Chapter 6 6

December 6, 1982 Because "Xiao Bi's story" made acquaintance with several friends, for me, this is the biggest gain and joy that Xiao Bi brought me.There is a saying that "the fate of the world is deep and the fate of the fairy is new". Many important events come in unknowingly and quietly in the ordinary days at home. I didn't feel it at the time, but when I think about it afterwards, I suddenly realize that it is actually a joy and sorrow. Disappointed. I wrote Xiao Bi’s story in May last year. That long period of time was a very sad and bleak period for me. The old things were broken, and it was over. Then I decided to go to the United States for a walk, and set myself a five-year writing period. Plan to write a feature-length story about students studying abroad on both sides of the Taiwan Strait.However, things in the world are partly dictated by God and partly by man. After walking away, I went to write a movie script, and it was such a pleasant cooperation experience, so I continued to write a new play with Ding Yamin: "An An's Holiday".To narrate the whole story of this paragraph, I just want to say: Cherish every moment of every day, every person and thing you meet.Li Ling's poem "It's hard to meet again at a wonderful meeting, three years will last for thousands of years", life is short, how many times?

Go to the film library to watch "Pretty as a Butterfly Flying", directed by Chen Kunhou and written by Hou Hsiao-hsien. This film was exhibited in Tokyo in April this year. The organizers came to Taiwan to select films. More than a dozen films only took a fancy to this film. One, even Kun Hou and the others were surprised.I sent a letter to inquire, and replied that the reason for being selected is: to show normal events that happen to normal people in normal life, which has become a feature of the films participating in the exhibition from all countries.When I watched this film, it was funny from the beginning to the end, especially from the screenwriter's point of view, and I was pleasantly surprised: Ah, so the script can be written in this way! At the same time, I understood what Xiaoxian often said, the rhythm and luck of the script (breathing).And the good news is that the source of their materials comes from life.The things in life are both the best and the hardest to write, not only because of skills, but also because of heart and temperament.If the film language (camera) is compared to the writing style of novel authors, I love them as flowing clouds and flowing water.

They—they also have Zhang Huakun and Xu Shuzhen, who can be called the "Gang of Four". "Xiao Bi's Story" is the first film they have made since they formed Evergreen Company. They have previously filmed "Green Grass by the River", "Pretty as a Butterfly Flying", "It's She", " "Bouncing Hearts", "The Wind Kicks and Steps", "It's Cool in Autumn", and "I Came on the Waves" are all written by Xiaoxian, photographed by Kun Hou, and the two took turns directing. The name "Qiaoru" is too fancy, but luckily I didn't miss it later.As for "Bengbeng", it was when the producer Zhu Zhu retreated to write a series at home. Every evening, a van drove up and parked at the entrance of the alley. My already dry mind became more and more blank, and what was even more frightening was that one day, while brushing my teeth and washing my face, I found myself humming, so I refused to watch this film to the death.When Qiong Yao's romantic literary films became popular, all of their commercial films were hits. "Pretty Like" was the last film of the same type. Bi", and then "An'an".

Even commercial romance films like "Pretty Ru" have been made, so we know their origins, and it's not accidental that we will be able to make "Riverside" and "Xiao Bi" in the future.Shuzhen said that it seems that the more the film is made, the more she likes a bright, healthy and real tone.In fact, the same is true of their people.As the saying goes, "Even though Vimalakirti's room is sick, smallpox should be used as a dojo", even if the world is disabled and sick, why not the creators take on the responsibility of the Goddess of Scattering Flowers and turn the big sick room of the world into a dojo.I love the sincerity and intelligence they have always held in their personal and film works.

Kunhou is the oldest, he likes to wear sneakers and jeans, he has a quick temper, and when he gets angry, he keeps silent, making his thin face even thinner, he is really an old boy.Xiaoxian is an overseas Sanxian.Shuzhen and I hit it off because we both like to read Zhang Ailing's books.Her beauty is a kind of rational beauty that I gradually discovered after getting along with her. It is extraordinary displayed in her delicate and thin nose tip and lip corners, and her full and wide forehead.Also, when she is in a good mood or the weather is good, she likes to dress herself in a modern and chic way, not for others to see, just for her own pleasure.Xiao Zhang controls the release of the film, the most reassuring logistics headquarters is the person who speaks the three-character scriptures as punctuation marks. Every time he opens his mouth, it is crisp and crunchy. It is so pleasant and makes me want to laugh.

