In 1977, in a jeans shop in Kowloon, Hong Kong, 19-year-old Wang Jiawei finally asked the girl Chen Yijin for her phone number. They are all doing summer jobs in the store and have been working together all summer, but Wong Kar-wai only mustered up his courage until the last day of the two working together. At that time, the phone number in Hong Kong was 6 digits. The girl said, "I can give you the number, but I only tell you the first five digits. You have to try the last one by yourself." After returning home, Chen Yijin wanted the other party to call. Call. However, it was three days later when she received the call—the drowsy Wang Jiawei asked Miss Chen to wait for another three days before finally starting to dial the number. After she tried the fourth number, she was found.
Later, this past episode was slightly modified by Wong Kar-wai and included in his film debut "Carmen in Mong Kok". He asked Maggie Cheung, who was played by Maggie Cheung, to tell the underworld cousin played by Andy Lau:
, "I bought a few cups, and I knew that they would all be broken in a short time, so I hid one, and one day When you need this cup, give me a call and I will tell you where you hide it. "
<> There are many scenes and characters in Wong Kar Wai's movies, which can be traced in his life.
In 1963, 5-year-old Wang Jiawei came to Hong Kong from Shanghai with his parents. In the beginning, he could not speak Cantonese and did not like to communicate, but he liked to observe. There lived a tailor who made suits downstairs, and many foreign seamen would come to him for tailoring. He found that the tailor sometimes used glue to glue the fabric together in order to meet the deadline, but strangely, no one ever asked for trouble. He guessed that maybe the seamen had never washed their clothes, or had never encountered rain when they went to sea. From then on, he believed that he kept a secret with the tailor downstairs. Later, in "Hands of Love", he made Zhang Zhen a tailor and fell in love with his customer Gong Li, and the two also kept a secret. After
arrived in Hong Kong, Wong Kar-wai's mother didn't have many friends. Fortunately, there were more than 100 theaters in Tsim Sha Tsui, which helped her find sustenance. At that time, Wang Jiawei, who was in elementary school, had only half a day of classes. In the afternoon, his mother took him to the theater.
From martial arts movies to comedies to vampire movies, he watched thousands of movies with his mother. After he became famous, no matter how many times he was asked "the person who has the greatest influence on your movies", he would answer: "My mother is my film school."
<> Although he was obsessed with movies, at that time Wong Kar-wai was sensitive and introverted. I have learned Cantonese for almost 10 years, and I don't talk to people often. He also had an older brother and an older sister, but because there was only one quota that could follow his parents to Hong Kong, his parents chose him, so he was forced to be separated from his siblings, and his heart was always desolate. The main business of his family is design, and his grandfather was a famous garden designer in the French Concession in Shanghai. When he was admitted to college, he obediently applied for the graphic design department according to his family's wishes. In the eyes of outsiders, there was no sign at the time that this young man who wore glasses and didn't like talking would become a world-class director in the future. But he has not forgotten Godard's French new wave film "Outside the Law". In the film, three young people without a sense of belonging break into the world and yearn for freedom. They dashed through the Louvre, setting the record for "the shortest time to visit the Louvre", and played the "one-minute game" in the cafe: "If there is nothing to say, then we will be silent for a minute." At the end of
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, a protagonist died, and Godard played out the sound: He is a kind of footless bird, and people can only see him when he is dead. Countless people were attracted by the rebellious spirit, including Wang Jiawei. If he can, he wants to make such a movie in the future.
