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Berlin Film Festival Opens With 'The Grandmaster'

 
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PostPosted: Fri Feb 08, 2013 12:30 am    Post subject: Berlin Film Festival Opens With 'The Grandmaster' Reply with quote

Berlin Film Festival Opens With 'The Grandmaster'

By FRANK JORDANS

02/07/13 11:15 AM ET EST



http://www.huffingtonpost.com/2013/02/07/berlin-film-festival-open_0_n_2639367.html?utm_hp_ref=entertainment

BERLIN — Martial arts epic "The Grandmaster" kicked off the Berlin Film Festival on Thursday, introducing an international audience to Yip Man, the man who mentored Bruce Lee and brought kung fu to the masses.

The movie by Wong Kar-wai is running out of competition because the director also heads this year's jury.

Shanghai-born Wong and his fellow jurors – among them American actor-director Tim Robbins – will have to choose from 19 movies competing for prizes at the 63rd Berlinale.

These include the Steven Soderbergh thriller "Side Effects" with Jude Law and Catherine Zeta-Jones, and Gus Van Sant's film "Promised Land" about the shale gas industry starring Matt Damon.

Juliette Binoche portrays a troubled French sculptor in "Camille Claudel 1915," while "Gold" tells a tale of German immigrants seeking their luck in late 19th-century North America.

Competing also are romantic thriller "The Necessary Death of Charlie Countryman" with Shia LaBeouf and Evan Rachel Wood, and "Closed Curtain" by Iranian film maker Jafar Panahi, who was barred from leaving Iran to attend the festival.

The winner of one award has already been announced. French filmmaker Claude Lanzmann will be honored for his life's work. Lanzmann's nine-and-a-half hour documentary "Shoah" about the horrors of the genocide of European Jews was screened at the festival in 1986.

In total more than 400 films will be shown at the Feb. 7-17 event known for its focus on social and political works.

Jury president Wong said ahead of the festival that Berlin was about the "experience of a true pleasure of sharing ideas" in the cinema.

Speaking Thursday about his own work, Wong told reporters that the biggest challenge while making "The Grandmaster" was the fact that he doesn't practice martial arts himself.

Wong said he was nevertheless drawn to the figure of Yip Man, Bruce Lee's mentor, because of his fortitude in the face of a lifetime of hardship, beginning with his childhood in Imperial China through the revolutionary years and ending in Hong Kong under British colonial rule.

"His life basically is like the modern history of the early days of our republic," said Wong. "During all these periods you can see how a martial artist stands up for his principles and his honor in front of all this hardship"

The international cut of "The Grandmaster" premiering in Berlin has been shortened from the version released in China last year. The film stars Tony Leung ("In the Mood for Love") and Zhang Ziyi, best known internationally for "Crouching Tiger, Hidden Dragon."

____

Festival website: http://www.berlinale.de


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PostPosted: Fri Feb 08, 2013 12:32 am    Post subject: Reply with quote

Berlin 2013: Wong Kar-wai on 'The Grandmaster,' Hong Kong Cinema and 'Passing the Torch' (Q&A)

1:35 PM PST 2/6/2013

by Clarence Tsui

http://www.hollywoodreporter.com/news/berlin-2013-wong-kar-wai-418839

"My cinema is something that belongs to the Chinese people as a whole, and it shouldn’t be limited to just a certain geographical territory in a certain historical era," said the the veteran auteur.

Seated in a hotel suite off Place Vendome in Paris, Wong Kar-wai is in fine spirits. You would never know he has just flown in overnight from Bangkok, where he was working around the clock to finish the international cut of his latest release, the martial arts epic The Grandmaster. The new version that opens the Berlinale is about 13 minutes shorter and also went through a small change in structure.

