 <春光摄影手记>全文翻译
注：此文由KM1990翻译！！！
Don’t try for me Argentina ——《春光乍泄》摄影手记（杜可风） for Liliana and wen chi in the hope that someday we all find our way. 春光乍泄 他们由香港出发，带着一张地图。更行更远，两条心一处目的地：南美洲大瀑布。
终究还是没有去成。路上风光阴晴不定，黎耀辉、何宝荣各自散落在布宜诺斯艾利斯街头巷尾：他去了小酒吧当接待员，他夜夜笙歌等候陌生洋汉的善待。
我们不如从头开始。一夜他淌着血对他说。恍惚间黎耀辉再一次听见何宝荣挂在口边的一句说话。恍惚间他们再一次从头开始。
在陌生的南美洲土壤上两名中国男子相濡以沫。
然而生命中故事的发展往往不如人意。黎耀辉破漏的小公寓留得住一只受伤的飞鸟，留不住随着日子重新舞动的流光；在探戈乐声下，何宝荣一步一步自他臂弯内滑开去。直至天空只剩一点蓝。
年青小子张宛如浮木。阳光下慢镜的喧闹不过是另一段插曲。世界尽头可能是南美极地的灯塔，也可能是自我极限的试测——年青小子是天空里头一片黎耀辉忘记不掉的云。
离开布宜诺斯艾利斯回到香港之前，黎耀辉去了一遍台北。在辽宁街夜市，他找到张的家人，他见着张站灯塔前面的照片。他安心了：在未来的日子当中，总有机会，他会很温柔很温柔的跟他说：“我们不如从新开始。” ——录自电影公司提供的故事 August 1996, Breakdown
Did a story breakdown for WKW today-and turned into as good a synopsis as I could. It looks a little feeble in this form - few “motivations”, little apparent action, no sub-plot. Thank God we’re all self - assured and intuitive enough to believe something interesting will eventually evolve. It reads like this:
The blue / green magnificence of the Iguazu Waterfall. Pull back to reveal the image is in fact a souvenir lampshade by a messy bed in a tacky love hotel. Two silhouettes overshadow the falls and the desolate room.
A red convertible crosses the brilliant, white expanse of the Salta salt flats, just this side of the Bolivian border. Tony and Leslie are loving and partying their way South. At noon on September 23 (the vernal equinox) they cross the Tropic of Capricorn. Now there is no turning back!
Their sex that night is abrupt and violent. That part in the morning. Leslie is in tears. Cut to Buenos Aires. Leslie distraught, but hesitant to throw himself from the La Boca bridge.
Tony gets off a bus in La Boca. Holes up in the Hotel Rivera. Plays at love and odd jobs. A good fight is as welcome as a good ****. His self-respect is drowning in each next drink he takes.
Leslie works in a Gay Tango Bar. Dancing and tricking his night away without reflection or remorse. He plays hard to get when Tony crosses his path again, but softens to his loneliness and steals a Rolex then a passport form one of his tricks, the pawn money will pay for Tony’s ticket home.
His hands crushed by the angry trick, Leslie retreats to the Hotel Rivera where Tony nurses him. Leslie betrays what starts to look too much like love by running off with a cheap Milonga pimp.
Back North … a Bolivian border town. Wild, colorful lights pattern the ceiling and walls. Leslie stoned stares through the waterfall lamp at the tacky predicament he has fallen into. His Milonga trick has passed out (or OD’d?). Leslie flees once more… Not forgetting one-ounce stash of Coke.
No Rolex to get him out anymore, Tony agrees to rendezvous Leslie at the Iguazu Falls.
It’s going to be a very “visual/landscape and spaces” kind of film - I should be happy for that - William (Chang, the production designer) and I will have more than enough to occupy our days. 1st Day Shoot
第一日开镜并非真正开拍——只是确认一下我们来到这儿。
我们在油淋淋的小港La Boca和Hotel Rivera（法国的Riviera）门口及屋顶“执”了些“空镜”。伟仔同哥哥（张国荣）就在酒店这儿开始相爱。
我不大清楚我在干啥——只是到处听听，试试滤镜菲林速度…不找灵感，只是意念…然后侥幸的巴士绕道穿过废桥见到灯明火亮景象。一片孤寂、远离、形神尽失…我终于找到影片的视觉主题，去揣摩这片空间“性格”的方向。
1st day shoot of filming is not really a shoot - just an affirmation that we’re here.
We “pick up” “ambiance” shots in and around the stinking oil-slicked port called La Boca and the facade and roof of Hotel Rivera (= “Riviera”) … where Tony and Leslie will explore their love.
