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HighNoon | 7th Oct 2008 | 導演筆記Director'sNotes | (806 Reads)

<烈日當空>是我的首個個人長片,由資料搜集、創作劇本、尋找一眾新演員、拍攝,直到影片接近完成,我相信不並只是在拍一部關於青春的電影,而是在探索和經歷青春的狀態:CHAOSVOID,茫然,失措,混沌,偶爾狂喜,莽撞卻壓抑──<烈日當空>就是這樣躁動不安、情緒起伏如青春期受荷爾蒙刺激的一個作品。

故事雖屬虛構,現實卻如戲中少年獨白:「每一天都有更荒謬的事發生」,烈日當空下理應坦然無懼,陰晴不定的卻是少年少女稚嫩敏感的心靈;這部電影承載著同是香港長大、二十多歲的我,和當中十多歲少年人面對荒謬現實、殘酷青春的同步呼吸與吶喊。

 

或者,青春最錯,就是害怕犯錯但願青春中無可避免的創口,都隨時間自我癒合──像故事中的少年在缺失中,找到象徵自我療傷的根據。

麥曦茵

2008年3月28日

 Picture

(這幅Collage包含了我最初構思烈日當空的一些零碎插畫,和後來的電影拍攝時的劇照。戲裡戲外,每一個人物、細節都曾經在我腦海中盤旋...)

  High Noon is my first feature film. Throughout the process of research, conceptual mapping of script, casting, shooting, I believed that I was not simply making a movie about youth when the process almost came to an end—I was experiencing youthfulness with all its chaos, avoidance, confusion, ambiguity, bizarre emotions, spontaneity, commotion, suppressed recklessness, and with occasional joyous revelations but with concealed restlessness.  High Noon is such an emotional and impulsive movie.

  

  Although the plot is fictional, the reality is just similar to one of the lines in the script, stated by the main character, “There are more and more ridiculous issues that happen everyday”. The vibrant youngsters are innocent and fearless under the high noon, but also tender and sensitive in such chaotic, uproarious atmosphere. This movie embraced the simultaneous breathes and screams of myself and the youngsters in the movie, both raised in Hong Kong, facing the preposterous reality and cruel youth hood.

 

  Possibly the biggest hinder of youthfulness is to be afraid to make mistakes, yet often the only way for one to learn is from one’s own mistakes.  I hope that the inevitable trauma of youthfulness would naturally recover as time goes by, just like the scene that the one of the characters found the pearl, which symbolizes self-recovery.

 

Heiward Mak

28 Mar 2008