Chapter 2 2

Yang Dechang said that the process of screenwriting is like building a bridge. First, there are several piers, which are connected to each other, and finally connected at a certain place on the water and air, and it is completed. After deciding to shoot "Lianlianfengcheng", I found that the characters were too single, so I found Nianzhen and forced him to confess his wealth and life. In order to avoid him being too subjective, Hou Xiaoxian and I will discuss the split scene, which will belong to Nianzhen's historical background, Time and space are all broken up and remembered again.

The first problem encountered was not the content itself, but the actors.Because I chose to shoot "Lian Lian Feng Cheng", one of the goals was to make You Anshun and Xin Shufen, and used them in the several films I took over to create stars and new youth idols.But the two of them are too big for the characters in the play.You Anshun is strong and strong, with extremely broad shoulders. In such a poor family in the mining area, he stood taller than his miner father. When he was fifteen years old, he was kicked out to work, and he was squatting at home to eat old rice. persuasive.You Anshun's healthy and healthy image is not suitable for that precocious, thin boy, A Yuan.Xin Shufen's eyes are very firm. Since she is a newcomer, if she is asked to play another soft and sensitive fourteen-year-old girl, Ayun, who is different from herself, I am afraid that she will not be able to play it.For the actors, start revising the story.

In the first edition, Ayuan's family background was changed. His father was a police officer transferred to Houtong, and all the touching family relationships and life details that belonged to Ayuan were transferred to Ayun.Ayuan came to Taipei first, and studied at university part-time. Ayun graduated from junior high school and came to work in Taipei. Ayuan found her surprise and joy when she first grew into a girl.Two young men and women who came to the city from a small town have their setbacks and frustrations in the big environment, and they are lost and confused in suppressing their youthful passion. In the end, when the men are serving in the military, the women get married.With such a change, the time can be stretched from the 1960s to the present, and the style and emotion of the life of modern boys and girls can be filmed. In other words, it will be more resonant in terms of attracting the commercial demands of student audiences.

The problem is that Ah Yuan’s family background was changed to Ah Yun’s. So many rich and real events can’t be used unless they are discarded. A second edition was produced.When the two came to the city, the man was changed by the environment and gradually lost himself. He fled with weapons during military service and was wanted. The woman was the first time she devoted herself to love and failed completely. The ethical foundation of the countryside, she has not fallen.The boy's depravity was redeemed in the process of her suffering. Apparently, the second edition can be filmed in a mild and warm way, which is quite observational. If it is more sensational, it can be made into an "Ashin"-style melodrama, and it can also be a good movie for the whole family to watch.But we don't like it, especially changing the identity of the eldest sister and the eldest daughter in such a poor family, it is too natural, tends to be typical, and is not fresh enough.Still the eldest son of the original story, the boy’s sense of responsibility, sensitivity, and fragility, because they are not taken for granted, are more malleable, so they are more varied and memorable.

After changing it back and forth, it seems that he went back to the original place, and then he found Nianzhen and told him the two versions of the story. The police preconceived impressions are too bad.So I talked about an incident when he was in the fifth grade of primary school. At that time, his father often went to the home of the representative of public opinion to play cards. His mother hated his father playing cards. income.He wrote this matter in his weekly diary, and the teacher read it and told him that he could report the representative of public opinion, and the informant must write his real name.He really wrote it, sneaked to the police station, threw it in and ran away.As a result, the police handed the report letter to the public opinion representative, and the public opinion representative handed it to his father, who hung him up and beat him up.

As soon as Hou Xiaoxian heard it, he said it was interesting and wanted to put it in the script.At this point, I decided to give up accommodating You Anshun and Xin Shufen, and go back to the original point of thinking, and the story is true, Hou Xiaoxian said that I should respect the feeling of reading the truth.A week like this was in vain. On May 17th, You Anshun brought fifteen students from Huagang Art School to the company for an interview to see if anyone was suitable to play Ayuan and Ayun.A large group of Dou Kou Nianhua children came into the room, dressed in fashionable clothes, whispering, the staff all looked at each other and laughed at the sudden breath of freshness, and I felt that I was old and found There is no beauty or ugliness in youth, everyone is bright and beautiful.But they won't know, just like when I was at their age, I just felt awkward and awkward to live, and I wished I could grow up quickly, and when I knew it, I would be old again.It seems that this is already a tragedy of fate.Perhaps because of this stimulation, we were thinking about the script in the "Guest Work" in the evening, and our first bridge pier appeared in the vast and muddy water.