Even if he was born as Wong Kar-wai, the road to becoming a film director is not easy. In 1982, he secretly applied for the TVB director training class. After the training, I started with the assistant director of the TV station. In the early 1980s, Hong Kong’s television industry was taking off, and many film and television celebrities started from television stations. Wong Kar-wai was initially satisfied with this choice. But unexpectedly, as an assistant director, he not only needs a person to be responsible for all the trivial matters on the scene, but he is often scolded by his seniors, is "more humble than a handyman" . What made him most uncomfortable was that TVB's production costs were minimal at that time, which led to low quality of the series. Wong Kar-wai, who watched blockbusters from all over the world since he was a child, couldn't stand the rough production, and soon left TVB angrily. Later, he was rumored that "there is no script for filming", so he decided to switch to screenwriter and went to workNew Arts City Pictures. New Art City was founded by Huang Baiming, Shi Nansheng, Zeng Zhiwei and others, and it was a film company that was on the go. In Xinyicheng, Shi Nansheng is in charge of personnel. Once she discovered that she had paid a screenwriter two months' salary, but the screenwriter named "Wang Jiawei" had never appeared in the company and had not submitted a manuscript. She asked her boss Huang Baiming: Will your newly signed screenwriter come yet? I will cut it if it doesn't come. The reminder call came to Wang Jiawei's house, and his mother was especially worried about him when she heard about it. Wang Jiawei comforted her: "Don't worry, I will finish writing tomorrow." But he found that he could not finish writing, he was too loyal to his own rhythm. At the time, Hong Kong screenwriters were all collective creations. Five to six people discussed in an office. Each thought about a few sentences, and then one person put together the draft. But Wong Kar-wai said: I prefer to create alone. It is better to give me six months after discussing the outline, and I can come up with the script. Wong Kar-wai hates the office and likes to write in a coffee shop where he is not disturbed. He often stays from morning to afternoon. Many years later he sighed with emotion: "It seems that there is no such place anymore. I miss the cafes where there were no people at that time." Wong Kar Wai's "slow work" is incompatible with the rapid production cycle of Hong Kong movies. Huang Baiming told him: I am also a screenwriter at . It took me only 48 hours to "Hitch the Wrong Car", and even the "Best Partner" that broke the Hong Kong box office record was written in just one week. How can you tell me that I can't write a script for months? !
Huang Baiming gave him a three-week time limit.
Three weeks later, Huang Baiming received feedback from the crew: Wong Kar Wai's script was handed in, but it was simply "a wad of waste paper". Soon, Wong Kar-wai followed the company's new director Lin Lingdong to write the script, but before he wrote the subject, it was already one hour long. The company executive Zeng Zhiwei couldn't help wondering: The 90-minute scene has been written, and only one third of it has been completed. How many episodes are you going to shoot? As expected, Wang Jiawei was swept out by Xinyicheng. Subsequently, he could only join a relatively small film and television company "Yongjia", or as a screenwriter. But he did not "eat a ditch and gain wisdom", but continued to do his own way. There is a script written by Wong Kar-wai in the cafe for 9 months. When the script was handed in, the other party said: have you just finished writing? We are already making a sequel. Wang Jiawei is unemployed again. In 1987, Wu Yusen's "The True Colors of a Hero" was released, setting off a frenzy of viewing. Chow Yun-fat also became a Hong Kong superstar in one fell swoop. From Southeast Asia to mainland China, you can see young people imitating Chow Yunfa's trench coat and sunglasses and holding toothpicks everywhere. Wong Kar-wai recalled: Walking out of the theater, everyone felt like Chow Yun-fat.
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After that, everyone followed suit to make gangster movies. At that time, the main director of the "New Wave of Hong Kong Movies" Tan Jiaming approached Wong Kar Wai, and wanted to make a different gangster movie. Wong Kar-wai planned a trilogy about the three stages of a pair of gangster brothers, teenagers, in their twenties, and in their 30s and 40s. In the end, out of market considerations, the producers killed the first and second parts and directly shot the third part, which is "The Last Victory." Tan Jiaming understands Wong Kar-wai's creative methods very well, and the two cooperate happily. Wong Kar Wai was nominated for the Best Screenplay at the Academy Awards for this film. But the nomination did not change anything. Wong Kar-wai found out that he still had to continue looking for a job. At that time, Deng Guangrong, who had been known as the "Taiwan's three major literary film niche" with Qin Han and Qin Xianglin, happened to be reorganizing the company and named it "Shadow Master". Although Wang Jiawei has a reputation as the "draft king" in the industry, but fortunately his friend Liu Zhenwei guarantees that the two and another young screenwriter will join the "Shadow Master". A few young people only got a chance in the "Shadow Jie", and there is no salary to receive. The team of three stayed in the hotel every day to grind the script. Because of the slow progress, only Wang Jiawei and Liu Zhenwei were left after a month, and another young screenwriter was "ground" away. Deeply feeling that the film and television industry is not easy to mix, he later changed his career and made achievements in the comic publishing industry. Perhaps it was because he didn't want to be unemployed again. After one person was missing from the group, Wang Jiawei, who had always been "dilly", suddenly changed his style and quickly came up with a script, the gangster film "Jiang Hu Long Hu". When Deng Guangrong saw it, he finally passed. After the auction, it earned more than 15 million Hong Kong dollars for the company. Deng Guangrong was happy and decided to give Wang Jiawei more opportunities.
