Director Wong Kar Wai ,
Producer Deng Guangrong ,
Producer Peng Qihua
Starring Leslie Cheung / Maggie Cheung / Carina Lau / Andy Lau / Jacky Cheung / Pan Dihua / Tony Leung
Type Love
Coordinator Yu Meier
Executive Liang Fengying
Photography Director Du Kefeng
Editing Tan Jiaming / Xi Jiewei
Music Chen Mingdao
Action Director Dong Wei / Jiang Daohai/Pan Jianjun
art director Zhang Shuping
live radio Chen Weixiong
Producer Deng Guangzhou Release
date December 15, 1990
Box office record HK$ 9,751,942
Award record The 10th Hong Kong Film Awards Best Film; Best Director (Wong Kar Wai); Best Actor Protagonist (Leslie Cheung); Best Cinematography (Du Kefeng); Best Art Direction (Zhang Shuping)
Outstanding Feature Film at the 28th Taiwan Film Golden Horse Awards; Best Director (Wong Kar-wai); Best Art Design (Zhang Shuping); Best Styling Design ( Zhang Shuping); Best Editing (Tan Jiaming / Xi Jiewei); Best Recording (Chen Weixiong)
"I can hear the bell at one o'clock, and the sound of the bell evokes my dream of a prodigal son... The bell has rang twice, teach me how to miss her...", In the melodious sound of the theme song "Sigh at the Clock", the theme song of Yin Guifang's fashion opera "The Prodigal Son", the screen switches to the clock at 3:00 pm on April 16, 1960. Xu Zai's pure and sharp eyes stare at Su Lizhen. Announced: "From now on, we will be friends for a minute. It's a fact, you can't change it." It was this sexy man who was in front of women, but his soft heart was lashed out by uneasy dreams, like A tired, footless bird that landed soundlessly that night seven years ago. At this moment, we carefully pick up the anecdotes of the past, and make a look at his clear soul, which is also called less sadness in the tears of the world.
get on this boat
The gorgeous cast of Wong Kar Wai's films has always been an ageless legend. Looking back, all the main creators in [The True Story of Ah Fei] were either hot reds or unique characters, and they all got on the boat of "Wong Kar Wai"? And give full play to their abilities, and want to release a different kind of brilliance in [A Fei Zhengzhuan].
Leslie Cheung: [The True Story of Ah Fei] is a contract signed a long time ago, and the script has been in the works for a long time. For the filming, I lost more than ten pounds. ...Eating is the most beautiful thing in the world, how can you resist yourself, the only way is to exercise more! I just try to swim every day and keep fit myself.
Tony Leung: Before filming [The True Story of Ah Fei], I had been filming TV dramas for many years. I found myself in a bottleneck position and lost interest in acting. I felt that I had made little progress, and I didn't know how to improve. Then I met Wong Kar Wai and started our first collaboration.
Pan Dihua: I was in Canada at the time, and the shooting of [A Fei Zhengzhuan] had already started. My good friend Fang Gang called to say that Director Wong Kar Wai wanted to find me. What am I asking for? I think it is very hard to make a movie, I always have to wait, I have no patience, so I don’t want to make it. He said, "This time you should think about it, this role is good, it is really tailor-made for you, if you don't do it, you will regret it." Because Fang Gang knew my family environment and living situation very well. I said I would go back to Hong Kong in a week or two, if you can wait, otherwise I don't mind. After returning to Hong Kong, I met Zhang Shuping, Chen Chengzhi and Director Wang for the first time. I remember we were drinking tea at Hyatt (Editor's Note: Grand Hyatt Hong Kong), and we had a good relationship with three young people. When the director explained the role, I was completely absorbed, and there was no reason not to do it. done.
Tan Jiaming: Before Wang Jiawei came to see me, Zhang Shuping cut a scene or two for him to watch. He felt that it didn't quite fit the breath of the show, and it wasn't what he wanted. He wanted me to cut it for him. I watched the footage he shot and was very interested. I also liked the editing, so I helped him set up and shoot while cutting it. He wouldn't be involved, probably impatient and didn't like editing, and he didn't think he needed to do it himself. Editing [The True Story of Ah Fei] was a lot of fun. First, Wong Kar-Wai was very serious about filming, and he did a good job with his fingering, lighting, and photography. Then the high-quality image material (material) is up to you to cut. The second is freedom.
