"Female He" is a post-90s director Zhou Shengwei lasted for six years, consisting of 58,000 real photos, composed of 286 pure handmade models made of domestic garbage, through visual art to express the author's thinking of feminism in the social process, let us further enter this film and feel its fantasy charm.
On July 16, "Female He" was officially launched on iQiyi. (Read the original text at the end of the article to go to the online address)
It was a good day, and I began to pay attention to director Zhou Shengwei since last year's Shanghai Film Festival, and his obedient personality was particularly cute, when the book interviewed the director. Interview | Books x Zhou Shengwei: If you like weird people, I am actually beautiful. Later, the Montreal incident helped the director speak out, and was constantly physically harassed by the Chinese director of the Montreal Film Festival. Anyway saw injustice, helped independent directors speak up, protected and respected copyright, which was the basic purpose of the book. Some innocuous criticism, we have no time to care about and pay attention to. Remember to pay attention to the end subtitles of "Female He", there are surprises Oh ~
The following is the lecture and interview content of "Synaesthesia Bridge" after the screening of "Female He" in Wuxi, which is super long and slowly tasted——
The body is 12883 words
"Female He" was recorded after the screening
Q: I think it's a little strange, a little extreme, a kind of visual and auditory shock and oppression, and I personally feel that you are creating this atmosphere, deliberately choosing this extreme feeling to make everyone feel a shock or strange inside.
A: OK, in fact, you just said that there are two words that are keywords, one is impact, and the second is oppression, why does it bring such a feeling? Of course, this is my previous intentional design, in fact, everyone may have a certain discomfort when watching the female her, that is, uncomfortable, because in fact, "Female He" is not entirely a film creation from the overall creation, or not exactly a creation of an animation, it may be more biased towards the creation of contemporary art from the visual and auditory level. In the context of that contemporary art, in fact, after Duchamp, he redefined what is beauty, because before, for example, classical, the understanding of beauty was beautiful, the composition was very regular, it looked comfortable, and the light and shadow were appropriate, which gave people a harmonious feeling. But in fact, from Duchamp, that is, after urinating from childhood, in fact, modern art includes postmodern art, which emphasizes a kind of stimulation of different emotions and different dimensions of people, and this stimulation is not necessarily beautiful, or maybe even in the context of contemporary art, beautiful is a relatively cheap word, ugly is beautiful, beauty is ugly, the most important thing is how to achieve such a real purpose, so why return to the theme of today's lecture Synaesthetic Bridge, is because I think any kind of art creation, Or is it a kind of image creation, or film and animation, he is actually a medium, or a medium! That is to say, for the creator or for the artist, the most important thing is that you have to talk to the media, and I call this analogy bottle and wine, what does it mean? It is the so-called medium or media, it is a bottle, what kind of media do you use to express what kind of story, or what kind of character to show, or what kind of emotion to show, the part of the story content of this emotional character is called wine, in fact, it is essentially a relationship between form and content, in fact, one of the main frameworks discussed today is that if you look at it from the perspective of form style, it may be David Portwell's set of logic.
So actually, what I just said about how to touch that thing is that you have to use the right glass to hold the right wine. For example, a goblet, its most suitable wine is red wine, if you put white wine into the goblet will be a little strange, but you say that he is such a way that you put white wine into the goblet, can you drink? You can drink it too, but it doesn't fit the whole style, so I think the most important thing for a creator is to find the right link, which is to connect the wine and the wine glass point. Then take a specific example, in fact, Director Tan Mo's "Insomnia" film I think it is a good link, that is, insomnia such content in the form of what kind of image to express, it uses a way between the documentary and the drama film of a pseudo-documentary such a way, at the same time he uses such a kind of media that is not so common as a night vision camera to show the content of the market, the connection between form and content is more accurate, for example, there are some very classic examples, Blair the Witch", this is a very classic pseudo-documentary, it is all about a person with a camera, and then with a friend of his, the two of them went to a forest, and then in this forest, the two of them were very giggling at the beginning, they wanted to shoot some random shots, and suddenly found something very strange, such as the sudden appearance of those puppet dolls that fell in the forest, and then including suddenly there was a person missing, and then when everyone went to find this person, Some fragments of this person's body are found scattered in the forest, and then gradually introduce you into a particularly unrealistic or particularly magical context, but it takes the form of a documentary, so why is it called a pseudo-documentary? Because in fact, all the content is fictional, but it uses a more documentary way to shoot, why is such a way more in line with the connection?
