Métro Lumière: Hou Hsiao-Hsien à la rencontre de Yasujirô Ozu (2004) - full transcript
TAIPEI, AUGUST 2004
Our love for Asian films
is hard to put into words,
because it primarily feeds off of
our amazement.
Here, in Taiwan, Hou Hsiao Hsien
is considered to be a master,
who knows how to capture the meandering
of his country's history in the present.
The film he has just finished shooting
is an homage to a Japanese director
who died in 1963, Yasujiro Ozu.
He is the unchallenged master
of sublimated everyday routine.
The film Caf? Lumi?re is therefore
a place where two artists cross paths,
two artists passionate about their time,
the older of the two having left this earth.
NORTHERN LINE FILMS (PARIS)
PRESENTS
IN ASSOCIATION WITH
WRITTEN BY
HOU HSIAO-HSIEN
MEETS YASUJIRO OZU
The island of Taiwan was
a Japanese colony for 50 years, until 1945.
Born in China, Hou Hsiao Hsien
spent his life in Taiwan, where he shot:
"The Puppetmaster", "The Flowers
of Shanghai" and "Millennium Mambo".
He is an intuitive director, who eludes
the codes of Western cinema
the way a calligrapher eludes typewriters.
The Japanese asked him to direct
an homage to Ozu.
For the first time,
he accepted to work with a studio
and to follow the commission process.
Of course, it will limit your process.
Someone else is assigning the topic.
"You have to make a Japanese film."
Actually, it's very difficult
to cross national borders
and shoot the film of a different culture.
How many successful films
have you seen?
There are very few.
The reason is very simple.
For example, when we look at
Asian-themed films
made by foreign companies,
it's not accurate.
When we watch their films
about Chinese people, it's not accurate.
It's a very big challenge,
because they don't know about
the Chinese way of life, daily rituals, etc.
But I feel this is interesting.
It's a challenge; it's pretty interesting.
Secondly, I have been to Japan
many times.
I've heard and seen many things
about the Japanese.
Regarding the theme
of this Yasujiro film, suicide,
I have my own thoughts.
Japanese director Yasujiro Ozu directed
60 films before he died at the age of 60.
We know next to nothing about him.
He was the most evasive
and the most paradoxical man.
And yet his films are strikingly clear
and evident.
Ozu deals with technological progress
and the evolution of morals
with which the old generation is faced.
But he is always on the side
of the moderns.
Ozu reaches a form of serenity, and also
attempts to describe the questioning
and sometimes the harshness
of human relations.
You know the Yamaokas...
- Who?
- The family above us on the third floor.
Yeah... the insurance salesman.
Yes. His wife was in the hospital.
Really... why?
She's home now.
With a cute baby boy.
Oh, she had a baby.
They say they want to name him Koichi.
Just like you.
So I told them not to.
Koichi is a good name.
No, it's not.
I don't want the baby
to grow up to be like you.
We don't need another Koichi.
Want some grapes?
I bought some today.
I'll have some tomorrow.
I'm sleepy.
Make my bed.
Wait a second.
I want to eat some.
Make your own bed.
AN AUTUMN AFTERNOON (1962)
About the refrigerator, it's a better deal
if you buy it with one payment.
You'll get a discount, too.
When I was making
"All the Youthful Days,"
the assistant director
recommended this film to me.
I watched a bit of it at home.
Maybe it was because of my age,
but I didn't particularly like it.
And I fell asleep before the movie finished.
So that was it.
Until I made
"The Time to Live and the Time to Die."
After finishing, I went to Paris.
During that time, I ran into Mark.
He told me that there was a good movie,
and that I had to watch it.
It's Yasujiro's silent film,
called "I Was Born, but..."
I watched that film,
and I felt it was very good.
I WAS BORN, BUT... (1932)
I think it's interesting without the sound,
because there was no sound to rely on,
there was no dialogue to rely on.
The image, movement,
the sense of movement and people's
behavior itself had to convey all meaning.
To convey agreement, feeling, etc.
You could do a lot.
Unfortunately, we soon had sound.
To make a film like Yasujiro's
Caf? Lumi?re,
I wanted to see
what Yasujiro's film conveys.
What is its background?
Yasujiro's early films already had
a kind of feeling and taste of life.
At that time it was more cheerful
and relaxed.
They processed all the different tastes
that life brought.
After being defeated in World War II,
the whole country surrendered
and brought about changes.
He's also been to China
and southern Asia.
Which helped strengthen and enrich
how he processed the meaning
and feeling of life in his movies.
EQUINOX FLOWER (1958)
Ahh, that feels good.
You know...
What is it?
Sometimes I think about...
how during the war,
when the enemy planes came,
we all used to rush
into the air-raid shelter.
Setsuko was still in the first-grade.
Hisako was barely walking.
Four of us were sitting in the dark.
I thought if we died here,
we would all be together.
Yeah... that's right.
I hated the war.
But I miss those days sometimes.
How about you?
I don't miss it.
I hated those days.
We didn't have anything.
All the lowlifes bossing us around.
For me, it was nice.
That was the only time
when the four of us were so close.
Are you complaining because
I've been coming home late these days?
After World War II, the defeat of Japan,
in the process of rebuilding Japan,
there were a lot of changes
and industrialization.
There was a kind of worry.
He added this worry to his movies,
adding to his feeling towards life,
making it thicker.
Japan today is completely different.
It has a strong economy.
It has recovered fully and is back again.
However, there is still a problem of family,
and this problem is
very different than before.
The ability of women to involve themselves
in society and survive on their own
is much different than before.
It has changed completely.
It is a highly-industrialized,
well-established,
well-organized social structure.
The distance between people
in the big cities became more obvious.
It's a totally different time from Yasujiro's.
AN AUTUMN AFTERNOON (1962)
Your brother is very nice to his wife,
isn't he?
He is quite bossy to us.
I guess a man should be nice to his wife.
Yes... but I don't like it
when a man is too nice, either.
Is that right? Sounds complicated.
Here comes the train.
Looking at them today,
Yasujiro's movies are art films.
At that time they were very popular.
They related to everyday life,
and their styles were very special.
Hou Hsiao Hsien is often referred to
as a movie character himself:
A hoodlum who became
an internationally-lauded director,
a sentimental man, but also a real yakuza
who likes dark bars and Cognac.
And yet his offices are in a residential
and anonymous suburb.
The name of his company
doesn't even appear on the door.
Hou Hsiao Hsien seems to work there
in the afternoon, with friends or family.
For 31 years, Liao Ching-Song has been
following the Taiwanese New Wave.
He's also his film editor.
Hou Hsiao Hsien asked him
to be his producer as well.