Impressive.That day I went to the China Film Studio to deliver the script of "An An's Holiday". Shuzhen was very weak due to acute enteritis the day before, so everyone helped her drive the car back to Shulin's home. Related people are also together.Shuzhen’s family runs a grocery store, and they live in another place. The second boy from Kunhou yelled left and right, and the one from Bieye Bieye (villa) shouted. It is a second-floor bungalow. At the gate, Shuzhen got out of the car and opened the iron gate first, let the car drive in, and then put it into the garage. It required some skills, and Kun Hou made it beautifully.The porch of the house is full of potted plants, and there is only a pot of red flowers on the short wall of the balcony. Maybe it is windy at a high place, or maybe it is the only one in the wild, which makes people worry about it.We walked back to the main road and took a taxi back. Shuzhen pushed the fence up, and leaned on the carved iron fence, stretched out her hand from the gap and waved goodbye, her face was yellow like a little girl, and she smiled faintly to express her gratitude.It's spring, but it's blowing like long winds and sand in deep autumn. I'm almost worried that another gust of wind will blow her off the railing.The two boys turned their heads and waved goodbye to her. Because of the slope, the sky looked high and the dust was so heavy that it turned pale gray.I was suddenly afraid that one day their friendship would break up and be gone.Remembering this moment, I want to think about it very much, pointing to the pot of red flowers in the sky as my oath, I am a witness, I want to say, for the future of Chinese movies-what an empty and majestic name, forget it.

"People with lofty ideals cherish the short days, but those who worry about the long nights", I just suffer from the short days and long nights more than others, and it is not my intention to be so lingering. But I'm so excited that Ann is about to start filming.Inspired by Zhang Anjin's novel "Exile", Tianxin's "Lvzhuyin", Gumei's "Battle of Xiadi River", and many more have been added.Imagine this movie, like a pink scarf sprinkled with silver thread that my grandmother brought back to me from Japan. I love to shake it open in the face of the sun, and look at the dense and sparse warp and weft, like my feelings, Kun Thick, filial, their thoughts and concentration, together weave a brocade that everyone loves, our An'an.

This is a highly autobiographical film. It can be said that it is almost the life of director Hou Hsiao-hsien.Hou Hsiao-hsien wanted to invest in the filming of "Xiao Bi's Story" as a boss for the first time, but when the second "The Man from the Wind Cabinet" was filmed, it turned into another story.After two years, Hou Hsiao-hsien considered various commercial material selections and filming methods when he was heavily in debt, but in the end he couldn't forget about "My Childhood Memories", so China Film Group funded the filming. All these twists and turns illustrate certain facts, one of which is that "Hou Hsiao-hsien has become one of the most important creators of Taiwanese films."The originality of his films, as well as his own film language, put him in the "industry" of the film, and escaped from it, becoming a creator, through literature and poetry.This quality forms the tone of Hou Hsiao-hsien's films.

In "My Childhood Memories", it is foreseeable that he still wants to go beyond the realm of personal creation and move towards a broader and more general life.Therefore, in the process of screenwriting and shooting, I tend to abandon various designs, fabrications, arrangements, or self-indulgence in style, and prefer to choose materials and facts. I believe that the original appearance of events is the most convincing, and only then can they be full and moving. The main scene of the film is Hou Hsiao-hsien's hometown in Kaohsiung. After the renovation of the uninhabited dilapidated house, the life style of more than 20 years ago is reproduced.The only buddy from back then, Ah Hou, was still there. One day he rode a bicycle to see his old friend. In Ah Hou’s eyes, the old friend would never be a director.Neighbor Wang’s mother said: “Aha won the Golden Horse Award, I’m so excited for his parents in the ground.” One day Hou Xiaoxian just ate a bento, Wang’s mother brought him a big bowl of noodles with fried sauce, Hou Xiaoxian sighed: "Anyone help me eat it. If I don't eat it, I will be beaten to death by Wang's mother. If I eat it, I will swell to death." Everyone laughed.

