Everyone says that Eileen Chang is gorgeous, but she herself said, "I like simplicity, but I can only describe the simplicity of life from the wit and decoration of modern people." Then she also said, "The shortcoming of aestheticism lies not in its beauty, but in the fact that its beauty has no foundation." Once again, the "foundation" was mentioned. Then she added: "To describe the flying of life based on the stability of life.". Without this foundation, Feiyang can only be floating foam. Many powerful works can only give people excitement, can not give people inspiration, is the failure of not knowing how to grasp this foundation. Eileen Chang has mentioned the simple foundation several times, and this is what Flowers of Shanghai wants to shoot: the traces of daily life, the present of time and space, and the expression of people. Three How to make this foundation? How to bring it into play ? The first is how you want to live. Some details and rhythm are exactly its atmosphere. Like smoking opium, the role of Shen Xiaohong was originally played by Maggie Cheung, who said in the first sentence: "Language is a reflex action, and my Shanghai dialect is not good.." So when she heard that the dialogue was all about speaking Shanghainese, she seemed to retreat a little. Later, because of the schedule, there was a conflict with Wang Jiawei's "Summer of Beijing", so he did not act. But she said that "language is a reflex action", which is exactly what a good actor said. Then we have to make some preparations. She said that we should get a real opium. We should feel what the state of smoking opium is. We can't just pretend. That is to say, no matter whether you have filmed "Rouge" or "Temptress Moon" before, smoking opium and lying there for show, this is not good. Now the most important thing is that you have to practice the props, feel that you have to forget it, let it become the rhythm of life, then you will have your tone in life, your speech posture, completely become a part of you. He hoped that the actors would practice these things, so at that time he asked a friend to get a piece of opium from Yunnan and try to bring it back. How can I get it when I bring it back? How about the details ? I do not know 。 Later, instead, in a book written by the British writer Graham Greene and translated into Taiwan as the quiet American, it tells something about an American going to Vietnam, in which a Vietnamese woman burns opium for the hero to smoke, and the process is written very carefully and clearly. That's why we know what it's like to burn opium. It's a big piece of paste. You have to burn it soft and put it on a stick. In Flowers of Shanghai, it is often written that they make skewers. There are all kinds of small things on the couch. When you want to draw, the skewers are already made. Asked the doctor, the doctor said: "In fact, opium is similar to the feeling of a kind of medicine (he said the name of a kind of medicine).". Tony Leung Chiu-wai is the best at smoking opium. It has become a part of the whole person. When he smokes, you know that you don't need to say another word, no dialogue, no elaboration in front and no explanation behind. Hou Hsiao-hsien probably just likes to do this thing -- the look of the current actor, you don't care about cause and effect, use cause and effect to pile up, pile up until this person is established. In the script, we say that we want to build characters, but in fact, we don't want to build characters. We want you to believe him as soon as he appears. The second one is about the water pipe. Water pipe practice is also very troublesome, interactive kiosk price , the most important thing is paper fire, because there was no match before, paper fire is usually extinguished, so a part of the hand, you want to light a fire on the "shush" a blow, that paper fire on the fire. How do you hold it in your hand? And It's hard, very hard, to blow "shh" like that. Not very good practice is Li Jiaxin, so in the play that she was trapped by paper fire; the best is Carina Lau, you will feel that it does not exist. Others, such as the rules in the hall, how to call the game, how to write the ticket, Hou Hsiao-hsien said: "All this is just for the texture of the film, a new and simulated texture of life has been created, this is the background of the film." In addition, Acheng also participated in the film, he was with the art group, and the scriptwriter was not in charge. He was so good that he told the art group to look for more useless things. For example, when we enter a girl's room, she lives in it. Every prostitute's home, what is its density and richness? Useful things are just furnishings, and useless things are the traces of life, so we have to look for useless things. It has nothing to do with the cost of production or how much you have to spend, but with the imagination of art. At that time, Acheng wrote an article like this, and I read it a little: Beginning in the summer of 1996, I accompanied Hou Hsiao-hsien and artist Huang Wen-ying in and around Shanghai, looking for scenes and props, and doing some question-and-answer work. Later, he went to Beijing to help buy embroidered pieces of clothing, and then encouraged some friends to help him. Between the walks, the large props were easier to handle, but the small pieces were hard to find. When Chekhov wrote the script of Seagull, he thought that the props on the stage must be useful, such as a gun hanging on the wall, because the people in the play finally committed suicide with a gun. That's not the case with movies. Movie scenes are textured, and characters are moving around in different textured environments. In addition to large pieces, countless small bits and pieces lay out the density, lay out the daily character of the characters. In Flowers of Shanghai, the environment where prostitutes receive customers is their home. Ancient and modern families are similar in the density of the environment, so the environment of the design of "Flowers of Shanghai" is secular Rococo style, candlelight brilliance, concession patchwork, touchable lust and flickering leisure. It is also important that the concessions are pieced together. Because at that time, the biggest feature of the concession in the 19th century was that it violated the ban. For example, yellow could only be used by the royal family, but prostitutes in the concession were beyond the control of the Qing Empire. She could wear yellow. A rickshaw puller. He has a plume on his head and a yellow Mandarin jacket on his body. You look like an official pulling a rickshaw. Therefore, the art imagination of "Flowers of Shanghai" is actually very great, in addition to textual research, most of the authority can be gamified because it is a concession, which is very "post-modern". In this way, we can understand what is the focus of art in Flowers of Shanghai, which is the texture of daily life. Four. hsdtouch.com