目 录
CONTENT
vanish into nothing film festival
ABOUT EMPT Y-HANDED
04-05
ABOUT WONG K AR-WAI
ST YLE IN THE MOOD FOR LOVE DAYS OF BEING WILD
12-17 32-37
44-49
HAPPY TOGETHER
0 6 -11
CHUNGKING EXPRESS 2046
50-55
26 -31
38-43 LOCATION
56-57
about THE FILM FESTIVAL
EMPTY HANDED
ABOUT EMPTY一无所有 HANDED
{04-05}
Wandering urban loners pursue love and a sense of belonging, yet reject lovers and remain in their own world. In the end, they miss all opportunities to be left with nothing.
WONG KAR WAI
about wong kar-wai
ABOUT WONG KAR-王 WAI 家 卫
EMPTY HANDED
{06-07}
Wong Kar-wai (born 17 July 1956) is a Hong Kong Second Wave filmmaker, internationally renowned as an auteur for his visually unique, highly stylised, emotionally resonant work, including Ah fei zing zyun (1990), Dung che sai duk (1994), Chung Hing sam lam (1994), Do lok tin si (1995), Chun gwong cha sit (1997), 2046 (2004) and My Blueberry Nights (2007), Yi dai zong shi (2013). His film Fa yeung nin wa (2000), starring Maggie Cheung and Tony Leung, garnered widespread critical acclaim. Wong’s films frequently feature protagonists who yearn for romance in the midst of a knowingly brief life and scenes that can often be described as sketchy, digressive, exhilarating, and containing vivid imagery. Wong was the first Chinese director to win the Best Director Award of Cannes Film Festival (for his work Chun gwong cha sit in 1997). Wong was the President of the Jury at the 2006 Cannes Film Festival, which makes him the only Chinese person to preside over the jury at the Cannes Film Festival. He was also the President of the Jury at the 63rd Berlin International Film Festival in February 2013. In 2006, Wong accepted the National Order of the Legion of Honor: Knight (Highest Degree) from the French Government. In 2013, Wong accepted Order of Arts and Letters: Commander (Highest Degree) by the French Minister of Culture.
WONG KAR WAI
about wong kar-wai
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ABOUT WONG KAR-WAI The Onion: You’ve been quoted as saying that shooting In The Mood For Love was the most difficult experience of your career. Why? Wong Kar-Wai: At first, we wanted to make a film in Beijing and call it Summer In Beijing. It was a love story about two homeless citizens working in Beijing. But because we had to shoot in Mainland China, we had to submit the script for approval from the censors, and they had problems with it, so we had to move the production back to Hong Kong and completely change the story. Then we started In The Mood For Love. At that time, we had some difficulties scheduling the lead actor and actress. Maggie was going to make a film with Steven Spielberg called Memoirs Of A Geisha, and Tony was going to make another film in Tokyo. So we finally started with a very simple story about two people in 1962 Hong Kong, but somehow we came across this Asian financial crisis, and it created big problems. We had to stop the production, and at one point we even thought of giving it up altogether. Luckily, we found new investors for the film, but then Tony had other commitments, so production stopped again and Maggie went back to Paris. At first, we thought In The Mood For Love would take something like three months to shoot, so we committed to make another film [2046] at the end of last year. That film takes place in Bangkok, so we moved production there. So at one point, we were shooting both films backto-back at the same time, which became extremely difficult, because the other story takes place 50 years into the future. It was like falling in love with two different people at the same time. After we finished part of 2046, we started the production
{08-09}
王家卫 对话 of In The Mood For Love again in Bangkok, because in the process of shooting part of 2046 in Bangkok, we saw some things that would be extremely good for In The Mood For Love. So we eventually moved it there. It was very chaotic. Somehow, we spent 15 months on these films. O: I know you had to rush to get In The Mood For Love completed in time for Cannes. What were you doing in the days leading up to that first screening? WKW: The reason we wanted to send the film to Cannes is because it would never have been completed otherwise. Somehow, we fall in love with the films and don’t want to let go, but financially and physically we cannot afford it. So when the film was invited, I said, “We will go to Cannes,” because even though we hadn’t finished the cutting, we had to have a deadline. We needed to have a point where we could finally let go of it. But the schedule was extremely tight, and we requested that it be the last film to show at the festival. We were still working on the subtitles the morning before the screening. The version we showed there was the pre-mix version, so it was presented in mono. Now it’s in Dolby stereo, so the sound is a great improvement.