That was when Ah Yuan was sick, and Ah Yun came to see him.Looking at him, he also looked at her, and fell asleep in the heat and softness, as if returning to the days when the train was open to school, A Yuan wrote English words on the window glass of the train to test Ayun.Ayun's voice outside the screen said: "Are you asleep?" He was asleep. In the early morning of the next day, the sky is bright, and there are faint voices outside the screen. It is Heng Chunzi, who lives with A Yuan, who is talking about the joint military exercise between China and the United States in his hometown in Hengchun. The sound of the pattering water is A Yun washing clothes for him.In his sleep, he seemed to have joined their conversation, talking about being beaten up by his father for writing a letter of complaint in fifth grade... Ayun woke him up, Heng Chunzai had already gone to work, and she was going back to work in the store.A Yuan got up and sent her out, watching her walk slowly among the pedestrians on the street in the morning light, with a very quiet and distant mind.Reminds us of the melancholy atmosphere of "Ancient Capital" played by Momoe Yamaguchi and Tomokazu Miura.

The camera jumps, on the train, on the Houtong line, they and a group of neighbors go home to eat and say goodbye, the seventh month of the lunar calendar.The atmosphere at home was slightly different. It turned out that all the workers went on strike because the TV program reported untrue life of the miners.In the evening, a movie was shown in the village to reward the gods. Everyone was discussing the strike, and suddenly the power went out.In Jingju’s house, in the dark, my grandfather was looking for a candle, but he found a firecracker, which caused smoke everywhere. When the laughter and cursing faded away, I heard the door opening, the light switch, and the lights turned on. It was childhood, when parents went to town After buying uniforms for their children, they were all asleep in the middle of the night, and he vaguely saw his mother holding the clothes and comparing them to his sleeping sister.There is a voice calling him outside the screen, it is him sitting by the bed now, and a group of friends outside the house ask him to go out to play.They play kick cans, the small village under the moon sky, the sound of playfulness, and music rising.

In the early morning of the next day, the miners gathered in front of the pit, but they did not enter the pit.At noon, Ah Yuan and Ah Yun brought zongzi, and a new person from the office came to negotiate, willing to invite guests to apologize and reconcile. He was very excited when he came up with this script, Hou Xiaoxian immediately called Nianzhen to explain it, Nianzhen laughed and said, "I know what you are going to do again." It was getting hopeless. Three days later, at the Star Cafe, the second pier appeared again.That was after Ah Yuan lost his motorcycle, he had a boring fight with Ah Yun, ran away from the city, and exiled himself to the beach to hang out.The rainy beach, the forest throwing trees, someone burning papers, the feeling of death.Going back without a car, I met two soldiers from the coastal defense force and brought him back to the camp.He had dinner with everyone and saw a TV program reporting the lives of miners. He looked into the screen and seemed to have witnessed the time when his father was lifted out of the pothole after his leg was crushed by the plate...

When he woke up, he was sleeping in the camp, with the sound of the tide, the light of cigarette butts in the dark, and a yellow light on the forehead of the guard outside the camp.A voice from outside the screen Xixi Suosuo came in, surrounded by many relatives, saying that he would not be able to survive the night.When he was one year old, he was very sick and was about to die. It is said that his father had originally promised that the eldest grandson born to his adoptive grandfather should have the surname of his adoptive grandfather, but he felt a little bit repentant, so A Yuan was always in poor health. Later, he went to ask his master , came back and ate a kind of herbal medicine, pulled out a pile of black feces, and the belly disappeared, and it was all right, and my father hurriedly passed him to his adoptive grandfather, who took the surname of his adoptive grandfather.