It's because we actually reflect on what we're afraid of when we're faced with something. In fact, if we are faced with an unusual thing, it really appears in our lives, and we confirm that it really exists, then at this time we will feel fear, for example, for example, we watch normal ghost films, such as watching curses, it is actually a whole set of audiovisual language to tell you, well, we sit in a row, sit well, now we are at this time to put ghost films, and then you are composition, all kinds of scheduling rhythm narratives, he will tell you that this is a false situation, You know I'm watching a ghost movie, so that kind of fear, that kind of fear of reality and that kind of fear is a kind of close effect that I think is lower than "Blair the Witch", because "Blair the Witch" he first told you that this videotape I picked up from a forest, and then the whole film's publicity is not according to the convention, it is the police released a videotape, and then said that there are four film college students missing, and then this time caused a certain sensation, Then everyone goes to the cinema to see this state is actually designed, but it creates a real situation, this real situation lets you know that this fear is really happening, the things in it are real, what kind of medium is used to talk about it.
Because we are accustomed to thinking that documentaries must reflect objective truth, when we use documentaries to capture such a thing as a different reality from our real world, he will have a sense of close fear, and this close fear is this wine, so the core meaning of what I say is the bottle. OK, after I finish sorting this thing out, I will say female and then I will talk about stop-motion animation, including the above classification stop-motion animation, which is divided into two categories from the perspective of the object, one is called puppet animation, and then one is object animation.
Even animation is very easy to understand, that is, puppets or ragdolls, for example, we don't know if we have seen it, everyone should have seen the story of Avanti, the story of Avanti is a stop-motion animation series produced by the studio in the 60s, a very classic domestic puppet animation. Even animation belongs to a more mainstream category of stop-motion animation, because the general audience or most of the audience is more able to accept such a visual image, because life is human, right? So here's one of those categories. Then another type is the object animation, the object animation is relatively small, I don't know if you have seen the Eastern European Czech stop motion animation, some short films, such as Sven Meyer, Kui-style brothers, the object animation is actually very simple, that is, its subject is not a doll or an animal, or a kind of animal-like, it is an object, such as the high heels in the female hein, and then the leather shoes, and then for example, the clothespin flies that appear in the opening scene. I didn't twist those clothespin flies into an image of a real fly, which is a thing animation.