Grandmaster has already been released in China to positive reviews and generated nearly $45 million at the box office, giving Wong his first bona fide blockbuster. As the film makes its international premiere Thursday night at the Berlinale Palast, audiences will be treated to a mix of stunning action choreography (by Yuen Woo-ping) and Wong’s trademark melancholy. The film is an account of how legendary martial arts masters Ip Man (Tony Leung Chiu-wai), Gong Er (Zhang Ziyi), her father Gang Baotian (Wang Qingxiang), The Razor (Chang Chen) and Ma San (Zhang Jin) navigate their lives in politically unstable times in 20th-century China.

STORY: Berlin 2013: 'The Grandmaster' Shortened by 15 Minutes for International Release

Wong, who also presides over the festival competition jury, talked with The Hollywood Reporter about the last-minute fine-tuning of a project he conceived nearly 17 years ago and what the film says about contemporary China.

The Hollywood Reporter: Why did you decide to make an international version of the film?

Wong Kar-wai: The version [released in Asia] has elements which Chinese audiences will be familiar with but which will not be that familiar to foreign audiences. There’s so much information that people could easily become confused. For example, during Ip Man’s opening voice-over about his own background, he talks about his family having a business on Bonham Strand West [a traditional hub of import-export trade in downtown Hong Kong]. Hong Kong audiences will know what that means, but to foreigners it doesn’t mean anything. So we just changed it to how he was running a family business which exports goods to Hong Kong. We made adjustments like this so that international audiences know what it is about.

THR: The film has gone through quite a long period of gestation and production. How different is the final product from the original idea?

Wong: I started out wanting simply to look at Ip Man the person. Later on, however, I discovered what I really wanted to examine is the whole martial arts landscape. I think the biggest question for me was, “What made Ip Man so remarkable?” Some would say it’s because he had a disciple called Bruce Lee, but that would be ignoring something that is crucial: the circumstances which shaped Ip Man’s life. His life is a microcosm of contemporary Chinese history. He lived through the Qing dynasty, the early republican years, the northern conquest [by the government against warlords], the fight against the Japanese [during WWII] and finally the exodus to Hong Kong [during and after the Chinese civil war between 1945 and 1949]. If you don’t give a proper account of this background, you won’t be able to understand the difficulties he goes through. Among the Chinese, and especially among martial arts practitioners or artists, there is this very important notion of passing the torch. It’s about realizing how one doesn’t own what one’s learned. Receiving inherited wisdom from the generation of forefathers means there’s also a responsibility to pass it on. This is the burden a grandmaster has to bear.

FILM REVIEW: The Grandmaster

THR: Is this something you can identify with as a veteran in your field?

Wong: I wouldn’t really say I’m a grandmaster, so there’s nothing autobiographical about the film. But I think just like what Ip Man did for martial arts, Hong Kong cinema needs a new way of thinking. The other day, while working in Bangkok, a friend gave me this 1990s book about Hong Kong films. The author was saying then how we’ve been making too many films for international markets and we were losing our own unique qualities. But we have to understand that Hong Kong films have been dependent on overseas markets from the very beginning; we’ve never been dependent on our own domestic market. And now you have all this talk about “going north” to tap the mainland Chinese market. But if Hong Kong films are really good, the sky’s the limit. You don’t have to rely merely on the mainland Chinese market. You shouldn’t really constrain yourself.

THR: So how does it feel now to be a Hong Kong filmmaker working on the mainland?

Wong: My cinema is something that belongs to the Chinese people as a whole, and it shouldn’t be limited to just a certain geographical territory in a certain historical era. It’s not like I have to make a film with mainland audiences in mind when we have mainland money in it — and in fact, there’s quite a bit of money from elsewhere as well.

THR: Can The Grandmaster also be seen as a chronicle of how Hong Kong became what it is, given that it ends with all the martial arts experts settling in the city and becoming part of its urban fabric?

