Jane Austen is my favorite author because she is very balanced, romantic and intelligent, rational and emotional. Her books are interesting, humorous, and can be picked up and read by the author, but before this, it was hard for me to imagine, how did Ang Lee shoot Jane Austen and how to shoot British stories? He said in "Ten Years of Sleeping Movie Dreams" that when he finished filming from this crew, he felt that he had grown up again. Because they are all very good actors and very good film crews.
The movie is pretty good, and it fits my imagination of Jane Austen's style very well. Below is an excerpt from Ang Lee's own statement:
>> I'm going to let this movie break hearts so hard it will take them two months to heal!
>> She is a very typical British, very sophisticated, and perfect, including her imperfections, rebellious, informal, naughty, frank, swearing, they are all flawless.
>> I met other people, actors are actors, no one has put me so much pressure, so tired! I would really hate it at the time.
>> The rational sister gets the most romantic ending, while the younger sister has a rational understanding of sensibility. The reason why it is moving is not the comparison between the rationality of the older sister and the sensibility of the younger sister, or who is right and who is wrong. Humans are an organic whole, very complex and subtle. This is related to the "yin and yang" of China. Everything has a duality. In fact, many Westerners may not easily realize the duality of Jane Austen. Instead, it is China. It's easier for people to get through. This concept, combined with the Chinese "yin and yang", had an influence on my later filming of "Crouching Tiger, Hidden Dragon" and the idea of "Hulk".
>> Working with Emma is a very special experience. When I directed a western film for the first time, I met such a smart and talented friend in adversity. Our friendship has continued to grow until now. She appreciates them very much. Second, she experienced marriage and childbirth, and I think her view of life is much more comfortable and softer. One of her words that impressed me the most was: "People should respect and learn from suffering in the face of pain." Here I would like to say, I love her dearly. When we meet again later, the underlying tension during filming has disappeared, and the feeling of cordial confidant comes from the heart.
>> When filming "Reason and Sensibility", because language is not a strong point, I began to pay attention to the picture. In some passages, I will take myself out of the script, and use the big vision to express the elements and spirit of contemporary "Reason and Sensibility", such as the scene where Kate walks up the hillside, which is to use Chinese art to embody emotions and scenes. The principle of putting people in the picture and echoing with nature.
>> Although in terms of details and flesh, I try to imitate and learn from the West and achieve the standard, but in terms of vision and emotional expression, I began to be more self-conscious. If we are the same as the West, we will not only fail to fight, but also have no new ideas. If we want to win, we must use our strengths. So I started to pay attention to how to use images and scenes to reflect the inner scenery of the characters.
>> When making a movie, it must be classified into a manageable range, so that there is a chance to make it well. Making a movie is not just about finishing it, but about making it well. When you're thinking about it, you don't have time to do it well. No matter how good you think you are, it's all in vain. As for how it is possible to shoot well, it is to process the material. Divide it up first before you can nibble it. That is, first divide it to a scale that you can handle, and then manage it carefully.
>> No matter how many actors there are, four or five people or one or two hundred people in a dance scene; how many cameras are there, whether they use rails or lifts; you make two halves first, then two halves and then four halves, as long as you want to turn, Sometimes it's okay to divide into three pieces. First sort out the elements and the changing factors in your mind, and categorize them, so that you can deal with each item item by item and see how each element works when it interacts with each other. Practice makes perfect, and only after you understand it thoroughly can you use it freely, and then you can play it freely.
>> After you listen to the order to a certain extent, start giving orders. The daughter-in-law of many years has become a mother-in-law, and there is little intermediate process, and there is also a lack of communication and discussion in the growth. At least in my generation, you are discouraged from expressing yourself, but rather obedience.
>> Chinese people are often used to being wrong to people, relying on their personal feelings for the director. In good times, they can do things that Westerners can't. Therefore, the pressure on directors of Chinese-language films is very heavy. They have to manage everything with force, and everyone has to take care of them. Chinese-language films are difficult to make big, that's the reason. Because once personalized, it's small. Tolerance is great, and the scale of the situation is large, which requires system operation and management, and needs to be classified, communicated with each other, and then integrated.
>> In the middle of the filming of "Reason and Sensibility", I felt for the first time that I could regard filmmaking as a profession, and also felt that I could face my father for the first time: "I have a profession, I've got a job."
Before that, I felt that whether it was myself or the films I made, there was still a student vibe. Although I have reached the age of no confusion, from "Pushing Hands" to "Diet Men and Women", the filmmakers
>> The feeling is not much different from when I was a student. Basically, it is still the independent production mode in New York, including the filming of "Food and Man" in Taiwan, which is an attempt to introduce the independent production mode. Although it is more professional than when he was a student, it is the scale of independent production. Looking back now, he is not mature enough. He is still a child, and of course it has its sincerity and value.