OK, now let's think about it, these two kinds of stop-motion animation, what is its medium essence? In fact, taking the female him as an example, why did you just ask the classmate, including asking everyone, what is the most intuitive visual and auditory feeling that the female him brings to everyone? At least just now my classmates said it was a kind of shock and oppression, why do you feel this way? Because the female is through the visual evoking everyone's sense of touch, this thing is only stop motion animation can do, you can think about it, we see the movie, such as live-action drama, live-action drama, what he shoots is objective reality, objective reality in the action is recorded by the image, he is like that, he will not change, so you will know, you will know when you look at the time you know that this person's skin is human skin, you will not have some other associations when you see it. This is a live-action drama, and then we look at the two-dimensional animation, and the two-dimensional animation is more hypothetical, because he is ink and lines, and computer painting is a completely abstract thing, and it has nothing to do with the real material. When you watch two-dimensional animation, you are completely immersed in a new world, and the three-dimensional animation is the same, but we pay attention to the fact that there is a point in the three-dimensional animation that is called realism, such as special effects, we go to see "Gravity", why do we feel that we will be a little confused about whether those space stations, including those screws, are computer modeled or real, because it is three-dimensional words have been able to gradually approach the realism, but no matter how the three-dimensional animation is realistic, he is a progressive line of reality. It cannot be that he can only approach reality forever, it cannot be completely integrated with reality. Because he is simulating reality in another medium, it is not reality, he cannot be a purely objective object. So we see only stop motion animation as an image or such a medium, which is a space that simultaneously links the reality of our daily life and the image we have imagined. What kind of feelings, or characteristics, would such a medium have? My personal analysis is that it can evoke your sense of touch through vision, because you see the ones that appear in this film, such as the clothespins of flies, and then like those down jackets, those furs and leather, and then those zippers and those metals, and you think of the texture of their skin when you touch them in your life. Because of stop motion animation, one of its important features is that it needs to disintegrate and break the meaning of the original items, for example, the clothespin is no longer a thing that clips clothes, it is a fly, and then for example, a down jacket it is no longer a down jacket to wear, he is a prison, the cherry is not a cherry, the cherry is a thing that becomes a life, so when it gives other meanings, there will be some subtle cracking of the connection. Because we are accustomed to knowing that the down jacket is soft and fluffy to the touch, it is such a touch, but in the female he through the enhancement of the dimension of sound, the down jacket it becomes an iron feeling. So when such a double-layered sense of hearing and vision is misplaced, it will awaken your sense of touch, why wake up? Because when your sense of touch has been touching this thing for a long time, or touching other things, you already have a stereotype, this stereotype is that he is hard and soft, it is all kinds of established. But when you break this chain, let's say I'm such a chair now, and then I animate it in one way that when I sit on it, this chair suddenly becomes a pool of water, and the moment of this transformation he has a sense of cracking, just the hardness of his original chair, you are in the middle of your mind, because this chair will give you a hard tactile feeling, it is broken and it becomes water, so your senses will be mobilized, So this is why just that classmate said that there will be a sense of oppression, because its amount of information is very large, its amount of information can mobilize your other senses in addition to vision, and I think such a medium feature is difficult to achieve other images, so I think this is a media feature that belongs to the core of the object animation, so it is also the guiding ideology of the creation of a core of his theory, that is, to break the original way of receiving the ready-made products. Then through a link of another chain to give it some other meaning, and then in such a way to re-evoke some of the feelings of the audience that have not been excavated and mined.
Next, let's talk about even animation, in fact, we will find that we don't know how much we usually watch stop motion animation, anyway, many people will complain about stop motion animation too much, because the frame rate of stop motion animation is lower than normal movies and animations, because for example, we look at two-dimensional, like Disney's early two-dimensional animation, like Snow White Cinderella, these are 12 frames per second, 12 photos connected into a second, is a continuous action, and then we watch the normal movie is 24 frames per second, 24 photos, Capture these optical things in real life, and then connected into an action, it is based on the principle of human visual persistence, can let you be greater than or equal to 12 frames per second on the basis of, you know he is completely coherent and very smooth, including when we watch the hobbit he reached 48 frames per second, and then even Ang Lee's 120 frames, it will become more and more smooth, smooth to approach such a state in real life, so most of the audience will be the first to complain when watching stop motion animation, I just feel too stuck, why can't I make it smoother? So based on complaints, we'll find a lot of stop-motion animation companies, like Laika Studios, including Inuyasha's team, including Wes Anderson's team, who are actually trying to make stop-motion animation smooth. For example, you don't know if you've seen the Legend of the Magic String, this film, it's a stop-motion animation, it's 3D printed, but it looks like a 3D animation, because he's so fluid that he can't basically see the gaps in the stops.
But I think because I have another mindset, which is that I don't think anything has a flaw, just that you lack an eye that makes that flaw a feature. In fact, in my opinion, such a stuttering of stop-motion animation is precisely its charm, not his shortcomings, why do you say so? In fact, this will be affected by the core media characteristics of the puppet animation I just said, I think it is the uncanny valley effect. Let me first explain what the uncanny valley effect is, which means that when you see something that looks like a person and doesn't look like a person, you have a fear of it.