Du Kefeng: I don't know the reason why Wong Kar-wai came to me. I think the main reason is the suggestion of Zhang Shuping, the art director of the film. Zhang Shuping and I have always had very good cooperation experience in other video media. As early as when shooting [Mong Kok Carmen], Zhang suggested that Wang find me as a photographer. Unfortunately, due to other work, I was unable to participate in that cooperation. Actually, I was not familiar with Wong Kar-wai at first, but from [Mong Kok Carmen], I have a general understanding of his style of work. The reason why I agreed to join this work, I think, is because I admire [Mong Kok Carmen] very much.
Our main communication is not about the description of the outline of the story and the description of the background in the film. Instead, we often discuss some works of literature and painting, so as to understand each other's cognition and taste of beauty. Fortunately, in this regard We're pretty close. Like South America's Marquez (Editor's Note: Marquez, Colombian writer, representative of "One Hundred Years of Solitude"), Puig (Editor's Note: Puyi, Argentine novelist, representative of "The Kiss of the Spider Woman") are our favorite works; also The directional light source in the paintings of Edward Hopper (Editor's Note: American painting master, representative work "Nighthawk") is often used by us to discuss the arrangement of "astigmatism" during lighting, especially the use of night scenes. Of course, we also discuss movies, like Fellini's 1953 work [The Tramp], we watched it three or four times in total, discussing the composition, the relationship between long shots and close-ups, and the scene scheduling... These are before the start of shooting. Communication, played its importance in the later filming process. Before the filming of "A Fei Zhengzhuan", in addition to the communication work, we also organized and selected documentaries in the 1960s in Hong Kong, considering whether they could be edited and inserted into the film, and we also did something about the style of documentaries in terms of shooting techniques. , texture test.
The filming of [A Fei Zhengzhuan], which has gathered great comments from all parties
, has already started. According to what they have seen, heard and felt every day, some of the main creators are based on their own jobs, and some are combined with others, from the theme, art, photography, etc. , and even start with the advantages and disadvantages of the film, put forward their own opinions one by one, and do my best to present the image of the film more full.
Wong Kar-wai: The inspiration for [A Feifei] came from a special feeling I had about Hong Kong in the 1960s. The story tells about the relationship between people, including mother and child, boyfriend and girlfriend, and the time and space are very intertwined. Because the theme of this play is a story of memory, if you want to visualize "memory", it is like the feeling of water. Water is not solid, it is very unstable, there will be many reflection effects, and there will be many angles , memory gives people the same feeling, so I used more of this kind of "water" imagery in the play to emphasize the theme. But off topic, in fact, Hong Kong also had a lot of rain in the 1960s. As for the imagery of time, it is also used to reinforce the theme of this memory or recollection. We often think that people only know how to remember when they are old, but this is not the case. Often when we are young, we forget some very important things, but remember some things that we think are insignificant, so we use clocks and watches in movies. The emergence of class timers is only used to echo this theme.
There are directors in this world. They use a lot of fake things and then use skills to make them look real, such as people like Hitchcock and Lucas. But I'm different, I want everything to be true, I really want to shoot a street, have an aerial scene, etc. However, I have never found a street that makes me feel like the 60s, so we changed [A Fei Zheng] Biography] There is a kind of sealed space that takes the effect of compression. Very shallow depth of field, many things are not so fixed, just like the ideas in my head.
Tan Jiaming: [The True Story of Ah Fei] was influenced a lot by [The Conformist] (1970). For example, the relationship with my mother and dancing Cha Cha (cha cha dance) can all be found in it. I still think [The True Story of Ah Fei] is Wong Kar-wai's best play. So far, although this play is incomplete, it gives the impression that it is a good play, but it has become a sculpture. See, the development is insufficient. For example, the relationship between Leslie Cheung and his mother is undeveloped, as is the relationship between Andy Lau and Maggie Cheung. The advantage of Wong Kar-wai is that he controls the actors very well, he can induce the things inside the actors, and his dialogue is good and colorful.
