Director Jia Zhangke shared with everyone the earliest creative opportunity for the film. At the beginning of the 20th century, when digital cameras were born, Jia Zhangke took his own cameras to roam around and shoot in different cities, accumulating a lot of material. This process includes not only recording, but also some fiction involving actors. During the creative gap of the first two years, the director decided to review more than a thousand hours of material and edit it into a movie.
In this film festival, Jia Zhangke has the dual identity of director of "The Romance" and actor of "Dogs". When asked about this experience, Jia Zhangke said that being an actor allowed him to enjoy the joy of the filmmaking process from another perspective, and also gave him the opportunity to observe the excitement of the director coming to the Cannes Film Festival for the first time from another identity. and uneasiness. This process allowed director Jia Zhangke, a regular at Cannes, to experience a new sense of ritual.
When asked about the material selection criteria for the first two-thirds of the film, Jia Zhangke explained that it was mainly a perceptual process based on narrative, visual, sound and other aspects. He believes that the development of digital photography around the new millennium is in perfect harmony with the living conditions of the Chinese people at that time, and both are in an unformed intermediate state. This also calls for filmmakers to find new film methods to find innovative and accurate methods. fusion.
Starring Zhao Tao was asked about the difference in emotional presentation between "Children of Jianghu" and "The Romantic Generation". To her, each "Qiaoqiao" with the same name is a different character. Qiaoqiao in "Children of Rivers and Lakes" has a clear social group setting, and also has distinctive characteristics of daring to love and hate; while Qiaoqiao in this film is more of a suppressed emotion. She doesn't have anything to say, she just doesn't have anything to say. Be willing to express. Although this character is not difficult for Zhao Tao, the process of interpreting her also released Zhao Tao's own emotions over the years.
photography director Yu Liwei is Jia Zhangke’s long-term partner, and he and Jia Zhangke faced this massive amount of image material together. According to his interpretation, these realistic images are saturated with Jia Zhangke's emotions and therefore full of tension. During the creative process, they explored the plasticity of images and used many film techniques to reconstruct these materials to achieve a more poetic effect.
Wan Jiahuan is the youngest main creator in this conference, and also had a lot of discussions with Director Jia on script creation. When asked about the script creation process of this film, Wan Jiahuan shared the script creation positioning of the film at the beginning. What the director is trying to achieve is an alternative feature film, so he needs to use an anti-genre approach to form a narrative. They determined a linear narrative structure at the beginning of creation, because only this chronological method can strengthen the documentary power of the film.