For example, zombies, do you usually watch zombie movies? Well, I'll just assume that everyone has seen it, and we see that there is a very important setting for zombies in the zombie movie. The first thing is that he has to be human, and he can't be another thing entirely. He is first of all a person, and secondly it is mainly for example, he does not have normal human emotions, once he becomes a zombie, you will lose your family, friendship and love, it will only eat, this is not a human characteristic.
And then for example, if he lives forever, he can go on like this, just eat, so that brings a terrible effect. Let's think about it from a different perspective, if you replace these zombies with car tires, do you think it's a horror movie? That being said, as soon as the film begins, a group of black pressed car tires rumble down from a distance and then start killing people. You will think that this film is a comedy, because it is too funny, how can there be tires to kill people, that's what I said about the uncanny valley effect, that is what makes you feel afraid, that thing can't be too far away from people, it can't appear on the car tire, it will become funny, he sets up a bipolar, this bipolar is a complete object and a complete person, if you are in the middle, it will produce a strange feeling, this strange feeling will arouse your fear. Then take it casually, like alien, it's actually still a personal feeling, but there are some things that don't look like people, right? So let's look at the puppet animation of stop motion animation, it is stuttering, so some catons, it is endowed with human-like and non-human characteristics, because we are accustomed to knowing that real humans and real humans are fluent, so such a stuttering and stop-motion effect, it will innately bring a sense of horror and horror, this thing is a core point that stop-motion animation and other puppet animations and most of other animations and most other images do not have. So that's why hollywood's first B-grade films and some monster movies, it will use some dolls and some toys to do monsters, for example, I don't know if you have seen close-up films, like Ultraman Godzilla, they actually used some dolls in the early days, including some films like the early years, like the Empire State Building, King Kong, he used some clay sculptures to do stop motion animation, because the audience saw that thing Caton, he will naturally feel a sense of horror. Including the B-movies of the 80s and 70s, a lot of things are done in a stop-motion animation way.
I'm going to start taking some examples now, such as the 1957 stop-motion animation, called the story of the chair, the story of this film is very simple, that is, a man gets a chair, and then he wants to sit in this chair, but whenever he sits down, the chair will provoke him, will not let him continue to sit, and finally he turns himself into a chair, and then he lets the chair sit on himself first, he bows to the chair, and then the chair sits for him, which actually reflects a concept of object animation What I just said is that it breaks the original meaning, as far as the chair is concerned, we inherently feel that it is used to sit, its function is for people to sit, but in this culture, because it makes it move, so it can become something else, it can become a dignified person. In fact, the core thing on this film is that I am dignified, and I am not just letting you sit and let you use it to consume, so it is an example.
There is also a haunted hotel, which should be a long story of the first animation, he is about a group of people going to a home, all these teacups and saucers in the house are all alive, and then the family is bombed out. Then this "Meat Love" is what I just said about the famous imperial culture master of the Eastern European Czech Republic called Sven Meyer, a one-minute short film he created in his early years, you can go to the Internet to search out, telling the story of two pieces of raw meat, then hot love, then sex and then finally being broken up by the fryer. There is also a crocodile street is the work of the Kui brothers, but also an Eastern European Czech republic in the 80s to create a more famous short film, but also the use of the uncanny valley effect, the entire film is full of these baby dolls, very stuck on the cat. This is the Zombie Bride and the Christmas Eve Horror, so why should I take this out of the way and say it alone? It is because although it has a horror effect in the puppet animation, it will have a sense of horror and horror innately, because it has the property of pause, but we should not ignore another point, it is a cartoon after all, and the cartoon will still have some children's colors, that is to say, it will have some childlike fun in it.