Pan Dihua: [The True Story of Ah Fei] has studied all the materials at that time, so they are loyal to the decoration, customs, and habits of that era. They collected a lot of materials to prepare the play. I believe every drama is like this. However, they were very successful and attracted special attention. In fact, Wang Jiawei and Zhang Shuping put a lot of effort into it. I think with the current director's skill, even if a Shanghai native shoots Shanghai, he may not be able to capture his Shanghai style in the 1950s and 1960s. He was really good and realistic. Zhang Shuping should be credited with one credit, clothing, beauty finger, he has done quite successfully. The two of them partnered in Shanghai, not the current Shanghai or the Shanghai of a long time ago, but the style (style) of Hong Kong and Shanghai in the 1950s and 1960s, and the shooting was impeccable. It is a movie, there must be some beautification, but it is still very real, especially those subtle places, which are very real.
Zhang Shuping: The filming of [The True Story of Ah Fei] originally focused on commercial value, but it disappeared while filming. Perhaps the boss saw that there were many big stars participating in the show, and thought that nothing would happen, right? We didn't mean to go sideways, we just felt that the story should be expressed that way. If you tease me to shoot commercial (commercial), that's fine, but if you don't force me, I will choose the direction myself, which is a natural development. Wong Kar Wai and I communicated easily, and we didn't talk to him specifically, thinking that we should just take out what we have. In the film, Pan Dihua's house is decorated according to my house. The furniture styles are similar, and the mirrors are exactly the same, but the movie always looks prettier.
Du Kefeng: Shooting Wong Kar Wai's [The True Story of A Fei] is a very different experience. The first thing I have learned from this experience is: I will continue to use the lighting engineer this time, because I often have such regrets that the color, texture, and darkness of the shot are very different from our original shots. , The results of [A Fei Zhengzhuan] make me no longer have to worry about this kind of problem. In addition, from the experience of this work, I think my skills have reached a certain level, and I should try another movie with a completely different style.
Between the director and the actor,
Wong Kar-wai, with his charismatic filmmaking style, is intertwined with endless stories with the actors. Some people respected him in every possible way, and they did what they did as a courtesy; some complained a lot, and even complained; some people regarded him as a gentleman who knew how to be polite and respected his elders. Regarding the evaluation of the actors, Wong Kar-wai, who has always been silent, not only accepted them one by one, but also added a few words of careful attention.
Leslie Cheung: Wong Kar Wai is a very talented guy, but it's too painful to play his movie! He doesn't tell you anything before making the movie, and he doesn't have a script. In the face of actors of my level, many directors will accommodate me, and I will receive everything I do. But Wong Kar-wai will never, he is very strict. When I make an expression, he will suggest that I use another method to act, try to jump out of my own box, I think this kind of work attitude can spark sparks and have chemicals. Wong Kar Wai is the director with the most NG me, the highest record is 47takes.
Andy Lau: Wong Kar-Wai only made a movie in the 80s, is it Maggie Cheung? Isn't it Tony Leung? Wong Kar Wai. I shot a scene in [A Fei Zhengzhuan], and everyone thought it was perfect, but he just said he didn't like perfection, he said I was too perfect, and he said how can a person be perfect. I don't know what he meant by perfection. After I finished the performance, I thought it should be like this. It was something I would play at that time. Everyone feels different, I just have to keep acting to meet his requirements.
Wong Kar Wai: Basically, the three male actors Andy Lau, Leslie Cheung, and Tony Leung are quite self-conscious actors. They know too well where their best parts are, which angle is the most photogenic, what is the best way to turn around and look, so I'll be there in a day. Evening is telling them "OK, your turning (turning) don't be too perfect (perfect)!" For example, Andy Lau and Leslie Cheung broke up at the train station, and Andy Lau saw Leslie Cheung being beaten to death when he got on the bus. As a result, when I was still filming on the train, someone told me "No More Next Station" with Big Brother, and we were going to shoot the finale that day, and I didn't know what to do. At that time, I discussed with Andy Lau, and he also felt He was also nervous about the importance of this scene. Later, I fixed the scene and started filming. In that scene, Andy Lau completely forgot what angle to put in the best view. Instead, he used his intuition to do things. it is good!
