When it's time to let go, I don't look back, and I start another project as soon as possible. One thing I remind myself is that I don't want to Photoshop my past.
Wong Kar-WaiRead
To make films, it always begins with two words: what and how. First of all, you have to find a story, or what are you going to tell? And you have to find a way to tell it visually.
Interpretation
Creating a film starts with defining the story and figuring out the visual storytelling.
Wong Kar-Wai emphasizes the fundamental aspects of filmmaking, which revolve around two key questions: the 'what', referring to the narrative or story that needs to be told, and the 'how', which pertains to the methods and techniques used to visually present that story. This highlights the importance of both content and style in the art of cinema.
In practice
This quote can be used in a discussion on the essentials of storytelling in film classes.
When it's time to let go, I don't look back, and I start another project as soon as possible. One thing I remind myself is that I don't want to Photoshop my past.
This is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.
What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.
Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.
Chinese martial artists consider themselves to be gardeners, and it's an honor for them to take care of this garden, to better it and hand it over to the generations that follow. I think that's a very important message in a time when personal achievement seems to be the only criteria of success.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
In order to design buildings with a sensuous connection to life, one must think in a way that goes far beyond form and construction.
My dad would go to work every day and write in a room full of funny people. He enjoyed it. I know great writers who find the process agonising but to me, writing has always been sheer joy.
Imagine that we are sitting in an ordinary room. Suddenly we are told that there is a corpse behind the door. In an instant the room we are sitting in is completely altered; everything in it has taken on another look; the light, the atmosphere have changed, though they are physically the same. This is because we have changed and the objects are as we conceive them. That is the effect I want to get in my film.
If you're actually allowing your creative part to control your writing rather than a more commercial instinct or motive, then you'll find that all sorts of interesting things will bubble up to the surface.
The artist in our time has two chief responsibilities: (1) art; and (2) sedition.
So long as you write what you wish to write, that is all that matters; and whether it matters for ages or only for hours, nobody can say. But to sacrifice a hair of the head of your vision, a shade of its colour, in deference to some Headmaster with a silver pot in his hand or to some professor with a measuring-rod up his sleeve, is the most abject treachery, and the sacrifice of wealth and chastity which used to be said to be the greatest of human disasters, a mere flea-bite in comparison.
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