In 1993, a Japanese TV station director, carrying a camera, went to Taiwan Province to shoot a documentary.
This young man probably has different horoscopes from all the old men. At that time, the seniors in the stage had been criticized by him from beginning to end.
But unexpectedly, this shooting actually caused him to collide with a middle-aged man who was more than one round, which made him a "year-old love song".
Nearly 30 years later, this documentary that is less than 50 minutes long but is precious enough to enter the museum. We finally have the opportunity to see the true appearance: is "When the movie reflects the era: Hou Hsiao-hsien and Yang De-chang" .
From left: Wu Nianzhen, Hou Hsiao-hyun , Yang Dechang, Chen Guofu , Zhan Hongzhi
At that time, it was Zhi who made a late-night program in Fuji TV station .
was originally planned to promote Hou Hsiao-hsien's new film on the show, but when it heard it was related to idols, it was Zhi who seized the opportunity and offered to go to Taiwan to shoot a documentary. The brief contact between
and Hou Hsiao-hsien made Shizhi decide to become a film director, which also directly led to the filming of her debut work "Fantasy Light".
"Fantasy Light"
Nowadays, Shi Zhi has won the fifth Palme d'Or Award in Japanese film history and has grown into a regular visitor to the three major A-class film festivals in Europe.
This reminds me of the 57th Golden Horse Awards...
In order to award Hou Hsiao-hsien the "Lifetime Achievement Award", Zhi Zhi was isolated in Taiwan for two weeks and said on the stage that Hou Hsiao-hsien was a father who was not related by blood.
Contact the documentary to watch, it looks like a wonderful cross-time and space dialogue.
In "Reflection of the Era", the momentum of Taiwanese movies is no longer the same as before.
market is occupied by Hollywood and Hong Kong films, and only about 10 new movies are produced every year, and the filmmakers in this province are not eligible for it.
Open-air movies in front of the temple, Ximending Red House Theater, all the memories of film movies are also disappearing.
Yang Dechang is filming "The Independence Era"; Hou Hsiao-hsien is promoting the new movie " Drama Dream of Life ".
These two are both 46 years old, both from Meixian, Guangdong Province, and are both directors of Hakka , and are slowly alienating their relationship.
Hou Hsiao-hsien is worried that fewer and fewer people of the younger generation understand Taiwan's history and hopes to continue to use movies to tell the story of the Chinese nation.
Yang Dechang sighed, "There will be no movies in the future" and plans to try more types, such as suspense films and action films.
Although "The Era of Reflection" is short, the content is very refined.
is a branch many years later said: these two people can actually exist in the same era. Their movies influence each other, but they exist in parallel and contrasting relationships. It really looks like a miracle!
Take this opportunity to talk about these two master directors who are closely related and have a profound influence on Chinese films.
Yang Dechang and Hou Hsiao-hsiung
Hou's family moved to Taiwan, and we must start by chance...
In 1947, Hou's father, who was the director of education in Meixian, took his students to Guangzhou to attend the sports meeting, and during this period he met his college classmates.
classmate is about to go to Taichung to serve as mayor, so he asked if he wanted to be his chief secretary, and Hou's father happily agreed.
Just like that, Hou Hsiao-hsien, who was just born, moved to Taiwan to live with his family.
I thought I could go back to the mainland in three or two years, but the cheapest bamboo furniture I bought.
But unexpectedly, two years later, a foreign land changed its hometown, and the shallow strait blocked the way home for generations.
When I first arrived in Taiwan, my life was not as rich as expected. Hou’s father had to support eight people with a monthly salary of 620 yuan, and his life was very tight.
In order to get more food, the family reported Hou Hsiao-hsien's age to one year old, and even radish leaves would be used to pickle them.
The humid climate caused Hou's father to suffer from lung disease, so in Hou Hsiao-hsien's childhood memory, his father rarely talked to him for fear of infection.
Hou's mother was homesick and under too much pressure, she committed suicide twice.
Fortune teller said that Hou Hsiao-hsien was the fate of becoming an official, so the elderly grandmother loved this little grandson especially.
also often holds his hand, muttering to walk back to Guangdong on foot.
" Childhood Past "
It is hard to imagine that today's famous international director was called "shockless person" by his family when he was a child...
At that time, their family lived in the dormitory of the Kaohsiung County Government. There was a lively City God Temple nearby, which was the center of the universe of Xiao Hou Xiaoxian.
Play marbles, shake dice, and play gyroscopes, and a group of people bet on different ways.
When there was no gambling money, Hou Hsiao-hsien secretly pawned his father's suit, watch, Parker pen , and his passbook of his brother in the airspace.
Crossing the wall to steal mangoes, mixing gangs, and fighting with knives are commonplace.