Soon, Wong Kar-wai produced a script outline. I want to film a story between a policeman and a mysterious woman in Mong Kok, Hong Kong. Deng Guangrong made another shot. But a few days later, he ran to tell Wong Kar Wai: Andy Lau is willing to join the play, but there is a condition, the play must be a gangster film. Andy Lau was alreadyWith TV series such as "The Legend of Condor Heroes" and "The Legend of the Deer", he became the most popular star.
Wong Kar-wai thought for a while, and took out the book that was killed by investors before-the story of a pair of gangster brothers in their 20s, which was later called "Carmen in Mong Kok". Deng Guangrong asked again: How about you being a director? Wong Kar-wai, who has never directed a play, accepted it. After taking over the job of the director, he ran to ask Tan Jiaming, who is also a teacher and friend, how to shoot. Tan Jiaming told him that he must make a storyboard. He said: Good. During the time he was preparing for the shooting, Wong Kar-wai was busy finding venues during the day, watching costumes, and communicating with group performers, so he could only write scripts at night. This situation continued until the day before the shooting. At midnight that day, he realized that he hadn’t written the "Scheme Sheet" that Tan Jiaming told him, but he was too sleepy, so he comforted himself: It’s okay, I’ll take a nap first, and it’s not too late to write when I get up at 5 tomorrow morning. , Anyway, the shooting started at 8 o'clock. When he woke up the next day, it was already 8 o'clock. He hurried to the scene with the unfinished script. The actors Andy Lau, Maggie Cheung, Jacky Cheung, and the entire film crew were all waiting for him. He embarrassedly said to art director Zhang Shuping: I didn't have time to write the storyboard. The whole group looked at this new director who was completely unprepared and was stunned. Zhang Shuping, who has more on-site experience than him, couldn't laugh or cry. While giving him a trick to make the camera take the easiest panorama first, he asked him to quickly take advantage of the space in the camera position to write the score sheet. One of Wong Kar-wai's favorite directors is Hitchcock. He knew that Hitchcock was the director who would start filming only after he prepared all the materials such as the script, the shot schedule, and the shooting schedule. He once dreamed of becoming that kind of director.
<> "But on the first day of the scene, I discovered that I am not Hitchcock." Wang Jiawei said. He then hurriedly wrote the storyboard and started shooting. Although the scene was chaotic, I took a few shots the first morning. That morning, the crew’s feeling was: "We have the shyest director in the world." The crew recalled that Wang Jiawei barely said a word in front of the monitor, and called the crew to exchange opinions when something happened. But in Wong Kar-wai's opinion, "I have already felt it by the time I have lunch... I know what to do". He actually slowly adapted to the filming rhythm without script and storyboard.
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shooting is hard work after all. The scene is full of situations. Because there is no complete script, Wong Kar-wai will often rewrite the story that night according to the shooting situation and the characteristics of the actors. Rotating on a high-intensity axis, he was shy and put on his sunglasses because he was worried that the crew would see his fatigue and panic. During the subsequent shooting, he did not take them off. Although it was originally a moderately genre film, Wong Kar-wai broke the convention and gave it a special ending. The two gangsters in the play did not complete their heroic journey like in other gangster films, but failed and died, very "Wang Kar Wai". Many years later, someone from asked Wong Kar-wai: "How ambitious were you at the time?" He said: "I thought at the time, I want to become the greatest filmmaker in the world." In June 1988, after this low-cost debut It caused quite a stir in Hong Kong, winning 11.53 million box office, and also won multiple awards and nominations for Golden Horse and Golden Statue. Among them, Jacky Cheung won the Academy Award for Best Actor with this film, and Maggie Cheung was nominated for Best Female Support.
