Discovery Project log: Prologue

3 ideas i had for the discovery class this term:

1) a short film about the Prison Fellowship Ministry in Canada (Vancouver)

2) an artistic experimental short about my brother's daily routine

and 3) a music based video (no lip syncing MTV) collaborating with my composer friend

Always wanted to 1 but never got the motivation to complete anything concrete before the passed Friday, chilling with a friend talking about his personal experience, and after the long and enriched conversation, Im deeply moved and motivated to get the job done, sending a message with my talent. 

Escape and Redemption 

A short story about the Prison Ministry fellowship in Canada. 

Few directions on this matter:

Filmsy, down-to-earth, More filmsy and more down to earth, or more down to earth and less filmsy.

In other words, can be either dramatic or not so dramatic, need to see the balance of the finished script to make any decisions.

Prisoner

Lost cus looking back now, he realized the lack of purpose in his life. Even more lost because he can’t imagine living this pointless life when he’s out of prison. Due to this reason, his subconscious develops this tendency of staying in this prison, the only thing that’s left for him.

And so it begins…

Black Frame

A few “bangs” of gun shots

Footsteps sprinting from far to close

Siren of Police force follows

Scene appears

EXT. Random street-Daytime

Floor angle of an ordinary street, the sprinting legs cut into the scene, running away from the camera.

Cut to

EXT. the corner brick of the street-Daytime

Again floor angle of the street, but this time the sprinting legs are running towards the camera, they reach the corner then quickly turn and hide against the wall

Camera

Elevates from the foot till we see the face of their carrier, which is masked with a typical robber mask.

Breathing

Heavier and heavier as the camera elevates

Body

Shivering from heavy breathing

Now we finally get to see the entire body of this criminal, ordinary clothing with a pistol on his hand and a bag on the other.  He is leaning towards and the wall, trying to catch his breath from this escape.

Criminal

Takes of his mask with his pistol hand

CU of the Criminal

Cut to

Black Frame with a closing sound of a cell

Quote appears

“Once you are a prisoner,

You’re always a prisoner…”

Quote fades out

Fade in

INT. Prison Cell

Overhead shot

prisoner and the cell

We see for a while, it is an old fashioned, small cell with one gate and surrounded by bricks, no windows with only a dim set of lighting.  The prisoner is sitting on his bed, facing down.

Wide angle shot

The prisoner on his bed, eating an apple

The wall is filled with sets and sets of tally marks.  Nothing needs to be said, we know this prisoner is counting his days out of this place, but for what purpose, we don’t know…

*Taken from Sin City (Robert Rodriguez & Frank Miller)

Self study movie: 2046 pt.2 (translated)

2046 (2005, Wong Kar Wai)
Focusing on the importance of self memory leads you to the mindset of 2046. For many people, the meaning 2046 would be living in their ideal memories (which in other words, living in their ideal world, where nothing changes, every great things remain there). Though this world of happiness (2046) might not be realistic, but it is sure what they’ve been dreaming for.

So the easy way to define 2046 would be “the pursuit of the lost sweet memories”
All of Wong Ka Wai’s film would be a completion of 2046, if (that’s a big IF) the movies he made is somewhat representing his mind set, then Chow in 2046 might be Wong’s monologue.
The tenant who once lived in the room 2046 represents people who have been involved in Chow’s memory.

Mimi/ Lulu (Carina Lau) is the first person who appeared in the room 2046 in the film. Applying the phase “Memory is actually an uncountable amount of ripples created by a single drop of water”, Mimi would be the drop of water. Though she might not be well related to the story itself, it is also her existence to let Chow encounters this familiar number once again.
Then comes the ripples of Chow’s memory to 2046 as a spectator (a tenant in 2047).
I’ve been exploring the relationship between 2046 and 2047 lately; I wonder why instead of putting Chow in room 2046, Wong needs to put him in 2047 as a spectator to 2046. After watching the movie several times, I developed my own insights on this matter.

When Chow wanted to rent the room 2046, the landlord of the motel said to him that he can’t move in to room 2046 yet since “it is renovating” (the truth is that Mimi were stabbed by her boyfriend the other day and it needs time to clean up the messy room with blood). Due to this reason, room 2046 is “unavailable at the moment”.