On the other hand, Hou Hsiao-hsien loves reading novels very much. He is fascinated by martial arts who talk about morality in the martial arts world and Qiong Yao who talks about the love between men and women.
Chenghuang Temple is the place for drama competitions in seven counties and cities in the southern region. Gezai Opera , puppet Opera , and shadow play for two months. An environment like
has allowed Hou Hsiao-hsien to be immersed in traditional Chinese culture since he was a child.
If you want to talk about serious movies, Hou Hsiao-hsien has no money to watch, but for Hou Hsiao-hsien who "walking around in society" early on, it is a piece of cake to make money.
He often smeared honey on his mouth, and called out "Uncle, Uncle" and asked others to take him to the theater to watch movies.
is a little bigger, and his way of watching movies is even more rebellious, cutting barbed wire, climbing over the courtyard wall, and forging tickets. These small actions have allowed him to see a lot of movies.
includes Japanese samurai films, monster films, and underworld films; American western films, science fiction films; various Hong Kong films...
After graduating from high school, Hou Hsiao-hsien did not take the college entrance examination, but served two years of military service.
Before leaving, Hou Hsiao-hsien felt like he had grown up overnight, consciously breaking the rebellious chaos of adolescence.
Whenever there is a break, Hou Hsiao-hsien would go to watch the movies, and sometimes he would watch 4 shows a day.
Once, he watched the British movie "Crossroads", and the beautiful love fooled by social classes in the film deeply touched him.
Back to his residence, Hou Hsiao-hsien wrote in his diary: will take 10 years to enter the film industry.
From that day on, the movie was no longer just a way of entertainment for Hou Hsiao-hsien, but was included in his life plan as a personal ideal.
After he retired from the army, he worked in Taipei while preparing for the college entrance examination. When he encountered problems, he took out the one he had done in Chenghuang Temple. It really worked.
In July 1969, Hou Hsiao-hsien got his wish and was admitted to the Film and Drama Department of the Arts College.
However, there are few opportunities to get to know movies in school, all of which are drama, makeup, and performance courses. After graduating from
, Hou Hsiao-hsien first sold computers for 8 months, and introduced products and delivered business cards every day.
Hou Hsiao-hsien, who was willing to spend time on his mind, won the championship for 8 months.
It was not until he got the opportunity to record the scene for director Li Xing that he entered the film industry.
In the next five years, Hou Hsiao-hsien participated in ten movies, and gradually became a screenwriter and deputy director.
Before this, he had released many romantic comedies, which were well received and popular.
But in essence it is still the same as Qiong Yao movies, and it has not formed its own artistic style.
One day, screenwriter Zhu Tianwen brought a book "Shen Congwen's Autobiography". The objective and down-looking perspective in the book inspired Hou Hsiao-hsien.
So Hou Hsiao-hsien tried to let the photographer pull the lens away, which led to the first movie with the imprint of "Hou style aesthetics".
"The Man from the Wind Cabinet"
Several years later, a Shanxi boy studying in a university in Beijing was deeply influenced by "The Man from the Wind Cabinet" and embarked on the road of film creation.
His name is Jia Zhangke …
Jia Zhangke, Hou Hsiao-hsien, and Shige Yukazu
Afterwards, Hou Hsiao-hsien seemed to have opened up the Ren Du meridians . Combined with his own growth experience, he created successively films such as " Dongdong Holiday ", "Childhood Past", " Lovely Fengchen " and other videos. Although
won some awards in Europe, they were all small awards with low popularity. At that time, the media also mocked him as a regular visitor to the European countryside film festival.
At that time, Taiwan had lifted the strictness, and Jiang Ching-kuo had just passed away, but the political topics were still very sensitive, not to mention that this movie tells the destruction of the people by the " 2.28 incident ".
Once the news that the News Bureau was about to delete the show, it was bombarded by the media. Under pressure from public opinion, it had to give up.
"Sad City" also won the first Golden Lion Award for Chinese-language movies .
After "Dream of Life", Hou Hsiao-hsien still maintained high productivity and successively launched " Good Man and Good Women ", "Goodbye to the South, South", "Flowers on the Sea", " Millennium Mambo "...
Who would have thought that Hou Hsiao-hsien was written in his daughter's homework book.
And the two things he wants to do most after retirement are to build a cinema with a harmonious atmosphere and cultivate more film talents.
Yang Dechang is a completely different growth model.
Yang's father works in the "Central Printing Factory", and Yang's mother is in the "Central Trust Bureau". The family's life is enviable.
html When she was over 31 years old, Yang Dechang moved to Taiwan with his family.
His childhood was spent in "White Horror". Manga and movies are the things he is most interested in, and he is particularly fond of Osamu Tezuka ("Iron Arm Astro Boy") .