Those two functions are rarely held by
one person, but it allows him to follow
Hou Hsiao Hsien's handcrafted
filmmaking from A to Z.
At that time, Taiwan had three types
of movies: For the living room, etc.
We went from old-style movies
to the new literary movies.
The Taiwanese economy took off
during the 1980s.
At the same time, the format
of Taiwanese movies was changing.
In order to be effective,
one had to restrict and limit.
There was little room
for making breakthroughs in film.
That's why we need artistic movies.
Artistic movies have a lower budget,
and you can experiment in different ways.
Director Hou was trained like this.
Obviously, among the new wave
of movie directors,
Director Hou has
the most complete experience.
You can see, with this generation of new
wave directors, all of them are burdened.
Because everyone is educated to love
your political party and country.
We received traditional education.
We grew up with traditional
Chinese education.
Director Hou has gone from being
a commercial director to what he is today.
He is following his heart.
FOR THE CENTENARY
OF OZU YASUJIRO'S BIRTH
Before Caf? Lumi?re, I worked with
Yasujiro on three movies.
We were cooperating at that time;
it was very pleasant.
We didn't have any problems.
This time was a very different experience.
Because I actually had to work
with their crew.
Besides filming, audio recording,
and the director's team,
everyone else was their crew.
They had directing
and production groups as well.
The division of labor was very detailed.
For example, there were specialized crew
to take care of location, onsite, finance, etc.
They held meetings to discuss every issue,
and clarified everything.
We were not used to it at all.
It was all common sense.
We were all in the same business;
we were quick to understand.
Their division of labor was very detailed.
It should not be called
"Taiwan movie style,"
it should be the "Hou Hsiao-Hsien style."
He is like a Taoist.
The Japanese are like
Oyomei Gaku followers.
The Japanese follow the Wang Yang Ming
(Oyomei) school of thought.
The style of Oyomei Gaku is very clear.
Taoism is a bit vague.
Therefore, during collaboration,
both sides needed to adjust to each other.
My feeling about Japan
came from novels.
I read a lot of translations
of Japanese novels when I was young,
including those of various
Japanese authors.
Later I read a lot of books
about the history of Taiwan
and the Taiwanese democratic movement,
how Taiwanese people
view the Japanese.
Under Japanese colonial rule,
we have another understanding of Japan.
We watched a lot of Japanese movies
during our childhood,
like the yakuza movies,
movies after the Japanese mafia.
Although after World War II
Japan left Taiwan,
Japanese movies were still popular
in Taiwan
until the establishment
of diplomatic relations with China.
Japanese movies were then not allowed
to be shown in Taiwan.
During my childhood,
my house was Japanese-styled tatami.
I didn't have any special feeling
when living there;
it was normal to live there.
In our language,
many words in the Min Nan dialect
came from the Japanese language.
At a Japanese Karaoke, you could find
songs that had Taiwanese versions,
so you could follow along and sing.
So I was under the influence of Japan
subconsciously since I was young.
The biggest difference filming this time,
filming Caf? Lumi?re,
is that my feeling towards Japan changed.
In Japan I am considered
a popular director,
and many people like my movies.
I just knew Japanese people
involved with moviemaking.
You can see the details of the real Japan
after careful observation.
But it is still different than the Japan
you come in touch with.
You learn about their strictness,
their maturity, and lack of space.
Therefore they suffer
from a lot of pressure.
When the pressure reaches
a certain degree,
it gets tense in one's personal space.
Others are not allowed into this space.
One's own area, e.g. One's flat, etc.
When I look back,
my wedding was...
nothing extravagant and rather plain.
This is my wife here.
It was not love
which brought us together.
We simply conformed
to what our parents had arranged.
On the contrary,
you two are very fortunate.
I cannot help feeling envious.
In the years to come, I hope you two
will work together.
You probably don't have to work
any harder, but...
I hope you live in harmony
and raise a happy family.
I also hope you'll always be
our shining example
and become the envy of all.
Thank you.
Congratulations.
EQUINOX FLOWER (1958)
Thank you very much.
Don't mention it.
It's a special nation.
You can't just say it's good or anything.
Basically, you need to come
to an understanding,
and how to get along with it.
You need to know why there was a
Second World War, what happened, etc.
We can't say that Japan's way is wrong.
To me, I can learn their precision,
carefulness, continuous meetings.
We can learn from them.
But the question is, more importantly,
who is the creator today?
Today it's Director Hou.
He needs an environment for creation.
To Director Hou, Caf? Lumi?re
should be a challenge.
After filming, I was worried whether
the Japanese thought it was Japanese.
After watching it, they all said
that they had never watched a movie
that was more like Japan.
But they mentioned something to me.
In Japan, it's rare, almost impossible,
to have a Japanese director
make a movie like this.
Here is the actor Kobayashi Nenji
in front of the train station.
He plays a father waiting for
his only daughter Yoko,
who is coming back
after a long period of absence.
He doesn't seem very comfortable.
His silence speaks louder than words.
His gestures speak louder
than his silence.
His wife left when the child
was three years old.
He himself has spent too much time
away from home on business trips.
With time, the father
felt his daughter drifting away.
Today, Yoko has contacted her dad
and his new wife again.
But he doesn't know
how to communicate
with a young contemporary
Japanese woman,
who lives her life alone,
without answering to anyone.
It's been a while...
How long can you stay?
A couple of days.
You...
What is it?
Don't tell me you are involved
with the man.
Hey!
Father...
Why can't you trust me a little more?
He's not such a bad person.
Anyway, let her think it over.
She doesn't have to go to work.
I don't care if she quits.
You watch her,
and don't let her go out.
I will never approve of such a thing.
No marriage, of course.
Do you get it?
My pajamas!
EQUINOX FLOWER (1958)
Hou Hsiao Hsien's cinema
is rooted in the cultural relations
that still solidly bind Japan to Taiwan.
The making of Caf? Lumi?re
symbolizes in itself the complex
but rich relationship existing between two
peoples, beyond geopolitical barriers.
Hou Hsiao Hsien chooses a musician
to be the incarnation of this relationship.
A musician born in Taiwan
who made it in Japan in the '30s.
Our heroine Yoko embarks on a quest
to find Jiang Wen-Ye,
just like Hou Hsiao Hsien
goes to meet Tokyo.
I like the old bookstores
like the one in Jimbocho.
I use it as a center of activity because
it can be used for imaginary sequences.
How did you come here?
Where do you live?
What is your background?
Where is a better place for you to stay?
Excuse me...
My name is Inoue, and I'm a writer.
I'd like to ask you some questions.
I'm researching a man
named Mr. Jiang Wen-Ye.
- Mr. Jiang Wen-Ye?
- Yes.
What kind of...?
A composer, Taiwanese.
He came here very often.