The filming started on May 11th and finished at the end of July. The filming scene was like a big family.Thanks to all colleagues, we have made an honest work together; thanks to Wang Mama, Zhang Junxian, Ye Youzhong, Wang Dexing and his wife for their enthusiastic help.I also thank many unknowable karma and fate for the completion of this film. It reminds me of the words in Liu Daren's letter, recorded here. "In the past few years, because of going to sea, I think it's a pity that you have written fewer novels. Of course movies are also important, after all, they are only collective creations. Taiwan movies, currently there are things you, Xiaoxian, Dechang and others can watch. The significance is also very important. In particular, your cooperation with Xiaoxian has photographed Taiwan’s childhood, which is a new tradition. The creation of national cultural personality and childhood personality is the foundation, and Ray and Tagore in India have also made such contributions. However , I still find it a pity that the novel and the screenwriter are two worlds after all. The novel is an independent and self-sufficient universe, and its requirements are naturally much stricter. I remember where you said that you wanted to spend a few years writing a novel. This Don’t give up on your idea. If you feel more deeply about self-study, don’t take it lightly. Looking back, five or ten years is often a blink of an eye.”

There is a huge stone in front of the United Nations, called "Looking Through", Liu Daren wrote, "I have been looking at it for twelve or three years." Having been a film screenwriter for more than four years, I feel more and more deeply that the film is always directed by the director, and the screenwriter has no share.The most lively environment and career often feel tired and want to escape.Suddenly, I really wanted to do something that was completely my own. In this mood, I wrote an article "The Capital of Summer", and used it as the title of the book. The collected six novels, "Summer Vacation at Grandma's House" was originally the idea of ​​a movie by Edward Yang. I hoped that I would write a story first, but he didn't use it to make a movie. "My Childhood Memories" is a script novel written together. "Kona Class One" was originally the subject of a movie, but it was a pity that I ruined it.So the other three articles can be written without the motivation and purpose of filming, and I also feel excited. But I always have an urge in my heart to stop writing, because no matter how I write, I can't write about life itself.An author's entire article is often not as good as an ordinary sentence of an ordinary person.I am always very ashamed of the vast majority of people who are living, the "non-writing" masses.Because people are the greatest miracle and theme. "Summer City" was published simultaneously by Times Publishing Company and Sansan Bookstore. I really want to thank Chen Yizhen, Ji Ji, and Chen Yuhang for their patience in urging the manuscript, otherwise this collection of novels might not know where it is. Director Hou Hsiao-hsien's new play "Love in the Wind and Dust" started shooting, and eleven months have passed since his last film "Childhood Memories" was released on August 3, 1985. These eleven months may be the most contradictory period since Hou Hsiao-hsien started film work.On the one hand, his films received unprecedented attention and affirmation from Taiwanese directors at various international film festivals this year; It is reflected in Hou Hsiao-hsien's hesitation between his creative desire and market considerations.In the past eleven months, he has put forward no less than six plans for filming, but none of them has the determination to act.For a while, he wanted to shoot "Sanxi" first. A second German TV station was willing to propose a plan with relative funds, but "Sanxi" was the most inappropriate plan on the island.For a while, he wanted to shoot "City of Sadness" first, a business plan that used big cast members such as Chow Yun-fat, but he and his partner Golden Harvest have not yet completed the coordination of the filming location. In the end, he chose to shoot China Film Company's "Lianlian Fengchen" first, which represented the end of his inner battle. During this period, because Hou Hsiao-hsien repeatedly changed the order of the plans, the staff didn't know what to do, which earned him a new nickname: Good Xiao Xianzai (Liar Zaixian)! "Love in the Wind and Dust" combines Hou Hsiao-hsien's two attempts.This is an infatuated love story of a boy and a girl, with simple and sincere feelings, easy to understand, and relatively easy to care for in market considerations.It is a story about a rural boy entering the city around 1971. With the care of the general environment and the sharp observation