When he was in college, the Hollywood movies produced by the assembly line made Yang Dechang tired. He was more willing to spend time in international theaters and watch some European movies.
Yang Dechang In 2000, he went to the University of Florida in the United States to study for a master's degree in electronic engineering.
No one expected that after getting the degree, the programmer actually went to apply for the Nanjia University movie course.
But not long after, Yang Dechang found that the school was full of Hollywood style that he hated. The creative concept taught by the teacher had a huge difference with his film aesthetics, and left in anger. After
, he worked as a computer engineer at the University of Washington for several years. Until his thirties, Yang Dechang began to worry about future plans.
Because she is interested in architecture, Yang Dechang applied for the architectural department of MIT and Harvard .
One day, a friend's words made him step on the brakes: Will you still want to make a movie after becoming an architect?
After careful consideration, Yang Dechang decided to give up construction and find opportunities to enter the film industry to work hard.
I met my fellow countryman when I was studying abroad and wanted to make a new film and wanted to ask him to be a screenwriter.
Yang Dechang quit his job and returned to Taiwan without saying a word.
Although this film, which brings together Tsui Hark , Du Duzhi , and Lee Chong Sheng , was not released, it also became a turning point in Yang Dechang's life and opened the door to the movie world for him.
However, his paranoid work style made him in trouble in the early stages of his creation.
is a unit drama filmed by Zhang Aijia . It was originally scheduled to be 90 minutes, but Yang Dechang filmed 150 minutes and could only be broadcasted in two episodes;
went to Hong Kong to write "Yin Yang Fault", but the script was changed again and again, resulting in Yang Dechang being fired by the crew and returning to Taiwan after half a year.
" The Story of Time " "Hope"
Yang Dechang, who has received Western education, has a very different perspective from other creators in Taiwan. The spicy movie language is like a scalpel, calmly analyzing the crux of society, interpersonality, and emotions. These traits of
are reflected in the feature film debut "A Day on the Beach".
"A Day on the Beach"
His way of creating scripts is a bit weird because he is not good at expressing and often only uses flowcharts to write a conceptual thing on the whiteboard.
Then colleagues will organize a lot of things, Yang Dechang will choose and choose the part he is satisfied with.
He himself will spend a lot of time and list the characters of each character in detail, which is even richer than the script.
Source: "Goodbye Yang Dechang: Chronicle of Interview with Taiwanese Filmmakers"
Yang Dechang's dress in the 1980s was definitely a fashion trendsetter. He was tall and thin, wearing a baseball jacket and jeans, a baseball cap and sunglasses, and loved to listen to operas, and his eyes narrowed into a slit when he smiled.
But this handsome guy in the eyes of Zhang Zhen is notoriously difficult to deal with. The filmmakers who have worked with him will complain about his bad temper.
When filming "The Beach", in order to hire Du Kefeng (photographer), Yang Dechang had a very stalemate with the company, but when Du Kefeng joined the group, he was so angry that he was left by Yang Dechang's temperament;
to shoot "Assassination" (project miscarriage) , Yang Dechang wanted to invite Maggie Zhang to play, but on the day of meeting, Maggie Zhang was going to participate in a charity event, and the time conflicted, but Yang Dechang refused to coordinate and thought, "I invite you to come and you." The time is mine, so I never met again;
When dubbing "Guling Street" that took five years, 14-year-old Zhang Zhen was always unable to find the feeling. He was so angry that Yang Dechang rushed into the dubbing room, grabbed Zhang Zhen's collar, and said he wanted to go outside to "fight"...
Yang Dechang was on the set of "Guling Street" to Zhang Zhen and Yang Jingyi talk about the drama
If the crew makes mistakes and is lazy, they will be blessed by the "Three Character Classic" and "Five Character Classic".
Looking at the entire film industry, only Du Duzhi (recording artist) and Yu Weiyan (producer) , who have worked closely with Yang Dechang, can he be suppressed.
Du Duzhi once said that he had not quarreled with Yang Dechang for more than 20 years. If you think about it carefully, it is much more difficult than winning an award...
However, it is this creative attitude that focuses on the disregard of relatives that has brought two top-level works to Chinese films: "The Young Man in Guling Street" and "-1-".
"Guling Street Youth Murder Incident"
The former restores the Taiwanese customs of a special historical period and uses cold brushstrokes to reveal the martial law essence of "killing people in the era";
The latter is Yang Dechang's culmination of the work, projecting the surging and silence of life with the joy, anger, sorrow and joy of an ordinary Chinese family.
Jia Zhangke once commented that only Hou Hsiao-hsien's movies can accurately capture our past and present lives, and only Yang Dechang can use one movie to explain the entire world and cover the whole of Chinese society.