<> Maggie Cheung was born in Hong Kong and she was diligent in filming. She filmed 12 films a year. She is known as "Zhang Yi Da", but she has always been regarded as a "vase". The new director Wang Jiawei told her at the scene: "If you want to express sadness, you need to hold back and not cry directly." Because of these words, Maggie Cheung bid farewell to Andy Lau in the last scene of "Carmen in Mong Kok" and was regarded as Maggie Cheung by the industry. Later, I realized that "stars are only temporary, but actors are always the starting point." The first film of
achieved a double harvest in commercials and awards, and Wong Kar-wai also lost the limelight for a while. Deng Guangrong intends to take advantage of the victory and continue to let Wong Kar-wai shoot the next movie "gangster film". With a big stroke, he cast 40 million Hong Kong dollars. In 1990, while holding Yu Wei from "Carmen in Mong Kok", Wong Kar-wai found Leslie Cheung, Maggie Cheung, Carina Lau, Andy Lau, Jacky Cheung, and Tony Leung six golden casts in one breath. According to Wang's usual practice, he still started to prepare without a complete script this time. It is also expected that the story will be divided into two parts, the first part is called "A Fei Zheng Chuan".
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is said to be before the shooting, Tony Leung asked Wong Kar-wai about acting, and the talk lasted two hours. After Leslie Cheung heard about it, he immediately made an appointment with Wong Kar Wai for an interview for 4 hours. Andy Lau heard that these two had met, and he must also make a separate appointment with the director. The conversation time exceeded Tony Leung and Leslie Cheung. Several celebrities later discovered that although Wong Kar-wai told each of them, the version they heard was different; when the director told the same person again, it would be slightly different from the last time. . As for the actual shooting, the lines of the day were only known to the scene.
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On the other side, seeing the protagonist lineup is so luxurious, the whole Hong Kong is expecting Wong Kar-wai to shoot another commercial blockbuster of "gunfight + love". In fact, Wong Kar-wai, who has proven himself in business, could have walked along the commercial road until he became a director who embraced the market like Wu Yusen, Jackie Chan, and Wang Jing, but he refused. He used the second movie in his life to pay tribute to Godard, the originator of the new wave. Not only did he shoot more than 600,000 feet of film-this is usually the amount of 3 or 4 movies, he also invited Hong Kong to know Godard best. Tan Jiaming helped edit. So the "gangster movie" promised to the producer at the beginning, in the efforts of Wong Kar Wai to change the script every day, it once became a police romance movie, and finally turned into a very personal literary film. As for the “gang rush” section promised to the investors at the beginning, Wang Jiawei also took care of it, and at the end, he arranged one with all his benevolence. When filmed this film, Tony Leung didn't have many roles, but he still waited on the set for half a month. When it was his turn, he needed to shoot a pear-eating scene. After shooting 27 times, Wong Kar-wai was not satisfied, but kept shouting cut. After the filming of was finally finished, Tony Leung cried when he returned and began to doubt his life: not just eating a pear, did he act so badly? When waited for the editing, Wang Jiawei deleted all of Tony Leung’s painstakingly NG 27 times, and only retained a long shot of more than 2 minutes at the end of the play. When Tony Leung went home and cried, his girlfriend Carina Lau was very angry and felt that the director was bullying her boyfriend. She also appeared in this play, entering the group later than Tony Leung. After joining the group, she was also crying. In a scene of mopping the floor, Wang Jiawei asked her to wipe it more than 20 times. Carina Lau asked: What do you want? Wong Kar-wai couldn't answer either, but just said: It's wrong anyway. Like Tony Leung, until the 27th performance, she was sweating profusely before she passed.
Looking at it 30 years later, this postmodern work is undoubtedly a work of genius. At the end, Tony Leung's performance is even more magical, indicating that he will be the protagonist of the sequel. Quentin Tarantino, who made "Pulp Fiction" four years later, after watching this movie, he immediately became Wong Kar-wai's fanboy, praised: "In my mind, Wong Kar-wai is the most amazing thing since I entered the industry. One of the most exciting filmmakers.” The Hong Kong audience at the time didn’t think so at all. They didn’t watch Leslie Cheung say at the beginning of the movie: “One minute before three o’clock in the afternoon on April 16, 1960. Stay with me, because of you, I will remember this minute. From now on we will be friends for one minute. This is a fact, you can’t change it, because it’s passed. "What they want to see is the stars on the big screen On dating and fighting. As a result, the cost of 40 million Hong Kong dollars was only recovered at the box office of 9 million Hong Kong dollars, and the film went offline within 12 days. During the same period, Wang Jing's "The Gambler" was released, with a box office of more than 40 million, more than four times his. Some people began to criticize Wong Kar-wai's unreliable filming method. Deng Guangrong, who suffered a loss, fell ill in a hurry and was sent to the hospital for IV drip. No one mentions the sequel of "A Fei True Story" again. At the 1991 Golden Statue Awards, "The Story of A Fei" won five awards, including Leslie Cheung's only Golden Picture Award winner in his life, but in the group photo at the press conference, investor Deng Guangrong smiled bleakly.