Wong: That’s right. This is what I hope the film could be interpreted as. I’m happy now because I never expected the film could whip up so much debate and discussion about the city and what the martial arts masters’ roles were in its history. A lot of people were looking up information about the things we mentioned in the film, whether it’s the martial arts schools, which were set up there after the war, or other things we touched on in the story. This allows [Hong Kong] audiences to acknowledge, yet again, that we came from this very special place, and where the city’s vibrancy and core spirit stem from — that it’s a place that we should be really proud of.
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PostPosted: Fri Feb 08, 2013 12:35 am    Post subject: Reply with quote

柏林影节开幕 叶问宫二红毯携手续缘

2013年02月08日06:15

新浪娱乐



http://ent.sina.com.cn/m/f/2013-02-08/06153855201.shtml

新浪娱乐讯 德国当地时间2013年2月7日晚,第63届柏林电影节拉开大幕。凛冽寒风与轻舞雪花如期而至,欧洲三大影节第一站再次与标志性的寒冷相伴。此次影节由王家卫担任评委会主席,携包括美国影人蒂姆-罗宾逊在内的6位评委会委员共同定夺19部主竞赛佳作。在当晚的开幕红毯上,老牌明星简方达魅力不减,开幕片《一代宗师》主演梁朝伟[微博]、章子怡[微博]亮相分外抢镜。范晓萱[微博]也继去年《龙门飞甲》后,因新片《明天你是否依然爱我》连续第二年光临柏林。

  星光暗淡民众热情 叶问宫二携手走红毯

  本届柏林影节有404部作品参加展映,其中19部主竞赛片演员整容强大:马特-达蒙(Matt Damon)、裘德·洛(Jude Law)、史蒂文-索德伯格(Steven Soderbergh)、朱丽叶-比诺什(Juliette Binoche)、凯瑟琳-德诺芙(Catherine Deneuve)和伊莎贝尔-于佩尔(Isabelle Huppert)均在其中。可惜在首日开幕红毯上,众位明星均未出场。唯有老牌影星简-方达献身撑场。尽管星光稀落,但影迷仍旧在电影宫门口聚首,为一睹影星真容不惧严寒,不吝尖叫。

  此次评委会主席王家卫仍旧墨镜形象亮相阴冷柏林,携苏珊娜-比尔、蒂姆-罗宾斯、施林-奈沙、阿锡娜-瑞秋-特桑嘉莉、安德里亚斯-德里森和艾伦-库拉斯集体亮相。四女一男的搭配格外抢眼,也充分显示出了柏林对于女性电影势力的足够重视和关注。

  对于国内影迷来讲,章子怡和梁朝伟的携手亮相是最吸睛的噱头,戏中一世无缘的叶问宫二两人在钢铁柏林终能牵手。《一代宗师》虽然刚刚结束在内地的放映周期,但余音未落,仍有回响。就影片的讨论有暗涌上扬之趋势,对《宗师》的关注度并未降低。可惜此次《宗师》剧组在柏林的宣传采访几乎将力道全部集中至海外市场,无暇顾及国内媒体。毕竟电影是商品,电影节在某种程度只是一个特殊商品的展销博览。国内市场就像一片刚刚收割过的田地,而开拓欧洲美洲市场,才是此次到访的核心目的,此种方式是情理之中,但却让新春佳节在异乡奔波的国内媒体略显失落。

  除此之外,乌克兰女权组织Femen成员赤裸上身冲进红毯抗议,被保安驱逐成为当晚开幕的小小插曲。

  开幕仪式简约利落 王家卫遭调侃扮萌拆招

  各路明星尚未大驾光临,却更加突出了柏林一贯的简洁利落风。开幕典礼最大的亮点出现在主持人与评委会主席王家卫"套瓷"的环节。女主持人很调侃、抽象的将王家卫的电影比喻成女人,美丽婀娜使人不得不去追随迷醉。并调侃"王主席"道:如果《一代宗师》也是一位女人,你今夜是否愿意与她共赴云雨?接到此招数,王家卫只是淡然一笑,打了个哈哈,没有回答,随即全场爆笑。藏在墨镜背后的王导,用装萌打混以柔克刚,化解了此招。