With these two piers, the tone of the film gradually came into being, and it was about to come out, but it was not yet clear.Hou Hsiao-hsien said: "It should be the tone radiated from the boy's feelings. It is pure and sad, and the smell of literature will be very strong. It is poetic." Indeed, during the discussion of the script, I found that the motivation comes from certain unforgettable scenes. Thinking about it from this scene is like throwing a stone into a deep pool, causing ripples.What attracts Hou Hsiao-hsien into the content is not so much the event as the charm of the picture.He leans toward atmosphere and personality, and has no taste for storytelling.Therefore, in many scenes that explain the background of A Yuan, he uses emotions to directly jump to the screen, without processing in the way of memory, and it is similar to human consciousness activities. When the atmosphere is right, he goes in one shot one by one, regardless of the logic of time and space. . At this time, I suddenly realized that Hou Hsiao-hsien was "basically a lyric poet rather than a storyteller".The quality of his films, also here, is lyrical rather than narrative and dramatic. In September, Hou Hsiao-hsien was selected for the New York Film Festival for "My Childhood Memories" and then went to New York. A village voice film critic interviewed him and mentioned that the treatment of time in "Children's" films is very rare, not the time of drama, but life time.And the existence of many events in the movie is not for the purpose of coherence with each other to achieve an effect or purpose. It seems that they are just there and that is enough. .” Looking back on the discussion of "Childhood Memories", because the previous scripts were often criticized by some people as prose and without structure, I said that I would try to make something with a structure, but gradually I thought about it and realized that it was actually a different way of thinking. , the focus of happy things is different.It's not that there is no structure, but a different way of thinking about things. Because of this way, the shape is also different from the familiar shape that we are used to. For example, if the theme of "Childhood Memories" is like this: the previous generation, they must not have thought that they died in this southernmost land, and their next generation will take root here.Faced with how to express this topic, a structural method tends to presuppose several subtopics, several subtopics under the subtopic, and several subtopics within the subtopic. All subtopics are subtopics, and all subtopics are subtopics. The topic is a subtopic, and the subtopic finally points to the unique topic.This kind of structure usually presupposes a major event and countless small events, and uses this series of related events to arrange it linearly.In the process, first arrange the occurrence of problems and conflicts, then strengthen the conflicts in a planned way, until reaching the highest point of the conflicts, and then resolve the conflicts, find an outlet for the audience's high and tense emotions, and return to harmony and balance. There is also another way of structure, it does not matter the theme and sub-theme, it can be said that every fragment is a theme.When viewed in pieces, it has its own charm, which is not only attached to the theme; when viewed in its entirety, it does not interfere with each other because of individual charms.Its whole union depends not on the continuity of causality, but rather on the breath of freedom that swims and seems almost purposeless. When Hou Hsiao-hsien thinks about the script, he likes many things that seem to be related to the development of the narrative, but he rejects the straight line of cause and effect.The rich interest and vitality in those irrelevant things will always attract him to diverge from the straight line of the narrative and spread it irregularly.If every scene in his mind has a function and purpose, and this scene causes the next scene to happen, and the next scene immediately sets up the next scene, one after another, Hou Hsiao-hsien immediately becomes impatient, grinning his teeth and saying: " It’s too fake.” This should be what Guo Song meant when he said that it is possible to “round” but deliberately not to “round”. After "My Childhood Memories" was released, it sparked fierce controversy on the island, to the point where love wants to live and evil wants to die. Hou Hsiao-hsien said: "This time, a big gong rang halfway, and I hope that next time both sides It’s all ringing.” And because I was still nagging from time to time, we can also pay attention to the affinity and watchability of the movie, Hou Xiaoxian sighed: “You talk about the structure all the time, so let’s watch a movie with a strict structure.” So he invited The director's team members went to see "Mask" together. "Mask" won Best Actress at the Cannes Film