Carina Lau: I think it is a very happy thing to be an actor working with Wong Kar Wai. Because he's rehearsing for you with film, I think that's a luxury. Maybe you will be very unaccustomed to it at the beginning. I NG so many times, shoot again after filming, film again after filming, it will make you very annoying. Because when the actor reshoots the same scene many times in a row, you will feel it is not challenging and boring, but if you put the pressure on Wong Kar Wai, you will feel that what he asks to shoot is the best. I think it's because of the director's request that I played well in [The True Story of Ah Fei]. What Wong Kar Wai taught me was completely different from what I learned in the training class. What I learned before was "acting", but he taught me to live in movies. His requirements for actors to act are completely different from the theory I learned in the training class. I found out that I don't know how to act, so why do you want me to do it? Then I found out that acting is to live on the screen, you are not going to perform. I thought it was fun, and I started to think [A Feizheng] was very attractive. I have worked so hard, spent so much effort, and put so much pressure on myself, and my reward is great. The six of us, Maggie Cheung, Tony Leung, Andy Lau, Leslie Cheung and me, who else (Editor's note: Jacky Cheung)... In short, the six of us, it seems that we have to take an exam before acting. I think they are all good at acting, but in Wong Kar-wai seems to think that everyone can't act.
Wong Kar-wai: Carina Lau is an actress who is suitable for "adversity". As soon as she is happy, she will feel a little loose. When she first came to play [The True Story of A Fei], she was very afraid of me. I didn't talk to her, and I didn't even smile. She felt that she was doing a bad job, and she would tremble when she talked to me. Later, she began to gain a little confidence and began to enjoy the fun of acting. After the confidence came, she relaxed a little bit once or twice. So I told her that she is the kind of person that the more people push her down, the more she can step up and hold her up, the easier it is to forget how to act.
Tony Leung: It was the first time I worked with Wong Kar-wai on the filming of [The True Story of A Fei], and I wasn't quite used to his way of working. Then I felt that my performance was not good, and I was brooding. When I got home, I kept thinking, why did I do this? At that time, I would still cry, and I felt that it was my problem if I couldn’t act. Because it's a team working together, it can feel uncomfortable if you affect the whole group because of your own performance. I wasn't a new actor at the time, and I had been on TV for many years, and I was suddenly frustrated.
Wong Kar-wai: Tony Leung is a representative who is deeply influenced by TV. Because TV likes to use close-ups of faces, he has no problem in this regard, but in movies, body language is sometimes more important than eyes. When this kind of picture is taken, Tony Leung can't do it. He doesn't know what a certain body language means. So during filming, I reminded him of Body Movement all day.
Pan Dihua: The role of [A Fei Zhengzhuan] should not be so difficult for me, because at that time my son and I had many conflicts and did not communicate. This role seems to be playing myself, which is very immersive. When it comes to actually filming, I am very proud. Because most of the old Shanghai Fengchen women would eat cigarettes. The director asked me, "Do you know how to eat cigarettes?" I'm dead, I don't know how to eat. If you think it's all fake, try it. Then he said, "It's not up to you, Rebecca, don't eat, you don't look like you, and you don't look like a cigarette." Later, I heard that Director Wang likes cut scenes very much. In my scene, the only cut was the smoking scene. Actually, I believe that Wong Kar-wai has a kind of affection for Shanghai. He particularly admired Shanghai in the 1960s, and the life of Hong Kong and Shanghai people. He is also very polite, respects his elders, and treats people well. I have never seen him with a rude side. He is very gentle. Some people say that the current film industry is rude, not polite, and the three-character scriptures (expletive words) are flying all over the sky. Others say that this is the case on the set. But there will be no filming of him, because the whole group is very respectful (respectful). So I love making his movies, you don't hear or see uncomfortable situations, everyone is so polite. So I think he is a bit Shanghainese.
Wong Kar-wai: I like to film actors who are said to be "not good" (can't act), my feeling is that every actor can be "good", as long as you give him a way to get out, if someone says his The acting is very good, but I don't want to do it, because he may have his own set of deep-rooted performance methods. In all fairness, I still like to use stars, because it seems to have a bit of a "filming" feeling, especially in Hong Kong, it is impossible to find non-professional actors, and selling ports is a problem.
Philippine 8th
The film about Leslie Cheung's mother was filmed in the Philippines for eight days. Because the actual scene was far from the original idea, the result was not ideal. Although I tried my best, I didn't make it into the play. However, during the crazy days when the release date was imminent, director Wong Kar-wai and the staff worked all night to catch up with the filming, but they left an indelible and precious memory, which also became a part of [The True Story of Ah Fei]. Alien Adventures.