First we set Jiang Wen-Ye's profession.
He went to Japan at about 13,
during Japan's occupation of Taiwan.
That year his mother died.
I think his background is a bit similar.
Oh, he wrote poems, too.
Yes... that's a picture
of "Pansy" and "Sweet Pea."
I was "Pansy."
I had a round funny face.
He said I looked like a pansy.
That's why he called you Pansy.
Yes, he called me, "Pansy, Pansy..."
And he said he was slender
like a sweet pea.
I was calling him, "Pea, Pea..."
I see.
But the feeling between him
and his Japanese wife,
and after they have a child,
is different in Caf? Lumi?re.
I didn't portray it clearly,
but the comparison is interesting.
He was like from Yasujiro's time.
That kind of love, you can feel
the difference from the photos.
You two were really close.
Yes. What can I say...
When I tell people these stories,
they all sound made-up.
I don't think so.
But they are all true, really.
Not only did it exist,
it became more complicated,
because the whole viewpoint changed.
The viewpoint of a person,
the so-called individual.
Hou Hsiao Hsien
wants to film our present.
But how does one work
in an unknown language?
How to invent a story in a country
where one is a foreigner?
How to write a script when one wants to
capture the truth of the instant?
The basis of the plot was from the stories
that my Japanese friends told me.
Later, I read some about it.
But when I needed to shoot a real Tokyo,
it was simple; I just found a map.
I found a map of Tokyo.
A map of of trains, for scenery.
I found one that was good,
so I wondered how the train actually ran.
I took the tramcar from here,
then to Yamanote.
I became familiar
with his area of activity.
Why did he appear at this stop
and change trains?
It becomes very clear to you.
I used real Tokyo
to set the coordinates.
Basically use the simplest method,
and draw the coordinates of Tokyo
and its real lines.
You use a familiar city, such as Taipei,
or you only think about movies
in your mind.
You can transport yourself to any place.
You needn't be restricted by logic.
But because you are not familiar
with Tokyo, you have such logic.
But it doesn't matter,
and it only tells you why it's here.
Why the activity occurs here
and why things happened at that time.
Therefore, I had a map.
I used the map, the simplest one,
when I shot the film in Tokyo.
We just lived here...
the area is the town of Ueda.
Our range of movement was from here,
then from to Qiu yue Yuan,
and then via the central line
to Yamanote...
This was the line she wanted to take.
Look at the tall buildings in the city.
The buildings belong to the area
next to the pavement.
It's impossible to set up equipment
in the area of the buildings.
Although lots of people are passing by,
there were two guards.
We waited, and when the actors
were ready, we shot and left.
When the guard came, we were back
at the crosswalk and on the pavement.
That's how we shot.
It's such an important tramcar in Tokyo,
that the Japanese directors
didn't dare shoot there.
They usually borrow a private tramcar line
to shoot, which is easy to borrow,
then they shoot and replace it.
It's impossible to shoot
on the Tokyo JR train.
This script is about the story of Tokyo.
If I couldn't shoot this, couldn't shoot JR,
then it's all over.
JR is the most important,
the central line and Yamanote line.
The two lines are the most important.
If both of them couldn't be shot,
then it wouldn't be right.
If there were no subway
or tramcar in Tokyo,
that's not Tokyo.
If they allowed us to shoot,
then many movie companies
would apply to shoot there, too.
They're afraid of this kind of trouble.
And when you want to shoot,
it's like this in Japan...
if they agreed to let you shoot a train,
you can only shoot the appointed stop,
and shoot the appointed car.
They have a well-organized arrangement
for the sake of safety.
We shot in the tramcar
for about 20 to 30 days.
We got into it and shot, and stopped
when something happened.
We went to work casually dressed.
So did Director Hou.
Everyone had his own way to cover up.
Everyone wore shorts.
In order to avoid reflection,
we all wore black shirts.
It looked like an open secret activity.
People could tell
that we were not Japanese.
The most difficult shot was the tramcar.
You need to shoot that tramcar
from this one.
You need to see that person
and this person.
We shot 13 times.
Almost 13 afternoons.
From noon to afternoon.
Because we couldn't shoot
during rush hour.
We went there every day.
It was a bit like gambling.
We weren't sure whether we could get it.
Our photographer, Lee Ping-Bing,
he needed to be aware of everything
from all sides.
He saw very clearly,
but it was very complicated.
Everyone had to be in sync.
Nobody would tell you
which car to get on.
Everyone needed to cooperate
to get on the same one.
We had to be synchronized.
Otherwise, we had to look for each other.
How about changing the name
to Tramcar Lumi?re?
Sound good?
When we edited the movie,
everything was the tramcar.
Therefore, sometimes we joked
and said that the film could be called
Tramcar Lumi?re.
Please take all your belongings with you
when leaving the train.
Thank you for traveling with us.
Later we hired a caf? to shoot in.
The local producer asked
who should be the waiter,
who should be the master?
I said they should.
"They should?"
We used the spare time
of their business.
While shooting,
we ignored the customers coming in.
Customers entered as usual.
If they came in, took a look and left,
it didn't matter.
I would shoot it again, I didn't care.
That's how we filmed.
It's completely different
from the Japanese way of filming.
The same for the bookstore.
I shot in the same way.
I went in, shot for that day, and left.
I came in another day, and spent
a very short period of time.
Because I knew that I couldn't
get the shot on the first day.
I needed time to get into it.
So did the actors and actresses.
Whether they could behave
like the people there, it's very important.
Everything took time.
So it should not take long the first time.
That was how I approached the filming.
I completed it by observation of reality
and continuously adjusting.
He had a very clear image of what
he had to do to complete this film.
His creation was not made
in a precise manner.
Many directors design everything clearly.
Every director has his own style.
What he wanted was
the most natural style.
Therefore, I think he is a Taoist.
He wants to seek, so we all followed him.
It was very funny.
A cat was walking, and the director
followed it closely.
If you looked behind the director,
you could see a group of his crew
following on tiptoe.
What we want is the atmosphere
of the scenes.
What is it?
I'm pregnant.
Whose is it?
My Taiwanese boyfriend.
Boyfriend?
You know how often I visit Taiwan.
But I won't marry him.
In Taiwan, if you want to shoot
a dark humor movie...
which actor or actress can make it?
Especially when the structure is very tight,
it's impossible to do it.
From the beginning of our making films,
we were always overcoming problems.
Lack of actors and actresses
and equipment,
lack of everything,
the limitation of shooting a real site, etc.,
especially the actors.
People mention my use of telephoto.
There was no other choice.
Because you can set up cameras
around actors,
but what about
the non-professional actors?
When you look at them from a distance,
they won't be nervous
and it's easy for them.