Don’t really know what I’m doing - just playing it by ear, trying filters and film speeds … not looking for inspiration … just ideas … Then we luck out with a bus disgorging passengers, turning out and under the derelict bridge into a vast expanse of setting light. It’s loneliness, departure, loss incarnate … at last I’ve got a visual theme to build on, a direction to explore the “character” of this space. Bad choices
但愿我记得谁先说出大家对这部片的感觉。“好导演不会拍出差的作品…他只是下错决定。”
Wish I could remember who first said the way we all feel about this project: “A great film-maker can’t a bad film … he/she can only make bad choices.” August 14~15. H.K. - Amsterdam - B.A.
另外三十六小时的飞行再飞回去我大半生想飞离的…平庸而非自我，借用人家价值而非自己想法…每飞越一个时区，很久以前那所有痛恨而离开澳洲的理由逐渐迫近，在免税店的玻璃杯底中恣情放大…别猜我，Argentina，我也不知道怎样去猜你！
飞到那儿我们赚了一天，离开那儿我们失魂落魄。
Another 36-odd-hour flight into all that I’ve flown more than half a life from … mediocrity instead of identity, borrowed values instead of ideas of one’s own … all the reasons I hated and left Australia so long ago come closer with each time zone and more terrifyingly magnified through the bottom of each duty-free glass … don’t try for me Argentina … I don’t know how I’m going to try for you!
Going there we gain a day, leaving we’ll lose our mind. Buenos Aires
Robert Rauchenburg 说过走完一条街都想不出五个新映象或意念，你便不算是艺术家。Streichen 说你可以在房间内拍到一个世界…而后Robert Frank 和Keichi Tahara告诉我们怎样做。
我开始奇怪我是否失去我的心我的眼…自从来到这儿，我未拍过任何“个人”的照片…而且“看不见” 这地方…它不跟我“说话”。屎！
Robert Rauchenburg said you are not an artist if you can’t walk a block and come up with 5 new images and even more ideas. Streichan said you can photograph a world in your room … and later Robert Frank and Keichi Tahara showed us how.
I’m starting to wonder if I’m losing my heart and eye … I haven’t taken a single “personal” image since I got here … somehow I don’t “see” this place … It just doesn’t “talk to me”. Shit. “No-one speaks English…… … and everything’s broken”…
The whole of Buenos Aires is a Tom Waits song.
What used to be the Paris of the South with one of the 10th highest standards of living in the world has deteriorated into an hallucinatory exchange rate, an infrastructure as had as its food, and an impossibly low minimum wage that makes exploitation, corruption and a “parallel service sector” inevitable.
The streets all run North-South/East-West: grids of boredom and artificial restraint imposed upon even the smallest town. This plan that is not just a topographical legacy of Spanish colonial times-it’s a blueprint of the Argentinean, mind, which is proud to be a third class European and (as the Argentinean saying puts it): “wipe our arse and then we shit” and “after I shoot myself, I shoot you!” Monday, August 25 ( why sharks don’t eat lawyers).
家卫对留在香港而不去荷里活或其他地方拍片的妙论是：“我情愿同一流的黑社会打工也不同九流的会计师工作…黑社会多点自尊，讲道义，整你之前也先锡啖你。”
我们炒了当地制片鱿鱼。钱不清不楚，理由不充分…抽佣食价大家都明，只是他租来拍戏的酒吧要千五元一日，而店主其实只要五百元便开心。
Wong’s most famous quip about working in Hong Kong, rather than Hollywood or elsewhere is: “I’d rather work with 1st class gangsters than bad accountants … Gangsters have more pride, they’re more ethical … if they want to **** you they always kiss you first … ” so …
We drop our local Production team. The money was always awkward, and the explanations got just a little too weak … A commission or mark-up is understandable, but they have quoted us US$1500 a day for a bar location who’s owner is quite happy with US$500 or less …
Should we blame the Argentinean Central Bank or Alan Parker and his lot? August ending like a “wish you were here” postcard
我们放“空镜”的毛片来看。家卫很兴奋：“光用它就够做这城的Milonga（拉丁舞）了。”管他什么意思。我只看到空的桥、空的船、空的天、空的一切。明信片式的乏味港城！我还是不会跳探戈…只希望能够有点Gordon Willis 的诗意，找到这地方真正的“音乐”。
We see rushes of my “empty shots” (or whatever they’re called in English). Wong is excited: “we can make a Milonga of the city alone with itself” … whatever that means. All I see are !empty bridges, empty boats, empty skies, empty everything. A postcard vision of a shady port town! And I still don’t know a thing about Tango … Just wish I could be even close-to-Gordon-Willis-poetic, and find the real “music” of this place. Wallpaper
We shoot wallpaper patterns-not for nothing to do but as a “symbolic reference” to the personalities of our characters. The floral lotus pattern is Leslie: colorful, exuberant. The black-like pattern … Repetitive, enclosed upon itself, unrelenting - is a hint of what Tony’s character is about. It’s all about Angles
Wong’s toothache has affected his ear. His normally “tall-man-avoiding-low ceilings” walk is pronouncedly lop-sided these days …… Maybe that’s the only way to see this place … from unexpected, unusual angles, not just “through a beer or wine glass darkly”, as we have all tended to since we got here. Kafka’s watch
Off work I feel like Kafka’s watch or some other useless thing. When we’re not working work all I do is a sham.