Until the 13th Academy Awards three years later, Wang Jing was still joking about Wong Kar-wai: "Wang Kar-wai not only starved to death the editor, but also starved to death the boss. " Zhang Jianting on the side made up his knife: "Not dead yet, dying. , Is hanging salt water." After Deng Guangrong was discharged from the hospital, the company suffered too much loss and could only declare bankruptcy and withdrew from the production industry. Wong Kar-wai, who had finally won the opportunity to be a director, has since gained the reputation of "box office poison". For a time, investors in the Hong Kong film and television industry almost "blocked" Wong Kar Wai.
But Wong Kar-wai still wanted to continue filming, and if others didn't give him a chance, he set up a company to shoot himself. thenOnly Liu Zhenwei was still standing by his side, so in 1992, the two of them established the "Zedong Film Company".
The investment logic of Hong Kong films at that time was that when big-name actors were hired and overseas distribution was settled, investors were more willing to invest. is unexpectedly that despite the Box Office Waterloo, many big-name actors are still willing to appear in Wong Kar Wai's movies, because he is one of the few directors who "can turn stars into actors". In 1992, Brigitte Lin, who played Tsui Hark's "The Undefeated Swordsman in the East", went all over Asia in red. What followed was the trend of Hong Kong costume films. In order for Wang Jiawei and Liu Zhenwei to open the new company, they agreed that one would direct a costume film and each other would supervise each other. Wang Jiawei and Liu Zhenwei would shoot later. Wong Kar-wai liked the "Evil East and West Poison" in "The Legend of the Condor Heroes", and planned to film their young stories, so she asked Jin Yong to buy the copyright, and the movie was called "Evil West Poison". Because of Wong Kar-wai's appeal, almost all the hottest stars at the time gathered together, even more star-like than "A Fei's True Story"-Brigitte Lin, Leslie Cheung, Maggie Cheung, Tony Leung, Joey Wang, Jiahui Leung, Jacky Cheung, Carina Lau, and Cai Ni. After the
superstars were settled, Liu Zhenwei quickly pulled in investment and promised the management that the New Year's Eve files will be released for the second year. So Wang Jiawei and a group of people rushed to the Yulin desert in Shaanxi for shooting. Liu Zhenwei stayed in Hong Kong. After shooting for a month, Liu Zhenwei went to the squad and saw that Wang Jiawei was shooting the scene of Ouyang Feng's murder. He saw it for two days, felt very satisfied, and came back. A few weeks later, he went to visit the squad again and found that Wang Jiawei was shooting the scene of Ouyang Feng's murder. He guessed it was a remake? When the third visit found that Wong Kar-wai was filming the same scene, he felt that the problem was a bit serious. But at this time, counting the date of delivery, there are only 27 days left. The company that was just opened is turning yellow again. Wong Kar-wai didn't want to do this either, but he really couldn't shoot at will. He always wanted to make it more perfect. In order to give investors an explanation, Liu Zhenwei can only go out in person. He and Wang Jiawei discussed a new comedy outline derived from Jin Yong's martial arts in the desert overnight, and planned to shoot with the original crew who had been trapped on the Loess Plateau for more than half a year. But the story only has an outline. Many of the specific content and lines are made by a few popular stars while filming and thinking, improvising. The dance between Leslie Cheung and Leung Ka Fai was the idea of the two actors during the filming. In 1992, it must be particularly unforgettable for these popular stars-they had just finished talking about the serious and incomprehensible lines in "Dong Evil West Poison", and immediately had to split into the weird state of "East as the West". .
