Part one of Fruit Chan’s Hong Kong prostitute trilogy, starring Qin Hailu, one of my favourite actresses.
The photographer reconstructs iconic movie scenes and characters in this homage to cinema, Silenzio. The intentional haziness and blur gives the images an atmospheric texture that relates directly to memory. As in films, Silenzio tells us that what might be visually inaccurate can still be emotionally intact.
Man Yuk: A Portrait of Maggie Cheung. Experimental short made by Olivier Assayas, for Foundation of Contemporary Art, starring Maggie Cheung.
I think of you, every time i lit a cigarette.
If this moment you lit one up too, who would you be thinking of?
After you left, this is the only way i could remember your hands.
“This is amount of work that goes into a hand printed photograph - Keep in mind all those figures (times) and tone setting’s are all made by hand.” via New Touch Lab
I don’t think it matters whether one prefers film or digital, but there should be no argument that photographers back then were way more intense.
Just trying to understand Ansel Adam’s Zone system in theory is already daunting enough. To know your way around the darkroom, such that these kinds of ‘methods’ give you a good print, is literally dancing in the dark.
Even if you know what you want an image to look like, to create it necessitates more than just trial and error: you need tonnes of persistence. However, like cycling and swimming, once you get it, dancing in the dark becomes instinct.
To your 'intermission', a blog is a blog and you should do whatever you want to do -- akin to a unique digital footprint. Of course, I'm not trying to impose a rule over you! I believe most of your followers admire your blog regardless of the things you post.
I guess it is also a matter of nitpicking for consistency on my part. Even on my bookshelf, I prefer to separate the English titles from the Chinese, the hardcover from the paperback. When I see something next to each other that don’t belong together, I feel an urge to rearrange. Maybe i need to tell myself that a blog is a “stream of consciousness”, less of a rigid folder.
Thank you for the reminder, I shall leave this as part of my “digital footprint”. (I really dislike that when after replying a message on Tumblr, the conversation disappears into thin air.)
Sometimes I feel odd putting personal things in this journal, when most people are in fact just waiting for Maggie Cheung. Or there might be people who followed because of the "little life" photos, but are instead flooded with daily Christopher Doyle. (Little life is the literal translation of 小生命, by the way.)
But then this is a nice Thursday morning which I bizarrely mistook for a Wednesday until ten minutes ago. Which means Friday is tomorrow. Which means liberté, égalité, fraternité! This space is mine and this nice morning I just want to share photos of some kids and their flawless skin. And maybe someday the cool kid with the cape and bamboo-saber, or the kid with the hen will become Tony Leung.
"I think the point to me is, what we are trying to talk about here is, the purity of an image. And simplifying things. I think that what happens is. I couldn’t have done Hero if I hadn’t done Ashes of Time. Etc etc. I think what you have done before, or how you have lived or what you have studied or the context of cinema itself, everything comes from what came before. I think its one basic principle that you can’t escape. Social issues inform the way in which you live, politics informs the way you work or don’t work and it is the same for film.
It is an evolution of what came before. But as a person, as a so called artist or as a filmmaker what that means is what I tried to say about In The Mood for Love, I think that you do work towards a simplification of things, if you are true to what you are doing you do end up being more pure or more direct in how you go about in getting what you think you need. Or how you respond to a space becomes more direct. Or you trust yourself more. Or however you want to explain it. But it is the same thing. And what that means is, you can’t light the desert. Don’t even try. You can’t light the sea. So just wait for the right time of day. Why do you need twenty lights on a glass of water to make a commercial?
You are jerking off. You are trying to justify how much money you are getting to do it. Now what you should do is you realise, you make other choices. You say, well if we wait till 6 o’clock in the evening and we have prepared well then we can shoot this scene in five minutes. And that is the direction you go in. and it is probably more beautiful anyway. Or you could say, as some people do, give me fifty 20ks, give me two helicopters, give me this, this, and this, and it will cost you 20 million dollars. So you choose.”