Tsai: I don't love your money. My movie is only for 20 people.

Shanghai Art Museum Hall in the Tsai "river" poster "Long Live" poster "do Not scatter" poster "If I Only love the money in your purse, I certainly cater to you." But I do not love your money, I hope you become a better, textured audience. One critic said that my movie was enough for 20 people, and that 20 people saw it.　　"Wen, figure/newspaper in Shanghai reporter Shi Yixuan, Liu put his film can hardly make money, see his film audience very little, works in the mainland market almost blank; he announced his withdrawal from the Taiwan Golden Horse Award, but stood in the street to sell tickets; he was the first film director to be collected by the Louvre in France.　　October 24, 2010, the eighth annual Shanghai Biennial Exhibition in Shanghai Art Museum, the exhibition gathered a large number of famous artists from around the world, Taiwan director Tsai with his video works "is a Dream" for the first time to participate in the mainland. A total of four floors of the gallery, Tsai's exhibition hall was arranged at the end of the third floor. Tsai wearing a black sweater, the iconic bald head, or the feet of the pair will never be off, the spring and autumn of the clip feet slippers.　　He held his hands in his chest, stood in the Hall without lights, not a word, for his exhibition of the situation, revealing a "early know so" calm shape. "This is the first time my work has been properly used." A row of very old scarlet chairs was placed outside the pavilion, which Tsai in 2007 from an abandoned theater in Malaysia. In the dimly lit pavilion, nine rows of seats were staggered, restoring the layout of the theater itself.　　The work, which took part in the Venice Biennale in 2007 and was collected by the Taipei Museum of Art at a price of NT $3 million, is a revolutionary way for the Tsai to explore a "Non-mainstream" film. The Tsai, sitting on the old chair, explained the original intention of the work: "When I was a child, I grew up in Malaysia, my family had seven brothers and sisters, and my mother was busy, so I grew up with my grandparents." Because with the elderly people get along, their own space is very large, but also used to loneliness, the cinema in my memory is like a temple, every time to see with a kind of reverence mood. Now that the old theater has almost been dismantled, I hope that through this film, we will be able to make the remaining memories in the reality of the extension. "When viewers sit in a chair and watch a movie, they find that the chair in the film is the chair they are sitting on, and the sense of confusion in time and space is quite a thing." On the art road has always been a maverick Tsai, the style of work is not in line with the popular aesthetic tendency, he said: "My entire film creation is derived from their own life experience, I brought this work to show my attitude, this exhibition is probably the first time my work is really the correct use." "Cinema is not a channel for me to communicate with the audience." 1993 Director of the first "Youth Nezha", fame, won the attention of Taiwan film industry, Tsai laid his "new film" The position of the Lord, since then, Tsai won the prize repeatedly. 1994, Tsai won the Venice Film Festival Golden Lion Award by "Long Live Love" the best director of Taiwan Golden Horse Award; 1997, "River" won the Berlin Film Festival Silver Bear Award, the São Paulo International Film Festival Film Critics Award; 1998 cooperation with France in the "Stories of 2000" won the Cannes Film Festival, the West Award;　　, "Do not Scatter", "a cloud in the sky" and so on at the International Film Festival has greatly reaped. The director, who has been affirmed in the industry, is unusually lonely in the marketplace.　　The unique artistic expression, too bare and spicy screen, so many theaters refused to show his films. Since 2001, Tsai has started making the same unique film distribution as he did--he ran to the streets to sell tickets. At the entrance of the Taipei Art Museum, Tsai and Li Kangsheng placed a booth and stood for 8 hours to sell 50 tickets.　　The child came to him for his autograph, and he told the little friend that he would come to see his film when he grew up. Tsai also with his team to negotiate with the theater owners, running campus publicity, do Chang show ...　　These moves have led the theater to gradually accept his "slow-moving" film. This kind of independent workshop method after all can not operate in a wide range, in the process, Tsai gradually clear their own way to go, "I slowly found that the cinema is not my communication channels with the audience." "Since the beginning of the 80, Tsai, the writer of the drama, began to make films and, like all filmmakers, hoped that his work would be seen by more people on the big screen," he wrote. However, in his constant attempt to find himself gradually marginalized, "how could a fight with a giant, this system to classify you as a films, or a disrespectful attitude, that you are small market, no one to see." "It's a hard thing to do 100 million-person business," Tsai. Most of the films are slow paced, slow-moving people, not even a few lines, which makes many people puzzled. To this, Tsai response: "I think people should constantly lose their body baggage, my personality is more yearning for freedom, so I hope that has been thrown away, slowly became the present minimalist style."　　