Festival in 1985.Sure enough, it is an excellent example of a narrative film. From the beginning when the characters appear on the scene, events introduce the characters’ backgrounds and personalities while pushing the story forward. Then problems arise. Each scene strengthens the conflict in a gradual and upward manner. Accelerating its severity to its inevitable peak, after the rout, the reconciliation.No detail is wasted, and all seemingly insignificant details are reproduced in the subsequent narrative and become important points. Therefore, especially in movies with strong plots, "future" is extremely important. Everything in "now" points to a certain scene that will inevitably happen later, so most audiences have a feeling for the ending, and they can look forward to it. What they want to expect, because all the shots and scenes that happened before are used to hint and guide them to the climax of the future, where the problem must be solved.So the audience is satisfied. Apparently Hou Hsiao-hsien rebelled against this narrative structure out of self-consciousness. He said to his friends in the director group several times: "For a formulaic film, the mask is the least visible. Guess, know exactly what it's going to do, it's really boring." I could hear the uncompromising intent in Hou Hsiao-hsien's tone, and I thought that his artistic "mistake" had already taken the first step, and there would probably be no turning back in a short time.The idleness and carelessness in his films are not shot casually, they are another structure.Of course, Hou Hsiao-hsien "has to handle his scenes with rigorous practice, otherwise, coupled with the disadvantage of lack of compact plot, he will lose the audience's love for him." By reviewing the gains and losses of the "childhood past events" in this way, we have obtained different levels of introspection.At first Hou Hsiao-hsien felt melancholy at his lack of power. He said that even if he was given enough time to re-edit the film, it would be difficult to achieve the extreme that he wanted to achieve, the kind of theme that uses the theme of life. The details seem to be intertwined with the relevant and irrelevant.What should he do if he refuses to follow the theme in a straight line and hopes to obliterate it with devious radiation? He still doesn't quite understand, at least not well enough in "Once Upon a Time in Childhood".Later, when he came back from Edinburgh to participate in the film festival, he said excitedly that he knew what to do. I met Luo Weiming in Edinburgh. During the chat, Luo talked about when he was a child, his father always took their children back to Guangzhou from Hong Kong every year to visit relatives and visit graves.One year my father led them, holding a big compass in their hands, and climbed up and down the valley to a hilltop, telling them that when their father died, they would be buried here.Hou Hsiao-hsien was shocked by this picture and the possible infinite extension behind it. He described this picture as "very absurd, but very real." Hence, the theme of "My Childhood Memories" is exactly that: absurd but real .In fact, it can no longer be regarded as the so-called theme. To put it correctly, it should be called breath.Absurd but true, the scene in the "Children's" film, that is, the scene where the grandmother takes Ahagu back to the mainland, is used as the starting point, and the breath that radiates will naturally permeate the whole movie. The status of things and details of life, from finding actors, modeling, costumes, props, art design, to photography style, editing, music, all will be absorbed like iron meeting magnets, and will be captured in the breath—— Ridiculous and true. The failure of "children" films is that they have not really grasped this breath, so they often seem to be flashed, with loopholes and messes.If this point could have been noticed early on, the "children's" films would be more cohesive and energetic than they are now, and they would not be so dull and low-key. I think people are lucky to have the ability to reflect.I know better than anyone else where my successes and failures are, so I can not be tempted by praise or reputation, and keep the clearest thinking to create. Introspection is also a kind of accumulation, so the script conception experience of "Childhood Memories" became the soil for the development of "Love in the Windy City", and at the same time it became a reference.Thinking from the atmosphere of the scene, using this as a seed to grow the whole piece of backbone branches and leaves will be Hou Hsiao-hsien's favorite structure at present. On May 23rd, at the Celebrity Cafe, the results were quite impressive. From the prologue scene, I went to Ah Yuan to drop the motorcycle, and had a boring fight with Ah Yun. About 20 scenes were thought out in one go.Ah Yuan came to Taipei to work in a printing factory and was angry with