We check locations. I pretend to know how the morning sun will fall, or how many lamps it takes to light a room. All I really know is how I see the space and what I hope I can to do with it. We check equipment I have no idea what does what or goes where.
I can only work intuitively off the space the actors and my “eye”. We’re all “jamming” so much better lately. Just wish they’d really start this “gig”. Days Too?
The cars, the colors, the isolation, the trains, the (same) cast, the (same) crew, the weather and the unfamiliar language …… we start to Deja-Vu- it seems that unconsciously we’re finally making that Days of Being Wind part II that so many have expected of us for so long.
Leslie even started humming the theme from Days as he prepared for a shot today … checking his costume and make-up in a wall mirror he turned … very Karina Lau-ish … and mimicked her glorious “How do I look? ” from “Days I ”. Tuesday August 26, We almost came out fighting
打算去蒲酒吧喝个烂醉——好让伟仔（梁朝伟）入戏而我们对这地方多点感觉。星期二市中心冷过主教卵蛋，开门的只有灯火通明的咖啡室…每一两条街就有一家红帐遮门的“真人表演”吧。我们选了家门口无人拉客的，却失足堕下地狱。
我放下五十元付两个人八元的入场费。
“这儿没钱找，进去给你。”
肥婆安妮来落单——又要钱…一屁股连人带啤酒坐在我腿胯。角落里有个女人舔着唇像“中间折页女郎”把底裤拉到肚皮上。
“黑婆玛莉”真的在喂奶…两吋大的乳头差不多塞盲我双眼…“你吮我的奶，我吮你的。”伟仔给人不停地问有多大条而数不清是谁又有几多只手…“Change”他咕哝的说，听不清是找（钱）还是走（人）。我们试着辨。
经理拦住。“给小姐钱。”
“我哋冇摸过佢哋。”
“她们喝了五十元。”三个打手从暗角走出来摆明车马。
忘了“找钱”吧：不给钱就开打…我只想大笑一场或者放一个屁。
伟仔好似Tarantino的角色，一边丢下五十大元一边说：“****, ****, ****…”
我忍不住笑我们“青头仔”受骗…而我一笑就放屁。
The plan was to go bar-hopping till we were down and out - to get a better feeling for the place and Tony’s role … I’m voted “Barfly next most likely to succeed” for Tony’s it’s “research”.
Tuesday downtown here is colder than my Bishop’s balls … All that’s open are over-lit cafes and confiterias …. and a red-curtained “live show” bar every block or two. We chose the only no-one was touting and descend into formica and velvet Hell.
I pass a $50 for two $8 entrances.
“No change here. You’ll get it inside”
Fat Anna takes our order- and more money … then sits the beer and herself in my lap. A woman in the corner licks all her lips “Certerfold-ishly”, pulling her G-string so high it must be scraping her stomach wall by now.
“Black Marie” is obviously lactating .. her 2-inch nipples are literally blackening my eye … “You suck my milk. I’ll suck yours.” Tony is fending questions about how big he is and he can’t count how many or who’s hands … “Change” he mumbles. Does he mean money or move? We try.
The manager blocks our way “Pay the girls.”
“We didn’t touch them.”
“They have $50 drinks.” Three “collectors” appear out of the darkness to help make his point.
Forget “change”: it’s pay or fight time … but all I want to do is either laugh or fart.
Tony’s sounds like a Tarantino character as he throws down a fifty grumbling “****, ****, **** …” I can’t help but laugh at how “green” we’ve been … and as I laugh I fart! I LOVE PINK Love Hotel
哥哥和伟仔在I LOVE PINK酒店狂欢，在浴室拍宝丽莱，互掷生日蛋糕、啤酒、可乐。结果搞到摄影机和我浑身都是。
我玩的不亦乐乎，把摄影机时开时关——追求率性随意的效果，像宝丽莱生活照，时空乱跳，犹如记忆…
Leslie and Tony play lover’s games in the I LOVE PINK hotel. They take Polaroids in the shower, over a birthday cake, throwing beer and coke at each other-and, inevitably, all over the camera and me.
I’m having fun turning the camera on and off at will - the effect we want is random spontaneity, like a series of polaroid snaps that skips through time and disregards any continuity of space. Like memories tend to … it worked well on our T.K.Project …… and it’s very appropriate for what this scene is all about. September
我们由第一场造爱戏开始——预计沿途遍历阿根廷以北——在北回归线附近一个小城一家偷情酒店内。哥哥叫宝荣（是我对焦助手名字），伟仔叫阿明（是我推轨助手名字）。他们把名字刻成心形在墙上一块木板上。
伟仔和哥哥试着如何抚摸感觉。我茫无头绪到处乱看。家卫抱怨说：“我们跳的是Milonga，不是Rock ‘n Roll。”
清了场。只有家卫、我和“男孩们”。不知道怎样又为何，伟仔在“上面”。
也不知道为何又怎样，我们尽力做到既挑逗又审慎。
这场戏美丽又性感。伟仔和哥哥在床上表现出色。但拍完后伟仔垮了。
“家卫说只要接吻，可现在过了份。”
哥哥恨恨的说：“你知道我这几年多惨假装要把我条嘢放入女人都有的另一个洞。” Hotel Room
We talk about how, structurally, the sex should start the film, but that, in the chronology of their days together Leslie and Tony’s only get to **** on their last night.
