it's him who is afraid of me. Director Hou himself is an Aries. When he walked the red carpet before, he was walking in front of him, and we were all like his bodyguards. As soon as he walked out, his demeanor was there, an innate knight and a hero. And he is the leader of the hero.
Hou Hsiao-hsien: No, I am alone. Do you know? After watching Wen Tianxiang from the Golden Horse Awards, I just arrived (Cannes), he sent me a message saying, "You are the ones you photographed!" If a person has no similarity, isn't this you? I'm interrupted, sorry.
Zhang Zhen: Director Hou is filming. If you have the chance next time you come to visit the set, you can feel the whole audience is silent, without any sound, and you can hear a needle falling to the ground, and you will know how powerful his aura is. On the one hand, everyone respects Director Hou very much, and on the other hand, everyone has heard about what happened to Director Hou when filming before. When we were filming "The Best Time", one day Director Hou bandaged it up, and then no one dared to ask the director what was wrong with his hands. Later, when he heard others telling him that the director was not too happy to think about this scene at home, he hit the door and his hand was injured... So here we know what the director's personality is. Everyone is more (note) when filming. The director wants to give a space for the actor to play, so he is there and can feel the director's persistence and demands for the movie. Then the atmosphere of everyone on the scene will become very cohesive and focus on what they should do.
Shu Qi: The director often loses his temper with himself. When he was filming "Flowers on the Sea", he was also very angry and kicked his feet, and then broke his bones and put a plaster on his bones...
Hou Hsiao-hsien: Is there any that serious?
Shu Qi: Yes, that time. The reporter said. It feels like he is very violent in his bones.
Hou Hsiao-hsien: No, that's urgent.
Shu Qi: But at the scene, there was no temper or any strict request to any staff. Even if the microphone is scattered incorrectly, he will not say that he will adjust it himself, because he knows everything. A comprehensive director is too familiar with what he wants. Director Hou is quite impatient. He wants to wait until I finish telling you, I have done it myself, so he will do many things by himself. His own work method leads the people around him to be in the same state anytime and anywhere.
So we will find that everyone is working on the spot, but in fact they are very happy. But there is also a little pain in this happiness. For example, when we saw the sets of the Tang Dynasty, when we were taking pictures at the last moment of the last day, every painting on the wall was drawn by students from the Academy of Fine Arts, and they were always painting. From day to night. Our art department has been painting every day for about several months. Each screen is hand-drawn, which is very beautiful.
Hou Hsiao-hsien: Then they were covered by the gauze.
Is this drama submitted for review in the mainland? Have you passed? There will be no more modifications.
Hou Hsiao-hsien: It has been submitted for review long ago, passed. It will basically not be changed, unless I have read it and then adjust it after I feel something (wrong) but the adjustment is limited.
Mtime: Is there a confirmed release date at present?
When will "Assassin Nie Yinniang" be released in the mainland? It is also a question of concern to the outside world
Hou Hsiao-hsien: I usually don't care, because that's what they released. But I will ask them to tell me that I am ready because it is not about issuing it. There is a step, and I am afraid they will not know it. So if they notify the release time, I will tell them what they need to prepare.
Mtime: Use long shots to shape the world of martial arts in the film. Then, if you continue to shoot martial arts films, will you consider using Hong Kong-style fast short shots indirectly?
Hou Hsiao-hsien: Why do I still take pictures after others have taken so many shots? And short shots are even more difficult for me to take pictures, because short means cutting in advance, thinking that it will be like that after taking pictures, not necessarily. So I am used to shooting long shots, and I have been shooting long shots from the past to now. But the fighting scenes cannot be that long. How long can Zhou Yun and Shu Qi fight, so it still needs to be cut. Basically, I don’t like drawings that are completely well-structured (storyboards). I’m not interested in each grid. I feel that the possibility of the scene is actually very high, depending on how you adjust to that state, between the actors.
Mtime: Are there any plans for the next filming?