the proprietress, and the living conditions of their group of older children from Houtong felt like an Italian neo-realist movie. Coupled with the miners’ strike later, I said: “Hou Hsiao-hsien You're about to become a socialist." At that time, I hadn’t thought about the realistic tone of the first half, the atmosphere, emotion and consciousness of A Yuan wandering to the beach in the middle part, the tenderness of A Yun when he was sick, and the hazy consciousness in the morning to explain the fascinating Sino-US joint military exercise. The conversation, how to combine these two passages in one scent.But Hou Hsiao-hsien will never make it into a sharp socialist film, it is certain. Not long ago, in order to discuss the possibility of "Human Magazine" reporting the filming process of "Lian Lian Feng Chen", I had a chance to talk with Chen Yingzhen and asked about Hou Xiaoxian's person and works. I said that Hou Xiaoxian is biased towards intuition, and so are his works. So let's talk about the intuitive author and the conscious author.If Chen Yingzhen said to rely on intuition, it means that the author must be like an extremely sharp mirror, reflecting whatever comes in, and can immediately see the smallest particles. This kind of thorough sensitivity is almost impossible to come by.Therefore, comparing the two, Chen Yingzhen would rather look forward to the self-conscious author, because the self-conscious style is enough to lay down the foundation, it can stand upright for oneself, and it can also provide ideas and channels for others. It is inherited and deduced. Of course, the two are not completely dichotomous.According to my observation, when Hou Hsiao-hsien filmed "The Man from the Wind Cabinet", he did not know the historical background, authorship, mise-en-scène, long-shot and other theories of realism. What did Qing Gaoda do? He actually made this movie with realistic content in a realistic style as soon as he did it.But it's also strange that when he doesn't know anything, when he knows everything, he suddenly breaks into the extremely high realm of the movie like flying, and he can talk to the masters and get to know each other.I remember that when I was filming "My Childhood Memories" in Kaohsiung, I went to the theater to watch porn one night. The black and white film was still playing, and everyone sat down to watch it. After watching it for a long time, Hou Hsiao-hsien sat up straight and said, "This is amazing." Gradually watch Going down, he said again: "Who made it? It's so familiar." No one knew for a while. After the screening of the film, they saw the poster and realized that it was Pasolini's "Gospel of Matthew".After watching the video "Oedipus the King" at Edward Yang's house more than a year ago, it belonged to Pasolini. Hou Hsiao-hsien happily said: "No wonder, I said that the taste of the camera seems to have been seen. It turned out to be his brother's." There is a scene at the beginning of "Oedipus the King". On the green lawn, the camera position is placed very low. In the foreground is a baby lying in a cradle. In the depth of field, the lawn spreads away. Some adults and children are playing in the distance. Several adults ran across the lawn and went straight to the front of the cradle. The camera did not move, so only the adults’ feet in shoes and socks came to the foreground, and then the camera panned half a circle to the tops of cypress trees towering in the sky. What a baby's eyes see.Before the end of the movie, the male protagonist came here after all the vicissitudes of life, the mirror is still shaking like a treetop in the air, he feels familiar, but he can’t remember when he came here, he doesn’t know that this is actually the place where he was born ( The above is based on memory, or there may be discrepancies).When Hou Hsiao-hsien watched it, he seemed to realize that the camera lens is the eyes. "During filming, if you want to see it from the point of view of the characters in the play, you should use the lens to see it; if you want to see it from the director's point of view. , you just use the lens to look at it. You can see it up close, or see it far away, whatever you want, you can do whatever you like." This point of reasoning is like saying nothing, and there is nothing novel about it, but Hou Xiaoxian used this method to shoot "Dongdong's Holiday". "Dongdong's Holiday" is more conscious of the theme and form than "The Man from the Wind Cabinet", but the filming is not as clear and powerful as "The Wind Cabinet".It seems that self-consciousness hinders the natural integration of the work.This reminds me of the "first sense" that Wu Qingyuan respects when playing chess, that is, intuition.He said that there are very few evil actions based on the first feeling, but the long-term exam often produces evil actions, which is because unnecessary considerations block the first sense. "Literacy in life