Should we film it for a “down effect” or should we film the scene like their love will never die? Should it be the anti-thesis of the “down” that is to come, or should the relationship be a roller coaster of conflict from beginning to end?
We go with the “up” tone. They do too. Their first kiss is very mellow and natural. It starts to feel like this film is about intimacy, not sex! Wednesday 11th/Thursday 12th September
We start with the first love scene - supposedly en route through the North of Argentina - in a love hotel of a small town somewhere near the Tropic of Capricorn. Leslie is called Bao Wing (my focus puller’s name) and Tony is Ah Ming (my gaffer). They have cut their names into a heart shape in the wood paneling of the wall.
Tony and Leslie are finding a way to touch and feel their way around the scene. I’m lost and searching. “It’s a Milonga”, Wong is complaining … “stop moving as if it’s Rock and Roll!”
We clear the room. It’s just Wong, me and “the boys”. Don’t know how or why, but Tony’s “on top”. Don’t know why or how, either, where I am is both as evocative and discreet as we could hope to be.
It’s a beautiful and sensual scene. Tony and Leslie really look great in bed. But Tony is devastated when it’s all done.
“Wong said all I had to do was kiss,” he confides to me … “now look how far he’s pushed me.”
Leslie is in a spirited, *****y mood: “Now you know how bad I’ve felt all these pretending I want to put my thing in that extra hole that woman have!” Director for a day.
Wong is holed up somewhere reworking the script and schedule. Leslie is leaving very soon. Thursday and Friday there’s a General Strike. As if boring us to death, delaying us to death and cheating us to death isn’t enough! Now these bastards want to mobilize us to death!
We’ve been here 40 days now, but we’ve only worked 10! Today William (Chang) and I take over. It’s like a music video shoot. We suggest a situation and dialogue, choose a space … and let the actors do the rest … we don’t know what it really means or where in the story it will go … we just follow our instincts for what’s possible in this space and what two people in this situation are most likely to do. Fat Man’s Feet
We’re shooting lots of “anecdotal” shots, trying to outline the development of Tony and Leslie’s “relationship”.
Scene 27A, Take 3 is O.K. so we move on to 27F … no-one except Wong has any idea of how these numbers come about or what they mean. But our tastes and telepathy are close enough to agree “B” should be bright-ish, and that “D” should be a twilight shot.
I’m working off instinct and the possibilities of the space. I have no idea what Wong is working off … Though sometimes I suspect it’s me!
The structure of a Wong Kar Wai film is like a fat man’s feet. They more or less get him from place to place but he can’t see them till the end of the day. Style
We’d fixed the tone and stylistic direction of our film long before and of us had access to satellite T.V … so why does Byran Adams Hotel Chelsea music video look like it was shot on one of our sets? Even our framing is similar! Mathew Rolsten (the photographer/director) plays with the video format like we play with mirrors and T.V’s! Style II
We’ve gone for “high-key” colors and lighting this time … and lot’s of grain to boot. I’m pushing the film stock so much we’re losing the Blacks ….. is it exposure? The locations? Or the lack of budget for the light we need to maintain the tone we’re after? I won’t know till we get back to Hong Kong. All we see here is video transfer of some of our negatives. No lamps on me
When one of the Argentinean lightmen says “Your style is like not lighting at all!” Jackie (our producer) we just steal some table lamps from our serviced apartments and leave the generator at home. Leslie Needs Love
Leslie looks great as Redhead, but the darker, modified “Bouffon” is far less “obvious”. Mother of Pearl sunglasses camp him up a bit … in high-heels he walks like a trick-tired whore.
Make-up looks pasty: weekend-cross-dresser-hides-stubble fake.
We like the ensemble. But Leslie is ill at ease: “Am I convincing?”
“Convinced”, not “convincing” is more what he need to be! So we preen and powder him some more.
“Am I a woman? A real woman?” he asks his mirror more than us.
“You look great Leslie …” we all try to sound re-assuring: Not the slightest bit ‘camp’ … we stop just short of “Leslie, you’re beautiful”, I’m sure he can mange to say that much himself. Space
We came here to “defamiliarize ourselves” with ourselves, moving out of the spaces, and hopefully the preconceptions of the world we know so well.
We’re out of our space and depth here. We don’t even know the city well. So why do we still tend towards bars, barbershops, fast food joints and trains? What happened the inspiration of Manuel Puig’s structures and Julio Cortazar’ conceits?