Hou Hsiao-hsien: There is , because I want to shoot three movies, at least three movies. I like the Tang Dynasty because it is gorgeous. There are actually too many details of life in it. I have read Tang people's novels or notes. I have read a lot of new and old books of Tang, and I have read all about Zizhi Tongjian. If I have a basis, I won’t think about it all over the world. I will have a scope, and this scope can be penetrated. Some people can’t figure out anything when they think too much, but the result is all general.
Hou Hsiao-hsien's movies have always been unique in Taiwan
Mtime: Do you still care about the number of viewers at this stage? Still now, people say "Hou Hsiao-hsien harmed Taiwanese movies"...
Hou Hsiao-hsien: Did I harm Taiwanese movies? No Taiwanese movie is like me. They all went to the salesperson. When a director has the greatest pressure, "the next film". Is there any money to shoot? This is how every young director and person in this industry is. That's because I have been going through too long, and my money has come from other places, not in Taiwan or mainland markets. I can talk about it from Europe, Japan, and from many places, like this time. The mainland is still the largest market, and it is best to invest halfway from the mainland.
All these possibilities are basically the pressure of the director to make a film, because this film has income, and then there will be it. So in fact, being a director is very hard and the pressure is also great. In fact, if you shoot digital and simple (movies), sometimes if you really want to create, you will minimize all the costs and make modern films. If you don’t invite stars, ordinary actors can still perform well. Just hone it like this. When you have resources, you can adjust it. The level will be further up. You can find good actors and useful stars. And after the filming is very good, all the stars will come, and he will come if he has no money. Just like Weis Anderson in "The Grand Hotel in Budapest", everyone wants to act in his movie, even if it only has one. Actually, that's it, everyone knows it very well.
Mtime: Then do you care about how many viewers there are in the market and the issue of recycling for investors?
Hou Hsiao-hsien: I will try my best to do this. This is impossible to control. If you really want to consider this, you may have to change someone, so don’t ask me to (director) so that you can have a chance, otherwise it is unlikely.
Mtime: What are the reasons for using two actors to play two roles this time? Will it confuse the audience?
Hou Hsiao-hsien: Fortunately, they are quite powerful, and I don’t use them much, because I don’t expect everyone to understand. Because it takes a long time to understand, otherwise there would be a prequel. Originally, the prequel was a period of siege in Suiyang, and it was also the Tang Dynasty. Twenty or thirty years ago, it was the time we filmed now. After siege, all the food was eaten up, he started eating children and parents. Their (two princesses) masters were rescued children, turned into Taoist nuns, and adopted their twins Jiacheng and Jiaxin. But in fact, they are not twins, she adopts her sister. In fact, there is only one princess. Princess Jiacheng is a historical fact. She was the father who was reborn and married to Wei Bo and Tian Ji'an. In fact, it means to be a fan. Sometimes Wei Bo is too strong, so the royal family has to use this method.
So actually you said you wanted to figure out the whole story, which is not what you mean. If you have to figure out everything in every movie, then when will you shoot it?
During the interview, director Hou Hsiao-hsien seemed very calm about whether to win the award or not. At the same time, he also said that at least three more stories of the Tang Dynasty could be filmed. Shu Qi praised Hou Hsiao-hsien. "As soon as he walked out, he was innately a knight and a knight. And he was the leader of a knight."
Time Network Cannes On May 23, local time, the main creators of the film "Assassin Nie Yinniang" participated in the 68th Cannes Film Festival. The main creators of the film "Assassin Nie Yinniang" were interviewed by Time Network reporters. The main creators interviewed include: director Hou Hsiao-hsien, starring Shu Qi, Zhang Zhen and Zhou Yun. They answered many questions such as the filming, release schedule, performance experience, etc. At this time, there are less than 24 hours left before the announcement of this Cannes Grand Prix. Director Hou Hsiao-hsien seemed very calm about whether to win the award. At the same time, he also said that at least three more stories of the Tang Dynasty could be filmed.
Mtime: Why choose red, black and gold to express the Tang Dynasty? How much budget is spent on the interior?
