就像一個畫家，攝影師經常要主觀運用手上工具：與作品保持緊密距離（通常是演員），又要客觀兼備：研究如何透視一個空間或情境，交待發生中的事。
在《風月》裡，張國榮色誘年輕女子，意圖勒索一個大富之家。所以電影不時遊走張國榮（主觀）的視野，揭示他的意圖，時而轉換到客觀的視野，看看被盯上的對象有何反應，像貓捉老鼠的遊戲一樣。
在電影很多幕中，攝影機「發言」的機會比傳統電影多。它像一個第三者的角色，近看主角的表情和神態，然後讓主角（特別是這一幕的張國榮）逃離我們的視線，吸引我們繼續跟蹤，究竟他要做甚麼。我們心急地等待揭盅。
Like a painter, the cameraperson has to use his tools subjectively : to be close to the work ( usually the actor ) , and then objectively : to reveal a space , or a situation , to give context to what is going on .
In Temptress Moon, Leslie seduces young women in order to blackmail their rich families. So, often in the film we would play with his ( subjective ) point of view to show what he was aiming at, but then reverse or objectivity the point of view to show how the one being observed is reacting, to the context of the game of cat and mouse .
In many sequence, the camera “ talks “ more than many traditional films. Like a third actor it comes in close to catch a look or a gesture, and then allows the character ( Leslie in this scene ) to escape us, to intrigue us to follow, wonder what he’s about. We are anxious to know where all this will lead.
影片來源Video:《風月》 “Temptress Moon”(1996)
音樂來源Music: 張國榮“A Thousand Dreams Of You”
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