You can judge
and zoom them into the shot.
Even professional actors, to me,
are non-professional.
I will observe you,
find your characteristic, and explore it.
Or reform and recreate your character.
The difference with Ozu
is that Ozu is all-knowing.
An angle of all aspects.
He can shoot a person,
his brother, his parents...
I mainly follow the characters.
It's easier for me to shoot.
The form of expression will be different.
The form of expression
sometimes is indirect.
Not like Yasujiro, not that clear.
Not very clear also is reflecting
modern society, the complexity of people.
The actress in the film
was born in Tokyo herself,
of a Taiwanese father
and a Japanese mother.
It is Yo Hitoto's first role on the screen.
In Japan she writes, composes
and performs her own music
and enjoys a wide success.
Her fans appreciate her poetry
and her ironic texts.
There was a very large hall.
That's where I read that book.
I was sure it should be her.
Then I went to understand her situation.
And according to her situation,
I adjusted the character.
She had just released
her first CD in Taiwan.
My casting staff introduced her to me,
she said that she was good.
Later we listened to her singing,
and it's very nice, and she looks nice too.
The days my father
used to watch over me...
are fading away one by one...
It was you.
I have become more delicate.
But I don't know
when my wish will come true.
I don't care if nothing great happens.
But I wouldn't mind if it did happen.
She graduated from Qingying University.
She majored in Urban Studies,
an unusual subject.
She is very interested in modern arts
and modern architecture.
And you can tell that she has
her own opinions and is very confident.
I felt that she is an independent character,
the character that I want.
So I decided to use her.
Then I had to see
which man was suitable for her.
When I met Tadanobu,
I felt that he was special.
He had been an actor in many films.
He looks very simple,
and a little bit shy.
I wanted to find a young proprietor
of a bookstore.
He looked very much the part.
He could sit still and he was very calm.
It was a fun process.
Like the part where he drew
with the computer.
His drawing was very abstract
and imaginative. It was interesting.
I told him that his character
is a fan of tramcars,
and that he draws
the Yamanote tramcar in the movie.
After reading the play,
he drew the tramcar himself.
I saw it and it was very nice.
It was used for our shooting.
This was how I interacted with actors.
He was very nice.
If you choose a wrong actress or actor,
then you failed.
After choosing an actress,
you know who will be the counterpart.
The counterpart will be good.
You should find their keynote.
Then design and imagine
according to them.
You inspect them from
the very beginning to the end and adjust.
Lead them in.
The difficult part is the character.
Including the relationship
with his parents.
Can I get the effect
that I want during filming?
It's very difficult.
I'd be expected to help
with the business...
They produce umbrellas?
They had a factory in Thailand,
then moved it to China.
Xiao Lin, the character, I hoped
that he could say something.
I told him, but he didn't say anything.
His silence made the character
of the mom nervous.
Mom was waiting for him
to say something
and became nervous,
which became very interesting.
She looked worried.
This subtle expression appeared.
He's forever saying,
"Come to Thailand!"
Thailand...
Yes.
Later he didn't say anything.
I thought that was good, too.
In fact, he couldn't communicate with her
from a certain point of view.
It's the generation gap that prevented him
from communication,
between the previous generation
and this generation.
He expressed himself in this way,
and I think he had his point.
It fit Japanese society.
I like the shooting site very much,
looking at actors and their interactions.
In the process of shooting,
I set the scene,
start looking for them,
and then we all get into the scene.
I constantly watch
and make adjustments.
I watch from the sidelines,
and make adjustments until I am satisfied.
I like a scene when it resembles reality.
It's not reality, it's our creation,
but the created reality
is equal to the reality.
I feel this picture and atmosphere
will last forever.
This is my habit from a long time of
making films and overcoming problems.
First of all, we need imagination, and then
observe according to their conditions.
Then give them freedom to complete it,
and examine the results.
It's difficult to tell,
but you keep on making adjustments.
After shooting each day
I would go back
and consider which part should be cut,
and what should be added to the film.
The original title was Caf? Lady.
Caf? Lady.
Later it was changed to Caf? Lumi?re.
In here are general records
of separate scenes.
Some details of shooting, a lot inside,
including the shooting schedule.
This one contains general records
of every scene after completion.
Completed scenes
would be marked "OK."
Normally one scene after another.
Tokyo, Tokyo, the last stop...
EQUINOX FLOWER (1958)
- Is this a lucky day?
- What?
Wonder if it's lucky...
there are so many newlyweds.
None of the brides is pretty.
Did you see the bride
on the train to Atami?
Yeah, that plump one.
She was pretty good.
She's today's winner.
Are we having some bad weather?
There's a warning.
Bad things always follow good things.
Here they come again.
That's no good.
She's too skinny.
STRONG WIND ADVISORY
I saw Yasujiro's script
with scene breakdown.
The length of time for each scene,
according to the schedule, the time of
one shot might take only one minute.
How much film would be needed,
how long the whole movie is,
how much total film is needed.
It was about 10,000-20,000 feet.
Yasujiro worked
during the time of movie studios.
There were many directors
in a big company.
There was a notice at the gate,
announcing how much film was used
to complete a movie for each director,
including how well it sold in theaters.
It was very difficult to shoot
simultaneously at that time.
They had less flexibility
in the time of movie studios.
He used his favorite way,
the easiest method.
He had a family of actors.
For example,
he always used Li Zhi Zhong.
For a period of time,
it's another actress (Yuanjiezi).
Sometimes, Li acted as his sister,
and sometimes as his daughter.
Because for him, these actors
were very close to reality,
and he thought them convincing.
So did you see Fumiko?
Yes, she comes home once in a while.
She's somehow doing all right.
It's not easy, is it?
Raising children...
After all, the parents always lose.
Things don't go as you planned.
That's right.
We must be getting old.
We're talking about our children
at the class reunion.
Right.
"Seasons change
while you are dreaming..."
EQUINOX FLOWER (1958)
Then he arranged
the symbols of life on them,
to develop his plot.
Therefore, he came out
with his own fixed style.
It's the system of movie studios
at that time and under that condition
which was difficult,
but the most effective way.
It's not the same as ours.
There are real differences
between Hou Hsiao Hsien and Ozu,
but they are sources of inspiration.
What is left of the model
of this homage, then?
What do we see of Ozu
in your film, Mr. Hou?
No, I know what he meant.
But I couldn't realize it while shooting.
Even though I could realize it when
accepting the play and before shooting.
The problem is that I couldn't realize it
while shooting.
You still follow your own habits
and your way of shooting.
He was very natural, and it's different.
If the audience were interested,
they can watch this film with one of
Yasujiro's films, such as Late Spring.
They should have a better understanding
of Yasujiro's method.
It's like a mirror in front of you.
