在大部分的亞洲電影中，我們常用淺景深和長鏡頭拍攝，避免拍到亂七八糟（大部分亞洲城市也是）的環境，轉移觀眾視線，看到無關痛癢的東西。
在《重慶森林》裏，我們希望營造人群之間的隔膜： 在一眾參加派對的人中，映襯王菲在深宵快餐店工作的孤獨。
我用極近距離的手搖鏡頭拍攝林青霞那一幕，試圖讓觀眾清楚感受重慶大廈如何龍蛇混雜，她的處境也非常危險。
所有藝術源於本來的素材…它可以是簡單地回應／對抗又或是尋覓一種改變。
我們在《墮落天使》中運用廣角鏡，因為在《重慶森林》裏已用上太多長鏡頭﹗
超廣角鏡最具挑戰性和冒險的地方，就是構圖本身襄括一切東西：所以拍攝地點、演員走位、鏡頭擺動、打不打燈等問題能否協調一致，都是一個場景拍攝成功的必然要素，也是不折不扣的實驗。
In most Asian films, we use shallow depth of field and longer lenses to avoid all the ‘messiness’ ( of most Asian cities ) that would be distracting, extraneous if it gained attention in the frame .
In Chunking Express we wanted a similar feeling of isolation within a crowd : the crowds of partygoers frame Faye Wong’s loneliness in Midnight Express fast food store.
The tight hand-held shots of Brigitte Lin navigating the chaos of
Chunking mansions to suggest her personal danger in a dangerous world.
All art comes from what came before it …. So it can be as simple as
responding to /rejecting/ looking for a change.
We used super wide angles on Fallen Angels because we had used so many long lenses on Chungking Express!
The challenge and an adventure of a super wide-angle lens is that everything is in frame: so the ‘coherence’ of a location, the movement of actors and camera, how the scene was or was not ‘lit’ were imperative to the success of a scene and the experiment as a whole.
影片來源Video:《重慶森林》“Chungking Express”(1994) / 《墮落天使》“Fallen Angels“（1995）
音樂Music: 李香蘭《恨不相逢未嫁時》 Li Xiang-lan “If Only”
#重慶森林 #墮落天使 #王家衛 #王菲 #林青霞 #金城武 #李嘉欣 #攝影
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