WKW

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Wong Kar Wai
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具体描述

The long-awaited retrospective from the internationally renowned film director celebrated for his visually lush and atmospheric films. Wong Kar Wai is known for his romantic and stylish films that explore—in saturated, cinematic scenes—themes of love, longing, and the burden of memory. His style reveals a fascination with mood and texture, and a sense of place figures prominently. In this volume, the first on his entire body of work, Wong Kar Wai and writer John Powers explore Wong's complete oeuvre in the locations of some of his most famous scenes.

The book is structured as six conversations between Powers and Wong (each in a different locale), including the restaurant where he shotIn the Mood for Love and the snack bar where he shot Chungking Express. Discussing each of Wong's eleven films—fromAs Tears Go By and Days of Being Wild to 2046 and The Grandmaster—the conversations also explore Wong's trademark themes of time, nostalgia, and beauty, and their roots in his personal life.

The first book by Wong Kar Wai, and the first comprehensive look at his oeuvre, this stunning, lavishly illustrated volume is as evocative as walking into one of Wong's lush films. With more than 250 photographs and film stills and an opening critical essay by Powers, this volume is poised to become the film book of the year.

用户评价

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##花样年华算是为我打开电影大门的第一部电影

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##墨鏡受媽媽和老婆的影響真的很深啊 每次談起Esther都是這麼自豪 他说他每部电影里的女人都有她的影子 非常虐狗了 还有和William&Chris的神仙搭檔(也許只有他們能受得了彼此 他擁有世界上所有的幸運 but he deserves it

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##终于读完了~当年饭桌上LOOK推荐,九苍说买来看看,我腆着脸说给我带本,然后17年SIFF他给我背回来了,在家里躺了两年半,总算读完~非常硬核的创作谈,WKW聊创作一点没有拍电影的百转千回...墨镜王是文艺青年的产品经理,文艺青年并不清楚他们的需求在哪里,墨镜王却天生能捕捉到那种“虚渺”的诉求。台词、人物、电影化场景都是表象,情节更是可以在剪辑台上靠着旁白来倒着编;从《阿飞正传》起就是拿电影当“诗与远方”去拍,将传承、被拒绝/被接受、遗忘这些虚缈的主题(也是所谓“文艺”的主题)以虚缈的方式展开、揭示;就算是政治的内核,也可以被锁在一个同性的故事中...有的人拍摄情节故事,有的人打磨人物性格,有的人却着意营造让人怀念、稍纵即逝的氛围...

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##他的用功程度比孝賢還要誇張。現場不需要劇本也是他的用功方法之一。相當可怕的創作方式,等同於先榨乾自己,再榨乾劇組,最後再榨乾一次自己

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##印象较深的几个点:墨镜对明星魅力的钟爱,对拉美文学的热情,对《春光乍泄》政治含义的解释,和他讲述的梁朝伟这二十多年的成长历程

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##惊世旷世之作也许需要遭逢大难,历尽苦海波澜,食尽人间苦味,在绝望中回首绝望,可健康幸福美满的人生与创造一流的艺术品并不必然违逆。用并没有熟练到可以如杨德昌一般用来思维的英语接受采访也算是典型的墨镜风格,朦胧模糊的语言类似于他酷爱的停格加印技巧。从访谈录的层面评估,只读这一本,足够。

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##任你如何模仿,这世上就那么一个王家卫,浪了一生的王家卫。

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##印象深刻的是杜可风曾经控诉过阿飞正传上映版色调被调得面目全非并是自己心目中的理想效果/在CC王家卫套装出来后阿飞正传呈现的浓烈洋绿色调和书上阿飞剧照大版印刷出的浓烈色调对应上了/

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##花样年华算是为我打开电影大门的第一部电影

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