"For Tsai's films, many people feel that he hasn't changed in years, but at the Busan Film Festival in Korea, the Korean film critics think that Tsai's film has changed a lot since 2000, but because of his strong style, it's hard to see outside." The insistence of Tsai on the road of artistic creation has aroused the attention of the field outside the film. 2006, Vienna to celebrate the 250 anniversary of the birth of Mozart, invited Tsai to create films, which is later caused by the storm of the "black Eye"; In 2007, the Louvre in France for the first time to participate in the film investment, and the first opening of the museum's never open cellar and roof, all for the Tsai The film was selected for the Cannes Film Festival in 2009 and was later collected by the Louvre. "Face" only produced 10 DVDs, for each NT $1 million price sales. 《Black eye in the time of the Taiwan Golden Horse Award, was questioned by the judges, said the film's individualism is too strong, Tsai on the spot announced from then no longer participate in the Golden Horse Award. Creative and acting style are quite strong Tsai, for his work more and more "Non-mainstream" also more calm, he said: "This is a business-oriented era, we do not have any sense of direction, but I am very clear about the direction of my work, I do not need to source the same as others, to find me is not to make money, And if you want to do business with 100 million people, it's hard work.　　"He believes that movies are not necessarily seen in the mainstream market, and when it is seen in a different place, it may be a new attempt to cultivate the audience." "People are limited, what can be done is limited" people familiar with Tsai works know that in his eight films, he is always a leading actor-Li Kangsheng. After graduating from high school to join the University of the boys, their own work to earn tuition fees, one day in the video game room was passed by the Tsai found, from stepping into showbiz, and he starred in every film and television works, are Cai Bright film. In addition, Tsai several Queen's team, Taiwan actress Yang Guimei, Lu Yijing, Taiwan actor Chenzhaorong, almost is the few people in exchange for the play. Some people doubt, always clap such a few person not get tired of?　　Not afraid of the audience to look tired of it? "I think people are limited and there are limits to what can be done," he said. So I don't really develop the mainstream values, I never thought I would be a storyteller, I want to make more and more powerful works, I just want to shoot something I'm interested in. "The film director, who is not interested in chasing the world, laughs that he is about to go into the coffin and doesn't care so much about outside views," he said.　　He thought he was destined to be a creative person, he should cherish this position, this is his task, so try to free to play this piece. While filming "Face", Tsai's mother had just passed away, and he looked at her and said to his family, "Mom is leaving, don't quarrel with her, chant in the heart, don't make a sound." "At that moment I saw a solemn life, breathing from the shortness to the slow to the short, and finally like an oil lamp, the lights out." I am 10 years old, and then look back at my creation, my life is really mirrors. A director like me, walked for more than 10 years, all in the street to sell tickets, so I cherish the state of the moment, some things missed, will never be shot. "You can't blame me for not going to Feng Xiaogang." Tsai's films always haunt the deep nostalgia. Old customs, oldies, old movies, these near-disappearing cultures often appear. One of his favorite scenes is the old cinema, "you have a few things" in the movie theater scene, "Not scattered" is the story that happened in the cinema. The lonely are hidden in the shadows, and the images drift with time. Tsai, who has gained freedom of creation, is also in the solitude of himself, and the works not appearing on the big screen are in galleries and museums. But Tsai himself did not agree with others on his work to make "songHigh and low "comments. "My work in the museum is by no means a high profile, but more civilian, and that door is wider open."　　"Because the museum's schedule generally has two months or even half a year, it is not comparable to the cinema."　　