Leslie Cheung: I have always been afraid of anything when filming, except flying cockroaches. Andy was most afraid of mice. (During the filming days in the Philippines), the two of them jumped around while working, and everyone avoided the things they were most afraid of.
Wong Kar-Wai: They (actors) never knew about (the plot) the day before, they only knew when they came to the scene. They didn't even know when they arrived in the Philippines, because even I didn't know. Of course, there is a general story based on the original idea, but during the shooting process (in the Philippines), I have a feeling that the general is fighting in the front, and the backup supplies are not available or out of stock. I was filming today and tomorrow, and soon someone told me that I couldn’t borrow what I shot the day after tomorrow. If I couldn’t film the day after tomorrow, I had to change yesterday’s scene, yesterday’s scene, today’s scene, and it’s going to be changed on the spot, tomorrow’s scene still can’t be Guaranteed not to change.
Most of the things filmed in Hong Kong are preconceived in advance, you just go to execute it, but in the Philippines, you are thinking about it one minute, and you are doing it the next minute, without thinking about it in the middle, which seems to be close to you. Own. We have been filming the scene at Leslie Cheung's mother's house in the Philippines for three days (three shifts 24 hours a day), what about me? After filming one scene after another, I didn’t sleep, I only used a trailer they gave me, and when I took a ride to the location, I slept and thought about how to shoot the next scene. I still remember one day when I was filming a martial arts scene on the second floor of the train station, they told me what I had filmed earlier. When I heard it, I found out that it was the same thing as [Mong Kok Carmen], and I was disappointed and fell on the tatami on the floor. , can't rely on it. Afterwards, I went to the trailer and fell asleep. I didn’t know when I slept until I got up to pee. I opened the trailer door and looked outside, but there was a forest. Behind the forest were many Filipino temporary workers staring at me with wide-eyed eyes. It feels like a dream, you don't know why you are here, I can still clearly feel that ghostly nightmare feeling. Then I filmed Carina Lau’s scene the next day. I told her when I would arrive. She opened her eyes and told me that she had been here for three days and that she had to go back to Hong Kong in the afternoon. After this one is over, the filming is over in 30 minutes. That's why their staff said, if you didn't go to the Philippines in the scene of [A Fei Zhengzhuan], it means that you haven't filmed this scene before! It's scary! oh! Another time, after finishing the filming, I suddenly remembered that there was still a scene that was not filmed. After I rushed to make up for it, the Philippine scene was also finished. I suddenly felt a little desolate sitting there. At this time, a staff member came to shoot me. Said: "Director, we are all wondering if you have taken medicine, how come you have been in the Philippines for more than a week and you don't have to sleep?"
Du Kefeng: We decided that green is the main visual style of [A Fei Zhengzhuan], so it is natural that the costumes, props, and furnishings all go in this direction. Interiors are easier to master, at least you can have a green wall, but what about exteriors (shot in the Philippines)? It all depends on the skill of polishing. I ordered a special filter paper combination myself, five different greens from lighter to darker. In addition, we also have a feature that is under exposure (under exposure) image style. The underexposure style is rarely used in general films, so usually the lighting engineer will suggest you to brighten it up, or even automatically adjust it for you. Of course, in addition to the insistence of the photographer, we must have the support of other people to take this risk. Fortunately, we spent some time communicating in this regard during the preliminary work.
In a scene at a train station in the Philippines, the use of the "stabilized camera" Stedicam in the movie was shot by the owner of the equipment company we rented in the Philippines. He was very interested in the movie we made and was always looking for opportunities. participate. If a hand-held camera is used, it may express a feeling of tension and violence, which is contrary to the stable atmosphere we require. In this play, the use of a stable camera gives us a dramatic effect, showing a sense of speed and stability. The two men, Leslie Cheung and Andy Lau, seem to have overcome all difficulties and have a feeling of new hope, but unexpected It was the sudden fight after the calm, and the desperate chase on the train.
The gorgeous ending
[The True Story of A Fei] The amazing glimpse of Tony Leung at the end of the film made a few people happy and a few people sad, so that fans still discuss this kind of difference after many years. However, it was not planned to shoot like this from the beginning, but it was a bit unintentional. Of course, Tony Leung's elegant performance and Tan Jiaming's brilliant editing deserved to be the main source of this magic.