WONG KAR WAI
about wong kar-wai
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O: Why did you choose early-’60s Hong Kong as the setting for the film? WKW: At first, we thought the story was just about these two people, but then we realized it was really about the period, 1962 Hong Kong. I was born in Shanghai and moved to Hong Kong the year I was five. In those days, there were a lot of people moving from Shanghai to Hong Kong, and they lived in their own isolated part of the city. They had their own culture, they had their own language, and they had their own music and cinema. For me, it was a very memorable time. In those days, the housing problems were such that you’d have two or three families living under the same roof, and they’d have to share the kitchen and toilets, even their privacy. I wanted to make a film about those days, and I wanted to go back to that period, because at that time, we still knew all our neighbors. And nowadays, we don’t even know who lives next-door to us. O: Do you feel you had to adjust stylistically to suit the period and the story? WKW: We tried to create the film from our memories. And in our memories, everything moves much slower, so we could not work like we did with Chungking Express. It had to be much more classical. Unlike Chungking Express, In The Mood For Love isn’t like a pop song, but closer to chamber music.
{10-11}
WKW: We tried to create the film from our memories. And in our memories, everything moves much slower, so we could not work like we did with Chungking Express. It had to be much more classical. Unlike Chungking Express, In The Mood For Love isn’t like a pop song, but closer to chamber music. O: What is the nature of your collaboration with [cinematographer] Christopher Doyle? How has it developed over time? WKW: We always work like musicians. I’m the bandleader, and he’s one of the musicians. To me, it’s like we have sessions and I invite [my cast and crew] and we jam. So actually, we don’t discuss much, and we don’t have to work out things every day, like the light or the color or the camera angles. We know each other very well already. O: Working without a script, are there days when you don’t get any usable footage at all? WKW: Even with scripts, you can have nothing in the can after shooting. Normally, it won’t happen, because you’re always expecting something you can salvage. Because I’m also the producer of my films, I make certain that we always come away with something.
WONG KAR WAI
style
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风 ć ź Wong Kar Wai is one of the most visually captivating filmmakers working today. His films are a perfect marriage
HIS STYLE
of beautiful visuals, strong, well developed characters and music that hits the perfect mark every time.
{12-13}
His films seem unmistakably inspired by the French New Wave films of the 1960’s (an era in which 3 of his films are set), along with his own Asian sensibilities grant him unique vision that other filmmakers often try to copy, but can rarely replicate. Although he’d never actually say that he’s been inspired by other filmmakers past or present, his films (particularly Chungking Express and Fallen Angels) have a flare of Goddard about them.
WONG KAR WAI
{ PHOTOS } : DAYS OF BEING WILD / IN THE MOOD FOR LOVE
{ PHOTOS } : HAPPY TOGETHER / DAYS OF BEING WILD / HAPPY TOGETHER
Wong Kar Wai’s visual flair is in the frenetic camera movements during action sequences, stylized lighting/compositions and use of slow motion (expansion of time). His films often live in the locations/set pieces and small moments spent with his characters. These little moments make up the characters in our minds and lends a pleasant understanding of even the strangest characters. Not a single moment is wasted though, they work to establish a mood, an emotion or deepen a our understanding of the character.
filmorgraphy
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filmorgraphy { 2013 }
The Grandmaster
{ 1995}
Fallen Angels
{ 2007}
My Blueberry Nights
{ 1994}
Dung che sai duk
{ 2004}
2046
{ 1994}
Chungking Express
{ 2000}
In the Mood for Love
{ 1990}
Days of Being Wild
{ 1997}
Happy Together
{ 1988}
Wang Jiao ka men
{18-19}
WONG KAR WAI
y For someone unfamiliar with Hong Kong firsthand, Wong’s films provide a resonant, bewitching, perhaps even definitive portrait of the city. For someone unfamiliar with Hong Kong firsthand, Wong’s films provide a resonant, bewitching, perhaps even definitive portrait of the city. In his international breakthrough Chunking Express, the densely populated metropolis’s kinetic movement and globalized circuits are accentuated by the film’s restless camera and Cranberries-infused soundtrack. In the Mood for Love stages several intimate meetings of traditional and contemporary life in the claustrophobic corners in an exponentially vertical Hong Kong. The dizzying 2046 presents a Hong Kong ever at the concurrent precipice of the past and the future.
filmorgraphy
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{1990}
DAYS OF BEING WILD
阿飞正传
{1994}
CHUKING EXPRESS
重庆森林
{1997} HAPPY TOGETHER
春光乍泄
{20-21}
WONG KAR WAI
{2000}
IN THE MOOD FOR LOVE
重庆森林
{2004}
2046
2046
{ PHOTOS } : DAYS OF BEING WILD / CHUNGKING E XPRESS / HAPPY TOGETHER / IN THE MOOD FOR LOVE / 2046 (FROM LEF T TO RIGHT)
Wong’s film shoots are notoriously long, and in the end the filmmaker rarely comes away with something strictly resembling the film he set out to shoot, especially as he rarely storyboards or employs a conventional script. For In the Mood for Love, Wong shot a love scene between the couple and an entire frame that takes place in 1990s Hong Kong with the couple’s elder selves. For years, Wong’s fans have pondered about this footage, and what even a modern classic like In the Mood for Love could have been. But the point isn’t that there’s some other original vision that we aren’t given access to; the point is that what becomes “the film itself” is ultimately a set of complex and interrelated choices, not a sense of essential being. In the Mood for Love could have been any number of films; that it ended up being a rather sparse drama about a uniquely chaste affair is heavily dependent upon choices of framing — n ot only during the shoot, but during the editing process which, as Wong attests, is a another stage of production on its own.