  柏林的第一天简约有致,很是符合它一贯的慢热气质。相信随着明日开始主竞赛片展映,凡-桑特、马特-戴蒙的《应许之地》的亮相,会迎来第一个对主流电影的媒体聚焦热点。毕竟有冷有热,有张有弛,既囊括主流,也不忘严肃是冰雪影城的迷人之处。(牟汀汀/文)


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PostPosted: Fri Feb 08, 2013 12:37 am    Post subject: Reply with quote

《一代宗师》柏林首映 增减近20处

2013年02月08日02:59

新浪娱乐

http://ent.sina.com.cn/m/c/2013-02-08/02593855118.shtml

新浪娱乐讯 北京时间7日19时(柏林时间中午12时),柏林电影节开幕片、王家卫导演的电影《一代宗师》在柏林举行了媒体场首映。此次上映的版本为王家卫对国内上映版进行修改后的120分钟版本,长度上少了15分钟,但多了3场较重要的戏份,也新增了一些交待背景的字幕,部分和主线关系不大的情节被删减或替换,整体比国内版更为流畅。外国媒体记者普遍觉得整体不错、比较喜欢,但对于时代背景和一线天那条线不是很懂,部分媒体记者认为没有超越《花样年华》。

  虽然《一代宗师》的海报在柏林街头难觅踪影,但《一代宗师》的媒体场放映依旧“爆满”。中午11点40分,12点开始的第一场媒体场就已经满座,12点半开始的第二场则已经坐了6成,等到12点第二场也已基本坐满。对此,有法国媒体告诉新浪娱乐,因为《一代宗师》是开幕片,加上王家卫是非常著名的导演,所以大家都很期待。

  近20处增减使故事更流畅

  3场重要戏份首次曝光

  从情节、台词、配乐上都做了一些调整,大大小小的修改可能有近二十处,从成片来看,修改的原则还是使故事更为流畅易懂,主题、人物并没有大的改变,并未伤筋动骨。不过考虑到从《一代宗师》在中国上映到现在,仅仅短短的一个月期间,王家卫在大量参与影片宣传的情况下,对国际版做了这么多修改,也着实够惊人的了。

  新增的三场重要戏份包括:开场叶问雨夜打斗被宫羽田尽收眼底,赞其功夫了得,问旁人得知此人是叶问,佛山无敌;一线天在香港一家清真菜馆遇宫二,但并未上前与其相认;宫二死前闪回幼年随父练八卦,宫羽田只对外传授形意拳,八卦只传了宫二,因八卦手黑。另外还新增了一些涉及历史背景及勾连情节的字幕等。

  国际版对于国内版的修改,基本上做到了:新增的部分增加后,使得影片更流畅,降低观众的困惑;去掉的部分,去掉之后亦基本不影响理解,甚至也减少了产生费解的可能性,只是可能少一些延伸。比如,叶问在香港找丁连山(赵本山[微博]  饰)交手的那场戏,并未在国际版中出现。

  台词的部分,英文字幕基本做了最简短直白的意译,由于面向外国观众,所以有一些“经典台词”的消失似乎也可以理解,比如“世间所有的相遇都是久别重逢”,译出来恐怕反而让人更费解。

  外媒表示画面美打斗棒

  但未超越《花样年华》

  放映结束后,现场的掌声略显稀疏,新浪娱乐随机对话了几位刚看完片的外国媒体记者,大家普遍表示觉得比较喜欢,画面非常漂亮、尤其打斗的场景令人印象深刻,总的来说是一部好电影,但部分媒体表示并未超越《花样年华》。

  《法兰西西部报》(Ouest France)塞巴斯蒂安-瓦尼亚(Sebastien Vannier) :