Tsai, who participated in the film festival many times abroad, was envious of Europe's films treatment, saying that in Europe theatres could be seen in commercial films or Bergman's films, an environment that offered the possibility of audience choice. Asked so many years feel their pay and harvest is balanced, Tsai's answer is very joking, "this market has Feng Xiaogang, I do not have someone else to do, you can not blame Tsai did not do Feng Xiaogang." "Tsai that he insists that film creation is a craft job," I have never used a special effects lens, looks very special effects of the lens is actually waiting to come out, such as a cloud of change, a butterfly flying, and so the process is very long, but the kind of vitality is very moving. ". PB{}.PB textarea{font-size:14px; margin:10px; Font-family: "The song Body"; Background: #FFFFEE; Color: #000066}.pb_t{line-height:30px; font-size:14px; color: #000; text-align:center;} /* paging */.pagebox{overflow:hidden; zoom:1 font-family: "XXFarEastFont-Arial", serif; Pagebox span{float:left; margin-right:2px Overflow:hidden; text-align:center; background: #fff; Pagebox span a{display:block; overflow:hidden; zoom:1; _float:left; Pagebox span.pagebox_pre_nolink{border:1px #ddd solid; width:53px; height:21px; line-height:21px; text-align:center; Color: #999; Cursor:default. 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Pagebox span.pagebox_num a:hover,.pagebox span.pagebox_num a:active{border:1px #2e6ab1 solid;color: #363636; Pagebox span.pagebox_num_ellipsis{color: #393733; width:22px; background:none; line-height:23px; Pagebox Span.pagebox_next_nolink{border:1px #ddd solid; width:53px height:21px; line-height:21px; text-align:center; color: #999; cursor:default;}　　[Page] Shanghai Art Museum Hall in the Tsai "river" poster "Long Live" poster "do not scatter" poster dialogue climb out of the market trap Guangzhou daily: Li Kangsheng which touched you? Tsai: 1991 When I was shooting the unit drama "Kid", I went to the street to look for a guest role. One week before filming, I met Li Kangsheng. His appearance is very attractive to me, and he is very interesting to talk to him, he reacted slowly, but it seems not slow, it is longer to think about the answer, this is his personality. I asked him if he wanted to be in the act.　　He did not answer, just stared at me for a long time, and then wrote the phone number to me, and we began to cooperate.　　Guangzhou Daily: Cooperation So many plays, your understanding of each other is not only the director and actor so simple? Tsai: Our relationship is very special, well-off like my father, very introverted, very silent, and a little stubborn, even smoking posture like my father. To him I feel a bit like empathy and always want to get to know him.　　I really want to be able to film it.　　Guangzhou daily: Did not get tired of filming? Tsai: Are you tired of your mother? I think we are tired of the concept is still the mainstream concept, it does not sell money, the audience likes not.　　You want to see Andy Lau, you want to see new faces and new faces, right?　　Guangzhou daily: Li Kangsheng in the interview that the play you are very tired. Tsai: Everyone patted my play are very tired, I am very tired of filming the film, creating very tired, to do a very tired. So I said the audience must have a mentality, is no easy things, easy is to cheat you money things, just want your money, it does not want to change you, the best you do not change. Now there are a lot of popular culture, playing video games, FACEBOOK, why popular?　　Because it's easy.　　Guangzhou Daily: Many works can not be shown in theaters, will feel very regrettable? Tsai: Must the movie be consumed in the market? Are you sure you want to have it in the cinema? Do you have to become a DVD? This has become a standard, because this pattern is fixed for a long time, so your creation is limited. For example, if you want to put on TV you can't have nudity, you can't talk about issues. When you want to meet the public taste, you have no freedom of creation. So I have to give up something, such as I want to give up the mass market, I have freedom, this concept I formed very early. There's something else to go, and I don't have to go.　　I did not go to that market, that market will not lack of film, when that market needs artistic creation, I can go.　　Guangzhou daily: When the first film, always want to show on the big screen? Tsai: Yes, everyone thinks so. It's been a long time.You'll find it a trap, it makes you more and more constrained, you need to crawl out of this trap. I also listen to pop music, I also watch pop movies, I know what the big environment is like. Just my personality makes me feel uncomfortable and feel tied up.　　I'm going to break out of this thing and do what I have to do all my life.　　Guangzhou daily: But this kind of freedom, will let you have Lone Ranger's loneliness? Tsai: It depends on what you want. For example, you want your mom and dad to praise you because you catered to them, or did you do one of your own things, and your mom and dad think, oh, he has his ideas, his world is different. I often tell the audience that I don't even care about my parents. But I love my parents, I also love the audience, because I love them too much, so I want to change them. If I only love your money, that is another thing, you think if I only love your money in the purse, I certainly cater to you. But I do not love your money, I hope you become a better, textured audience, the world will be more normal.　　