張國榮開着車,在泥路上朝目的地疾馳。
鏡頭的設計是,汽車停下來時,車頭格柵剛好在攝影機正前方,佔滿鏡頭。
但當他剎車時,車子離攝影機是那麼的近,我抓起攝影機就跳開了。
張國榮氣沖沖下車,說「我是專業的,Chris,你也應該是。你給我回去就位。我會把車停在你一呎之前,包在我身上。」
我很驚訝:張國榮很少這樣揚起聲線,我也很挫敗,畢竟不能辯稱自己跳開是為了拯救那台攝影機。
很可惜的是,這場戲似乎沒有放到正片中,讓我想到這究竟是不是幻象?都是無中生有的。在我來看,它始終是真實,因為Leslie本性如此。
Leslie Cheung is driving full speed down a Philippines dirt road toward his destination.
The shot is designed so the cars front grille ends full frame. He brakes so fast so close that I grab the camera and jump out of the way.
Leslie jumps out to the car. He is furious. “I’m a professional Chris. And you should be professional too. Get back there, on your mark. I’ll stop one foot short of you. You can count on me.”
I am shocked : Leslie rarely raises his voice. And I am humbled. I can’t claim I was only trying to save the camera.
Unfortunately this scene is not in the final cut of the film. Which makes me wonder if I am just imagining it ? That it’s a myth. But it’s a true for me because it’s true to how Leslie really was.
影片來源Video:《阿飛正傳》 “Days of Being Wild”(1990)
#912哥哥生日快樂 #張國榮 #哥哥 #阿飛正傳 #王家衛 #現實與幻象
#912GorGorhappybirthday #LeslieCheung #GorGor #DayOfBeingWild #WKW #realorimagined
同時也有10000部Youtube影片,追蹤數超過62萬的網紅Bryan Wee,也在其Youtube影片中提到,...
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張國榮開着車,在泥路上朝目的地疾馳。
鏡頭的設計是,汽車停下來時,車頭格柵剛好在攝影機正前方,佔滿鏡頭。
但當他剎車時,車子離攝影機是那麼的近,我抓起攝影機就跳開了。
張國榮氣沖沖下車,說「我是專業的,Chris,你也應該是。你給我回去就位。我會把車停在你一呎之前,包在我身上。」
我很驚訝:張國榮很少這樣揚起聲線,我也很挫敗,畢竟不能辯稱自己跳開是為了拯救那台攝影機。
很可惜的是,這場戲似乎沒有放到正片中,讓我想到這究竟是不是幻象?都是無中生有的。在我來看,它始終是真實,因為Leslie本性如此。
Leslie Cheung is driving full speed down a Philippines dirt road toward his destination.
The shot is designed so the cars front grille ends full frame. He brakes so fast so close that I grab the camera and jump out of the way.
Leslie jumps out to the car. He is furious. “I’m a professional Chris. And you should be professional too. Get back there, on your mark. I’ll stop one foot short of you. You can count on me.”
I am shocked : Leslie rarely raises his voice. And I am humbled. I can’t claim I was only trying to save the camera.
Unfortunately this scene is not in the final cut of the film. Which makes me wonder if I am just imagining it ? That it’s a myth. But it’s a true for me because it’s true to how Leslie really was.
影片來源Video:《阿飛正傳》 “Days of Being Wild”(1990)
#912哥哥生日快樂 #張國榮 #哥哥 #阿飛正傳 #王家衛 #現實與幻象
#912GorGorhappybirthday #LeslieCheung #GorGor #DayOfBeingWild #WKW #realorimagined
realorimagined 在 Christopher Doyle 杜可風 Facebook 八卦
[出走地平線:眼見為實]
Flattening the Curve: Trust your eye
有一次,我們在準備拍攝一個監倉場景,地點是個廢棄倉庫,一間大型鐵皮屋。屋頂已經鏽蝕到正午陽光可以透過屋頂照進倉庫,在牆上形成一道道陰影,令監獄氛圍活靈活現。它不再只是監倉和走廊,而是由光譜成的詩篇。
我們大概會在這裏拍攝一整天,但日光當然是會移動的,所以我叮囑燈光師準備在當時陽光照射的位置,放一顆大燈備用。
燈光指導是一位「老油條」,而當時的我只拍過三、四部電影。我算老幾,憑甚麼指揮他?
拍攝當日,老師傅發揮其「專業」所長,於是燈具被裝在鷹架上,各種光線從寶麗板反射過來,又折射出監牢裏各種鐵枝的陰影,甚至時鐘的剪影…..折騰了六個小時後,他打造出一個就像深宵電視常見、一抓一大把的那些懸疑片中老掉牙的監獄場景來。
結果拍攝時間只剩兩、三小時,監製終於說話了:「全部拆走,照Chris說的放一顆大燈。」他命令道「我們是拍電影,不是搞形象﹗」
We are preparing to shoot in a ‘studio’. Actually, it is some kind of disused warehouse, just a big tin shack. The roof has rusted so that the midday sun beams down, throwing random shadows on the walls of our prison set. The textures come alive. It is no longer a couple of cells and a corridor: it is a poem in light.
The scenes we have to do here will take a full day. Obviously, the sun won’t stay where it is now all that time. So I tell the gaffer to put the biggest lamp he has right there where the sun is now.
The chief of lighting is a crusty old veteran whereas I was on my third or fourth at the time. What do I know? Who am I to tell him what to do?
The day of the shoot, he starts to light the set as a ‘professional’ would. There are lights rigged on scaffolds, lights bounced off poly-boards. He creates shadows of bars and the silhouette of a clock and… after six hours of fussing and tweaking, he turns over to me a set that looks like every prison set you’ve have seen on every mediocre thriller that has made it to late night TV.
We only have two or three hours left to shoot. The Producer steps in, “ Take all this down. Put the big lamp where Chris asked you to,” he orders. “ We have a film to make. Not a reputation.”
攝於拍攝《香港三部曲之後悔莫及》(2014)
Photo was taken in shooting “Hong Kong Trilogy : Preposterous ” (2014)
#現實與幻象
#realorimagined
realorimagined 在 スキマスイッチ - 「全力少年」Music Video : SUKIMASWITCH / ZENRYOKU SHOUNEN Music Video Youtube 的評價
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realorimagined 在 2022veteran電影-大學國高中升學考試資訊,精選在PTT ... 的八卦
攝於拍攝《香港三部曲之後悔莫及》(2014) Photo was taken in shooting “Hong Kong Trilogy : Preposterous ” (2014) #現實與幻象 #realorimagined. ... <看更多>
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