  很特别,打斗场面让人印象非常非常深刻,第一场雨中打斗和火车站打斗的戏都很精彩。混合了动作片和功夫片,因为涉及到好几个年代的历史,有些难理解和跟不上,再加上有一些插叙和闪回,要把一个角色重新拼接起来。非常好的功夫片,王家卫在功夫场景上融入了美学的表达。(新浪娱乐:在中国,大家对它有较大的分歧和争议。)我相信无论是对中国观众还是对欧洲观众,在理解上都会有一些难度,尤其是历史、文化的部分,但作为功夫片,我觉得它毫无疑问是一部好的电影。

  德国Fragmentfilm.de 网站 德尼兹-舍德科(Deniz Serkol):

  是一部很特别的、优秀的史诗电影,通过传统的方式进行表达,讲述了道德问题、价值观、家庭观念等,有点传统,但表达得很好。女主角性格坚强有力,我很喜欢。画面让人印象深刻,通过打斗风格建立角色的方式很有意思,一线天的角色我不太明白,感觉像是另一部电影。

  其他记者:

  ——(意大利)非常棒。我看过了王家卫所有的电影,我觉得最好的是《花样年华》,但《一代宗师》仍然是电影史上的一部伟大的电影,明星都表演得很好。

  ——(德国)打斗场面我很喜欢,是我从没看过的,台词有点难懂、很特别,我想我还没找到一个方式来彻底读懂。

  ——我喜欢,不过对我来说觉得打斗有点多了,不过我喜欢画面,非常漂亮。我不觉得这是王家卫最好的电影,但是仍然是部好电影。

  附:国际版和国内版对比(只列出了主要的改动)——

  a.增加的部分:

  【整场戏】开场叶问雨夜打斗被宫羽田尽收眼底,赞其功夫了得,问此人是谁,身边人答叶问;

  【整场戏】一线天在香港一家清真菜馆吃饭,宫二进门向老板点了几样北方菜,老板答不做了,一线天认出宫二,但并未上前相认;

  【整场戏】(宫二吸鸦片躺下后闪回)宫羽田练武不许人看,唯独幼年宫二例外,对外收徒只传形意不传八卦,因八卦手黑。宫羽田手把手教宫二学拳,叹其可惜不是男孩。宫二回忆父亲说她日后若唱戏能成角儿,若出家可成高僧,因为够“迷”。

  【彩蛋】片尾有正片中未出现的叶问和不同的人对打的场景(其中有一个外国人)及叶问坐在台阶上的独白。结束后出现一句话英文字幕——李小龙谈自己对于功夫的理解。

  【字幕】:(宫二到佛山之前,交待历史及政治背景)民国二十五年,两广事变,佛山戒严。

  【字幕】:(宫二和一线天在火车相遇之后)宫二去西北大学学医,途中遇一线天。

  【字幕】:(一线天雨夜打斗前)一线天脱离军统,逃亡到香港。

  b.减少的部分:

  【整场戏】丁连山(赵本山 饰)去香港,叶问拜访求见“六十四手”。

  【整场戏】宫二死后,老姜将宫二头发的灰烬给叶问。

  【整场戏】叶问香港探宫二,走的时候老姜追出去说了一段话。

  【部分删减】宫羽田出殡关于“时辰不等人”那段。

  【台词】“我选择留在自己的岁月里。”

  【台词】“叶先生,世间所有的相遇,都是久别重逢。”

  c.调整的部分:

  【替换】结尾部分,叶问透过玻璃看一群弟子练拳一段,调整为教一个十岁左右的小孩从窗户看叶问,叶问教他练拳,一起合影。

  【顺序】国内版开头部分叶问师父陈华顺给幼年叶问上腰带一段,挪到了影片结尾作为叶问在香港的回忆和对人生的总结。

(新浪娱乐柏林电影报道组 陆姝/文 陈植/视频)

(责编: cake)
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PostPosted: Fri Feb 08, 2013 1:07 am    Post subject: Reply with quote