One critic said that my movie was enough for 20 people, and that 20 people saw it.　　Guangzhou daily: In your work, there are a lot of static slow lens, many of the same scene and space, why do you do this? Tsai: In all these years of writing, I've found that if I keep my camera on a person, I can see his change, if I only think of him as a consumer product, he doesn't need to change, just change a new face and the audience likes it. Then you will find that you have nothing, you did not get a picture, just made a product.　　Well, if I keep filming a guy, this person will become old, will become ugly, will become fat, there will be a lot of life in the struggle, you do not want him ugly, do not want him old, do not want him fat, but it is indeed will, has been happening.　　Guangzhou Daily: What is the most impressive experience of exhibiting? Tsai: It is probably the first time to participate in the International Film Festival, the Tokyo Film Festival, when Leslie was the award for my evaluation.　　It is a pity that we did not cooperate later. Not only to cater to the public film directors Jia Zhang Ke, male, Shanxi Fenyang people, graduated from the Beijing Film Academy Literature department. In the school period organized the "Youth film Experimental Group", which began his film practice. 1995, the first 57-minute film "Hill Home" won the Hong Kong Image Festival awards. It is hailed as "the light of hope in the lightning of Asian movies". When a large number of Chinese films fall into the illusory realism, Jia-Zhang's intense humanistic attention to China's reality is particularly valuable.　　From the beginning of "WU" to the "good people of the Three Gorges", Jia-Zhang's image world is gradually becoming a special way to understand China, and also to reinterpret the realism of Chinese movies. Yang, born in 1959, Xi ' An, Shaanxi province, 1985 into the Director Department of the Broadcasting Academy. 2003 completed the first film "Blind Well", which won the 53rd annual Berlin International Film Festival Best ArtContribution to the Silver Bear Award, the 5th session of the French Duewel Asia Film Festival Best Film, best Director, Best actor, best film critic, the most popular audience and other five awards. The film tells a story about human nature, two of the idle lives in the mining area to make money, they first lured the workers to the mining area, and then the workers killed in the mine, and create an illusion of accident, and then as the dead family to the miners for compensation, they succeeded again and again, money seems to have let two people lost conscience ...　　But after a little boy became their target, the feelings of one of the murderers changed, he had a hard choice between the harm and the protection, and finally he killed himself in a deep mine. Road seniors, Beijingers, born June 25, 1964, 1985 into the Beijing Film Academy Director Department, during the school filming has short film "Price", "Children and Apple", "barren Grassland Diary", "Toy Man" and so on. The current director of the Beijing Film studio. "Kara is a dog" is the third story of seniors. The second is an ordinary worker who keeps a pet and a dog named Carla. But on his night shift, Carla, who had no dog ID, was taken away by the Public Security Bureau. So the next day, the second had to go for his puppy-or for his own sake-to find a dog and raise money on the road.　　Through the dog's story about people, there are all kinds of sad places, and even cause people to think about social issues and dignity issues. Zhang was born in Nanjing in 1963. 1985 admitted to the photographic department of Beijing Film Academy. In 1990, Zhang independently completed the film "Mom" and became the first work of the film academy graduates. 1991, the film was allowed to participate in the three continents of Nantes film Festival, won the jury award and the public award. Zhang's second film, "The Hybrid of Beijing", is also an independent film that won the Special Jury Award at the 1993 Locarno International Film Festival in Switzerland. 2003, directed "Green tea". 2005, directing "looks Beautiful". 2007, directing the film "Dada" PB{}.PB textarea{font-size:14px margin:10px font-family: "Song Body"; background: #FFFFEE; color: #000066}. pb_t{line-height:30px font-size:14px; color: #000; text-align:center; /* paging */.pagebox{overflow:hidden; zoom:1 font-family: "XXFarEastFont-Arial", serif; Pagebox span{float:left; margin-right:2px; overflow:hidden; text-align:center; backUPS: #fff; Pagebox span a{display:block; overflow:hidden; zoom:1; _float:left; Pagebox span.pagebox_pre_nolink{border:1px #ddd solid; width:53px; height:21px; line-height:21px; text-align:center; Color: #999; Cursor:default. 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