Hou Xiaoxian: In fact (to show) silk products from the Tang Dynasty, our art (department) went to India to buy handmade silk products, and the clothes and gauze tents were all. Some of them were bought from South Korea and some from Suzhou and Hangzhou in mainland China. Because the Tang Dynasty (the characteristic) was silk, silk products. That kind of silk product is very beautiful in the light.
Mtime: Why are red, gold, and black used?
The set of the video is very exquisite
Hou Hsiao-hsien: Usually gold is a traditional symbol of imperial power in China, and local governments dare not use it, but during the vassal states, each was bigger than it (the court), and each was not afraid of the court. At that time, the three towns of Heshuo were even more arrogant. For a time, I read the information, and later took over it, Tian Ji'an took over it, and he didn't dare to use these. I feel that only silk products can perform best in red. Gold, red, and black are also my favorite colors. Then the art department is heading in this direction (production), and the use of colors is very good.
Mtime: Didn’t it cost a lot of money on the interior?
My entire film went to Hubei and Inner Mongolia and was filmed for more than a year. It cost 90 million yuan.
Mtime: Regarding photography, this time it is Li Pingbin's photography. Film or digital shooting? Which medium do you prefer?
Hou Hsiao-hsien: This movie was shot on film, and it took more than 500,000 feet. Then I used digital first time because I used digital splicing. It was 4K when scanning, and 1K when splicing, because 1K can only be cut, and 4K cannot be cut. I can't stand the digital digits because the process is complicated and the conditions are not good, so I finally adjusted it for a long time. The dimming system is the same. There are two systems. I used one to adjust it before, and then changed it to adjust the depth of the color. Actually, it was not easy, it took a long time to do it.
I really hate digital. I used to print it into film, and the cutting was very fast. After cutting the sound, it was made into vocal cords, and it was printed, which was beautiful and transparent. Now it is time-lapse and slow. The process is extremely high, and the money spent is countless times that I used to use film. This is not over yet, this is the beginning, because it will be upgraded, not disposable, and the equipment will be changed until it is used up. This is always the case. Like your cameras are good now, but not necessarily. But it would be OK to have a photographer you like, so it doesn’t matter. (The key point) is still personal perspective, habits, and literacy.
Mtime: How long has it been taken from the start of filming to the end of the filming of this drama? Have the schedule of the actors been adjusted?
"Assassin Nie Yinniang" clip
Hou Hsiao-hsien: These are all things that need to be adjusted during filming. For example, they both fought, both of them were injured and needed to rest. It takes time to practice after rest and fight after practice. Because neither of them really play stars. Xu Fangyi is faster because she is a dancer and is so amazing. I plan to find her as a martial arts coach in the future. Her movements are beautiful, and then she knows people's limbs very well, and she will notice how likely they are and whether it is possible to do it. As long as I have the heart, I will study it. This is how I feel when I shoot this time. Although the knife and other props are fake, the actor is still injured.
Hou Hsiao-hsien: "I want to shoot three more movies. I like the gorgeousness of the Tang Dynasty."
Mtime: May I ask a few actors, Director Hou looks elegant, but in fact he is ruthless. I wonder if all the actors have experienced it. Shu Qi said before that what she feared the most was Director Hou.
Shu Qi has starred in Hou Hsiao-hsien's movies many times
Shu Qi: Rumor (laughs), it's him who is afraid of me. Director Hou himself is an Aries. When he walked the red carpet before, he was walking in front of him, and we were all like his bodyguards. As soon as he walked out, his demeanor was there, an innate knight and a hero. And he is the leader of the hero.
Hou Hsiao-hsien: No, I am alone. Do you know? After watching Wen Tianxiang from the Golden Horse Awards, I just arrived (Cannes), he sent me a message saying, "You are the ones you photographed!" If a person has no similarity, isn't this you? I'm interrupted, sorry.