of Taiwanese society, the director can give full play to it. On the morning of July 3, 1986, "Love in the Wind and Dust" opened in a tailor shop near the Red House Theater in Taipei City. Zhan Hongzhi said so in the news materials of that day.One of the news points is the title, Hou Hsiao-hsien's choice. First, at the end of February, Wu Nianzhen started a new story and proposed a new outline of the story, which was called "Love in the Windy City" at the time. At the same time, I wrote a story outline of "Sanxi", and I translated it into English, and prepared to send it to Berlin together with the budget and work schedule. At that time, the title of the film was changed to "Hua Dan and the Magician". In late March, Wu Nianzhen handed over the synopsis for "City of Sadness". Taking advantage of his trip to Hong Kong to attend the Top Ten Chinese Film Awards Ceremony in March, Hou Hsiao-hsien Zhang Huakun and Golden Harvest's Chen Ziqiang discussed cooperation plans at the Peninsula Hotel. On April 18th, Hou Hsiao-hsien and I went to New York to participate in the "New Directors, New Films" exhibition at the invitation of the Museum of Modern Art.The mood is very complicated.First, the mainland film "Yellow Earth" was also invited to participate in the exhibition, and "Dongdong's Holiday" are the two Chinese films among all the 18 feature films participating in the exhibition; compared with "Yellow Earth", "Dongdong's Holiday" Obviously not.Not enough, which means that in a highbrow place like New York, the political nature of "Yellow Earth" is naturally more suitable for the tastes of New York intellectuals. In contrast, "Winter's Holiday" is simply too warm and lacks critical awareness up. Second, there is hopeless nationalism at work.As a result, every time someone enthusiastically encourages Hou Xiaoxian to go abroad to participate in film festivals, he can't help but get angry and curse: "Film festivals, film festivals, his family likes to do it, fuck me." I remembered Wu Nianzhen mentioned that including himself When talking about the intellectuals in the country, the mocking and disdainful smiling face seemed to say: "Intellectuals, get out of the way." Regarding the first point, Taiwan and mainland films met in international film festivals. I participated in the Taiwan Film Festival held in Hong Kong the year before last, and the Hawaii Film Festival. , Berlin, and never once was tit for tat.When we took some of the best filmmakers in mainland China as our opponents, we felt that it would be a waste of energy and energy to vacillate between the dilemma of commercial and artistic creation.If we move our eyes from the inside to the outside, we will find that there seems to be no other choice for all our concentration and efforts except to focus on this. But Hou Hsiao-hsien often said: "I really hope to make a few movies that sell money, change the views of filmmakers, create a favorable environment and conditions, and let more people do it." Indeed, self-protection and self-motivation alone are not enough. If you want to blow out the wind in a permeable way, you have to gather more talented and consensus people to make it happen.I gradually felt that I became nagging and harsh, and I just wanted to convey some different ideas, or to have a yeast effect among the crowd, changing the quality and structure of movie audiences. Regarding the second point, Hou Hsiao-hsien's current films have to be affirmed by foreign film festivals and then pushed back to China to cause discussion, which is really not something to be thankful for.Just as Hou Hsiao-hsien came back from Edinburgh and said: "Movies should be made for the people of my country. I feel that the movies are fake and boring there. The lives and ideas of the people there are fundamentally different. If you make movies just for exhibitions, it will be very boring." .” The words were a little lonely. So I went to New York.Deciding to relax and be peaceful, Hou Hsiao-hsien said with a smile: "It's not that I haven't participated in film festivals before, and I want to deceive Ah Cai!" On the day of arrival, the "New York Times" published a film review by Vincent Canby. Hearing that Vincent Canby was authoritative, his review was immediately quoted by people in the film industry as soon as it appeared in the newspaper.I read it and thought it was nothing special, so I said casually, "Such a short review!" The daily reporter who came to pick it up glanced at it, and said, "I'll just post it for you." On the next Saturday afternoon, there was another screening of "Winter's Holiday". The accompanying friends, Zheng Shuli, Tan Min, and Norman, were very nervous because a Jew named Renee Furst was going to watch the film. Public relations person, counting as the top spot, the 1983 Cannes