杨德昌访谈

鄭慧蘋訪問:

1.关于影片长度:“我認為每一個東西、每一個戲劇都有其生命長度,它的生命絕非任何戲院老闆或任何人可以硬性規定……所以是看什麽東西,你要講多少故事、傳述多少感覺。”

2.关于影像造型:“我從小就畫畫,時斷時續的,可是都是正統的訓練,一直到我念電機碩士時,還在修藝術系的課。所以這方面(影像)我比較講究。”

3.关于《海滩的一天》中“母亲”角色:“母親那個角色(《海滩的一天》中林佳莉的母亲)是我對上一代農業社會里的女人的詮釋,也許目前婦女運動的人來看會認為是被壓抑的,可是在當時的社會結構就是男人白天出去工作,太太在家裡把許多事情做好,而整個社會最主要的核心是在家庭,那時候的女人佔有很重要的地位,要不然也不會有那些成功的人、家庭。”

4.关于女性:“社會上有什麽變化,對女人來講比較容易感覺到,男人就覺得我還是跟以前差不多……男人和男人有一份哥們兒、兄弟間的感情,不是一種跟一個女人的感情可以替換的(注:存疑)。從小有些形象男人得去保護,不太容易戳破;女人就不同了,現在社會變化所引起的反應在女人身上比較明顯……並非我對女人有特別的研究,而是從她們的角度較容易看到社會的變遷。”

5.关于“新电影”导演:“我們這一群(侯孝賢、柯一正、曾壯祥、萬仁、張毅、陶德辰、王銘燦、邱銘誠)……有一種使命感的認知……對社會,對所有的人……我認為我沒有資格告訴任何人你應該怎麼樣,這是一個作者良心的問題,你自己可以做決定的”

6. 关于“長廊”:“我只是希望在這平面的銀幕上,給它另外一個角度,另外一個dimension”

7. 关于推拉镜头:“zoom(推拉镜头)在國片里通常是十個鏡頭有八個, 我這部電影里大約有一千多個鏡頭,但是只有一個zoom,而且根本看不出來是zoom……因為人的眼睛沒有這種功能,你要用它時必須很有把握,不是隨便可以用的。通常用zoom是很懶惰的行為,我覺得靠近是攝影機推近,而非用zoom進來,這是兩種不同的效果”(注:我们戏称“拉風箱”,1960年代邵氏武俠片,及1980年代北影的《傷逝》,为滥用zoom的范例)

8.关于责任感:“如果我們是爲了得那個獎拍電影,我想會很不自然,很不自在。我們拍電影是爲了大眾,因為你關懷大眾……我們的作品都應該是這樣,因為電影是大眾文化,我是其中的小角色,所以我做的態度就應該對大眾負責任。”“我覺得很成功的時候,也許是有一天有一個人跟我說,他看這部電影想到很多事情……我拍這部電影是想激發一些人的思想與反省,這目的達到就對了。”

9.关于香港电影:“雖然我也曾經在香港待過半年,但或許是個人或學國畫的關係,或者是中國人的思想、習慣,我影片里很多地方留情緒、留白,我們跟香港不一樣的地方大概就在這裡。香港往往需要很多的鏡頭在很快的剪接節奏下,來填充影片內容;而我若是戲中的張力夠,就不會隨便把戲的張力剪掉。例如張艾嘉在病床上講話那一段,真是一刀都不能剪……我想,這是和香港不太一樣的,其實台灣有很多自己的文化、傳統,可以好好運用。”

(原載於1983年12月出刊的台北《世界電影》雜誌第182期)

鄒開蓮訪問:

1. 关于改行:何以念完電機碩士卻撇開而投向電影,他笑著說:“因為我沒聽說什麽人會餓死的,我只是做我喜歡做的事……其實念理工對我也有很大幫助,它訓練了我條理分析的能力”

2. 关于“新电影”导演:新導演間的互助早有耳聞,但眼見陳坤厚進進出出和侯孝賢、楊德昌商量劇情的分場,甚至楊德昌、杜可風在與《小爸爸的天空》并無關係的情形之下,仍忙得兩天沒上床睡覺,不禁讓我們聯想到新導演間互相影響的結果,是否會導致作品中有太多相似,而成為另一種危機?“我覺得我們在一起工作很好,絕對比以前電影圈好。因為我們年齡相近,有許多共同的看法,生活背景很相似,才會聚在一起,但每個人選的體裁不盡相同,詮釋的方式不同,剪接想法也各有差異,拍出來的東西自然不一樣。我們雖然常給拍片的導演建議,但是執導者如果不這麼認為,仍然會很堅持自己的意見,這些就是個人的風格吧!假如一個人會受其他人影響的話,那就是他還需要被人影響,自己風格尚未確立。”

3. 关于香港电影:他認為香港電影似乎缺少一些人文素養,顯得缺乏生命,而台灣畢竟還是承繼了中國文化以及五四白話文學以來的影響,仍深具潛力。造成港台影片風格差異,在狹小生活領域中的人,往往不易有寬大的胸襟,他認為香港電影史上最好的一部片子便是方育平導的《半邊人》,表露出他眼界之寬、胸襟之大,絕非許鞍華所能比擬(注:存疑,许鞍华的《投奔怒海》眼界也不窄)。而導演十分self-conscious去設計一些東西,讓人感覺到他刻意雕琢的痕跡,便是做作了,故此他也不太贊同譚家明的一些電影手法。在香港某些電影公司的體制下,可能完全抹煞掉作者的特有風格。

(原載於1984年3月25日出版的台北《電影人》(台灣大學視聽社的學生團體編印的一份刊物)第五期)

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