begins with worry", after realizing it, it is a matter of practicing in a long and arduous journey.Liu Daren once pointed out that my current novels are struggling to break out of the semi-autobiographical fictional world. He wrote: Many writers, when they reach this threshold, see whether they have practiced a few important reproductive key concepts, whether they have the energy to These self-cultivated and original concepts began to spread their wings and soar.Hemingway's loneliness and death, Chekov's compassion, Tanizaki's strange beauty, Turgenev's aristocratic character (non-class), everyone has a set. What is Hou Hsiao-hsien? From intuitive creation to self-conscious creation, or the moment of creation can also be forgotten by self-consciousness. If you record this change process, you will know what it is and have a way to know why. On the one hand, it is to lay a foundation for those who follow the journey, and on the other hand, it is possible for Hou Xiaoxian to understand himself better. This is the purpose of my writing these words. But I am also writing, understanding, and becoming more and more clear. The process itself is like going from intuition to self-awareness.Coincidentally, I read "The Tradition of Plotless Movies" written and translated by Han Xiangzi in the nineteenth issue of "Movie Appreciation" magazine.The content of this article will now be cited as proof. Plotless (plotless) movies are not necessarily plotless, but they are very weak compared to the tradition of storytelling.In the 1950s, the most outstanding feature of American films was the narrative structure and plot arrangement. Several great American directors during this period, such as John Ford, John Heston, Orson Welles, and Hitchcock, were all Great storytellers do their best work in dense genres such as westerns, thrillers, and film noir.The superiority of Hollywood movies lies in their well-made, star appeal, and most importantly, "good stories."The narrative techniques of American genre films, their vitality, simplicity, and talent for storytelling are indeed unmatched by others. In a work without a plot, be it a novel, a play, or a film, we can rearrange the order of many scenes (not all of them, of course) without fear of spoiling the understanding of the work.For example, in Resnais's "Last Year in Marumba", the concept of linear time is completely broken. If the shots are re-edited, the causal model will not change much.But a work with a tight plot, which squeezes together major events in sequence, can only be a mess, because the causal continuity is completely broken.So re-editing "Psycho" only resulted in a bunch of meaningless junk, especially in this film. Every shot has been carefully calculated and arranged into a very skillful linear development-although Hitchcock is exactly This absurdity in satirical logic, and "reasonable explanation". The emergence of plotless films can be traced back to the earliest films of the Lumière brothers in France when the film came out at the end of the nineteenth century. They were not keen on telling stories, but focused on capturing the changes in daily life.Around 1900, their films of events such as train pull-ins and street parades became very popular. These short "true films" became the precursors of the documentary movement that followed. Documentary has had a great influence on plotless cinema, and besides not following narrative continuity, its most distinctive quality is its general sense of freedom and aimlessness.We can't guess how these characters will behave, because the director didn't choose the clues we need in advance.Most plotless films like many details that are irrelevant to the narrative, and these details are used, either because they are attractive in themselves, or because their presence in the scene adds reality.And most directors who make plotless films will admit without hesitation that they are influenced by the thrill of "aimless" and "instant grasp" of documentaries.The most famous ones are Jean-Reno in the 1930s, and the Italian neo-realists who were greatly influenced by Jean-Reno in the 1950s and 1960s, as well as the French New Wave filmmakers Chufu and Gundam. Jean-Reno's film structure seems to be more musical than narrative.His films are full of complicated possibilities and open endings in life.Compared with most American movies, Jean-Reno's works spread irregularly, and sometimes he even indulges himself in it. He does not design anything, is not ingenious, and is very fresh and eye-catching.The characteristics of American movies lack his simplicity and grandeur. In his movies, many scenes are very improvised, as if these things happened in daily life, and the director just captured them.They are presented in such a captivating and unpredictable way that the sense of anticipation (which is the essence of melodramatic films) while watching the film is often frustrated, but it feels