So in fact, including the female he is also, in fact, the female he is a very violent and erotic big movie, but when he watched it, he did not have the kind of paragraph that was as direct as a kind of violence as a live-action movie, and I still used some euphemisms to deal with some of his violent passages, so in fact, it will have a little bit of childish fun in the horror and horror, and this kind of childish fun you can hardly tell what it is, it is a kind of innocent evil, we often say innocence, I think even animation it if you make a film like zombie bride or Christmas Eve Horror, it belongs to the naïve and evil, she looks terrible and terrifying, but his bones are childlike innocence, because people are actually more complicated, not that everyone is born kind, in fact, children are the most selfish, on what he wants will ask you what he will not consider the moral level, but he is more direct, he will not have some hypocritical things.
OK In fact, this piece I have just said, is the stop motion animation, it can be visually evoked your sense of touch, texture. Let's look at an example, "Fresh Guacamole", you can also search, this film is a short film created by a young animator in 2012, won the Oscar for Best Animated Short Film. Why did the Oscars give him this award? Because this film is really a perfect interpretation of what I just said about the sense of touch awakened through vision.
Xiao Dai: Last year, she was the national premiere of the Shanghai Film Festival, in fact, there is also good news, he just entered the Taipei Electric. Film festivals, so there are also many awards, which is not easy for such a young director. So East Sir, you come to talk about how you felt about this film after you were interviewing the director at that time.
SIR Higashi: My personal feeling about this film is first of all that the director just said is stop-motion animation, because we are very impressed with stop-motion animation, especially last year, there may be two films, one is Wes Anderson's inuyasha, and the other is the Legend of magic strings, but compared with this film, I don't think it is as pure as this kind of film, stop-motion animation is a very manual thing. Inuyasha used about 2,000 people, and he did a lot of very industrial processing. Why do we want to do animation, and what is the biggest advantage? The director is in control. Because actors may not be able to achieve what the director wants to express, some are actually gaps. If you do animation, you can do it completely yourself, which is equivalent to saying that he can express as completely as possible what the director needs to express, and in Inuyasha, there are 2,000 people in it who have a team of 2,000 people doing those things, and we are wondering if his team of 2,000 people can express himself as purely as this female him. This magic string legend is actually de-stop animation, it is a three-dimensional thing, so if that is the case, why stop-motion animation? The stuttering of stop-motion animation is an aesthetic feature of this kind of film. The caton of stop-motion animation is part of its beauty, part of the characteristics of its art form. I look at the female him, first of all, we admire the director, he alone spent six years to spend so many things to make this thing, first of all, very admired, in fact, very happy, that is, a person can be completely immersed in what he wants to express in six years, he does not have to worry about whether other people will do and what he wants to express is deviated, you can express his things at will, which is a very envious thing. The whole female his handicraft traits are not only expressed in his paintings, after all, in the performance of his sound effects, now many films that sound effects sound very dazzling, that is, there is a library of materials. Female he is not, female he is a complete handmade, which is actually the most beautiful part of stop motion animation.
Xiao Dai: At first, when you look at it, you will find that there may be some parts in it that you think will not be stop-motion animation, there are hand-drawn, but just now Dean Wang also mentioned that it is all made of real materials, that is, some garbage is made of cigarettes, which are made of cotton, and these small details are very testing the manual ability.
Q: In such a theoretical work as Nu he, what I just said is that before creating this work, there is a theoretical guidance that says that the potential of a thing animation should be brought into play, and in the process of creation, if there is any inspiration that is contrary to this theory, how will you deal with this situation?
A: Actually, I just said, why I have these two theories, in fact, it is because at the beginning, because in fact, the woman before I made some short films, and then the short film it is not just animation, I did real people, and then I also did experiments, because when you try different images and video media, you will slowly summarize some things, I think this thing is not rigid, it will adjust and change, and then it is not that I am alone in the house and think of a bunch of theories. It's about practicing and then summarizing some of the things that I think are closer to the kernel. So it doesn't have the problem of disobedience, because it comes from practice. Of course, the pure metaphysics you are talking about, I think that is also very necessary, for example, to take the law above the law to take the law to the middle of the law to get below. If you start learning something very practical about technology, you may be limited in the training of your mind and the opening of your mind. So I think this thing inside it comes from both directions, on the one hand, it is useless, it is particularly mysterious, that thing is really looking at some things such as philosophy books, or books on various aspects and some studies of aesthetics.