best film Yugoslav film "Daddy is on a business trip" and the 1985 Oscar best foreign language film Argentine film "Official Statement" are both She made it.Filmmakers trust her film selection ability and judgment, and use it as a target for publicity. Shuli said: "As long as she likes your film, you will publish it." So before the screening, Shuli Tan Min repeatedly hinted at Hou Hsiao-hsien This importance, I hope he restrains his grassroots temperament of overseas loose immortals.Tan Min taught me again and again in private, and in the end couldn't resist telling me again in front of Hou Xiaoxian, hoping that his opening remarks would be more humorous. The humorous and witty tone of New Yorkers must give Rene a good impression.To be honest, I was really worried that Hou Xiaoxian couldn't hold back his Boxer complex and revived it. If he came to play handsome, wouldn't it be a disappointment and disappoint everyone's good intentions.After the host of the film festival introduced the director, Hou Hsiao-hsien took the stage to speak to the audience. He said: "This is the first time I came to New York. Yesterday I went from the airport to the hotel. There was a lot of traffic jam. It turned out that Ronald Reagan also came to New York. I heard from friends that New York has always been The weather was bad, it was sunny until yesterday, I thought I brought the good weather, but it turned out that Reagan brought it..." Shu Li translated it in her old New York way, and the audience roared with laughter. Later, the host invited me to dinner. On the way, he laughed and said, "It's not Reagan, it's you. You bring good weather. We all oppose Reagan's bombing of Libya." The next day, Renee asked us to meet at her house on Third Street. She was interested in "Winter's Holiday" and it could be released. Her reason was: "This movie is for Oklahoma farmers to watch and understand. The mother is sick, and the children spend the summer vacation at the grandfather’s house in the countryside. This is a commonly understood situation, and it is full of fun. It is a movie that allows us to see a different image of Chinese people. Because the Chinese people in the movies we have seen before are all Very sad, for example, when a movie in mainland China was screened here, the male and female protagonists worked in different units, and it was very painful not being able to meet each other. The whole movie described this incident, and the audience could not understand why they fell in love, but they had to separate If we can’t meet in the two places, the audience will have no way of knowing.” Of course I was excited when I heard it, but I also felt a sense of loneliness like Hou Hsiao-hsien.After all, Chinese movies are still watched by Chinese people. The background and situation are only familiar to us.This time, thanks to the fact that Norman is Rene's newly hired assistant, it is equivalent to ambush a little spy. On the day Rene watched the film, many people asked in surprise. Rene said: "Because my new assistant is from China. man." Later, Rene asked Norman to meet again, and gave her a promise. The time they made up was the night before they left New York, at nine o'clock on Friday, and it was still her apartment. Last night, they had a Jewish festival party.She is willing to act as an agent for the development of Hou Hsiao-hsien's films here, and advocates that there is no rush to sell "Dong Dong's Holiday" at this time. If "My Childhood Memories" is selected to participate in the New York Film Festival in September, we will do it together, and it will sell for a better price.Or at a film festival in the south (forgot the name) specially held for film studios and distributors, Hou Hsiao-hsien's films were released, including the first part of "Son's Big Doll", "The Man from the Wind Cabinet", "Dongdong's Holiday" ", "My Childhood Memories", and even his new film "Hua Dan and the Magician", let's call it Hou Hsiao-hsien's four and one-third exhibition. Everyone laughed when they heard it. Walking out of Renee's twenty-eighth-story residence, there are turtles and cats in strange shapes collected from all over the world. This is New York.If you stand in front of the Museum of Modern Art with Picasso's authentic works inside, look at the sparse forest in the early spring of the Central Park, and a row of ancient high-rise buildings across the street are lit up with lights, and the cold air is crystal clear, like the one I loved when I was young. Christmas card, clearly in front of you.But I know that even Hou Hsiao-hsien was thinking in his heart: What is the purpose of making movies? On the day when it was snowing lightly in the sky, we went to the United Nations to find Liu Daren. He showed us around the United Nations. When he came out, he pointed to a