We’re stuck with our own concerns and perceptions. If it’s true that every artist has basically only one thing to say … we’d better do our best to say it more eloquently this time! Sept 27 no good
After one long but NG take and a second aborted attempt our lamps get knocked off the top of the bus as the driver negotiates a (just - too -) low pedestrian bridge. Wong is exasperated and orders “wrap, now”.
I don’t think it was the lamp incident, or even Leslie’s heavy handling of the scene … 9 out 10 time’s there’s something that doesn’t work for Wong. He’ll find what, he just needs time to think it through.
We’ll be back in a day or a week or more and the location or dialogue or blocking or whole scene will have changed. We’ll get rid of whatever he thinks is wrong and try all we can to make it right … or … just as possibly, drop the whole idea! Dead Again
We’re still stuck with that same 10*20ft Hotel Rivera room we’ve been in a good month now … We have no scaffolds, so no top shots, no way to get a little distance or to shoot from across the road … the only part of the room we haven’t shot 20 times yet is the washbasin/shaving mirror corner by the door … Wong is frustrated:
“Where the hell is Tony going to die?”
“The blue (tiles and shower curtain) will go well with the blood” … is all I can suggest.
“We can’t afford two days’ blood” replies Kai Wai cryptically …
“The ‘cut throat makeup’ is US$300 a pop.” the Production Assistant explains.
“We’ll save the cut throat and bloody part for a week or two from now. You’ll have to match it with we do today.”
That’s what any cameraman hates most to hear. It’s so difficult to match parts of scenes done days, weeks or months apart. It’s so easy to mess up little details or the light. Continuity is so hard to maintain …
“Why can’t we do the whole scene when we have the blood?” …… I hear myself think out loud.
“Because we only have so many days more with Leslie” …
I should’ve known. Days of Being Tired
Our third 20-or-more-hour haul in just as many days. Leslie leaves tomorrow. We hustle to get his half dozen scenes done in a single night.
Leslie’s in a buoyant mood. Happy to be leaving. Enjoying all the chaos he’s caused.
My Gaffer and I are so tired we spend two hours trying to convince each other that we actually agree on where all three of our lamps should go!
“Compromise. Chris …” Wong exhort me … “It won’t matter how good or bad the light is if we don’t have an actor to stand in it!” Bar Sur October 15
Leslie lost and drinking the Bols Genever that has been Tony’s trademark drink throughout the film. He sits by the door of Bar Sur, where Tony was a tourist tout. He engages a young Chinese colleague of Tony’s in conversation that may or may not go anywhere …
Wong takes me aside: “This might be the last shot of the whole film - probably a “freeze-frame” close up … can’t you do something about Leslie’s eye-bags? ”
“Not much without lights,” … and we don’t have any more. I bounce a flashlight off a piece of white foam, but can’t promise that Leslie’s going to “glow”.
“I remember you” … the kid has finally got his lines right … “you’re……”
“Bao Wing (=Leslie)” Leslie replies in one version. I change a lens and add what light I can … “Ah Ming (=Tony)” he replies in this take!
Self - realization or character assassination? … only the final edit will tell! Pretty Boys October 18
We watch all the rushes so far: “It’s not Gay enough” Wong is worried …
“It’s about compassion and complicity …” I suggest: “… not about two men having sex.”
“It’s too pretty”
“It’s bright like we wanted,” I counter, “I’ll roughen it up if you want when we do the final print” … But I am getting a little worried too … I sneak back two hours later to see just how bad the damage is. “I wouldn’t call it pretty …” I re-assure myself … but you could say it is a little too “chaste” . Tony’s presence
Wong wants to give Tony more presence. He seems so un-focused, so de-energized of late.
No one dares tell him 4 months in mediocre-ville has done that to all of us. October 22
我们今日又要再去屠房…有一半人不想去，伟仔更抱怨上次搬冻肉弄伤肋骨。
“都是你错！”家卫说：“上次你动作不够清楚。”
我所知一切导演的通性都是虐待狂…王家卫，今晚也不例外。 Old Bridge at La Boca
我们这部片有很多桥，多到一百份日历都用不完。
我们那两个情人争吵，日出之时各行各路。桥不止是意象，还是生活的阴影。
晨早桥上交通繁忙，我根本听不到导演演员的话，只有靠估，几时几刻情绪爆发我就要审慎地把镜头摇走…但应该是流畅的过场变成急摇…不是风格如此，只是我脚下的“苹果箱”左摇右摆令我难以平衡。 Living Lampshade
Tony has a souvenir lampshade of the Iguazu Falls.
A metal cylinder rotates when the lamp heats the air inside. The light passing through holes in the cylinder make the water painted on the plastic shade part seem to move down. Two figures watch from a precipitous balcony in the rock-face overlooking the scene.