In fact, I think it comes from two aspects. On the one hand, it is through practice to add bricks and tiles, for example, when I was watching the woman, he actually organized one of the theories on the one hand, and in fact, there is another guiding ideology, that is, to stimulate imagination because of limitations, and then turn shortcomings into characteristics. In fact, when we do anything, we will encounter many difficulties, we will encounter many obstacles. For example, when I was doing the opening prison scene, I first wanted to make it into a big chain, just a normal prison, that is, the feeling that the chain rusted. But then it turned out that the cost was too high, you had to go into a pile of iron and the freight was too high, and it was not good to build that scene. So because of the limitations, you have to figure out what kind of way to save costs first, and then to be able to tap the potential of some new resources. So the best way to do that is to match the shoes. It should be found that if the shoes are the protagonist, its environment can be clothes, or clothespins, or like the general daily life can see this thing, so why there is a thank you at the end of a garbage list, is because this thing does not want money, everyone can donate to you, so this is to save the cost of materials.
So you're in this process because you first have the biggest theory I just said? The theory is that you break the link of your ready-made product and give it a new meaning, and I have found that when you really negate the design of the big chain and do it with recycled garbage, it will instead form a system of its own. You'd think down jacket prison might be more interesting than chains, because we're used to chains. Yes, so I think it's really a comprehensive growth process. It is not a one-sided one-sided.
Q: Hello director, we are film and television media, I usually watch stop-motion animation a little less, I watch more of this kind of feature film. Look at the theme of the female him, because I watch this film a lot of pictures, a little surreal, and then let me think of the style of an Andalus dog, and then a little bit like the feeling of Bergman's dream, this stop-motion animation may be mixed with a lot of philosophical ideas, and then because I look at the theme is more about the previous year or last year when the Hollywood metoo movement emerged, advocating the feminist movement. Later, when the feminist movement came, it slowly became, when feminism was slowly suppressed, everyone was to promote, and slowly feminism became a bit of a blackmail of other people's ideas. Then I wanted to ask the director, through this film is not to promote this feminist thinking, I think it is better to call it feminist thinking.
A: Actually, I think you just understood quite right, I think it goes along with your words, because in fact, women use one sentence to summarize the theme, that is, equality between men and women in front of desire.
In fact, have you ever seen < Zootopia >? In fact, the core of the crazy animal wants to express that the thing is a little closer to the female him, that is to say, we are accustomed to the innate belief that the herbivores are kind and beautiful, weak and docile, not aggressive, no ambition of a virgin image, that is, most of us feel that because it is a carnivore is aggressive, but you look at the crazy animal city, he tried to tell you with such a story, in fact, the herbivore It will also have its own desires and lusts, in fact, the female he will also have a little closer, At the thematic level. Our current mass media, in fact, it has gone through a one for women, and I think that from an era of evolution, for example, before the reform and opening up, or a long time ago, one of its attitudes toward women was to vigorously belittle you, that is, to degrade women very low.
Now it is to lift women too high, but this process of lifting, it is a process of beautification. For example, when we look at Women's Day now, you will see a lot of Queen's Day Goddess Day Queen's Day, and everyone will think that women listen to this name, so doesn't that make us go to work? Don't you let us work? No, I want to become a queen, but you will find that when the mass media raises the label of queen too high, it is actually another kind of flattening of women, which is disrespectful to women, because he does not treat women as a person, he treats women as women. But you are curious why there is such a situation, of course, there is also a premise that it may be that from the overall state, women are indeed in a relatively weak situation.
