“That woman’s shit”
“You believe that?”
“Long Day's Journey Into Night” Bi Gan
“Long Day's Journey Into Night”
The plot centers around how a man loses a woman
And gets on searching for her
And when he is about to find her
The first half of the film ends
The first half
Is very much a film noir
An attractive woman is a typical femme fatale
She has her own agenda
You think she loves you
But she starts using you
And you will be caught in danger together
Finally she gets what she wants with your help
And she vanishes
“She was sold to Kaili”
“There are few things she won’t do”
“Stealing”
“Defrauding”
“To me”
“She is an item”
“She is not very different from a bed”
And in the rear part, she changes
For the first time, she has a real name
Maybe that’s her before Kaili
Because she was cheated into coming to Kaili
The whirlpool of life keeps drawing her down
Her real wish is actually to be an ordinary woman
So the latter half might be a dream
A memory, a fantasy
You will find that “Kaili Blues”
Is dream-like, but not a dream
But “Long Day's Journey Into Night” is
I want to create a simple feeling
What is it like in our dreams?
In our dreams, those who has cheated you
Hurt you, left you
Or used you
They become cartoon-like
They demonstrate occasional innocence
“The love of you”
“Erases everything”
“I secretly hold back my breath”
Luo Hongwu is a gentle, kind
And trusting figure
He is on the pessimistic side
Huang Jue spent 11 months in the project
He came to live in my grandmother’s house two months before shooting
He learned the local dialect
And he trod around every day
Getting to know him
I find that he is very tender
Even helpless for the character
He is real that way
In the script it is written that
A woman who constantly disappears
In Kaili, a densely vegetated town
Should be clad in green
When she walks out
She just fades into the background
Tang Wei’s acting style
Is very restrained
She stows herself in a tiny corner
And dissolves into the space
Kaili, Guizhou is the main setting of my films
I’m in fact rather strange to Kaili though
I need navigation to drive around the city
And Kaili is a small city
If you ever come to Kaili
You’ll find it’s nothing like the film
It’s an artificial stronghold
I’m not moviemaking savvy
No young director is
So very often the crew was in paralysis
And frustration and desperation flooded
My co-workers worked very hard
And they always had trust in me
So when the film was finished
We became very dear friends
People have all kinds of image of the film before watching it
As an art house film director
With forty, fifty million budget
How do you spend all this money?
As I see it
Money doesn’t change you
Money is important though
Whether it’s one hundred thousand like with “Kaili Blues”
Or like this time, forty, fifty million
What I have to offer is the same – creativity
Things change with each film
Just roll with it