Wong Kar-wai: In [The True Story of Ah Fei], we shot a lot of scenes. I remember there was a scene where Tony Leung was eating pears. He ate dozens of pears for that scene, and he had diarrhea after eating it. But in the end [A Fei Zhengzhuan] he only showed his face in the last scene. Many people don't understand why this is - because [A Fei Zhengzhuan] was originally divided into two episodes, and he was placed at the end, basically to announce the appearance of such a character in the next episode. As a result...[A Fei Zhengzhuan] did not sell well, and there is no next episode of this drama. I'm not in a hurry to shoot, everyone said why don't you shoot this next episode, will it be gone, I said no, it will settle, then in 2000, we will shoot [In the Mood for Love], and then we will I took [2046], and basically, if you look at it this way, it's a certain kind of trilogy.
In the last scene, I changed the whole scene for Tony Leung's character, and I removed half of the ceiling. His character grew up in a place that couldn't hold him anymore. I think that space helps him create a unique body language.
Zhang Shuping: I looked around for (props) before shooting. I was lucky at the time and most of them could be found, so I took whatever the director asked for during filming. And the clothes are quite casual (casual), a half skirt, a top (top), and a shirt, very ordinary, the master can do it in one night. somehow (to a certain extent) all the elements in a shot, the actor's movements, timing (time control), lighting (lighting) are all in their own style, and they work well together. Very strong (strong), the camera alone has stood extremely stable.
In fact, Tony Leung shot a lot of scenes, but we felt that since three minutes are enough to generate power, why not just use three minutes? It's bold, but you know there's a sequel, and it's nothing, it can be used as a teaser - the first episode ends with the empty mirror of the phone booth, and new characters follow. Later, there was no sequel, and it became very special. A new character appeared in the last scene of the film. This is cut by Tan Jiaming, which is really unique in Hong Kong-produced films. ... It can be said to create a style for [A Fei Zhengzhuan].
Tan Jiaming: Tony Leung had already shot some shots in Kowloon Walled City. It was another story, but it was not made. But the problem is that at that time it was a film-selling system. You agreed that these actors would give people investment. In the end, it would be impossible without Tony Leung. No matter what, you had to let it go, and you had to explain it to the boss. Wong Kar-wai took the shot of Tony Leung, he liked it very much, and I liked it, because Tony Leung did a good job and it was very accurate. Wong Kar-wai said try putting this shot at the end as a promo (propaganda), as a trailer (trailer) or teaser (preliminary trailer), which makes people look forward to it. I said, "Well, do what promo, just put it at the end of the scene." I thought it should be done. Wong Kar Wai owns a record, I picked a piece of music to try, but when I tried it, the sound and picture were completely matched. I showed him, "Do you have to?" He also said, "Wow, that's right!" This scene seems to overturn everything in the past, and the actions of all the previous characters are for this character's appearance - in a certain time and space Among them, there is a man who lives alone and is ready to go.
Tony Leung: In [A Fei Zhengzhuan], I had to finish a set of shots before the scene, but one shot was enough. This is my favorite show since filming. He is like a preview. Although everyone does not know who I am and what role I am playing, the whole scene is smooth and natural, and there are no flaws. Other film works, although they are the protagonists, although there are many scenes, but there are too many performances, there are many places to be picky, and the overall results are not as good as [The True Story of Ah Fei]. If there is any classic, eternal, evergreen in this world, I think [A Fei Zhengzhuan] should be the best model. Not to mention that people will only be greedy for the new and forget the old. Those who can't stand the impact of the years will let them drift away. Only those who are truly evergreen are worthy of eternity. Remember, only classics are eternal.
The hard work behind
the awards [A Fei Zhengzhuan] can win the Golden Image Award, Golden Horse Award and multiple awards at the Asia Pacific Film Festival, which itself is an encouragement to the entire crew. However, the prize is not so easy to get. Sometimes the cooked duck flies, and the hot and sour taste in the hearts of the parties can only be swallowed by themselves. Leslie Cheung and Carina Lau had such experiences back then.
Leslie Cheung: [The True Story of Ah Fei] is my best work from film. (Academy Awards Ceremony) I was determined that I wanted to come back, but I thought, if I come back, but I can't get the award, wouldn't it be a bruise, because as an actor, there are some people who don't want to win the award. I want to get in touch with uh people! In case I came back after a ten-hour flight, and when I got the prize, maybe someone else said that I was a non-committal, so it would be bad if I came back or not. In that case, I might as well not come back. (Editor's note: Leslie Cheung was in Canada when the Academy Awards were presented, and accepted the award after returning to Hong Kong on May 16 of that year.)