" Terrorist ", "Independence Age", " Mahjong " all use Western mottos to criticize modern society sharply.
But the speculation in the movie was too advanced for the audience back then, resulting in a dismal box office, which once equated the name Yang Dechang with "box office poison".
For example, "Children's Childhood Sex" starring Hou Hsiao-hyun (the love work between Yang Dechang and Tsai Chin ) was urgently withdrawn because the box office was too low and it was released for only 4 days...
In addition, Yang Dechang also often overspending the budget, causing the project to be interrupted several times. "Guling Street" (generally, the movie is about 30,000 to 40,000 feet) is an example.
In short, Yang Dechang either doesn’t take pictures or goes to the extreme.
One year, Japanese investors wanted to invite him to co-produce a three-section movie with Kwan Jinpeng and Iwai Shunji .
The other party gave very good conditions. Yang Dechang simply came up with the concept of conception for many years, condensed it into the life experience from childhood to adulthood, and made it into an independent feature film.
This movie is the amazing "Yiyi".
With this film, Yang Dechang won the "Best Director Award" at the Cannes Film Festival in the new millennium of Chinese-language films.
When I returned to my alma mater to show "Yiyi", a famous scene was also staged.
A reporter rushed to the screen to shoot the audience's reaction. This behavior that disrupted the viewing experience angered Yang Dechang.
Not only did he shout "Five Character Classic", he also rushed forward and kicked the man away...
Shortly after Cannes won the award, bad news came: Yang Dechang suffered from colorectal cancer.
While actively treating, he continued to create the animation "Chasing the Wind" which draws inspiration from "Along the River During the Qingming Festival" and uses Jackie Chan as the prototype.
It’s a pity that cancer cells spread to the brain.
It was not until 3 days before his death that Yang Dechang fell into a coma and put down the brush in his hand.
On June 29, 2007, Yang Dechang fell at the door of his sixties, and his works were forever frozen at the "eight and a half works".
If God gives him more time, it can be foreseen that Chinese anime will also usher in a change. The "Chasing the Wind" with only 10 minutes of sample is enough to prove...
space is limited, and this time I can only talk about so much. The story about the two directors Hou Yang, Raven can chat for three days and three nights, and I will share more in the future if I have the chance.
In the early 1980s, Tsui Hark, Ann Hui, Tan Jiaming and others set off a "new wave" in Hong Kong movies.
Taiwanese filmmakers who are eager to break through the themes of martial arts, romance, political publicity, etc., followed closely and opened the era of Taiwan's "new movies"...
And the two soul figures Hou Hsiao-hsien and Yang Dechang led this era and influenced a large number of directors such as Yukazu Koreedo, Jia Zhangke, Bi Gan, and
Love letters to filmmakers Music: Cai Qin - No regrets
At that time, Yang Dechang, who was sensitive to music, played the musical music for Hou Hsiao-hsien's "The Man from the Windguard"; Hou Hsiao-hsien played the male lead in Yang Dechang's "Children's Sex".
Du Duzhi recorded the movie for the two directors; Liao Qingsong cut Hou Hsiao-hsien's "Love the Wind and Dust" with his left hand and Yang Dechang's "Terrorist" with his right hand (almost cut "Love the Love" into a horror film) …
is such a best time, everyone is always full of creative desire and works intimately.
Hou Hsiao-hsien's imperial screenwriter Zhu Tianwen said: Hou Yang and Yang were once so close. At the beginning, they must have been attracted by the different qualities of each other. After all, they are wild and wild, while the middle-class people are worried. Later, I found out that they were different from each other and eventually went their own way.
We cannot seize time, cannot escape the times, and cannot escape fate, but we can keep the stories through movies, and retain the generational changes, birth, old age, sickness and death, joys and sorrows on the land of China...
"The past is like fire and tragic, but time is poetic like smoke."
Just like in "Yiyi", the most classic line: After the invention of the movie, human life has been extended at least three times compared to before! The life experience gained in the movie is at least double that of our own life experience.
Looking back at the past, whether it is "Childhood Past", "Sad City", or "The Young Man on Guling Street" and "Yiyi", they tell us the stories that happened on that wet tropical island, and they all record ordinary families like rain hit duckweed in Chinese culture and special times.
Remember, Yang Dechang said this:
How lucky we are to grow up in this unfortunate era.
We are lucky unlucky.
As the audience, perhaps we can write the second half of the sentence as, "How lucky we can enter the world of light and shadow woven by Hou Hsiao-hsien and Yang Dechang."
There will always be many stories in the dark, such as truth, goodness, hypocrisy, shocking, fantasy, and horror...
When the light shines in the dark, a new movie is born again.
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