“
EVERY DAY WE BRUSH PAST SO MANY OTHER PEOPLE. PEOPLE WE MAY NEVER MEET OR PEOPLE WHO MAY BECOME CLOSE FRIENDS.
”
chungking express
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The best place to start: Chungking Express
重庆森林
{ PHOTOS } : BRIGIT TE LIN IN CHUNGKING E XPRESS
{28-29}
Wong has a reputation as the master of melancholy romance but he knows how to make you laugh too. Chungking Express (1994) is the best example of this as well as being a gentle introduction to his signature style. The low-budget feature was made during a two-month break from editing his martial arts epic, Ashes of Time (1994), and ended up being his breakthrough international hit. It got the attention of Quentin Tarantino, who loved it so much that he distributed the film through his now defunct Rolling Thunder imprint in the US. The quirky love story about two cops struggling to hold it together after getting dumped (and the women they end up falling for) won Wong plenty of other admirers. It’s an effortlessly charming dissection of love and heartache that’s flawlessly acted, fizzing with madcap energy and peppered with witty one-liners. By far his most accessible offering, it’s a life-affirming experience that’s a sheer joy to watch as it navigates the loneliness of big city life with playful exuberance.
WONG KAR WAI
CHUNGKING EXPRESS
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Brigitte Lin
Woman in Blonde Wig
Chiu Wai Leung
Cop 663
Faye Wong
Faye
Takeshi Kaneshiro
He Zhiwu, Cop 223
CAST 重庆森林
Valerie Chow
Air Hostess
{32-33}
WONG KAR WAI
{ Brigitte Lin } Brigitte Lin or Brigitte Lin Ching-hsia (born 3 November 1954) is a Taiwanese actress. She was a popular actress, regarded as an icon of Chinese cinema, who acted in both Taiwanese and Hong Kong films. She retired in 1994, although she had a minor role in the 1998 film Bishonen.
{ Brigitte Lin } Brigitte Lin (Chinese: 林青霞; pinyin: Lín Qīngxiá) or Brigitte Lin Ching-hsia (born 3 November 1954) is a Taiwanese actress. She was a popular actress, regarded as an icon of Chinese cinema, who acted in both Taiwanese and Hong Kong films. She retired in 1994, although she had a minor role in the 1998 film Bishonen.
“
I can’t waste time wondering if i made mistakes, life’s too short for that.something must change.
”
IN THE MOOD FOR LOVE
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IN THE MOOD FOR花样年华 LOVE
While Chungking Express has become something of a fan favorite, In the Mood for Love (2000) is Wong’s crowning glory and a must-see. An exquisite masterpiece, it’s one of the most poignant films about lost love in cinema history. Watching Tony Leung and Maggie Cheung as two neighbors, reeling from their respective spouses’ infidelity and finding comfort in each other, is electrifying.
{36-37}
WONG KAR WAI
While Chungking Express has become something of a fan favorite, In the Mood for Love (2000) is Wong’s crowning glory and a must-see.
The film sighs and swoons with deep yearning as they struggle between duty and desire, the heat from their barely suppressed p assion is tangible, leaving you in a state of breathless fervor. It lovingly recreates the 1960s of Wong’s childhood. From the gorgeous costumes and immaculate set design to the mesmerising camera work, the film is a visual delight.
IN THE MOOD FOR LOVE
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{38-39}
WONG KAR WAI
IN THE MOOD FOR LOVE
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花样年华 Maggie Cheung
Su Li-zhen
Chiu Wai Leung
Chow Mo-wan
Ping Lam Siu
Ah Ping
Tung Cho Cheung
Man living in Mr.Koo’s apartment
Rebecca Pan
Mrs. Suen
CAST
{40-41}
{ Maggie Cheung } Brigitte Lin or Brigitte Lin Ching-hsia (born 3 November 1954) is a Taiwanese actress. She was a popular actress, regarded as an icon of Chinese cinema, who acted in both Taiwanese and Hong Kong films. She retired in 1994, although she had a minor role in the 1998 film Bishonen.