Zhang Zhen: Director Hou is filming. If you have the chance next time you come to visit the set, you can feel the whole audience is silent, without any sound, and you can hear a needle falling to the ground, and you will know how powerful his aura is. On the one hand, everyone respects Director Hou very much, and on the other hand, everyone has heard about what happened to Director Hou when filming before. When we were filming "The Best Time", one day Director Hou bandaged it up, and then no one dared to ask the director what was wrong with his hands. Later, when he heard others telling him that the director was not too happy to think about this scene at home, he hit the door and his hand was injured... So here we know what the director's personality is. Everyone is more (note) when filming. The director wants to give a space for the actor to play, so he is there and can feel the director's persistence and demands for the movie. Then the atmosphere of everyone on the scene will become very cohesive and focus on what they should do.
Shu Qi: The director often loses his temper with himself. When he was filming "Flowers on the Sea", he was also very angry and kicked his feet, and then broke his bones and put a plaster on his bones...
Hou Hsiao-hsien: Is there any that serious?
Shu Qi: Yes, that time. The reporter said. It feels like he is very violent in his bones.
Hou Hsiao-hsien: No, that's urgent.
Shu Qi: But at the scene, there was no temper or any strict request to any staff. Even if the microphone is scattered incorrectly, he will not say that he will adjust it himself, because he knows everything. A comprehensive director is too familiar with what he wants. Director Hou is quite impatient. He wants to wait until I finish telling you, I have done it myself, so he will do many things by himself. His own work method leads the people around him to be in the same state anytime and anywhere.
So we will find that everyone is working on the spot, but in fact they are very happy. But there is also a little pain in this happiness. For example, when we saw the sets of the Tang Dynasty, when we were taking pictures at the last moment of the last day, every painting on the wall was drawn by students from the Academy of Fine Arts, and they were always painting. From day to night. Our art department has been painting every day for about several months. Each screen is hand-drawn, which is very beautiful.
Hou Hsiao-hsien: Then they were covered by the gauze.
Is this drama submitted for review in the mainland? Have you passed? There will be no more modifications.
Hou Hsiao-hsien: It has been submitted for review long ago, passed. It will basically not be changed, unless I have read it and then adjust it after I feel something (wrong) but the adjustment is limited.
Mtime: Is there a confirmed release date at present?
When will "Assassin Nie Yinniang" be released in the mainland? It is also a question of concern to the outside world
Hou Hsiao-hsien: I usually don't care, because that's what they released. But I will ask them to tell me that I am ready because it is not about issuing it. There is a step, and I am afraid they will not know it. So if they notify the release time, I will tell them what they need to prepare.
Mtime: Use long shots to shape the world of martial arts in the film. Then, if you continue to shoot martial arts films, will you consider using Hong Kong-style fast short shots indirectly?
Hou Hsiao-hsien: Why do I still take pictures after others have taken so many shots? And short shots are even more difficult for me to take pictures, because short means cutting in advance, thinking that it will be like that after taking pictures, not necessarily. So I am used to shooting long shots, and I have been shooting long shots from the past to now. But the fighting scenes cannot be that long. How long can Zhou Yun and Shu Qi fight, so it still needs to be cut. Basically, I don’t like drawings that are completely well-structured (storyboards). I’m not interested in each grid. I feel that the possibility of the scene is actually very high, depending on how you adjust to that state, between the actors.
Mtime: Are there any plans for the next filming?
Hou Hsiao-hsien: There is , because I want to shoot three movies, at least three movies. I like the Tang Dynasty because it is gorgeous. There are actually too many details of life in it. I have read Tang people's novels or notes. I have read a lot of new and old books of Tang, and I have read all about Zizhi Tongjian. If I have a basis, I won’t think about it all over the world. I will have a scope, and this scope can be penetrated. Some people can’t figure out anything when they think too much, but the result is all general.
Hou Hsiao-hsien's movies have always been unique in Taiwan
Mtime: Do you still care about the number of viewers at this stage? Still now, people say "Hou Hsiao-hsien harmed Taiwanese movies"...
Hou Hsiao-hsien: Did I harm Taiwanese movies? No Taiwanese movie is like me. They all went to the salesperson. When a director has the greatest pressure, "the next film". Is there any money to shoot? This is how every young director and person in this industry is. That's because I have been going through too long, and my money has come from other places, not in Taiwan or mainland markets. I can talk about it from Europe, Japan, and from many places, like this time. The mainland is still the largest market, and it is best to invest halfway from the mainland.