Like you just said, it is in such a situation, I think because I am more pessimistic about a state of more than two people anyway, so I think that many times when people form a whole, there will be a desire mechanism, and this desire mechanism, no matter how big or small, it will eventually become something similar to the end of the female he, and the beautiful things will probably become a mechanism decoration and decoration in this mechanism. So for example, like the first half of the vines that are clearly celebrating freedom, or expressing freedom, the natural flowers and those cherries, but by the end of the film, it becomes a decoration of an assembly line. I think in the face of this huge invisible desire mechanism, a lot of things will be involved, then I think it may depend on how everyone can restrain their greed, be able to be alone, or grasp some of their own more pure things, I think this may be a point of advocacy that wants to express.
Q: Inside the image of the cherry, I feel a little bit of erotic catharsis that feeling?
A: In fact, the meaning of the image of cherry has changed, that is, you may feel that it is an emotional catharsis, or an externalization of his depressed and suppressed desires, but at the end of the film, he becomes a consumer product, he becomes a product, it should be a factor in breaking away from the product, but he ends up becoming a product. In fact, you can reflect on a lot of things in our real life, such as the air in Inner Mongolia, we will feel that he is very breathable, there may be no smog, it will be very comfortable. But you know some time ago, when the smog in Beijing was at its worst, someone was selling air from Inner Mongolia, and that's what I said, it was originally a piece of beauty, and it should have been a beautiful thing that was more in line with human nature. But he was in a consumer society and it became a product that he could consume.
Q: Neruda wrote a very classic poem, I want to do with you what I do in the cherry tree in the spring, and then the cherry words are actually a beautiful image, slowly being materialized.
A: Yes, or the point I just said is that in the face of the desire mechanism, everything can be a decoration to be consumed, depending on how you restrain your desires or be alone.
Q: The director thinks that the concept of how to balance male and feminism, you said that last year's metoo, Woody Allen's film can not be released, the house of cards male protagonist changed actors? Then the feminist movement from Hollywood to Chinese mainland. What does the director think?
A: Actually, I think that no matter what the right is, I think my point is that it needs to fall to the individual, and it needs to tear off a lot of labels, this label may be a man's label, it may be a woman's label, it may be a lot of labels, but I think the most important thing is that I think that looking at a person should return to being a person. He is an individual, he is an individual with desires and then various aspects, and he cannot exaggerate one of them and then hide the others, and I think that may be the danger of flattening.
Q: When does the director plan to make his next feature film?
A: I'm trying to do it right now, but I actually feel like what I've been trying to do is I want to break some boundaries. I wouldn't be specific to say that I have to do an animated film, I have to make a drama or I have to make a documentary, because I think that there are many boundaries that can be broken in the development of video today, such as Blair the Witch, you say that he is a drama or a documentary, it is a documentary to make a drama. I think this is a topic that I will be more interested in, because I am more interested in cross-media, I will not be limited to a single medium, that is, I will not frame myself to death, I must make an animation, in fact, he is not exactly an animation, you can understand that it is a contemporary art, it is actually across two media, one is contemporary art, and then one is animation, the woman has done contemporary art exhibitions before, and then it is to make those images into offline works exhibitions. This is something that has not been done in stop-motion animation before, because the things in stop-motion animation he does not have contemporary, he does not have modernity, so I hope to do some cross-media experiments, so I can't say that my next step must be to shoot something, maybe I will shoot a mixed two things next. I don't limit myself to making animations. For example, the next film I'm working on right now is a combination of a feature film and a documentary, and he's walking between those two mediums.
Q: The director doesn't think there is such an obscure image, probably most of it is the audience's words, may not be able to understand at the first time, you for example, I was in the Introduction to Art class before, and then I watched Duchamp make a urinal, mocking the previous academics, he threw away all the art that we thought we used to, broke and reshaped the beauty. So if you want to ask the director, for example, when we make our own short films or feature films in the future, if we think too much about contemporary art, it may limit many audiences.
