Tsai ming liang movie#
When I see lots of people on movie sets, it always strikes me as inauthentic. This is a way of working that I’ve long aspired to. There was no art department or anything like that. The cinematographer didn’t have to scout locations either. So there’s no traditional pre-production in this case? Of course, I only used some of the footage I shot for this film. When did you start shooting and saving footage for this film? But they really liked what they saw and said yes right away. I only told them it’s a film about these two men who may or may not meet. So you didn’t even show them a screenplay? They knew from previous collaborations with me that I would not be able to tell them much about what I was going to do, but they immediately agreed to support me anyway. I went to the Public Television Service of Taiwan and showed them the available footage. That’s also when I started to find real funding for the film, because to turn it into a feature film would require post-production. When was the point you realized you could turn the footage into a narrative film?Īround May/June of last year. So I don’t think this film is that different from my previous work, perhaps it digs a little deeper emotionally but that’s about it. After I edited parts of both of their footage together and realized it’s something that could be further developed, I just went for it. I myself couldn’t have told him why either. Anong only knew I was a filmmaker but had no idea what I was filming him for. It’s a way of working that I really enjoyed. One day, I simply wondered what it would be like to combine this footage. After a few years of footage collection, I met Anong (Anong Houngheuangsy, co-lead of Days) whom I also filmed this way. And I made sure to have a good cinematographer do it properly. For example, when Kang (longtime collaborator Lee Kang-Sheng) fell ill, I felt strongly about documenting the process on film. I often think about saving and potentially using film footage for exhibitions someday. This probably has to do with my background in museums. Instead, I focus on the collection of footage. I used to write scripts, come up with ideas, but that’s not how I approach filmmaking anymore. When I make films these days, I don’t think about preparations. Is there any difference in the way you approached or prepared the project?
Tsai ming liang series#
Tsai, you returned to narrative filmmaking with Days after a series of (mixed-form) documentaries ( Afternoon, Your Face ) and a VR film ( The Deserted ). Tsai in Berlin to talk about narrative filmmaking, not subtitling Days, and shooting Lee Kang-Sheng’s face. Premiering in competition, the “intentionally un-subtitled” film tells of the lives of two solitary men who share an intimate moment together, then resume their lonely existence again. This year, he returned to the Berlin International Film Festival with Days, his first narrative feature since the Venice Grand Jury Prize winner Stray Dogs in 2013. We have had the privilege of speaking with Taiwan-based filmmaker/master of slow cinema Tsai Ming-liang three times over the last four years (see here, here, and here).
0 kommentar(er)
