In the months of getting along on the set, not only will the film be born, but it is easier to breed feelings, which is the love of children who cannot escape no matter who.
Moreover, the more talented and emotional the director, the easier it is to fall. In the French New Wave, Godard is hopelessly in love with his heroine, Anna Karina.
The Danish girl who was photographed by Godard, who was preparing to shoot "Exhausted" on the soap commercial, initially only invited her to play a small role.
But when Godard met, he said to the girl, "You have to take off your clothes when you play my film." "Frightened the girl.
Three months later, Godard contacted Karina (who needed to make a telegram at the time) to come and star in her own political film, Minions.
Karina asked this time, "Do you want to undress this time?" ”
Godard: "No, and this time you're not a small character, you're the protagonist of the film." This "Little Soldier" became the beginning of their film collaboration.
The master of the filmmaker's heart fell in love and fell out of control, and in his distinctive works, there is even a "not like Godard" movie "Woman is a Woman". The film stars Karina, and we can tell from the title of the film that Godard is overwhelmed by love.
The whole film is not so much a work as a love letter he sent to Karina.
The bundles of film contained not only the charming Karina, but also Godard's passion. But as the saying goes, "a man's mouth, a liar", it wasn't long before Godard divorced Karina (yes, they were married).
Two years after his divorce, Godard fell back into the dust and became hopelessly infatuably obsessed with the heroine of Bresson's new film Batsa the Donkey: Anne Vyazemski.
Painstakingly searching for contact information, I finally found her.
At that time, Anne also admired Godard for a long time and was in love with each other. She soon became Godard's student and wife, starring in two of Godard's most important works of the mid-1960s, Weekend and The Chinese Girl.
The director who fell under the pomegranate skirt did not stop there, and many well-known characters swayed in the spring breeze of love.
Ingmar Bergman once said that "film work is a very erotic profession; actors are honest with each other and exposed to each other." In front of the camera lens, all intimacy, loyalty, interdependence, love, confidence, and reliability become a warm pulse, perhaps an illusory sense of security. That tension, that tension, the tacit understanding of being in the same boat, and the moment of successful revelry, followed by an anti-climax: the atmosphere was inevitably full of sexual desire. ”
Mr. Bergman casually said that there are 12 emotional experiences revealed in his autobiography "Magic Lantern", leaving aside enlightenment and ambiguity, lover relationships, Bergman's marriage alone has five paragraphs, and there are no compromise love saints.
His first love was in junior high school, about 15 years old, when Bergman fell in love with a little girl named Anna, and there were not many emotional factors, more curiosity about sex, and Bergman's self-described loneliness.
Two years later, at the age of 17, he was engaged to a girl, but soon ended in betrayal.
Two years later, 19-year-old Bergman and a girl named Maria maintained a long-term sexual relationship, in which he said that the relationship made him no longer mentally weak and met the release needs of his age, but the reason he did not end up together was because he was unable to fight his enemy and was forced to quit.
At the age of 24, Bergman married dancer Elsé Fischer, a marriage that lasted 3 years and gave Bergman a daughter.
The second marriage was with Ellen Lundström, a woman introduced to her by her wife who had just gotten married, her husband was a photographer, and Bergman experienced a dog-blooded cheating and pregnancy, after which she confessed and divorced her.
But the marriage lasted only 5 years.
The third wife was a reporter for The Film News weekly, Gunn Haggerberry. She is the prototype of the woman in many of Bergman's films, such as "Women's Expectations", "Clown Night", "Autumn Journey" and so on. The beginning of this relationship was that Gong was more active, and Bergman was still in the last relationship, and one night, he came home, thought about everything, sat on the bed and confessed everything to his wife.
But this was not over, and soon after, Bergman and Gong's relationship ended with the sentence " We both understood that our relationship could only last for a limited time " . It seems that confession is a necessary stage for Bergman to end every relationship.
Bergman, 34, spotted actress Harry Witt Anderson in a fishnet stockings and a low-necked suit during a burlesque show, took a fancy look at her, and invited her to play the lead actress in Monica's Summer. But the two have never been married, in a lover's relationship.
Including "Wild Strawberries", which many people know, bibby Anderson became Bergman's lover, starting with "Wild Strawberries" and then starring with Liv Uman in "Masquerade". In this two-heroine play, one is Bergman's old lover, and the other is a new lover.
Yes, Uman, 26, and Bergman, then 46, deepened their relationship with Masquerade, and their collaborations went far beyond that, with about twelve films and a play, and a daughter.
After that, Bergman ushered in her last marriage, Inlyd von Rosen. The two had known each other for a long time, about 7 years, and although the two liked each other, they rarely talked. They finally married in 1971 until Inrid's death in '95.
But in the autobiography Bergman rarely mentions her.
It is estimated that this period of affection is also a tacit understanding of being in the same boat on the set, no wonder he will say the previous paragraph, these experiences are not less for amorous Europeans, but in comparison, Japan's Ozu seems to be a lot more innocent.
The director, who left fans with an impression similar to the image of his father in his film, never married, made people look up to him. But his emotional experience was not blank, and he even almost married a geisha.
Ozu deliberately maintains his relatively simple life in life, and also values his public image, and has always lived with his mother, which can be described as a typical filial piety.
In the course of working with Hara Setsuko for a long time, there have been scandals, although Yukiko Inoue and Toshiko Kuwano have both passed on the gossip with him.
But only Hara Setsuko and his gossip have a similar appearance, plus Hara Setsuko is ultimately unmarried for life, which makes it easier for people to get together.
But the scandal is a scandal after all, and the last thing we talked about has been examined by countless Ozu "scholars".
It was February 1935, Ozu and a few friends went to a tavern, accompanied by a girl named Mori, who was only 19 years old at the time and made Ozu fall in love and fell deeply infatuated.
Two years later, in 1937, Ozu was conscripted into the army in the "Lugou Bridge Incident", and the two separated.
In 1943, Ozu rushed to Singapore to shoot a film and invited Moriei to join him, although the girl agreed, but Ozu's mother did not agree and came forward to stop it. Everyone guessed that Ozu mostly meant to propose marriage this time, but was hindered by his mother.
Eleven years later, in the fall of 1954, Ozu invited Mori to dinner, and Mori had become the owner himself and opened a restaurant.
During the dinner, Ozu proposed to her and said, "Let's live together," but Mori refused, because Mori was so overwhelmed by the financial problems of his relatives that he didn't have the heart to talk about such things.
The third time was when Ozu again proposed in 1958 that he wanted to live with Mori.
But at this time, Ozu was already a giant in the Japanese film industry, surrounded by mountains and flowers, and there were many beautiful women, and Moriei considered the disparity between his identity and status, and his heart retreated, and he did not agree.
Five years later, Ozu was terminally ill, and Mori rushed to the hospital and took care of Ozu until his death.
People who later learned of the story used to call Ozu a geisha three times, but without success.
This relationship, which has gone through family, war, and more than twenty years, is left with companionship.
The love story about the director has never been less in every era, Jia Kechang has filmed Zhao Tao for more than ten years, Li Kangsheng still appears in Cai Liangliang's films, Hong Shangxiu gave Kim Min-hee a silver bear best actress in a film, and so on.
Many of the stories in life are more wonderful than movies, so that people who make movies fall into them and can't extricate themselves.