huge stone at the entrance, with a hole cut in it, which is called seeing through.In fact, such a film festival can also be seen through at a glance.At noon we had dinner at a restaurant in Jiangsu and Zhejiang. Because Hou Xiaoxian talked about the materials and motivations for filming "The Man from the Wind Cabinet", Zhang Beihai suggested that the theme of growth experience may be filmed after two or three films. What will be filmed? Have you thought about it? Pass· This problem is probably a hurdle that all young creators must face when they rely on their youth and intuition to create excellent finished products. If they pass it, they may be able to continue creating. If they cannot pass it, the genius will die Yes, also abound.Hou Hsiao-hsien replied: "I think I will still shoot families." Li Yu answered immediately, saying that it is right to shoot families, but it would be bad if he went into the society. I fully understand the background and authenticity of Li Yu's remarks.To put it bluntly, China in the past half a century has been distorted by too many intellectuals and cultural people who are eager to enter the society, and the works produced in this way will inevitably be a bunch of cheap noise with superficial words.To put it bluntly, all of you here are people who have gone through big storms and scenes. Looking at the works from the experience of being close to the age of fate, there is a real flavor in it.For example, in the novel, there is Lu Xun's depressed era of criticism, Shen Congwen's natural nature, and Zhang Ailing's rebellion against the status quo. Because the writing is soft, it is observational, not impulsive, and many people can't see it. , or even thought it was only about love between men and women.Another example is in the movie, I heard Jiao Xiongping say that the directors she admired in the past are purely personal favorites, one is Yasujiro Ozu, and the other is Fellini.Even Fellini's early realistic film "The Road" is not all about the theme of post-war poverty reflected by neo-realism, but rather about love, youth, and life, so it was once considered by his contemporaries people attacked.Yasujiro Ozu's films are also very different from Akira Kurosawa's humanitarianism, and Ozu is more of a Japanese nation, the kind of distant place where he thinks about life. Hou Hsiao-hsien brought the video of "My Childhood Memories" with him. After watching the video, everyone went to Zhang Beihai's house to chat. "My Childhood Memories" is composed of many individual memory fragments, but it seems that there is not enough in-depth perspective to lead the audience to the core of the film.Guo Songfei put forward his opinion, saying that the film "Children" intentionally made it piece by piece. It can be "round" like many films but intentionally not. This is where the director has already excelled However, it can also be condensed into the content. For example, the radio broadcasting the news of the Kinmen artillery battle is actually too easy, and it should be better if it permeates into life. At that time, Yi Fuguo, a physics student at Columbia University, preferred Hou Hsiao-hsien's movies, so he started a debate with Guo Songyu.Yi Fuguo has shoulder-length hair and a beard on his lips and chin. He refuses to speak.I looked at his nonchalant manner, it seemed that many years ago, the air of Guo Song and the others when they were students was projected on him, the conversation between the two ages, and in between, the last romantic age has passed.Regarding the success or failure of "My Childhood Memories", I have long since given up any opinions at this moment, and I just feel that today's meeting is rare.Hou Xiaoxian listened to both sides, and sure enough he said: "Yi Fuguo, I know what you said, but what Guo Songyou said, I think it is to go to a more pure place, yes, more pure." Although Hou Hsiao-hsien talked about the pure character on the return flight, we both agreed that we are still young and not afraid of miscellaneous, a little miscellaneous is fine. Because of the miscellaneous, what is the purpose of making movies? It may be movies for movies.Yu Yingshi wrote in an article about Wu Qingyuan: "He played chess for the sake of playing chess, not only surpassing profit, but also surpassing fame. The Buddha was born for a great event, and Wu Qingyuan's great event is Go." But it may also be shot. The film is for Chinese films to enter the international film world.For the audience's liking, the box office is good.In order to maybe make a lot of money, everyone shared dividends and went to Cannes and Venice to play. It seems that Hou Hsiao-hsien's choice has made it impossible to photograph anything, and he can photograph anything. One day, when discussing the script of "Hua Dan and the Magician" and felt