We shot similar themes,
but with different methods
of shooting.
That's how we honor him.
Our love for Asian films
is hard to put into words,
because it primarily feeds off of
our amazement.
Here, in Taiwan, Hou Hsiao Hsien
is considered to be a master,
who knows how to capture the meandering
of his country's history in the present.
The film he has just finished shooting
is an homage to a Japanese director
who died in 1963, Yasujiro Ozu.
He is the unchallenged master
of sublimated everyday routine.
The film Caf? Lumi?re is therefore
a place where two artists cross paths,
two artists passionate about their time,
the older of the two having left this earth.
NORTHERN LINE FILMS (PARIS)
PRESENTS
IN ASSOCIATION WITH
WRITTEN BY
HOU HSIAO-HSIEN
MEETS YASUJIRO OZU
The island of Taiwan was
a Japanese colony for 50 years, until 1945.
Born in China, Hou Hsiao Hsien
spent his life in Taiwan, where he shot:
"The Puppetmaster", "The Flowers
of Shanghai" and "Millennium Mambo".
He is an intuitive director, who eludes
the codes of Western cinema
the way a calligrapher eludes typewriters.
The Japanese asked him to direct
an homage to Ozu.
For the first time,
he accepted to work with a studio
and to follow the commission process.
Of course, it will limit your process.
Someone else is assigning the topic.
"You have to make a Japanese film."
Actually, it's very difficult
to cross national borders
and shoot the film of a different culture.
How many successful films
have you seen?
There are very few.
The reason is very simple.
For example, when we look at
Asian-themed films
made by foreign companies,
it's not accurate.
When we watch their films
about Chinese people, it's not accurate.
It's a very big challenge,
because they don't know about
the Chinese way of life, daily rituals, etc.
But I feel this is interesting.
It's a challenge; it's pretty interesting.
Secondly, I have been to Japan
many times.
I've heard and seen many things
about the Japanese.
Regarding the theme
of this Yasujiro film, suicide,
I have my own thoughts.
Japanese director Yasujiro Ozu directed
60 films before he died at the age of 60.
We know next to nothing about him.
He was the most evasive
and the most paradoxical man.
And yet his films are strikingly clear
and evident.
Ozu deals with technological progress
and the evolution of morals
with which the old generation is faced.
But he is always on the side
of the moderns.
Ozu reaches a form of serenity, and also
attempts to describe the questioning
and sometimes the harshness
of human relations.
You know the Yamaokas...
- Who?
- The family above us on the third floor.
Yeah... the insurance salesman.
Yes. His wife was in the hospital.
Really... why?
She's home now.
With a cute baby boy.
Oh, she had a baby.
They say they want to name him Koichi.
Just like you.
So I told them not to.
Koichi is a good name.
No, it's not.
I don't want the baby
to grow up to be like you.
We don't need another Koichi.
Want some grapes?
I bought some today.
I'll have some tomorrow.
I'm sleepy.
Make my bed.
Wait a second.
I want to eat some.
Make your own bed.
AN AUTUMN AFTERNOON (1962)
About the refrigerator, it's a better deal
if you buy it with one payment.
You'll get a discount, too.
When I was making
"All the Youthful Days,"
the assistant director
recommended this film to me.
I watched a bit of it at home.
Maybe it was because of my age,
but I didn't particularly like it.
And I fell asleep before the movie finished.
So that was it.
Until I made
"The Time to Live and the Time to Die."
After finishing, I went to Paris.
During that time, I ran into Mark.
He told me that there was a good movie,
and that I had to watch it.
It's Yasujiro's silent film,
called "I Was Born, but..."
I watched that film,
and I felt it was very good.
I WAS BORN, BUT... (1932)
I think it's interesting without the sound,
because there was no sound to rely on,
there was no dialogue to rely on.
The image, movement,
the sense of movement and people's
behavior itself had to convey all meaning.
To convey agreement, feeling, etc.
You could do a lot.
Unfortunately, we soon had sound.
To make a film like Yasujiro's
Caf? Lumi?re,
I wanted to see
what Yasujiro's film conveys.
What is its background?
Yasujiro's early films already had
a kind of feeling and taste of life.
At that time it was more cheerful
and relaxed.
They processed all the different tastes
that life brought.
After being defeated in World War II,
the whole country surrendered
and brought about changes.
He's also been to China
and southern Asia.
Which helped strengthen and enrich
how he processed the meaning
and feeling of life in his movies.
EQUINOX FLOWER (1958)
Ahh, that feels good.
You know...
What is it?
Sometimes I think about...
how during the war,
when the enemy planes came,
we all used to rush
into the air-raid shelter.
Setsuko was still in the first-grade.
Hisako was barely walking.
Four of us were sitting in the dark.
I thought if we died here,
we would all be together.
Yeah... that's right.
I hated the war.
But I miss those days sometimes.
How about you?
I don't miss it.
I hated those days.
We didn't have anything.
All the lowlifes bossing us around.
For me, it was nice.
That was the only time
when the four of us were so close.
Are you complaining because
I've been coming home late these days?
After World War II, the defeat of Japan,
in the process of rebuilding Japan,
there were a lot of changes
and industrialization.
There was a kind of worry.
He added this worry to his movies,
adding to his feeling towards life,
making it thicker.
Japan today is completely different.
It has a strong economy.
It has recovered fully and is back again.
However, there is still a problem of family,
and this problem is
very different than before.
The ability of women to involve themselves
in society and survive on their own
is much different than before.
It has changed completely.
It is a highly-industrialized,
well-established,
well-organized social structure.
The distance between people
in the big cities became more obvious.
It's a totally different time from Yasujiro's.
AN AUTUMN AFTERNOON (1962)
Your brother is very nice to his wife,
isn't he?
He is quite bossy to us.
I guess a man should be nice to his wife.
Yes... but I don't like it
when a man is too nice, either.
Is that right? Sounds complicated.
Here comes the train.
Looking at them today,
Yasujiro's movies are art films.
At that time they were very popular.
They related to everyday life,
and their styles were very special.
Hou Hsiao Hsien is often referred to
as a movie character himself:
A hoodlum who became
an internationally-lauded director,
a sentimental man, but also a real yakuza
who likes dark bars and Cognac.
And yet his offices are in a residential
and anonymous suburb.
The name of his company
doesn't even appear on the door.
Hou Hsiao Hsien seems to work there
in the afternoon, with friends or family.
For 31 years, Liao Ching-Song has been
following the Taiwanese New Wave.
He's also his film editor.
Hou Hsiao Hsien asked him
to be his producer as well.
Those two functions are rarely held by
one person, but it allows him to follow
Hou Hsiao Hsien's handcrafted
filmmaking from A to Z.