Applying the mindset of the film, room 2046 is actually a symbol of Chow’s “lost sweet memory”, and through living in the room, 2046, he wishes to pursuit some long lost emotions deep inside his heart once again, something that he had left behind for long- TRUE LOVE.

But sadly, just as he wants to pursuit this lost memory again, the status of this memory is currently under construction and is “unavailable at the moment”.

You may argue with me that we don’t actually have to be in the memory in order to recall it, and yes I agree with you, but what Chow is up to is something different and it is hidden.

There’s only one answer for Chow’s strong desire to live in room 2046 which is
Not only that he wants to recall 2046, but to experience the 2046 once again.
When the landlord asks Chao why would he pick the room 2046 specifically, he also admits that it is because of the room number.

But when the landlord asks if the number has any significance meaning, he replies

"I was just joking."








This statement is actually directed to Chow himself, perhaps he understands it is simply impossible to relive his 2046. That reminds me of a Chinese metaphor
The flower still grows and remains while the faces of people are never the same (taken from Ashes of Time)
So Chow finally decided to be in room 2047 and be a spectator of room 2046.
Even though it is sad when you figure you’ve lost something you can’t have again, being a spectator of this memory is also a joyous thing to do.

Self study movie: 2046 pt.1 (translated)

The concept of the film 2046 (2005, written and directed by Wong Kar Wai) is a really interesting topic and in order to let more people understand my sharing, this is the English Translated piece of my previous post (and no i didnt just translate it throu google translator i actually translated the whole thing myself, lols)
It takes a lot of time to understand the true meaning as well as concept of 2046. 2046 is the type of movie that grows within your heart at different stages of your life. I’m not here to criticize this movie but to share with you some thoughts and concepts about the film. I think it is up to you to experience movie your own, since we all got different point of views, critiquing the film is not relevant.

So here is the first 15-20 minutes on what 2046 is all about.

2046 is considered the sequel of In the Mood for Love, which I couldn’t agree more. But I also believe that missing In the Mood for Love wouldn’t hurt much. I mean it’s OK to just watch 2046 separately and still understand it. Since protagonist is the same for both stories, Chow Mo-Wan (Tony Leung), paying more attention on the emotional changes of the character certainly makes up for the background info you missed from previous the movie.




In the Mood for Love is basically the memory of 2046.
Everyone has their own memories, using the term from the film would be known as “All Memories are Humid.” My understanding about this phase is that when the days are humid, there’s always invisible dew piling up on the wall, not that we can’t see it, but we wouldn’t notice it unless we look for them. Our memories are like this dew, and if we would like to look for it, all we have to do is wipe the wall with our hands, and the handful of water drops prove its existence.

However, the translation of the English sub “rephrased” this line to “All Memories are Traces of Tears”, which has a significant difference on the original phase. My understanding on the “rephrased” phrase is that tears will drop out of our eyes whenever we look back to our memories, and once the tears appeared for the memories, the traces of the tears are the poof of our memories. There are few reasons on why do you cry on this occasion, which are:

Your Memory was too great but you are no longer living in it, out of depression, you sobbed.
Your Memory was too depressing and after suffering all these times, and you getting through it, looking back now, you become emotional, you sobbed.
Or
You are waken from the so called “Sweet Memory” and you are back to earth, realizing the difference between yourself and reality, your heart breaks, so you sobbed.

No matter what you started with, it all ends up in tears.

Instead of being bitter about memories, why can’t you be graceful for these memories have once engraved in your heart? I’m sure it is better than not remembering anything and living in emptiness.
Memory is actually an uncountable amount of ripples created by a single drop of water. Once you started, there’ll be more and more come into your mind. Don’t limit yourself and judge your memory. Memory should neither be good nor bad. It stands out for itself; it stands out for what happened. It shouldn’t be a selfish desire but a truth with no restrictions.

And after watching 2046, don’t let Chow’s memory as well as his confession limit what you think about your own memory.

For yourself is your own memory.

Self Study Movie: 2046 part.1 and 2

Here i would like to share some self studies i have for movies ive watched and think it would be an interesting topic to discuss.

2046 is a Chinese movie therefore i would like to start the discussion in Chinese. so here is the first 15-20 minutes of the movie.