All these possibilities are basically the pressure of the director to make a film, because this film has income, and then there will be it. So in fact, being a director is very hard and the pressure is also great. In fact, if you shoot digital and simple (movies), sometimes if you really want to create, you will minimize all the costs and make modern films. If you don’t invite stars, ordinary actors can still perform well. Just hone it like this. When you have resources, you can adjust it. The level will be further up. You can find good actors and useful stars. And after the filming is very good, all the stars will come, and he will come if he has no money. Just like Weis Anderson in "The Grand Hotel in Budapest", everyone wants to act in his movie, even if it only has one. Actually, that's it, everyone knows it very well.
Mtime: Then do you care about how many viewers there are in the market and the issue of recycling for investors?
Hou Hsiao-hsien: I will try my best to do this. This is impossible to control. If you really want to consider this, you may have to change someone, so don’t ask me to (director) so that you can have a chance, otherwise it is unlikely.
Mtime: What are the reasons for using two actors to play two roles this time? Will it confuse the audience?
Hou Hsiao-hsien: Fortunately, they are quite powerful, and I don’t use them much, because I don’t expect everyone to understand. Because it takes a long time to understand, otherwise there would be a prequel. Originally, the prequel was a period of siege in Suiyang, and it was also the Tang Dynasty. Twenty or thirty years ago, it was the time we filmed now. After siege, all the food was eaten up, he started eating children and parents. Their (two princesses) masters were rescued children, turned into Taoist nuns, and adopted their twins Jiacheng and Jiaxin. But in fact, they are not twins, she adopts her sister. In fact, there is only one princess. Princess Jiacheng is a historical fact. She was the father who was reborn and married to Wei Bo and Tian Ji'an. In fact, it means to be a fan. Sometimes Wei Bo is too strong, so the royal family has to use this method.
So actually you said you wanted to figure out the whole story, which is not what you mean. If you have to figure out everything in every movie, then when will you shoot it?But this story is a source. When you think about things, you will have a shape. Although you don’t know what the story was before, this shape will present the content. The content may not be understood by the audience, but the actors (performances) will be different. Everything needs to be explained clearly, and it can’t be finished in those few hours.
Mtime:: Miss Shu Qi, how do you understand Nie Yinniang’s thoughts on love?
Hou Hsiao-hsien: I answered for her, Nie has three ears, and my earliest design was that she listened to it on a tree. I kept hiding in the tree and listening, listening, listening, and then jumped down. But Shu Qi stood on the tree and was stunned. He jumped down and screamed. We took a lot of photos at the beginning... Later I had to change it, otherwise what should I do...
Shu Qi: Where is it? I also took one of them.
Hou Hsiao-hsien: It’s not enough to be OK, it’s like this in several events, and there are also people standing on the beam in the house. Alas, what is your problem? How could there be such a complicated love in ancient times? In the past, they were all married and had a good family, so there must be someone who proposed marriage.
Mtime: Mr. Zhang Zhen, you will learn skills when shooting every movie. How can you prepare hard in this movie?
Zhang Zhen: I think the filming of director Hou is always in class. I like to stand by director Hou and listen to him secretly. The director’s film is very good and is very good for the actors, but I think he is a spiritual mentor to my life to some extent, and I can learn a lot from him. Including movies, life and life, they are all very constructive and make people feel very comfortable. This is why I like working with Director Hou.
In fact, this is actually practicing a whole body of kung fu. Of course, in this play, Xie Xinyi and I practiced dancing for a long time. I joined in a very late stage. I only learned about this scene a month before the final filming. She knew about it a year ago. I was a month ago... So the time I could practice was very short. While practicing dancing, I also had to practice drumming, which was also in that month. Because everyone may not be very clear about Director Hou's filming method, and I don't know how long it takes to film a scene, so relatively speaking, I was under a lot of pressure in that month because I don't know whether to play drums for one minute or ten minutes, so it is the most important to be as proficient as possible within that month, and I will feel more at ease when filming.