quite enjoyable. Immediately after World War II, Italian Neorealists synthesized many elements of the documentary tradition and Jean-Reno's lyrical tradition.Their most prominent mark is the extreme hatred plot, because of this, some people regard this period as the origin of plotless movies.They believe that the narrative structure does not match real life, and how to choose the desired drama is often controlled by the needs of the plot structure, rather than presenting the infinite possibilities in reality.They strongly argue that film writers have a duty to "record" and therefore regard the use of plot as morally depraved. This, in fact, is related to political consciousness.Neo-realism represents the Marxists' resistance to the Italian fascist regime. They emphasize the freedom of individual will to face tyrannical groups and organizations, and they hate the feeling that the law of causality tends to imply fate in the plot.They believe that nothing is inevitable, and nothing is impossible. The fate of human beings should be self-determined.These ideas, when examined within the tight structure of the plot, are fundamentally contradictory. In addition to emphasizing freedom, diversity, and flexible choices, most neo-realism also expresses the characteristics of slices of daily life, without obvious beginnings, middles, and endings.The lack of a clear ending to these films once troubled many American audiences, because Americans would be frustrated if their questions were still unanswered when they saw the last film.But today, even those American films that are not in the name of art, it is not surprising that the ending is not clear. Neorealism had a great influence on other countries, and many serious European film writers felt that they were finally freed from the tight plot structure.In Italy, Fellini and Antonioni have also gradually moved away from the political and documentary aspects of the movement to pursue more casual and subjective themes.Atmosphere and personality became the focus of their work. As for Chu Fu, most critics would agree that he is most gifted in lyricism rather than storytelling, that he needs space to move freely, and that plot limits his ease and spontaneity. Gundam's refusal plot has both political and artistic reasons.He believes that episodic narratives imply cause and effect, cohesion, meaningful action, and their interaction, which is inappropriate for his political themes.The disorder and inconsistency in his films are an attempt to reflect the one-sidedness, fragmentation and inconsistency of modern society.For example, in his best films, young people try to find themselves, their purpose in life, and their values. These young people reject traditional values ​​and seek to replace them with counterculture.They may seem fickle and brutal, but they are getting away with trying to find unity out of chaos.Gundam forces us to appreciate how difficult it is to grow up with integrity in today's crazy world.Modern life is like rubbish, they just sort out what they think is valuable, and reject dehumanizing things. In the European art circle, it is by no means a new thing to emphasize personality, atmosphere and ideas without accepting plot.Since Joyce, Prost, and Faulkner, the novel has moved markedly towards non-narrative, and even the most conservative drama in art may have been neglected to the point of plot.As early as 1900, Chekhov's exquisite elegiac works had almost eliminated the soul of the theater—Aristotle's concept of narrative action.Later, the Brecht theater was influenced by Chinese Pingju, and it tended to be more free and easy. These absurdist playwrights have been deliberately destroying logic, causality, and signs of fate. The elements have long since changed.When film directors began to no longer pay attention to the plot in their films, European intellectuals also followed this change, bringing films into the cultural mainstream.In Europe, there is a long tradition of viewing cinema as a serious art form. Looking back on the historical evolution of this plotless film, and then looking at Hou Hsiao-hsien's films, I really don't feel too repulsed.Among them, I think it is worth noting that Hou Hsiao-hsien started out from intuition and spontaneity, so his works are fully rooted in the environment and cultural background in which he grew up. , the plotless tradition of the French New Wave, have the same, rather more radically different.If this kind of originality is endowed with self-introspection, it is enough to build up a tradition of plotless movies that is unique to our scent.This is the case in Taiwan, and the same is true in mainland China. This is enough to form another tradition besides the European and American film tradition-Chinese film. We only need to look at Yasujiro Ozu's plotless films to understand that they are not attached to any country at random, they are purely Japanese, Japanese