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Liu Zhenwei is still more reliable than Wong Kar-wai, and finally finished the film before the deadline. Unexpectedly, this film, which Liu Zhenwei was not satisfied with himself, was very popular. It raked in 22 million Hong Kong dollars in the Lunar New Year stall and ranked among the top ten box office movies in Hong Kong that year. At this time, the crew of "Evil East and West Poison" still based in Yulin, Shaanxi Province was already far more than capital, and all the money made by "Easy East and West Poison" had to be subsidized to "Evil West Poison". In the middle, Wong Kar-wai is constantly changing the script while filming. He has been looking for ways to deconstruct Jin Yong's popular novels into postmodern movies. The actor urged him, but he didn't say much, perhaps because no one understood what he said. Maggie Cheung has many questions every day at the scene: What is my role? What happened in the story? But no one told her. She was so anxious to ask Tony Leung to complain. Tony Leung was already very experienced at this time: relax, just do what he says. Maggie Cheung is strange: Why don't you care? Tony Leung helpless: It's not that you don't care about it, it's that you can't do anything at all. If you ask him, he will only answer perfunctory, so that you can shut up. Maggie Cheung didn't know at the time that when filming "2046" many years later, Takuya Kimura would be as painful as her. At the scene, Wang Jiawei said to Takuya Kimura: "You are waiting for someone." Takuya Kimura, who suffers from no script, asked, "Who am I waiting for?" Wang Jiawei interrupted him: "No, no, no, who is not waiting, you are waiting for someone. Ready to... start shooting!" Kimura Takuya looked confused and finished filming. Later, he decided not to film Wong Kar Wai's scene. When filming "Evil East and West Poison", in order to adjust the inspiration, Wong Kar-wai actually took two months to return to Hong Kong, and finished filming a series of daily love stories in Hong Kong that he had always wanted to film, and named it "Chongqing Forest". Brigitte Lin and Tony Leung were both fooled back to Hong Kong from Yulin and rushed to make this film. There is also no script. Later, Brigitte Lin recalled filming "Chongqing Forest" and said: At that time, the director of the whole play asked me to walk over at Chungking Mansion, and then walked over, without telling me the script.So I actually don’t know what I’m acting in. At the beginning of , I thought I was acting as a female celebrity. I didn’t know that I was a female killer until the shooting scene!
<电影《重庆森林》里的林青霞> Finally, after two years of intermittent filming of "Evil and West Poison", which was originally planned to be filmed for only a few months, it was announced that it was finalized. Together with the filming of "Chongqing Forest", it was released in 1995. Later, in an interview with Xu Zhiyuan, Zhang Yimou said that Tony Leung originally played the East Evil, and after cutting out the "Evil East and West Toxic", he found that the director cut him into the West Tooth (actually, Tony Leung played the blind warrior). Fortunately, the two films swept the major awards, and Tony Leung became the actor of the Golden Horse and Golden Statue by virtue of "Chongqing Forest". Even so, the box office is not very good, especially "Evil Evil, West Poison", which was complained by many viewers that it "didn't understand", and the investment of tens of millions was only recovered 4 million. Once again, Wong Kar-wai takes the title of "box office poison". Wang Jing, who was well-rounded in making commercial films, later made a film "Brothers and Difficulties" to satirize him. The protagonist of the film is a director named "Wang Jingwei". After winning the Best Director Award in Mauritius, he came back and was teased by his peers: "I heard that the film you made has been banned all over the world." But from the perspective of Zedong, the three films "Evil Evil and Western Poison", "Dong Cheng Xi Jiu" and "Chongqing Forest" realized the company together. "Fame and fortune". began to circulate in the arena: actors can win awards when they film Wong Kar Wai. After
broke through the line of life and death, Wong Kar-wai began to go further in creating his own film aesthetic system. Compared with other Chinese-speaking directors, he doesn't care much about grand narratives. He only cares about the subtle emotions of lonely individuals in urban life. He likes the killer on the edge of the city, the lover who wanders in a foreign country, and the people who couldn't love in the 1960s.
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The connection between his films, as well as the cast team that he has used for many years, gave him the opportunity to use various characters to interweave a universe in his films. Tony Leung and Maggie Cheung starred in "Zhou Muyun" and "Su Lizhen" three times respectively. After Tony Leung made a stunning appearance at the end of "A Fei Zheng Chuan" in 2 minutes, he met Maggie Cheung in "In the Mood for Love" in 1962, and then left Hong Kong. When he returned to Hong Kong in "2046" in 1966, he did not find Maggie Cheung, so he started acting every time and met Bai Ling played by Zhang Ziyi. Lulu, the dancer played by Carina Lau, has always liked Leslie Cheung's A Fei in "The Story of A Fei" and "2046".