This spot and these two figures … all the dreams and hopes this lampshade represents to our protagonists and the film. If we find the spot and the right angle today a metaphor is real! Lampshade II
We think we’ve found our “lampshade corner” .. the image on Tony’s souvenir lamp … the promontory that two figures look out from, dream from … the place and moment they find love and peace with each other, the key image of the film.
It’s only two days later, looking at maps and photos in a souvenir store. That I realize the spot our lampshade is really representing is an island promontory just below our Falls hotel not at all the Brazilian - side promontory that we’ve been shooting the past couple of days! Signature style
我们最初颇犹疑要否重复我们的“绝招”…不用也实在气馁。
愈拍下去愈多镜头要变速…由“正常”转到一秒8格或12格…或者反过来做。最初视为“禁忌”的广角镜，愈用愈多好使“平板”的画面“变得有趣”。
我时常把我们那种“Blurred action”视为受惊时肾上腺素或者兴奋时的大动作。今次的更像“啪丸”。我们在“决断”、“顿悟”、“启示”之时变速。演员走动得特别慢而周围一切就正常。目的为吊住时间，拖长事件，放大证据…有点像打了海洛英（听说如此）。
理论如此，在那时仍是理论。我们没钱试毛片或光片来看效果。我们“用双耳来玩”直至回港。
At first we were hesitant to repeat our “signature style” … I guess it was just too frustrating not to!
We do more and more speed changes in shot as the film goes on … “normal” speed to 12 or 8 frames per second … or the other way round. Our originally “taboo” wide angle lenses are getting more and more often brought in to make a “flat” image “more interesting”.
I’ve always associated our “blurred action” sequences with the adrenaline “rush” fear or a violent act excites. This time round it’s more “druggy”. We change speed at “decisive”, “epiphanal” or “revelatory” moments. The actor moves extremely slowly while all else goes on in “real time”. The idea is to suspend time, to emphasize and prolong the “relevance” of what’s going on … it’s like a hit of Heroin (I’ve been told)!
That’s the theory, and it remains a theory for now. We don’t have the funds to do rushes or Optical printing to see if it works or not. We’re “playing it by ear” till we get back to Hong Kong … as we are about many aspects of this film. The metaphysical meaning of the Tropic of Capricorn II
给自己制造的难题六个星期后。
还有卅日才夏至，离南方又远达千多公里，下午五时，太阳快要落山，而现在要解决这个难题。
“怎样给南回归线打灯？”就象问怎样“放映黑暗？失落的颜色是什么？”…
“怎去为记忆构图？”…这类无法回答的问题是每个摄影师每日都会自问自答。
我们想找一行亮光移过南回归线那想象中的线。但在这渐暗的日光下做这个效果要好几里长的灯闸，而我们手上只有两只一千火的灯枪及手掌般大的化装镜。
我们不想要电脑绘图。我们要点比卢马的《绿光》更明显的东西。
但阳光没有“天然”动机做一行阴影或线…周围也没有标志日晷…我们只有极目平野，日落在草丛和两株树后。
“让镜头食正光吧！”家卫自顾自说…“无得拣。”
于是有树又有反光！在广阔路上，日光自树间透出来，正对镜头现出花班一行光，我借助化装镜，转片速和光圈，伟仔和哥哥在日光中如魅魉，画面花白了两秒，然后转暗，他们两眼凝望，在“浪漫”的慢动作中…一切都很“正”在荧幕中…家卫笑着说：“O.K.！” Cinema X
看毛片看到灯光颜色稍为有错令我不快…我为什么要“写实”而不“诗化”？总是小错误造成大伤害。虽然无人这样看这些画面…但我会。劝自己“由错误中学习”并不等于去改戏或灯光。
A little too much of the wrong-colored light distracts me when I view our Gay cinema rashes. …Why did I go for “realism” instead of “poetry”?
It’s the little mistakes that hurt the most. No one will see these images the way I do … but I do see them this way. To console yourself with a “you learn by your mistakes” is not going to change the scene or the light. Depressed
I always get depressed when I miss the timing on a complex shot. I know I could excuse myself sometimes … with no rehearsals and so much “shooting from the hip”.
It’s a *****, though, to get so close to great and have the film run out or an actor’s timing get out of synch with mine. Our kind of camera work is “anticipation and response”. I need to follow the actor/dancer as much as I need him or her to “lead”. I can’t ask for another take most of the time …I’m afraid it’ll slow us down. I’m not sure I can do any better anyway … I just hope in editing we lose the take I lost. 3 Amigos
There’s something ominous about the number 3 in this film. It comes before 4 which is a homonym for death in Chinese … Is that where Tony and Leslie’s love is taking them?
Outside the 3 Amigos Bar/Cabaret bus number 33 is about to stop. This is the third time I’ve put the same lens on the same camera in the same part of the same street. They dance to a song called Milonga for 3. Wong is talking about adding a third character to the story: “We need a third character to catalyze the film and their love”.
I’ve heard this kind of stuff before … It looks like we’re in for the long haul.