Mtime: Miss Zhou Yun, may I ask you that you will also film "Xiaying" next. The two films have some common things, but Jiang Wen and Hou Hsiao-hsien are two completely different styles, so what suggestions and influence will this "Nie Yinniang" bring to the other one?
Zhou Yun is working with director Hou Hsiao-hsien for the first time
Zhou Yun: Actually, I don’t know if I will star in "Xiaying". I will not interfere with Jiang Wen’s early directorial work at all. At most, I will help him pick actors. I have already picked Hou Hsiao-hsien for him... (laughs)
Hou Hsiao-hsien: I am too old, I am 70, no.
Zhou Yun: I think they are completely different styles and are completely incomparable. During the interview these days, I also heard the director talk about his way of making movies. I think everyone is very lucky. Director Hou is teaching everyone advanced movie classes. It turns out that I rarely have contact with directors who use long shots and medium scenes. Through this movie, I have had close contact with such a director.
Mtime:: In this movie, the actors feel like they are your pawns, and under your aura, they feel like they are flooded.
Hou Hsiao-hsien: Your statement is from another perspective. What are you calling a performance? You guys have watched too much in Hollywood. All expressions and movements must be very clear. Then why is this one the only one? Can't there be another one? Although it is a bit far and a little blurry, it will bring you more meaning to think and make you think more, otherwise you will be finished. That kind of film will feel ugly when you watch it again for a while. This is usually the case with
. So in fact, how to shoot a movie depends entirely on your personal personality. I started to study in the film school at that time and became a soldier. At that time, I was called the National First College. Because I loved watching movies when I was a kid. After entering the school, I went to the library and there was a book called "Movie Director". I opened it and read the preface first. The preface was talked a lot until the end, and said, "If you understand all this book, you still can't be a director."I said, then why should I read it? I returned the book. When I was in my sophomore year, there was a teacher who came back from studying in Japan. He talked about more practical things, including image lines, directions, and so on.
But later I found that these are not the same thing at all, and there is no need at all. I can see it in the camera and I will be very clear and I will not make any mistakes. So why I do this (photographed) is because of my experience and personality, and it is not that I am very determined. It’s just that I will find a way to do whatever I want, just like when I was young. I'm very good at gambling, very good at it, but I still lose all my money.
Mtime: I want to ask questions about the use of music in the movie, the drum beats throughout the whole process and the source of the last song.
Hou Hsiao-hsien: Our music is basically made by Lin Qiang. Since "Goodbye to the South," he has made music. I asked him to act in "Southern Country". In fact, it was the third part I acted in. The first part was "Dream of Drama" and the second part was "Good Man and Good Women". He was a musician and very shy, but his explosive power on the stage was very scary. I saw him sing. At that time, when I was shocked, I looked for him. I didn't expect that he was a very shy person. Gemini, very shy, just like my son. Then I asked him to act and found out that he was a creator and it was difficult to invest. His vision was too complicated and he couldn't concentrate on becoming a character. You can tell by looking at the details. For example, eating noodles, "Dream of Life" was filmed in mainland China. It was very early at that time. In an empty house, in Fuzhou, a mountainous countryside, the custom of celebrating noodles on a birthday is to eat noodles. I don’t know how many flies there are in that house. They are all in a large group, with all directions. So when he eats noodles, he must put the chopsticks on the bowl. No one is like this. This rule is wrong. Usually there is a chopstick stand.
Hou Hsiao-hsien came to mainland China during the "Dream of Life" period to shoot
I knew he couldn't act and couldn't devote himself to it. The first time I was OK, "Meeting Dreams" was like this. The second time "Good Man and Good Girl" is better, but it still doesn't work. But he has completely changed into a different person in "South Country". After three times, you will know that after you have watched it, he has inspired all his (abilities). After filming three films, I let him go, and only filmed one of the injured films was me, not him. When he arrived at "South Country", after he was fully engaged, I asked him to make music. All the music was done in a month, and they all liked the music of "South Country" very much in Europe.