At the Golden Horse Awards and the Asia-Pacific Film Festival, I was nominated for Best Actor. My friends in the media congratulated me early in the morning, because if I am nominated for both awards at the same time, one must be nominated. It is an eternal example. At the Golden Horse Awards Ceremony, it was Jackie Chan and Brigitte Lin who were responsible for awarding the best actor. When Brigitte Lin should have said the list of nominations, she directly announced the winning result "Best Actor is Leslie Cheung". (Editor's note: In the end, the Best Actor at the 28th Golden Horse Awards was not Leslie Cheung, but Lang Xiong who performed brilliantly in [Pushing Hands])
Carina Lau: When you are nominated every time, you always want to win. Because it is an affirmation of your work. Of course, there are times when I feel wronged. I lose and lose again. I always lose. I have really tried my best. I was fine when I got home that day (the Academy Awards), but as soon as Tony Leung comforted me, I couldn't help crying. I was young at that time, and I was too concerned about gains and losses! I've learned now that I actually give myself an award every year. Because I feel that I am improving every year, I treat myself with a very optimistic attitude.
Maggie Cheung: The two films I did with Wong Kar-Wai [Mong Kok Carmen] and [A Fei Zheng Zhuan] led me to re-question the indecision and rashness of the acting game years. These two films shattered the somewhat sentimental, somewhat hilarious "foil girl" image I had forgotten about when film pundits and audiences stuck with me. I continued to make popular films after that, like [Man in New York], but everything has actually changed.
Deng Guangrong: After more than two years of hard work and suffering, [A Fei Zhengzhuan] has won multiple awards. As the producer of this film, I am excited and proud of their achievements. ...Some people really like [The True Story of Ah Fei], but some people thought it was just normal back then. I want to explain a little bit. Recalling that I was rushing to the release that day, and the time was so urgent that the printing was not completed and it had already been released, so the effect may be slightly different. Not ideal, like a girl walking down the street without combing her hair.
□Text/Get
a copy of the manuscript:
The footless bird
Wang Jiawei in their eyes: Leslie Cheung played quite well, some parts of [The True Story of Ah Fei] are very close to his own character, and the uninhibited role is the most suitable for him. ... He is a professional actor, not a big name at all. He can be punctual, do his homework, and be obedient. I respect him very much.
Maggie Cheung: I remember a certain night scene in [The True Story of Ah Fei]. We were about to shoot the last scene of the night. At that time, it was almost dawn. The scene was about my character returning to the house of the man who broke her heart, and taking care of her personal life. Items, the camera is towards me, you only see his back, and at the end he leaves the camera and goes back to the room, everyone was so tired, we just had one thing on our mind, that we could go home early after shooting In bed, while the crew was busy turning on the lights and preparing the camera positions, I saw Leslie rehearsing alone, trying to get the most accurate footsteps to the end of the hallway.
Pan Dihua: It hurts to talk about him. He is a good artist, actor, he is a natural talent. I can say that I like him to do shows, he is better at shows than plays. Because he is doing a show to be himself, none of the artists in Hong Kong are as unique as him, with his temperament. His voice may not necessarily be beautiful, but he sings and sings really well, so he does the same in acting, so he has a good feel.
Zhang Shuping: (Xu Zai) If he doesn't do it, no one can do it. He is a very sensitive person, so he sees things more and deeper than others. He is very smart. He can easily absorb certain people's speech, actions, etc., and can use them when acting.
Du Kefeng: If there is a little light, if it comes in from outside or there is a little light in what he sees, his wild kind of flash will come out.
Tan Jiaming: I think the best point of the whole play is Leslie Cheung dancing Cha Cha.
Andy Lau: Everything about him went through like this, and it will not be forgotten for a long time.
Tony Leung: He is an excellent and professional actor. I don't need a memorial event to miss my brother. I will miss my brother in my spare time.
Carina Lau: My brother is a very good friend in private. He is naughty and greedy, has high requirements for work, is good to friends, but needs love from others. It can be said that he is a strong and fragile person.
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