A: This depends on what you want, you can't want to fully express yourself to do art at the same time, and at the same time, like the wandering earth, all people agree with you, if you want it, you can't achieve anything in the end. Yes, so you have to look at what you really want, in fact, I also have a script for creating pure commercial genre films, but if I create one, I will completely put myself in a particularly humble place, I will purely consider from the script of a genre structure and a mobilization of the audience's emotions, in fact, everyone can see the documentary, the documentary is a particularly popular thing, because I will calculate where everyone will laugh and where they will cry, and the rhythm point is accurate. But that thing is not my own, that thing that I tune out according to the needs of the public, but you want to combine your own expression with a popular thing, it is not impossible, but because I prefer to do things to the extreme, I do not like to do the middle value, because I think too many people do the middle value, there is no need, so I think you either go to this extreme, you either go to that extreme, you either shoot the wandering earth, you either do the dragonfly eye, I will not do the wandering eye.
Q: The end is that the original factory burns down, and his child builds a world that is even more intense than before, not by the mother's shoes, but by his child. I want to ask the director what he thought at that time, how did he produce such a design?
A: This is actually not the character I thought, he wanted it himself. How to say, because this pair of mother-daughter relationship is not a particularly warm one, of course, there will be some warm points, such as the mother going home, and then feeding the daughter may be more warm, but it is a darker overall. On the one hand, there is the projection of my own shadow, on the other hand, there are some current situations that observed many Chinese families at that time, that is, I will find that most of the parents of the post-50s and 60s will pour all of themselves into their children, and I think this is a very special phenomenon in China, because in fact, when I went to the United States before, their parents let their children, let them develop, is the relationship between friends and individuals, not the relationship between parents and themselves. In fact, I don't know if it is due to the family planning policy, because a family can only give birth to one, so all your energy will personally be on this one child, you say you are like me, of course, I belong to a very happy, of course, before I also had a little friction with my parents, in fact, there will be in the documentary, just talk about my relationship with my mother, that is, he will pay too much attention to you, he will give everything to you, he does not want all the things he earns, he is for you, So this is the image of the shoe mother inside, because it is a sacrificial personality, that is to say, she is a bit kidnapped by her motherhood or by her own motherhood or her own motherhood or her own nurturing identity, because most of the parents of Chinese families will really appear in this situation, but you can't say that he is not good, you can't say that it is particularly good, you can only say that you see this thing, and then you present it, so generally this sacrificial personality, He is not as strong as to build a self-centered dynasty. seldom. Yes, generally speaking, you go to see these monarchs in history, they all have a very strong sense of self, he must be self-centered, for example, I am actually a particularly self-centered person, I am particularly narcissistic, and then this narcissism may be less about the feelings of others, in the process, you will want others to act according to one of your aura, and naturally he will bring out that thing. So why is it a character decision? It's because at the beginning, in fact, at the beginning of the film, his daughter has already told you that this daughter is a very greedy person. Because after he was born he was very hungry, and then you watch his mother find food for him, and then it was hard to feed a little, and then when he finally ate, she bit her mother's hand, that is a detail, in fact, that play tells you that this daughter is a very greedy person, he will not care about the feelings of others. So it may also be because sometimes parents spoil their children too much, which may lead to a more selfish personality. In fact, a lot of news will have some juvenile murderers, about this you will find that his mother will block him from everything. Yes, so it is also some reflection on such phenomena, so in fact, the last thing is not designed by me, it is the mother-daughter relationship that develops into such an ending.
Q: You didn't think about making it a short film instead of a feature film in the first place.
A: I first considered it, but then because this worldview is too large, and then some of the logic and some game rules in it may not be a short film that can bear, and then I estimated that the length that is most suitable for you should be about 50 minutes, I felt very embarrassed, and the embarrassing point is that he is neither a feature film nor a short film, so I think from a realistic point of view, I think that after this thing is made, it is nothing, there is no way to release, Or there's no delivery channel, so I feel like I'd better make a long film than that.
Q: I think the female has the style of David Lynch's early films, and the director was influenced by Lynch?
A: Actually, I was more influenced by some paintings, such as Dalí.
Guest: Zhou Shengwei
Moderator: Liu Xiaodai
Finishing: Floating grass
Editor/Xiaoni
End
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