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坦白讲,在我拍《山雀儿》之前,面临两个压力:一是编剧李宽定的前部作品《良家妇女》已在国际电影节上获奖,我再拍他的剧本能否拍出新的水平和新的反响?二是随着电影市场对娱乐片的强烈呼唤和广大观众审美思潮的起伏,拍摄象《山雀儿》这种所谓的文艺片能不能拍出吸引力和震撼力?正是囿于这种压力,迫使我进入导演再创作阶段时必须作出若干思考,那就是选取什么样的切角,来剖视剧作潜藏于深层的社会生活内涵,扩展未来影片的思想张力与内在吸引力;采用什么样的表现方法,来塑造山雀儿和其它人物形象,努力增强形象的真实性与感染力;准备以怎样的造型手段,来创造具有生活抒情诗般的艺术格调,把雄浑绮丽的黔北风光和婉约纤细的情感流动
To be frank, I faced two pressures before I started filming “Titschild”: one is that the film “Good Woman” by screenwriter Lee Kuan-Ding was already awarded at the International Film Festival, and I can take a fresh look at his script And the new reaction? Second, with the film market for the strong appeal of entertainment and the ups and downs of the majority of the audience aesthetic trend, the filming “tits children” such a so-called art film can shoot attractive and shocking? In this pressure, forcing me into the director re-authoring stage must make some thinking, that is, what kind of cut angle to choose, to cut the drama hidden in the deep connotation of social life, to expand the future of the film tension and intrinsic attraction ; Using what kind of performance methods to shape the tits and other characters, and strive to enhance the authenticity and appeal of the image; ready to use what modeling tools to create a style of life with lyrical art, the powerful and beautiful Qian Northern scenery and graceful slender emotional flow