婁燁談創作 - 2012年坎城影展期間

May 2012, Cannes Film Festival, France: Interview with Chinese Sixth Generation Director Lou Ye by Su Che Hsien.

婁燁：

《浮城謎事》基本上是紀錄片的拍法，手持攝影，沒有三角架的這種辦法。我比較喜歡，是因為它比較接近紀錄片的方式。而且攝影機現在越來越小，所以它也提供了這種方法的可能性，這樣就可以做一些對演員表演的捕捉，還有對現場氣氛的一些捕捉。

實際上，每部影片都有故事板，，但是不是按照這個故事板來工作。但是所有人都會看到整個影片的故事板，在開始工作的時候。我希望大家能夠記住這個故事板，然後在拍攝當中不是按照這個畫面來工作，而是按照人物真實的就在那個空間裡面怎麼走就是怎麼走。

故事板是在腦子裡的，你發現有幾次經過這個故事板的畫面，我們就差不多可以拍完了。有時候很順利，有時候是非常難，它就是到不了要求的那個畫面。

蘇哲賢：這是您這一次嘗試的有點類型的故事？

婁燁：就是你可以說準類型，或者說因為你到類型片就不夠了，因為你到類型片就沒有意思了，就是又是變成一種模式的一種東西。恰恰是在類型片前面一點的那個狀況，可能更接近一點生活的真實性。

實際上，最大的一個改變可能是第一次拍片，你會有一個大的改變，因為你真的拍第一部影片了，就會更瞭解電影是什麼東西。然後第二個改變實際上就是，比如說06年被禁又過了五年，實際上也是一次改變。實際上這個改變，一個是比如說，你會去重新考慮到底這個電影是什麼樣的東西，各種麻煩都會出現，所以你也會理解為什麼電影史本身一團糟的。就是有各種麻煩，各種意識形態的干擾，社會的壓力都會圍繞在整個電影史裡面。

這個你肯定還是喜歡電影，你從影迷開始就是喜歡，先是喜歡看電影，到現在實際上看電影的機會越來越少，實際上因為工作的時候看電影很少。但是你還是會聽一個故事，或者是聽誰說卡霍有一個新片，你還會特別想看的那種。實際上，這是一樣的，就是看電影和做電影，它其實是一個有一點相近的，就是一種喜歡，一種好奇，可能是這種。

不知道，就是你喜歡拍下一部片子，你就去拍，就不用想太多。而且想了也沒有用。你特別想拍的一部片子，很可能你融資都融不到，但是就是你就慢慢一步一步去做吧

2012年於坎城影展 蘇哲賢訪問中國第六代導演婁燁

It's basically a documentary style of filming, handheld camera work without a tripod. I prefer this approach because it feels more authentic to documentary filmmaking. Plus, cameras are getting smaller and smaller these days, which makes this method more feasible. This allows us to capture the actors' performances and the atmosphere on set.

In fact, every film has a storyboard, but we don't work strictly according to it. However, everyone sees the entire storyboard at the beginning of the project. I want everyone to remember the storyboard, but during filming, we don't work according to the specific shots; instead, we follow how the characters naturally move within the space.

The storyboard is in your mind. You'll find that once you've gone through the storyboard a few times, you're almost done. Sometimes it goes smoothly, and sometimes it's very difficult to achieve the desired shot. This is the type of story you're trying to tell this time. You could say it's a specific genre, or that it's not enough to just make a genre film because it becomes formulaic and loses its meaning.It's precisely that situation just before the genre film that may be closer to the reality of life.

In fact, the biggest change may be the first time you shoot a film, because you really understand what film is. Then the second change is, for example, when it was banned in 2006 and five years passed, that was also a change.In fact, this change is, for example, you will reconsider what film is, and all kinds of problems will arise, so you will also understand why film is such a mess. There are all kinds of problems, all kinds of ideological interference, and social pressures surrounding the entire film industry.

Do you still like film?You started as a movie fan, first enjoying watching films, but now you have fewer opportunities to watch them because of work. However, you still listen to stories or hear that Leos Carax has a new film, and you still want to see it. Essentially, it’s the same—watching films and making films are somewhat similar. It’s a kind of liking, a curiosity, perhaps.

I don’t know. If you want to make the next film, just go make it without overthinking it. And even if you think about it, it won’t help. The film you really want to make might not get funded, but just take it step by step.