>> Celebrities are meant to be seen by others. He is the product of an image. This is not only the guy he eats, the audience is accustomed to accepting this image, he is a contract between the film and the audience, and there is a tacit understanding between the audience. Treating stars as ordinary actors is not professional enough in itself. Either you shoot with that image, or you shoot against that image, go
>> Distort, de-distort. For example, Chow Yun-fat in "Crouching Tiger, Hidden Dragon", I reversed his existing image, and I also adjusted Michelle Yeoh to a considerable extent. But you have to be clear that it is you who is changing this image, and don't act recklessly there without knowing it, that is, you are not on the Dao, and you are not skilled at home. Because the star itself has a charm on the screen, the audience accepts him, and his charm has been constructed. He already has this quality, you can't ignore it, this is the profession a director should have.
>> When I made "Reason and Sensibility", I was very nervous after realizing this truth. All smart, knowledgeable women, or women who think they are smart, agree with Emma, what if I photograph her ugly, but it's a big project to photograph her young and beautiful.
>> The close-up project of Emma was huge. She was thirty-six years old at the time, and she played the role of nineteen. She was very smart and looked more sophisticated than her actual age. Nine-year-old Kate played the sister, and the lighting was very particular. I hope to show the difference between rationality and sensibility, not age, but personality.
>> The most difficult thing about acting for Emma is that because she is too mature, an expression has four or five layers of meaning. Once she speaks, she can perform immediately, clearly and in an orderly manner. A lot of very mature actors, like Meryl Streep et al. The good thing is that they can easily grasp the interpretation of complex scenes with many meanings stirred in them. But a simple, moving scene is difficult. Because of being able to navigate complexity, you are no longer so simple.
>> As a newcomer, as long as she does her best, or is about to meet the director's requirements, she will exude a kind of innocence of hard work, and the audience is very fond of it.
>> I think young people who study film should go to practice some very basic workmanship, very real filmmaking principles and techniques. In fact, it includes many famous guides, that is, using the familiar tricks, over and over again, the tricks are not complicated. Just like a person who can fight, just two or three moves, if you can use it and use it well, that's fine.
The reason is very simple, it depends on whether you can really use it.
>> Of course, in the core of filmmaking, there must be something moving to express. The so-called filmmaking is just a means and a process.
>> When we make movies, we often do boring and meaningless things. However, to present the art of cinema is done by technology.
>> Abstract emotional thoughts need to be stimulated by concrete situations, so the technology to make them is very important.
>> Sometimes the actor is so skilled that he can confuse him, switch on when he's overwhelmed, and break the mold. Some directors like to use this method, but I am occasionally forced to use it a little bit. Usually I just need to remind the actor that if you are contrived, he will correct himself. Like Chow Yun-fat's farewell scene in the cave of "Crouching Tiger, Hidden Dragon", I just got up and said, "You still have... a little..." and he would calm down.
>> Most of the time in our life, we are acting under self-control in the face of others, even if we are alone
>> They don't necessarily face themselves completely calmly. Human nature also includes unnaturalness, and it is not easy to be invisible. I think there is a difference between drama and life. Of course, when we react to events in life, there are many unknown situations, and we cannot predict what will happen after reading the script carefully. When acting, we must avoid such unnatural predictions.
>> Hou Hsiao-hsien is a very typical example. He can't do some things, so he uses a simple method to make it beautiful, make a taste, and also make the spirit and ecology of the local culture. This is very valuable. Respect.
>> I used to be a child, but now I am an adult, and the situation I dealt with is different. I have to go to the road when I should be on the road. If my temper is stinky and tough, I will suffer a big loss in the future. Small places should be rounded, and big directions and big things need to be obtained.
>> "Reason and Sensibility" is the first climax after I started filming. It is to re-do the things I have done in the first three films in an English costume drama in the major leagues. It is to make a film that I am familiar with and please work. From now on, I can't make the same type of movie again, I have to change.
>> Maybe because of my personality, since I was a student, I have considered myself to be a sleepy and know-it-all person. I have some talent in filmmaking, and with my personality, I can cooperate with others. At most, I should be able to film "Pushing Hands" or something that is warm and touching. If I'm lucky, I may be able to make a top-notch movie. I can do a job well and earn popularity and recognition, but I don't think I'm a record-breaking person who opens up new ground. Because I have never been wise and wise, I never thought that I would get out of today's situation, and I would have to shoulder any heavy responsibilities or expectations.
>> In a professional film career, basic film grammar will keep you from getting angry, but it will not guarantee a good film. In the past, I studied general film production in school. In addition, NYU's education method is mostly induced, with a strong personal style, and I don't pay special attention to film rules.
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