national films. There is a way of reading called plain reading, which is to read plainly, without resorting to method exercises or theoretical analysis, but to meet the plain face of the book directly.Watching movies too. Such experiences are beautiful and pleasurable. Last year at the Golden Horse Awards Foreign Film Watching Show, I asked Chen Guofu to buy tickets, completely passively letting him choose whatever movie he wanted to watch.I watched "Rules of the Game" on the first day, and I thought it was new. I watched "Great Illusion" the next day, and several people were deeply moved. The six books I watched in the future were all far behind. At that time, I thought, this Who is Jean-Leno? It just so happens that one side of the theater is selling film books. I saw Jean-Leno compiled by Zhou Yanzi and bought it to read. Only then did I know that Jean-Leno was so famous.On the one hand, I felt ashamed of my ignorance, on the other hand, I couldn't help but secretly rejoiced——I actually know how to watch movies. The experience of being familiar with Yasujiro Ozu is almost the same.I've heard film critics talk about Hou Hsiao-hsien's films before, and they often mention Ozu, but I don't know what Ozu does.Four months after filming "My Childhood Memories", Hou Hsiao-hsien went to France to participate in the Nantes Film Festival. In Paris, he saw a black and white silent film "I was born, but..." The first time I met Ozu's film, I was shocked.When I came back to Taipei, I hurriedly told everyone about this movie. When I met my friends, I raised my hands and feet, stretched my head, and looked at my eyes. It was the naughty behavior of the naughty younger brother in the movie.Seeing Hou Hsiao-hsien's vivid retelling aroused our interest, and we even found "The Taste of Saury" in a video store. For a while, Ozu's enthusiasm spread among friends.When Hou Hsiao-hsien returned to Hong Kong soon, he recorded "I was born, but..." from Shu Qi and sent it to our home. My mother translated the Japanese explanatory cards that appeared on the screen every time. Be fascinated.Then I found "Tokyo Story" and "Good Morning" one after another, and watched them all. The best part of this kind of view, I think, is to compare your heart with your heart, and you will hit it when you meet. No matter what you see, it is true knowledge for yourself.Just as Liu Daren wrote in "Floating Communities" Xiao Tao's realization after a serious illness, "Baudelaire's melancholy is not his melancholy, he cannot and should not look at the row upon row of mud-gray roof tiles in Taipei City, But blindly pursue the melancholy that Baudelaire felt when he sat in the attic by the Seine and looked at the rolling roof tiles of Paris. He should not think of Tchaikovsky's sorrow as his own sorrow, seeing through other people's eyes自己的世界，他应该先牢牢抓住自己生活里的一点一滴，就像他抓住病中第一碗蒸蛋一样，细细地、全心全意地领略它的真实滋味。” 真味与真知，这个应该是侯孝贤电影，从选择内容到选择表达方式时所凭持的判定依据。他始终是贯彻用自己眼睛去看，用自己语言去说的一位电影作者。 陈映真替时报小说奖决审时曾说明他的评审标准，是从“说什么”，“怎么说”，“为谁说”三方面来看。假如问侯孝贤的电影说什么，怎么说，为谁说?我想他说的是他所浸润生长的台湾这个地方，一般人们生活的况味。他是为同时代跟他一起生活的这些人们而说。若想要把这份况味传达出来，他必须用一种只有适合这份况味的语言来说，这就成为他的电影的形式。当欧洲人惊见于侯孝贤电影中独特的形式、结构和美学意识时，那是因为有那样的内容，才有那样的形式。 形式也成为内容，文体亦即是况味。詹宏志在“创意人”一书中指出，语言是意义的载体(carrier)，也是概念的载体。新的概念发生，则必然要铸造新的语汇，有时候，语言发生变化，也意味着新概念或新的生活方式已经产生。“文字，本身就是主意(Wordsarethemselvesideas)。”詹宏志说，文字的发生，假如我们追踪它的历史，其实就是在追踪概念的历史。 譬如李磬的“中国文学史话”提出春秋战国时的论文，发明了许多新字新语，一种用来说明“无”这个概念的，如物象的象字，乾坤、阴阳、虚实的虚字，与窈冥、仿佛等形容词。又一种是用来说明“生”这个概念的，如萌、息、屯、茁字。又一种是说明无限时空的字，如宇宙、天下、世界、人世等，与其形容的字如悠悠、渺渺、迢迢等。这种种新字新语使春秋战国时论文的内容特色得到明确的表现，而且使论文成为诗的。同时期印度佛经里有许多说明“空”、与说明无限时间和无限空间的字语，但是没有说明“生”的字语，此实则已表现了两个文明在文物制度造型上的差异。 日本于战后大量删减汉字，像“悠”字，“萌”字，许多表现空色之际的字眼皆除去，余下的多是色界的实用之字，数学家冈洁称述这种野蛮的行为是日本文明的大堕落。如此来看小津安二郎的电影，日本人视他为最具真正日本味的导演，语气之中是带有强烈的文化自觉的。 如众所皆知，小津一直只使用一种镜头，摄影机离地板数十公分高，保持与角色坐在榻榻米上的平行角度来拍摄。因为日本人在榻榻米上生活，若是用高踞在脚架上的摄影机来观察这种生活，是不真实的，而必须以盘坐在榻榻米上的日本人的视线水平，来观察他们四面的人、事、物。且小津的镜头很少移动，到了晚年，则几乎固定不动，“唯一的标点符号是跳接”。这种传统的眼界，是静观的眼界，极目所见，是一个非常约制的视野。“这是倾听的、注视的态度。”和一个人在观赏能乐或日出的时候，以及一个人在做茶道或插花的时候，所采取的姿态是相同的。 谢鹏雄有一篇谈小津的文章，他说：“小津必定是对日本文化有极深的眷恋，而这种眷恋又必须用某种方法才能呈现出来。这些方法有一部份是违反西方电影文法的，另一部份虽不违反，却是不平常或不常用的电影方法。小津显然相信要使用违反或不平常于电影文法的方法，才能将他对日本文化的那份眷恋呈现出来。这样的呈现就其选用的手段之不平常而言，是相当昂贵奢侈的。” 所谓昂贵奢侈，意指小津倾其一生，始终以相同的题材，类似的人物情感，固定的表现手法，一而再、再而三的制作无数部电影，而所要呈现的事物、感觉、和思想之深邃蕴妙，却是虽经一再剖析也到底呈现不尽，观之有余。 当大多数人只能了解和认定电影是动态的戏剧时——不但在动作上是动态，在精神上也是富于戏剧性的——小津却为了对日本文化的执着，违反电影既有的文法，以一种电影文法中向来没有的形式来拍电影，谢鹏雄说，小津的胆识令人惊奇，而其胆识来自对东方文化价值之自信，便尤其令人佩服了。 谁说一定要遵守游戏规则呢?遵守是常，不遵守是变，而若还有创造游戏规则的人，那就格外值得我们珍重爱惜。 五月二十四日，在“客中作”想出了从阿远接到兵单开始的后半段，娓娓道来的感觉竟又像小津，前、中、后三段，仿佛有三种味道，侯孝贤信心十足说不成问题，只要再从头细细履一遍下来，统一的调子就会有了。二十七日约念真见面，听完分场，念真道：“近来很丧气，这是唯一一件让人振奋的事。” 我们并且决定把“恋恋风城”改成“恋恋风尘”，一则因为风城轻易误会是新竹，再则，阿远和阿云的恋爱，自始便与他们的家乡、与台北市、与这个风尘仆仆的人世是结在一起的。 次日我着手写分场，三十日写完，三十一日导演组拿到影印稿，便开始筹备工作。念真大概花了四、五天写剧本，六月八日导演组拿到一册比砖头还厚的剧本影印。其间中影曾开过会审议剧本，有人建议结局不明确，应该让阿远阿云碰面，把他二人做一个交待，似乎人们还是习惯要得到答案。 或者有一个答案可以是这样，阿远服兵役回来，半工半读，开始写小说投稿，他的小说登报之后，阿云从报社问到电话，打到他上班的地方。两人如久年不见的朋友聊着，但阿远听的时候多，最后阿云说：“也该想到结婚了，你是老大……” 或者还可以有另一个答案。但是让我们试试一个不可猜测的、开放的、没有答案的结局如何。