At that time, Taiwan had three types
of movies: For the living room, etc.
We went from old-style movies
to the new literary movies.
The Taiwanese economy took off
during the 1980s.
At the same time, the format
of Taiwanese movies was changing.
In order to be effective,
one had to restrict and limit.
There was little room
for making breakthroughs in film.
That's why we need artistic movies.
Artistic movies have a lower budget,
and you can experiment in different ways.
Director Hou was trained like this.
Obviously, among the new wave
of movie directors,
Director Hou has
the most complete experience.
You can see, with this generation of new
wave directors, all of them are burdened.
Because everyone is educated to love
your political party and country.
We received traditional education.
We grew up with traditional
Chinese education.
Director Hou has gone from being
a commercial director to what he is today.
He is following his heart.
FOR THE CENTENARY
OF OZU YASUJIRO'S BIRTH
Before Caf? Lumi?re, I worked with
Yasujiro on three movies.
We were cooperating at that time;
it was very pleasant.
We didn't have any problems.
This time was a very different experience.
Because I actually had to work
with their crew.
Besides filming, audio recording,
and the director's team,
everyone else was their crew.
They had directing
and production groups as well.
The division of labor was very detailed.
For example, there were specialized crew
to take care of location, onsite, finance, etc.
They held meetings to discuss every issue,
and clarified everything.
We were not used to it at all.
It was all common sense.
We were all in the same business;
we were quick to understand.
Their division of labor was very detailed.
It should not be called
"Taiwan movie style,"
it should be the "Hou Hsiao-Hsien style."
He is like a Taoist.
The Japanese are like
Oyomei Gaku followers.
The Japanese follow the Wang Yang Ming
(Oyomei) school of thought.
The style of Oyomei Gaku is very clear.
Taoism is a bit vague.
Therefore, during collaboration,
both sides needed to adjust to each other.
My feeling about Japan
came from novels.
I read a lot of translations
of Japanese novels when I was young,
including those of various
Japanese authors.
Later I read a lot of books
about the history of Taiwan
and the Taiwanese democratic movement,
how Taiwanese people
view the Japanese.
Under Japanese colonial rule,
we have another understanding of Japan.
We watched a lot of Japanese movies
during our childhood,
like the yakuza movies,
movies after the Japanese mafia.
Although after World War II
Japan left Taiwan,
Japanese movies were still popular
in Taiwan
until the establishment
of diplomatic relations with China.
Japanese movies were then not allowed
to be shown in Taiwan.
During my childhood,
my house was Japanese-styled tatami.
I didn't have any special feeling
when living there;
it was normal to live there.
In our language,
many words in the Min Nan dialect
came from the Japanese language.
At a Japanese Karaoke, you could find
songs that had Taiwanese versions,
so you could follow along and sing.
So I was under the influence of Japan
subconsciously since I was young.
The biggest difference filming this time,
filming Caf? Lumi?re,
is that my feeling towards Japan changed.
In Japan I am considered
a popular director,
and many people like my movies.
I just knew Japanese people
involved with moviemaking.
You can see the details of the real Japan
after careful observation.
But it is still different than the Japan
you come in touch with.
You learn about their strictness,
their maturity, and lack of space.
Therefore they suffer
from a lot of pressure.
When the pressure reaches
a certain degree,
it gets tense in one's personal space.
Others are not allowed into this space.
One's own area, e.g. One's flat, etc.
When I look back,
my wedding was...
nothing extravagant and rather plain.
This is my wife here.
It was not love
which brought us together.
We simply conformed
to what our parents had arranged.
On the contrary,
you two are very fortunate.
I cannot help feeling envious.
In the years to come, I hope you two
will work together.
You probably don't have to work
any harder, but...
I hope you live in harmony
and raise a happy family.
I also hope you'll always be
our shining example
and become the envy of all.
Thank you.
Congratulations.
EQUINOX FLOWER (1958)
Thank you very much.
Don't mention it.
It's a special nation.
You can't just say it's good or anything.
Basically, you need to come
to an understanding,
and how to get along with it.
You need to know why there was a
Second World War, what happened, etc.
We can't say that Japan's way is wrong.
To me, I can learn their precision,
carefulness, continuous meetings.
We can learn from them.
But the question is, more importantly,
who is the creator today?
Today it's Director Hou.
He needs an environment for creation.
To Director Hou, Caf? Lumi?re
should be a challenge.
After filming, I was worried whether
the Japanese thought it was Japanese.
After watching it, they all said
that they had never watched a movie
that was more like Japan.
But they mentioned something to me.
In Japan, it's rare, almost impossible,
to have a Japanese director
make a movie like this.
Here is the actor Kobayashi Nenji
in front of the train station.
He plays a father waiting for
his only daughter Yoko,
who is coming back
after a long period of absence.
He doesn't seem very comfortable.
His silence speaks louder than words.
His gestures speak louder
than his silence.
His wife left when the child
was three years old.
He himself has spent too much time
away from home on business trips.
With time, the father
felt his daughter drifting away.
Today, Yoko has contacted her dad
and his new wife again.
But he doesn't know
how to communicate
with a young contemporary
Japanese woman,
who lives her life alone,
without answering to anyone.
It's been a while...
How long can you stay?
A couple of days.
You...
What is it?
Don't tell me you are involved
with the man.
Hey!
Father...
Why can't you trust me a little more?
He's not such a bad person.
Anyway, let her think it over.
She doesn't have to go to work.
I don't care if she quits.
You watch her,
and don't let her go out.
I will never approve of such a thing.
No marriage, of course.
Do you get it?
My pajamas!
EQUINOX FLOWER (1958)
Hou Hsiao Hsien's cinema
is rooted in the cultural relations
that still solidly bind Japan to Taiwan.
The making of Caf? Lumi?re
symbolizes in itself the complex
but rich relationship existing between two
peoples, beyond geopolitical barriers.
Hou Hsiao Hsien chooses a musician
to be the incarnation of this relationship.
A musician born in Taiwan
who made it in Japan in the '30s.
Our heroine Yoko embarks on a quest
to find Jiang Wen-Ye,
just like Hou Hsiao Hsien
goes to meet Tokyo.
I like the old bookstores
like the one in Jimbocho.
I use it as a center of activity because
it can be used for imaginary sequences.
How did you come here?
Where do you live?
What is your background?
Where is a better place for you to stay?
Excuse me...
My name is Inoue, and I'm a writer.
I'd like to ask you some questions.
I'm researching a man
named Mr. Jiang Wen-Ye.
- Mr. Jiang Wen-Ye?
- Yes.
What kind of...?
A composer, Taiwanese.
He came here very often.
First we set Jiang Wen-Ye's profession.
