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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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For anyone with a passing interest in the fashion industry, it’s worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine’s staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won’t hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn’t afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington’s 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She’s also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. “Although it was bleak, I saw beauty in the bleakness.” When she wasn’t outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, “flapping about surreally in their robes like crows on wheels.”At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. “I was a character, rather than a pretty model, and I suppose that’s exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking.”She earned the nickname “The Cod” (to Jean Shrimpton’s “The Shrimp”), danced the twist on Mary Quant’s catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. “Naturally, we were forever being photographed at home, draped among our symbols of ‘with it ness’ as one of London’s most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel’s gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell’s soup can.”At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who’s who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn’t suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film “Betty Blue.” The two sat in dead silence through the opening sequence, a vivid five minute sex scene.”Anna was rigid and unmoving. No sign of any emotion at all,” Coddington writes. “I then realized how much significance Anna places on willpower trumping feelings.”In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington’s narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on “Alice in Wonderland.”She sums up her creative process this way: “For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs.”The book ends with a chapter on then and now. “Fashion has changed so much in my lifetime,” Coddington writes. “Today, I find myself at the collections, asking, ‘Who are all these people?’ Sometimes I think I’m the last remaining person who comes to the shows for the pleasure of seeing the clothes.”At 71, she seldom wears makeup and doesn’t socialize much. But her attempt in the last 100 pages to distance herself from the term “fashionista” is a bit of a stretch. Clearly, Coddington has led a most charmed life. 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