更多诚意,更大愿望,更多志向——访《惊蛰》导演王全安

• 作 者: 朱丹华 屠月
• 出 处: 电影新作
• 发表日期: 2004年04期
• 关键词: 王全安 创作风格 叙事手法 《秋菊打官司》 国产影片 商业类型 艺术形象 余男 纪实风格 小火车

一、创作风格朱:您的处女作电影《月蚀》在叙事手法、镜像语言等方面有独到特点,可以说是一部比较前卫新锐的电影,您当时也被列为中国内地新锐导演之一。而在《惊蛰》中,您似乎放弃了对于前卫形式的探索,选择了相对平和、质朴的创作风格。这种转变是有意的吗?在以后的创作中,您又会倾向于什么样的创作风格? 王:从第一部到第二部电影我个人一直是在摸索中。第一部电影手法上比较前卫,调用了很多元素,是因为从内容上这个题材适合这样表现,这样有针对性。中国一直以来的电影都是现实主义,比较信任看

First, the creative style Zhu: Your debut film “Eclipse” in the narrative techniques, mirror language and other aspects of the unique features, can be said to be a more cutting-edge new movie, you were also classified as one of the cutting-edge directors in mainland China. In “Jingzhe”, you seem to give up the exploration of the avant-garde form, choosing a relatively calm and rustic style of creation. This change is intentional? In the future creation, you will be inclined to what kind of creative style? Wang: From the first to the second film I personally have been exploring. The first movie is avant-garde approach, call a lot of elements, because the content from the theme suitable for such performance, so targeted. China’s movies have always been realistic, more trustful