It’s all getting a little too “mystical” with all these 3’s for me. Abattoir II
Tony is drunk … but it’s not in “the script”. He’s trying to get through all the stench and body pieces of the abattoir, which is one of his many short-term jobs.
At least he’s in there with me. Wong and the rest of the crew are all wilting or throwing up outside: the sounds and smells of the slaughtering of cows is too much for them. Even Tony is not to keen on really using the primitive electronic prod we’ve put in this hand.
“I don’t want catharsis, that’s too obvious!” Says Wong when I explain what we shot inside the slaughter house. “So is the blood and guts. Come on in and see” the old vegetarian that I am has begun to tease.
We change the scene. Yoghurt becomes the choice of preference for the evening meal. Emergency Ward
We repeat a body’s entrance to the emergency ward … same clothes similar wounds … one time it’s Tony, next time it’s someone in the same clothes, who we only realize is Leslie near the end of the shot.
“Concentrate on the hands at first” Wong directs me, “the same wounds as Tony, don’t show his face.”
“Space = context, repetition = identity” again … familiar themes in almost every Wong film to date … closeness vs. the impossibility of love, dynamism vs. the need to hold on.
No time for deeper thought tonight though. When the assistant director asks “Are you ready, Chris?” I can hardly excuse myself on “metaphysical” ground. October 24 Claustrophobia
昨夜通告取消。大家都愕然。
“伟仔到处揾食的场面已经不缺。”家卫沮丧…“Hotel Rivera 是他和部片的中心但现在又变得太幽闭叫人发狂…一定要扩大空间，让部片及观众抖抖气！”
阿根廷的圣诞节快到…很明显他又想来个大改动。 October ends … November never will
Christmas in Argentina is no joke anymore!
Shirley Kwan and Zhang Zhen join the “cast” … or what we’re starting to call the “casualty list”?
They idle in their rooms waiting for their roles to materialize … while Wong hides in nearby coffee shops hoping for the same.
We stop shooting for the umpteenth time … to “save money” … to “acclimatize our new stars …”
We fret over what to do with them now they’re here … and the thematic justifications for them to even been here at all! You’re My Eyes
“You’re my eyes”, Wong says every other day - especially if we’re “stealing” a shot or have to move too fast to set his TV monitor up. Sometimes that’s a threat. Sometimes it’s encouraging … most often it’s a huge responsibility.
His “eyes” I have to be a lot of the time … sometimes I wish I could be his mind, too! Then maybe I could help more with the “creative blocks” and move the film along! Choices
The way work with Wong Kai Wai, the way I light, the way we try to prepare ourselves - “psyche ourselves up” … the reason I dare to hand - hold .. is all about “choices” I always say. What I’m really here for is to make choices possible, for myself as much as for the Director and actors and all I’m working for. “Empty” Zhang Zhen shots
Wong puts me in charge of some “pick up shots” while he works out what we’ll shoot the next few days.
All goes well: camera turns at 4 frames per second, the background speeding by, Zhang Zhen moving 3 or 4 times slower than normal so that he seems to move normally in the composite image.
We’re on Corrientes Avenue; the entertainment center. The shows are emptying and the restaurants filling up. A crowd gathers to watch us set the camera on the Van roof and ask 1/2 - informed and downright stupid questions about who and why and where … I play “macho camera - force” … and then we’re started by a CRASH … A motorcycle, it’s rider and passenger are bouncing across the street!
Someone screams at our production assistant for his mobile phone (to call an ambulance). The rider is in shock and his passenger must be too: she walks across and starts chatting with some by-stander she recognizes “Just to pass the time of day”!
I throw Zhang Zhen and his tape recorder into the middle of the madness of witness - explaining and medicating ambulance-men, if he’d look a little more sympathetic we could have a very moving scene … at least that’s how I see it … but an onlooker obviously sees things differently. She fumes insults and threats at me to anyone else who’ll listen about “how exploitative the MEDIA always has been”.
The “ethics” of any shot is relative to the “purity” of the film-makers intentions. We can only dare to show this or that if we dare to assume the responsibility that implies. Compromise
The clouds moving the shadows across the road in random patterns, the traffic, what’s going on in roadside all affect the shot. Mix a dash of experience with a lot of intuition, and try to think ahead, and beyond yourself. Find a voice that’s expressive and personal … don’t even think about making something “original” … There just ain’t no such thing!
I’ll love you till the end of the world!
What does the End of the World look like? It’s only when you get there you realize it’s as abstract as the Tropic of Capricorn. “Infinite horizon” looks like a great idea on paper … but “World’s End” stickers and T shirts aren’t quite the same thing … Dream falls
“Is this part real or imaginary?” I ask William. We’re on our own again today, Wong’s still working out whether this part is a flash-forward dream sequence or the last stop on Tony’s physical and spiritual journey and another possible end of the film.