<电影《阿飞正传》里的刘嘉玲> circulated on the Internet, Tou Qifeng once said that Wong Kar-wai actually only made one movie, that is, "The Story of A Fei", and all the characters he filmed in the future can find prototypes in this movie. Both He Baorong in "Happy Together" and A Fei in "A Fei's True Story" are played by Leslie Cheung. To some extent, "Happy Together" can be counted as "A Fei's Story". When preparing for "Happy Together", Wong Kar-wai decided very early that Leslie Cheung and Tony Leung would star. But he remembers Tony Leung vowed not to shoot gay subjects. He also knew that Tony Leung was a book fan of Lawrence Bullock, and liked his detective role as Matthew Scudder. In order to convince Tony Leung, Wong Kar-wai came up with a fake outline, and the role is exactly the kind of detective that Wei Tsai likes. So Tony Leung was deceived to Argentina by him. Wang Jiawei immediately confiscated his passport. Wong Kar-wai "unscrupulous" for the film.
was also "lied" to Sue Yee in this play. She had been filming as the heroine in Argentina for almost half a year. Wong Kar-wai still changed the script while filming. When the final editing was done, she reluctantly checked Sue Yee’s heroine for the sake of the story. Cut off all this thread. This film finally won the "Cannes Best Director Award" for Wong Kar Wai in 1997, and he was also the first Chinese director to receive this award. After winning the Best Director Award in Cannes, Wong Kar-wai became a frequent visitor to the three major European film festivals. Wang Jing, who was constantly compared by the outside world, was forced to say: "I have no essential difference with Wang Jiawei. Both are merchants. They are just a trader and a trader." Wang Jiawei hid behind the sunglasses and did not pick up words. He has a great time playing in his movie world.
In 2009, Wong Kar-wai started filming "The Great Master", inspired by the cover of Bruce Lee magazine he saw in Argentina's newsstand when filming "Happy Together". Before the shooting started, he had prepared for 7 years and visited more than 100 Chinese folk martial arts masters. This movie was made for 3 years. 90 in the last sceneIn an hour, the crew can be replaced in shifts, but Wong Kar-wai has been in front of the camera, "Finish everything that can be filmed, and there will be no chance if you don't film it."
To make this movie, Wong Kar-wai also mortgaged the house. When asked by the media, he replied: , I don't want to use this hype... or what I said "unjust unhappy". "Crouching Tiger, Hidden Dragon" producer Jiang Zhiqiang said: "Some people buy houses, some people buy stocks, and Wong Kar-wai is buying movies." Wong Kar-wai's correction: I am making movies. Basically, every time I shoot a movie, I don’t pay, and all my money is put in the movie. In 1995, "Evil East and West Poison" was exhibited in Venice, and the starring Lin Qingxia saw the film for the first time. After reading it, she felt that it was not good at all: Why does everyone have no eye contact when talking? Everyone seemed to be speaking into the air. Who loves whom? With so many characters, no one can figure out who they are. In 2009, "Evil East and West Poison" was rescreened to commemorate Leslie Cheung. Brigitte Lin came to the scene to join in. After watching the movie again, she was shocked: I understand now. I wonder if Wong Kar-wai's thinking has led us for fourteen years? She said: "The whole drama talks about the word'love'. Everyone has a desire for love, because everyone is lonely. Whether you are loved or not, you can't escape the loneliness. "
I wonder if Wong Kar-wai will feel emotional after hearing this, he is finally not so lonely anymore. Everyone is alone, especially geniuses. Ang Lee, who won an Oscar, once said: I'm not a genius to make movies, at best I'm a talent. Among directors of my generation, the real genius is Wong Kar Wai.
's best evaluation of him may come from his "dead enemy" Wang Jing: "Wang Jiawei's courage is very admirable. He insisted on walking his road. It was a very difficult road. Let me go, I might Not that much courage.”
With the rebellion in Godard's movies, Wong Kar-wai chose the lonely road that few people walked from the beginning, like a thrilling bet. many years passed and he won.
