00:00Ah! Ah!
00:30With cinema, looking at it the way you've looked at this film, is that how you've always seen cinema, or has it evolved since obviously the past feature film with Long Day's Journey and now this?
01:00I'm just going to sleep in the movie.
01:03And then in the movie, the movie became a true-to-face, and the room was able to carry out all the time.
01:14So it became more straight in this movie.
01:30But using the perspective and perception, if you will, of grabbing the phantasma, if you will,
01:50using that sort of monster element in order to create a perspective
01:55into these different worlds of senses, sight, sound, smell, taste, touch.
02:03Could you talk about using that character as a sort of funneling point in order to explore these different senses?
02:12因为这部电影它有一把,进入这部电影,第一把钥匙就是关于电影的脉夺,关于电影员的空间。
02:23然后通过这把钥匙可以打开这部电影的第一道门,也是最外围的一道门。
02:29然后这道门在诉说,它的意思应该是说,因为电影是要通过梦境进入到人的潜意识里面。
02:40当时就在想如何才能把人的潜意识,人的潜意识当中的主体,灵魂,如何把它构建出来。
02:54所以就需要有一个结构,能够清晰的像一幅绘画一样,把那些不可见的人的意识把它勾勒出来。
03:05勾勒的框架其实就是人的感官,人不同的感官,它分成不同的感官,不同的篇章,然后带着电影历史的脉络,然后穿透到整个我生活的片土地的整个的一个实际来通过多个层面的交织在一起,把这个故事给推演出来。
03:27所以这个故事有好几把钥匙,然后可以一层一层的打开它。
03:37做梦!
03:39做梦!
03:44做梦!
03:46做梦!
03:47做梦!
03:48做梦!
03:50做梦!
03:52做梦!
03:53做梦!
03:54做梦!
03:55做梦!
03:56做梦!
03:57you speak about layers it's almost you know i use the the aspect of a russian doll but
04:07everything it's layers of consciousness and by that way layers of existence how we see the dream
04:14world is because a dream can go into a dream can go into a dream um finding the visual language of
04:20that because it starts obviously with silent german expressionism and then moves through you
04:27know if the yozu ozu you know uh things like that and all the way till the final aspect which is more
04:34modern filmmaking and obviously doing the ronin shot is you know using the filmic language of today
04:41uh per se can you talk about using that language in each space in order to identify or not identify
04:50but sort of create your own language within that which came before you
04:55uh as he said actually actually this movie is always been through different
05:02different thoughts and emotions and ultimately to reach the end of the movie
05:09so the very important work of this movie is how to deal with every era and every era and every era
05:15um bases of like what is aimed character or something that really just relates to the event
05:18is becoming a specific work that Discount tin
05:20in terms of the decision
05:21so uh part of the documentary
05:23actually peter
05:23actually actually
05:23其實電影的脉絡比較基礎
05:25在這個電力面比較簡單和基礎
05:27但是
05:36D terrifying
05:37we
05:38必悠
05:39perspers
05:39comes
05:40然後
05:41Aussorted
05:42book
05:42思考幻梦的时候
05:43可以用一种视觉错位的方式去处理它
05:47到了听觉那个部分
05:5240年代
05:53然后有黑色电影的一些轮廓
05:57黑色电影的一些故事的构架
05:59但同时它那一段时期的那个幻觉
06:04我们怎么处理
06:05然后又加入了一些痛感
06:07寻找到里面的一种痛感
06:09一种关于秘密的痛感
06:11It's a kind of concept of the concept of Deliverance and the concept of Deliverance.
06:17Actually, the movie's opening tells the audience that the movie is the audience.
06:23Then, the audience is a part of the movie.
06:25On the other hand, there are some of the movie types of art.
06:31But the most important thing is that the movie art of art is a kind of experience.
06:38It's a kind of experience.
06:40And my last question,
07:10obviously philosophy, the notion of being is such a big point.
07:15And you just spoke about pain points and growing, growing is hard and growing as far as a species growing as a society, whichever country is very difficult.
07:26Can you talk about that notion of being of evolution, but also sometimes de-evolution in terms of how we have to see ourselves?
07:36Obviously, the aspect of identity changes based on where we live, who we are, how we see the world.
07:44Can you talk about that idea within the notion of your philosophical background?
07:49Because the idea existence versus non-existence, you know, what's the word for it?
07:57You know, immortality versus the aspect of the finite.
08:01All these things sort of play into resurrection.
08:04Resurrection itself is about rising from the dead.
08:08Could you talk about sort of those philosophical points to whichever point you would like to?
08:14And then I'll let you go.
08:15Because this movie, I just mentioned that it has several keys, and every key key key can open the door.
08:25I think the key key key to the door is about the existence of the危機.
08:30Because when the world starts to occur, the danger of the environment is going to be in the world, the danger of the world will be in the heart of the heart.
08:40So I think Resurrection is also based on the history of a century and the film's life.
08:52The most important thing is about the people who live in the land of my life, how to deal with this危機, how to deal with this situation.
09:01So the film is in order to separate people's feelings, through death, through death, through death, through death, through death, through death, through death.
09:11But at the end of the movie, it is also in order to separate people's feelings.
09:22So the name of the film is a very clear name.
09:26The name of the film is a very clear name.
09:44So the return of the film is a very clear name, and the meaning of the human being.
09:51I think it's true.
10:21身体的感官和世界的内层关系
10:23是一件很重要的事情
10:26不止电影重要
10:27而是感官和世界的关系
10:30变得很重要
10:31然后历史的抽象的概括很重要