We have no idea which image should be what, so we shoot it both ways. All we know is the real parts are on the real filmstock, the same one we’ve used in the rest of the film. While the flatter, less saturated stock we’ve been forced to replace our depleted original stocks with will represent an imaginary view.
But we shoot so much we run of real stock, all we have left is our “dream” stock, there’s no choice by late morning Dream/imaginary is what the scenes’ gotta be! Real Time
It’s early 1997. Zhang Zhen is 20 years old. The age all Taiwanese young men are due for military service … It’s also the age at which half the teenage girl population of Taiwan seem to have fallen for him. He’s done a few good films and a record recently, so half the entertainment industry is hot for him as well. Everyone is busy pulling strings to keep him civilian for their films.
We go to Taiwan for a couple of day’s shoot to fill in his part and another possible ending of our story. Tony wanders the streets of Taipei not to find him at his family’s noodle stand.
Snaps for his Argentinean journey are stuck to a mirror by the phone so Tony steals one of Zhang Zhen by the “light house at the end of the world”.
Taiwan hasn’t changed much. Film is still an amusement for gangsters and amateur. Everything is ad hoe and totally haphazard. We fumble through regardless. And end on a subway ride in the rain.
“All that remorse” is all Wong manages to say. Chance and Accidents
家卫时常说：“别改动任何东西。”又或者“这个角度不够有趣。”今天他最喜欢的还是我去小便时助手把摄影机放在伟仔床上时。我们把床弄乱一点，用脏衬衫或底裤半遮着镜头，新的风格於焉诞生！我遂把摄影机放在茶柜、沙发、床底、窗台，任何随意未想过的地方。
真的，这种“风格”反映出伟仔与哥哥多次分手时“给遗弃”的心情。却又非来自“学问”，也非计划得来。视觉上有趣又特别，解决了如何拍摄这个三十多天来我们出出入入无数次的细小空间的问题。
“风格”应该是“选择”问题而非“观念”…应该“自然生成”而非“生安白造”。 The Future
我们的内景故意“没有时间”，灯光不依“逻辑”照明。日或夜都不重要。伟仔与哥哥的世界时空不明。
家卫说只有剪片时才知道拍过的片段意义何在。当时并不肯定清楚某些细节颜色动作意味什么。它们预知影片去向而部片会带着我们走。它们是来自未来的映像而当时我们才刚刚抵达。
Our interiors are consciously “timeless”, they’re not “logically” lit. Time of day is not a concern in this film. Tony and Leslie’s world is out of space and time …
Wong says that it’s only as he edits the film that he finds the meaning of much of what we have shot. We didn’t really know what certain details or colors or actions meant at the time. They anticipated where the film would the film would take us. They were images from the future at that time that we’ve only just arrived at now. The edit
Sleep and love and consciousness get lost in the rush to meet impossible deadlines.
Wong is editing on a computer, William is at the Steenbeck. I’m doing a video transfer. The Cannes festival people are waiting in their hotel room.
Music and off - screen narratives are going in. Scenes and whole characters are going out.
The first cut was 3 hours long - a week ago - now there’s 96 lyrical minutes and no more Shirley Kwan.
We play and replay the Iguazu falls sequence to let the music and image re-energize exhausted bodies and minds. Almost 3 Amigos
We still can’t find a good English (or French, or anything) name for the film.
We started with “Fox and his friends” and ended up with a not-so-gay love story about “Tony with Leslie but not with Shirley or Zhang Zhen” …… Someone has already mis-appropriated the title “3 Amigos”. I suggest we call it “Bugger your brothers” … but I’m not very well received! Structure
“The fat man’s feet” are showing now. We start to see what the film is about.
Wong says it has two parts now: Part 1 is “action”, and Part 2 the protagonist “reflection” on what they’ve said and done. He feels that what the Zhang Zhen gives Tony and Tony Leslie is not “love” but “Courage” … a “will to life”. It’s our “brightest” film in all senses of the term and looks like having the “happiest ending” of any Kai Wai film.
It’s much more “coherent” than our other films, and it’s very “lyrical”. There are fewer sub-plots or parallel narratives, it’s basically just one story. Of course there are the traditional Wong Kar Wai themes of “time” and “loss” … and lots of classic lines. Upside Down
All Wong Kar Wai film’s are like CD-ROMs, full of endless possible versions, and a certain “virtual realities”.
Today (April 6) we’re shooting in Hong Kong. We need a reference to where Tony has come from, his reflection on his own space. He’s looking back from Argentina, on the other side of the world, so we turn the camera on its head and shoot the streets of his Hong Kong upside down. Dario Caro
This diary has been all that’s kept me even a little “balanced” through all these months … anyone’s questions it may address are as irrelevant as the answers are absurd …
The film will be the only possible answer … and the getting to it mean little to anyone but us. What I’ve felt these days and expressed through these words will only have resonance then because they have been what help me move on. I hope they do the same for you. Endings
So many endings … do we have any beginnings yet?
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2003/2/27 18:35:36
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