WONG KAR WAI
2046
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2046 2046 From here, it makes sense to check out 2046 (2004), a loose sequel about a womanising writer (Leung again), and the repercussions when love sours, that mixes sci-fi with period drama. It’s a darker, more cynical beast but just as beautiful. Zhang Ziyi is absolutely captivating as an escort who has her heart shattered.
{42-43}
WONG KAR WAI
Days of Being Wild, In the Mood for Love and 2046 collectively as Wong Kar Wai’s “Informal Trilogy.”
2046
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{44-45}
WONG KAR WAI
Chiu Wai Leung
Chow Mo-wan
Li Gong
Su Li-zhen
Faye Wong
Wang Jing-wen
Takuya kimura
Tak
Ziyi Zhang
Bai Ling
Carina Lau
Lulu / Mimi
Chen Chang
Mimi’s boyfriend
Jie Dong
Wang Jie-wen
Maggie Cheung
Su Li-zhen
CAST2046 { CARINA LAU } Carina Lau Kar-ling (born 8 December 1965) is a Chinese-born Hong Kong actress and singer. She holds citizenship from Hong Kong and Canada. She was especially notable in the 1980s for her girl-next-door type roles in films.[1] Lau started her acting career in TVB, where she met fellow actor Tony Leung Chiu-wai who became her boyfriend in 1989. The couple wed in 2008.
DAYS OF BEING WILD
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DAYS OF BEING WILD 阿飞正传
Once you’ve been enticed by this alluring two-parter, take time out for Days of Being Wild (1990). Wong’s downbeat second feature, starring the cream of Hong Kong talent at the time, spectacularly flopped on release. But it was lavished with critical acclaim and has emerged as one of his best films, one which captures the yawning existential ennui of youth while exploring his obsession with time. Leslie Cheung gives an iconic performance as a disaffected ladies’ man rebelling against boredom as much as the rejection of the first woman that ever loved him—his mother.
{ LESLIE CHEUNG }
Leslie Cheung Kwok-wing (12 September 1956 – 1 April 2003) was a Hong Kong singer, actor and film producer. He is considered “one of the founding fathers of Cantopop” by “combining a hugely successful film and music career.”
{48-49}
WONG KAR WAI
“
If memory is a can, I wish it could never expire; if I were to add an expiration date, hopefully it is “ a million years.
”
DAYS OF BEING WILD
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Leslie Cheung
Yuddy
Maggie Cheung
Su Li-zhen
Andy Lau
Tide
Carina Lau
Leung
Rebacca Pan
Rebecca Pan
Jacky Cheung
Zeb
Tony Chiu Wai Leung
Chow Mo-wan
{52-53}
CAST
阿飞正传
{ ANDY LAU } Andy Lau Tak-wah, BBS, MH, JP[5] (born 27 September 1961) is a Hong Kong actor, singer and film producer. He has been one of Hong Kong’s most commercially successful film actors since the mid-1980s, performing in more than 160 films while maintaining a successful singing career at the same time.In the 1990s, Lau was branded by the media as one of the Four Heavenly Kings of Cantopop.
WONG KAR WAI
happy together
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HAPPY TOGETHER春光乍泄
{54-55}
WONG KAR WAI
I thought I was different from Po-Wing but it turns out that lonely people are all the same. Lai and his boyfriend, Ho (Leslie Cheung), arrive in Argentina from Hong Kong, seeking a better life. Their highly contentious relationship turns abusive and results in numerous break-ups and reconciliations. When Lai befriends another man, Chang (Chen Chang), he sees the futility of continuing with the promiscuous Ho. Chang, however, is on his own personal journey and, ultimately, both Lai and Ho find themselves far from home and desperately lonely.
“
I didn’t see Chang, but I saw his family. I finally understood how he could be happy running around so free. It’s because he has a place he can aLways return to.
”
HAPPY TOGETHER
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CAST
春光乍泄 Leslie Cheung
Ho Po-wing
Tony Chiu Wai Leung
Chow Mo-wan
Chen Chang
Chang
{58-59}
WONG KAR WAI
{ CHANG CHEN }
Chang Chen (born 14 October 1976), sometimes credited as Chen Chang according to Western name order, is a Taiwanese actor. His father Chang Kuo-chu and his brother Hans Chang are also actors.
MAP
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MAP
地图 American Museum of Natural History
{ DATE } 2018 / 05 / 02
{ LOCATION } 1000 5th Ave, New York, NY 10028
{ INTRODUCTION } The Metropolitan Museum of Art, colloquially “the Met”, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world.
THE LAKE
{60-61}
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WONG KAR WAI
“
Disconnected souls search for love and a sense of belonging, and finally find nothing in the films of Wong Kar-wai.
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