very dry, Hou Xiaoxian looked at the orange awning outside the window on the third floor of Star Cafe and said, "Go to Zhan Hongzhi and see what he has to say." On May 9, in Yuanyang, Hou Xiaoxian spent two hours telling Zhan Hongzhi his situation and a few movie stories, and finally asked for opinions helplessly.Zhan Hongzhi said that the filming of "Lian Lian Feng Cheng" was good.In this way, I decided to shoot "Lian Lian Feng Cheng". Since I started working as a film screenwriter, I often meet students from the film department or friends who also want to write scripts, ask me for script references, and hope that Sansan Bookstore can publish scripts.At that time, I always felt that the scripts I wrote were better than the scripts when they were made into movies. This year Hou Hsiao-hsien filmed "Lian Lian Feng Dust", I split the scene, and Wu Nianzhen completed the script.When I got a photocopy of the script that had just come out of the oven and was reading it, I thought: "Ah, this thing should be seen by more people!" So the idea of ​​​​publishing the script came up. During the shooting, due to thousands of factors, we finally saw that the film produced has almost changed into another work, which is very different from Wu Nianzhen's script - Hou Hsiao-hsien's film. The reasons and processes of these thousands of changes often amaze me, and I find more and more that the film cannot be taken lightly, and its profound and difficult aspects are connected with all creations.So I had another wish.If you record the ins and outs of the filming of this film and provide it to film students and film lovers to read, you can better understand a film from the beginning to the end. This is worth doing.When I drew up a dozen outlines to prepare for handwriting, I suddenly felt that my ambition had skyrocketed several times overnight.I think this way, five, ten, or twenty years have passed, and most people will hardly be able to watch the movie "Lian Lian Feng Chen". At that time, at least, this book left many things to see. The whipping of ambition is very scary. Maybe I just pretend to be "Lian Lian Feng Chen" as a target, making use of the topic and blowing my breath.Because I witnessed the occurrence of Taiwan's new film four years ago, and I personally experienced it, and it is hard to forget that miraculous brilliance.Now, four years later, the new film has fallen into a dull situation, and there are still some people who, out of gratitude for the still fresh memory, refuse to give up and struggle alone.I hope this book is but one of them. The book focuses on Hou Hsiao-hsien's films. On the one hand, based on my limited screenwriting experience, three of the five scripts written by me were directed by Hou Hsiao-hsien.On the other hand, the various characteristics of Hou Hsiao-hsien's films can just be used to illustrate that in today's Taiwan environment and the mainstream atmosphere of world films, there is still another kind of film. First, it opposes Hollywood's traditional film concept, language grammar, and film form.Second, it refuses to be in the mechanized and rigid film industry system with its original creativity and passionate attention to people.Third, it contains abundant originality.Therefore, fourthly, it is different from the film traditions of Europe and the United States—whether it is the vulgar consumption tradition of Hollywood and its similar films, or the art appreciation tradition of films with personal style and strong creative intentions—it is accumulating a culture that includes Taiwan. Including the mainland, the tradition of Chinese new cinema. Yes, another kind of movie.This year we also saw Edward Yang's "Terrorist" and Ke Yizheng's "Fresh Water Last Train"... Four years ago, Taiwan's new film can be said to have occurred semi-naturally. So far, its realistic video form, as well as the re-examination and reflection of Taiwan's growth experience over the past three decades, have accumulated to a considerable extent.How to plow and renovate these accumulations, and grow more and more, must go through a conscious movement of the film.This awareness comes first and foremost from the filmmakers who create the finished product for us to see.Then consciously come from the critics and the media, they form a consensus and atmosphere.Consciousness must come from the governance unit of film policy, they actively and efficiently promote and support the start of good films.Of course, the movie should come from the consciousness of more audiences, and they are the ones watching the movie. What started out as a simple idea of ​​publishing a movie script has turned into such an out-of-control situation.At the moment it is appealing: "Give another kind of film a living space." Unexpectedly, this is the purpose of publishing this book.