He went to Japan at about 13,
during Japan's occupation of Taiwan.
That year his mother died.
I think his background is a bit similar.
Oh, he wrote poems, too.
Yes... that's a picture
of "Pansy" and "Sweet Pea."
I was "Pansy."
I had a round funny face.
He said I looked like a pansy.
That's why he called you Pansy.
Yes, he called me, "Pansy, Pansy..."
And he said he was slender
like a sweet pea.
I was calling him, "Pea, Pea..."
I see.
But the feeling between him
and his Japanese wife,
and after they have a child,
is different in Caf? Lumi?re.
I didn't portray it clearly,
but the comparison is interesting.
He was like from Yasujiro's time.
That kind of love, you can feel
the difference from the photos.
You two were really close.
Yes. What can I say...
When I tell people these stories,
they all sound made-up.
I don't think so.
But they are all true, really.
Not only did it exist,
it became more complicated,
because the whole viewpoint changed.
The viewpoint of a person,
the so-called individual.
Hou Hsiao Hsien
wants to film our present.
But how does one work
in an unknown language?
How to invent a story in a country
where one is a foreigner?
How to write a script when one wants to
capture the truth of the instant?
The basis of the plot was from the stories
that my Japanese friends told me.
Later, I read some about it.
But when I needed to shoot a real Tokyo,
it was simple; I just found a map.
I found a map of Tokyo.
A map of of trains, for scenery.
I found one that was good,
so I wondered how the train actually ran.
I took the tramcar from here,
then to Yamanote.
I became familiar
with his area of activity.
Why did he appear at this stop
and change trains?
It becomes very clear to you.
I used real Tokyo
to set the coordinates.
Basically use the simplest method,
and draw the coordinates of Tokyo
and its real lines.
You use a familiar city, such as Taipei,
or you only think about movies
in your mind.
You can transport yourself to any place.
You needn't be restricted by logic.
But because you are not familiar
with Tokyo, you have such logic.
But it doesn't matter,
and it only tells you why it's here.
Why the activity occurs here
and why things happened at that time.
Therefore, I had a map.
I used the map, the simplest one,
when I shot the film in Tokyo.
We just lived here...
the area is the town of Ueda.
Our range of movement was from here,
then from to Qiu yue Yuan,
and then via the central line
to Yamanote...
This was the line she wanted to take.
Look at the tall buildings in the city.
The buildings belong to the area
next to the pavement.
It's impossible to set up equipment
in the area of the buildings.
Although lots of people are passing by,
there were two guards.
We waited, and when the actors
were ready, we shot and left.
When the guard came, we were back
at the crosswalk and on the pavement.
That's how we shot.
It's such an important tramcar in Tokyo,
that the Japanese directors
didn't dare shoot there.
They usually borrow a private tramcar line
to shoot, which is easy to borrow,
then they shoot and replace it.
It's impossible to shoot
on the Tokyo JR train.
This script is about the story of Tokyo.
If I couldn't shoot this, couldn't shoot JR,
then it's all over.
JR is the most important,
the central line and Yamanote line.
The two lines are the most important.
If both of them couldn't be shot,
then it wouldn't be right.
If there were no subway
or tramcar in Tokyo,
that's not Tokyo.
If they allowed us to shoot,
then many movie companies
would apply to shoot there, too.
They're afraid of this kind of trouble.
And when you want to shoot,
it's like this in Japan...
if they agreed to let you shoot a train,
you can only shoot the appointed stop,
and shoot the appointed car.
They have a well-organized arrangement
for the sake of safety.
We shot in the tramcar
for about 20 to 30 days.
We got into it and shot, and stopped
when something happened.
We went to work casually dressed.
So did Director Hou.
Everyone had his own way to cover up.
Everyone wore shorts.
In order to avoid reflection,
we all wore black shirts.
It looked like an open secret activity.
People could tell
that we were not Japanese.
The most difficult shot was the tramcar.
You need to shoot that tramcar
from this one.
You need to see that person
and this person.
We shot 13 times.
Almost 13 afternoons.
From noon to afternoon.
Because we couldn't shoot
during rush hour.
We went there every day.
It was a bit like gambling.
We weren't sure whether we could get it.
Our photographer, Lee Ping-Bing,
he needed to be aware of everything
from all sides.
He saw very clearly,
but it was very complicated.
Everyone had to be in sync.
Nobody would tell you
which car to get on.
Everyone needed to cooperate
to get on the same one.
We had to be synchronized.
Otherwise, we had to look for each other.
How about changing the name
to Tramcar Lumi?re?
Sound good?
When we edited the movie,
everything was the tramcar.
Therefore, sometimes we joked
and said that the film could be called
Tramcar Lumi?re.
Please take all your belongings with you
when leaving the train.
Thank you for traveling with us.
Later we hired a caf? to shoot in.
The local producer asked
who should be the waiter,
who should be the master?
I said they should.
"They should?"
We used the spare time
of their business.
While shooting,
we ignored the customers coming in.
Customers entered as usual.
If they came in, took a look and left,
it didn't matter.
I would shoot it again, I didn't care.
That's how we filmed.
It's completely different
from the Japanese way of filming.
The same for the bookstore.
I shot in the same way.
I went in, shot for that day, and left.
I came in another day, and spent
a very short period of time.
Because I knew that I couldn't
get the shot on the first day.
I needed time to get into it.
So did the actors and actresses.
Whether they could behave
like the people there, it's very important.
Everything took time.
So it should not take long the first time.
That was how I approached the filming.
I completed it by observation of reality
and continuously adjusting.
He had a very clear image of what
he had to do to complete this film.
His creation was not made
in a precise manner.
Many directors design everything clearly.
Every director has his own style.
What he wanted was
the most natural style.
Therefore, I think he is a Taoist.
He wants to seek, so we all followed him.
It was very funny.
A cat was walking, and the director
followed it closely.
If you looked behind the director,
you could see a group of his crew
following on tiptoe.
What we want is the atmosphere
of the scenes.
What is it?
I'm pregnant.
Whose is it?
My Taiwanese boyfriend.
Boyfriend?
You know how often I visit Taiwan.
But I won't marry him.
In Taiwan, if you want to shoot
a dark humor movie...
which actor or actress can make it?
Especially when the structure is very tight,
it's impossible to do it.
From the beginning of our making films,
we were always overcoming problems.
Lack of actors and actresses
and equipment,
lack of everything,
the limitation of shooting a real site, etc.,
especially the actors.
People mention my use of telephoto.
There was no other choice.
Because you can set up cameras
around actors,
but what about
the non-professional actors?
When you look at them from a distance,
they won't be nervous
and it's easy for them.
You can judge
and zoom them into the shot.
Even professional actors, to me,
are non-professional.