Since then, I have asked him to make music for many films, and this movie is the same, and he can understand it at a glance. The last song of this film is my deputy director, Yao Hongyi. We usually find some music to try, and he found that song. That song has been popular throughout Europe for five or six years, but it is actually very popular. It is a percussion music from a family in Africa. A father has more than 40 children, all of whom are his members. He works with another French band, and I fell in love with it as soon as I heard it. And it's very cheap. There was a piece of music in front of me that I wanted to use another one, which was from Germany. It was so expensive, tens of thousands of euros a minute. This one is cheap and good.
Mtime: Now everyone feels that the film environment in mainland China is very impetuous, and Taiwanese directors are relatively able to stick to themselves. Why is this?
Hou Hsiao-hsien: In fact, it is the same in every place. The pressure the director faces is the same. If he doesn’t sell the title, there will be no next movie. The box office in mainland China is very large and the market is big. If one film is successful, it can continue to shoot several films, and there are many directors. It's all the same, it's entirely a personal idea.
I said, then why should I read it? I returned the book. When I was in my sophomore year, there was a teacher who came back from studying in Japan. He talked about more practical things, including image lines, directions, and so on.But later I found that these are not the same thing at all, and there is no need at all. I can see it in the camera and I will be very clear and I will not make any mistakes. So why I do this (photographed) is because of my experience and personality, and it is not that I am very determined. It’s just that I will find a way to do whatever I want, just like when I was young. I'm very good at gambling, very good at it, but I still lose all my money.
Mtime: I want to ask questions about the use of music in the movie, the drum beats throughout the whole process and the source of the last song.
Hou Hsiao-hsien: Our music is basically made by Lin Qiang. Since "Goodbye to the South," he has made music. I asked him to act in "Southern Country". In fact, it was the third part I acted in. The first part was "Dream of Drama" and the second part was "Good Man and Good Women". He was a musician and very shy, but his explosive power on the stage was very scary. I saw him sing. At that time, when I was shocked, I looked for him. I didn't expect that he was a very shy person. Gemini, very shy, just like my son. Then I asked him to act and found out that he was a creator and it was difficult to invest. His vision was too complicated and he couldn't concentrate on becoming a character. You can tell by looking at the details. For example, eating noodles, "Dream of Life" was filmed in mainland China. It was very early at that time. In an empty house, in Fuzhou, a mountainous countryside, the custom of celebrating noodles on a birthday is to eat noodles. I don’t know how many flies there are in that house. They are all in a large group, with all directions. So when he eats noodles, he must put the chopsticks on the bowl. No one is like this. This rule is wrong. Usually there is a chopstick stand.
Hou Hsiao-hsien came to mainland China during the "Dream of Life" period to shoot
I knew he couldn't act and couldn't devote himself to it. The first time I was OK, "Meeting Dreams" was like this. The second time "Good Man and Good Girl" is better, but it still doesn't work. But he has completely changed into a different person in "South Country". After three times, you will know that after you have watched it, he has inspired all his (abilities). After filming three films, I let him go, and only filmed one of the injured films was me, not him. When he arrived at "South Country", after he was fully engaged, I asked him to make music. All the music was done in a month, and they all liked the music of "South Country" very much in Europe.
Since then, I have asked him to make music for many films, and this movie is the same, and he can understand it at a glance. The last song of this film is my deputy director, Yao Hongyi. We usually find some music to try, and he found that song. That song has been popular throughout Europe for five or six years, but it is actually very popular. It is a percussion music from a family in Africa. A father has more than 40 children, all of whom are his members. He works with another French band, and I fell in love with it as soon as I heard it. And it's very cheap. There was a piece of music in front of me that I wanted to use another one, which was from Germany. It was so expensive, tens of thousands of euros a minute. This one is cheap and good.
Mtime: Now everyone feels that the film environment in mainland China is very impetuous, and Taiwanese directors are relatively able to stick to themselves. Why is this?
Hou Hsiao-hsien: In fact, it is the same in every place. The pressure the director faces is the same. If he doesn’t sell the title, there will be no next movie. The box office in mainland China is very large and the market is big. If one film is successful, it can continue to shoot several films, and there are many directors. It's all the same, it's entirely a personal idea.
