Wong Kar-Wai is the bad boyfriend type. He told you he would visit, but it has been years.

You read the letters he wrote you over and over. One day, he suddenly mentioned that he will be spending Christmas. You explode with happiness. A few days before his visit, you receive a letter, “Sorry I changed my flight, I will be here in January. Merry Christmas.” Change of flight? More like, change of mind. I hope there is no change of heart.

Not that I am affected by the delay. But remember 2046? Remember this poster? He said that Maggie Cheung will be coming with him. She did. She dropped by and flashed you a smile. Anyone anticipating Song Hye-kyo’s visit, please brace your fragile heart.

Silenzio, by François Fontaine / Su Li-Zhen, is that you?

Silenzio, by François Fontaine

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.

Christopher Doyle

"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.”

Mark Lee Ping-Bing is the cinematographer for Millennium Mambo, Three Times, Norwegian Wood and so on. When the filming of In The Mood For Love ran over schedule and Christopher Doyle had to run, Mark took over: this is someone on Hou Hsiao-Hsien and Wong Kar-Wai’s speed dial.

This documentary talks about his life and philosophy. The title refers to his nomadic existence as a filmmaker, and how wind and shadows and other elements are important in his work, both as subject and also metaphorically. A very unusual and delightful glimpse at how films are made.

[Let the Wind Carry Me trailer; DVD]

The latest issue of Cue, on the rise and fall and return of Chinese police flicks. I have not read it yet but it seems they have an interesting character map and some decent interviews. Hong Kong has the second highest citizen-police ratio in the world. Of course we have to make truckloads of films about them.

我站在陽臺
看到躲在樹下的他
我想馬上穿上拖鞋
沖下去
趕他走

抱住他

The heart yearns. The body couldn’t, shouldn’t.
心向往之,身不能至。

妳知道嗎。有些事。我不能問,不該問,也不會問。
我走了。再見。

The heart yearns. The body couldn’t, shouldn’t.
心向往之,身不能至。

Christopher Doyle Masterclass in Cinematography, now presented in the worst possible resolution, and the most awkward television aspect ratio. I wish I have my shades with me so I can filter through the poor resolution. Probably, Wong Kar-Wai wears them for the same reason.

佛說:前世的500次回眸,才換來今生的擦肩而過。

As a Buddhist saying goes: five hundred backward glances in our past reincarnations, in exchange for walking by each other once in this life.
佛說:前世的500次回眸,才換來今生的擦肩而過。

As a Buddhist saying goes: five hundred backward glances in our past reincarnations, in exchange for walking by each other once in this life.
佛說:前世的500次回眸,才換來今生的擦肩而過。

As a Buddhist saying goes: five hundred backward glances in our past reincarnations, in exchange for walking by each other once in this life.
佛說:前世的500次回眸,才換來今生的擦肩而過。

As a Buddhist saying goes: five hundred backward glances in our past reincarnations, in exchange for walking by each other once in this life.
佛說:前世的500次回眸,才換來今生的擦肩而過。

As a Buddhist saying goes: five hundred backward glances in our past reincarnations, in exchange for walking by each other once in this life.
佛說:前世的500次回眸,才換來今生的擦肩而過。

As a Buddhist saying goes: five hundred backward glances in our past reincarnations, in exchange for walking by each other once in this life.