I will observe you,
find your characteristic, and explore it.
Or reform and recreate your character.
The difference with Ozu
is that Ozu is all-knowing.
An angle of all aspects.
He can shoot a person,
his brother, his parents...
I mainly follow the characters.
It's easier for me to shoot.
The form of expression will be different.
The form of expression
sometimes is indirect.
Not like Yasujiro, not that clear.
Not very clear also is reflecting
modern society, the complexity of people.
The actress in the film
was born in Tokyo herself,
of a Taiwanese father
and a Japanese mother.
It is Yo Hitoto's first role on the screen.
In Japan she writes, composes
and performs her own music
and enjoys a wide success.
Her fans appreciate her poetry
and her ironic texts.
There was a very large hall.
That's where I read that book.
I was sure it should be her.
Then I went to understand her situation.
And according to her situation,
I adjusted the character.
She had just released
her first CD in Taiwan.
My casting staff introduced her to me,
she said that she was good.
Later we listened to her singing,
and it's very nice, and she looks nice too.
The days my father
used to watch over me...
are fading away one by one...
It was you.
I have become more delicate.
But I don't know
when my wish will come true.
I don't care if nothing great happens.
But I wouldn't mind if it did happen.
She graduated from Qingying University.
She majored in Urban Studies,
an unusual subject.
She is very interested in modern arts
and modern architecture.
And you can tell that she has
her own opinions and is very confident.
I felt that she is an independent character,
the character that I want.
So I decided to use her.
Then I had to see
which man was suitable for her.
When I met Tadanobu,
I felt that he was special.
He had been an actor in many films.
He looks very simple,
and a little bit shy.
I wanted to find a young proprietor
of a bookstore.
He looked very much the part.
He could sit still and he was very calm.
It was a fun process.
Like the part where he drew
with the computer.
His drawing was very abstract
and imaginative. It was interesting.
I told him that his character
is a fan of tramcars,
and that he draws
the Yamanote tramcar in the movie.
After reading the play,
he drew the tramcar himself.
I saw it and it was very nice.
It was used for our shooting.
This was how I interacted with actors.
He was very nice.
If you choose a wrong actress or actor,
then you failed.
After choosing an actress,
you know who will be the counterpart.
The counterpart will be good.
You should find their keynote.
Then design and imagine
according to them.
You inspect them from
the very beginning to the end and adjust.
Lead them in.
The difficult part is the character.
Including the relationship
with his parents.
Can I get the effect
that I want during filming?
It's very difficult.
I'd be expected to help
with the business...
They produce umbrellas?
They had a factory in Thailand,
then moved it to China.
Xiao Lin, the character, I hoped
that he could say something.
I told him, but he didn't say anything.
His silence made the character
of the mom nervous.
Mom was waiting for him
to say something
and became nervous,
which became very interesting.
She looked worried.
This subtle expression appeared.
He's forever saying,
"Come to Thailand!"
Thailand...
Yes.
Later he didn't say anything.
I thought that was good, too.
In fact, he couldn't communicate with her
from a certain point of view.
It's the generation gap that prevented him
from communication,
between the previous generation
and this generation.
He expressed himself in this way,
and I think he had his point.
It fit Japanese society.
I like the shooting site very much,
looking at actors and their interactions.
In the process of shooting,
I set the scene,
start looking for them,
and then we all get into the scene.
I constantly watch
and make adjustments.
I watch from the sidelines,
and make adjustments until I am satisfied.
I like a scene when it resembles reality.
It's not reality, it's our creation,
but the created reality
is equal to the reality.
I feel this picture and atmosphere
will last forever.
This is my habit from a long time of
making films and overcoming problems.
First of all, we need imagination, and then
observe according to their conditions.
Then give them freedom to complete it,
and examine the results.
It's difficult to tell,
but you keep on making adjustments.
After shooting each day
I would go back
and consider which part should be cut,
and what should be added to the film.
The original title was Caf? Lady.
Caf? Lady.
Later it was changed to Caf? Lumi?re.
In here are general records
of separate scenes.
Some details of shooting, a lot inside,
including the shooting schedule.
This one contains general records
of every scene after completion.
Completed scenes
would be marked "OK."
Normally one scene after another.
Tokyo, Tokyo, the last stop...
EQUINOX FLOWER (1958)
- Is this a lucky day?
- What?
Wonder if it's lucky...
there are so many newlyweds.
None of the brides is pretty.
Did you see the bride
on the train to Atami?
Yeah, that plump one.
She was pretty good.
She's today's winner.
Are we having some bad weather?
There's a warning.
Bad things always follow good things.
Here they come again.
That's no good.
She's too skinny.
STRONG WIND ADVISORY
I saw Yasujiro's script
with scene breakdown.
The length of time for each scene,
according to the schedule, the time of
one shot might take only one minute.
How much film would be needed,
how long the whole movie is,
how much total film is needed.
It was about 10,000-20,000 feet.
Yasujiro worked
during the time of movie studios.
There were many directors
in a big company.
There was a notice at the gate,
announcing how much film was used
to complete a movie for each director,
including how well it sold in theaters.
It was very difficult to shoot
simultaneously at that time.
They had less flexibility
in the time of movie studios.
He used his favorite way,
the easiest method.
He had a family of actors.
For example,
he always used Li Zhi Zhong.
For a period of time,
it's another actress (Yuanjiezi).
Sometimes, Li acted as his sister,
and sometimes as his daughter.
Because for him, these actors
were very close to reality,
and he thought them convincing.
So did you see Fumiko?
Yes, she comes home once in a while.
She's somehow doing all right.
It's not easy, is it?
Raising children...
After all, the parents always lose.
Things don't go as you planned.
That's right.
We must be getting old.
We're talking about our children
at the class reunion.
Right.
"Seasons change
while you are dreaming..."
EQUINOX FLOWER (1958)
Then he arranged
the symbols of life on them,
to develop his plot.
Therefore, he came out
with his own fixed style.
It's the system of movie studios
at that time and under that condition
which was difficult,
but the most effective way.
It's not the same as ours.
There are real differences
between Hou Hsiao Hsien and Ozu,
but they are sources of inspiration.
What is left of the model
of this homage, then?
What do we see of Ozu
in your film, Mr. Hou?
No, I know what he meant.
But I couldn't realize it while shooting.
Even though I could realize it when
accepting the play and before shooting.
The problem is that I couldn't realize it
while shooting.
You still follow your own habits
and your way of shooting.
He was very natural, and it's different.
If the audience were interested,
they can watch this film with one of
Yasujiro's films, such as Late Spring.
They should have a better understanding
of Yasujiro's method.
It's like a mirror in front of you.
We shot similar themes,
but with different methods
of shooting.
That's how we honor him.