一些電影要看好幾次方何更明白從中深層的奧妙和信息. 這次細談的目的不是要去介定2046是好看還是不好看. 王家衛導演的電影根本沒有好看不好看的規限.

我會說花樣年華是2046的回憶, 但要是沒有看過花樣年華, 單看2046我覺得也是ok的. 因為都是以周慕雲(梁朝偉)的內心世界為出發點, 只要多留心於角色本身的變化, 問題並不大.

每個人都有他們各自的回憶, 用2046的說法就是 "所有的記憶都是潮濕的". 我的理解是因為潮濕的時侯在牆上總會有一些看不見的露水, 而我們的記憶就像這些露水, 平時我們不會看得見, 但如果我們想找回這些露水的時候, 只要一抹, 我們濕濕的手就証明露水的存在.


但這句話的意譯在英文字幕被譯成 "All memories are traces of Tears", 跟原文的分別比較大, 那究竟這句說話的真正意思是什麼呢? 我對英譯的理解就是; 每當我們想到過去的時候, 都會令到我們流淚, 當我們為了回憶而流淚, 這些淚水就引證了記憶的足跡. 在這個情況之下流淚的可以是

因為記憶實在太美好, 可惜此情不再, 感嘆, 所以流淚,

因為記憶太過辛酸, 再想起的時候有感而發, 所以流淚,

因為美好的記憶原來一直都是自作多情的, 失望痛心, 所以流淚.

無論原因是什麼, 最後都是流淚.

為何我們不可以因為有過這段刻心的回憶而開心? 有記憶, 總比沒有記憶好.

回憶其實是水滴所泛起的漣漪, 想起的時候, 就自然會記起更多更多.

不要執著於好壞, 回憶不應被我們的私慾所規限.

也不要因為周慕雲的自白而規限回憶,

因為回憶, 是自已的.

要重點點出回(記)憶, 因為2046, 對很多人來說就是活在心想要的記憶, (ideal world, Dream world) 也許那些記憶不是真實的, 是他們夢想的.

所以簡單說2046就是"尋找夢想中的回憶"

王家衛導演電影就是完全的2046, 假設他的電影是他表達自己的一個層面, 2046的周慕雲, 或者也是王導對自己的獨白.

在2046房住過的房客, 就是周慕雲生命中的過客

Mimi / Lulu (劉嘉玲) 在周慕雲的2046中出現過, 用先前回憶是漣漪的說法, 她就是泛起一連串漣漪的水滴, 跟記憶本身沒有很大的關係, 但因為她的出現, 令周慕雲再見到2046這個門號.

接踵而來的, 是他在2047觀望2046的故事

我一直在自我探討2046和2047的關係, 其中一個比較具體的問題是, 為何周慕雲要在2047觀望2046? 又為何要在2047寫一套名為2046的短篇小說? 在上一次看完的時候, 終於有些見解.

當 周慕雲到旅館租住2046號房的時候, 那老闆說: 那可不成, 因為我想把2046裝修一下 (實情是因為一天Mimi在房間被襲, 需要時間去清理打掃) 詳情就不多講了, 總而言之在當其時2046的狀況是"暫時未能使用", "unavailable at the moment"

套用2046的思想, 2046號房的另一個意義 (意思) 是周慕雲"夢想中的回憶", 他想藉著租住2046去尋找一些心中被淡忘了的情感, 他早已放下的

真愛

耐何他正想解封這段回憶的時候, 這段回憶的狀況竟然是 "暫時未能使用", "unavailable at the moment"

或者有人會反駁說: 要是要回想的話什麼時候都可以, 不一定要身在其中才可以達到目的

對, 要想的話任何時候都可以, 但周慕雲再三強調想入住2046, 原因只有一個,

他不單想回顧2046, 他還希望再活在2046

這是心態上的分別.

當老闆追問他為何只單挑2046. 他也承認可能是因為2046這個門號

但當老闆再問2046是否有特別意義的時候, 他就說

我開玩笑的

這句說話其實是周慕雲講給自已聽的, 或者他明白到強求再活在2046根本是沒有可能的事. 我想到的比喻就是

桃花依舊,人面全非 (取自東邪西毒)

所以周慕雲最後決定了在2047上以一個旁觀者的角色觀望2046.

雖然不能再擁有, 但可以的話, 在另一邊抽身觀望也可以很美好.

續.