「一代宗師」國際版 梁朝偉戲變多了

【聯合報╱記者項貽斐/綜合報導】

2013.02.08 03:45 pm

http://udn.com/NEWS/ENTERTAINMENT/ENT3/7691663.shtml

第63屆柏林影展7日揭幕,開幕片「一代宗師」導演王家衛以評審團主席身分和提姆羅賓斯等評審團成員先行亮相,「一」片演員梁朝偉、章子怡等也在6日飛抵柏林。「一」片在柏林放映的國際版較亞洲版少15分鐘,但梁朝偉的戲卻多了兩場。

王家衛接受「好萊塢報導」專訪時表示,國際版刪除一些外國觀眾不熟悉的地方,像開場葉問旁白談到父親葉靄多在香港文咸西街經營南北行生意,直接改成在香港做生意等。

為在柏林影展出席開幕典禮紅毯,梁朝偉、章子怡等已在6日抵達柏林,還有粉絲為章子怡獻花。據東方互動報導,「一代宗師」國際版雖然較亞洲版短,但梁朝偉的戲有增無減,多出的兩場戲,一段是偉仔與名散打王李康對打,另外一段是童年的李小龍與葉問見面。

梁朝偉表示,不少人說他在亞洲版的戲少,但他不覺得,他也相信國際版的劇情調動會讓故事更緊湊。至於跟散打王李康拍攝的對打戲則讓偉仔記憶猶新,他笑說,自己還沒拍就被對方嚇倒,「每次見李康,他都問我有沒有戴護具,讓我更有壓力。後來發現李康武打水準很高,收放自如,我們合作很愉快。」

章子怡為「一代宗師」展開歐洲宣傳之旅,還在微博中預告。已有國際知名度的她,所到之處都有影迷認出她,緋聞男友撒貝寧雖未同行,但也在微博上玩起該片對白,彷彿與她隔空對話。

此次柏林影展以西方經濟危機產生的衝擊和東歐20年來的動盪為主要焦點,19部影片參賽,將於16日頒獎。

全文網址: 「一代宗師」國際版 梁朝偉戲變多了 | 電影世界 | 娛樂追星 | 聯合新聞網
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PostPosted: Fri Feb 08, 2013 1:09 am    Post subject: Reply with quote

章子怡累爆宣傳 梁朝偉抱恙頂硬上 《一代宗師》揭柏林影展序幕 王家衛領風騷

明報

【明報專訊】第63屆柏林影展昨日正式揭幕,雖然19部角逐最高榮譽金熊獎的主競賽電影當中,華語片全軍覆沒,幸有王家衛執導、梁朝偉及章子怡主演的《一代宗師》擔任開幕電影,王大導更獲委任為評審主席,上午率領美國男星添羅賓斯(Tim Robbins)等6名評審員會見傳媒,下午再主持《一》片記者會,總算為華人影壇爭一口氣。

刪13分鐘戲更緊湊

雖然《一代宗師》在中港台上映多時,內地票房更收逾2.9億元人民幣,刷新王家衛個人最高紀錄,但對柏林影迷來說,仍然充滿神秘感,首映場一票難求,其餘3場門票亦在開賣1小時內售罄。

為照顧海外(尤其是歐洲)市場需要,王家衛早前留守曼谷剪片室,把《一代宗師》由原本片長130分鐘,刪減13分鐘至不足兩小時的國際版本,據報故事結構亦略作修改,「節奏更緊湊,感覺更成熟」,在柏林訪問了王大導的The Hollywood Reporter記者如是說。

率評審員亮相

事實上,王家衛與柏林影展關係深厚,1991年《阿飛正傳》及1996年《墮落天使》先後在當地參展,贏得歐美影評人口碑。今年獲邀擔任評審團主席,昨日趁開幕禮前夕,王家衛先帶領6名評審員包括《一九四二》男星添羅賓斯、奧斯卡最佳外語片《愛有新世界》丹麥導演蘇珊比亞(Susanne Bier)、威尼斯銀獅獎伊朗導演舒蓮妮莎(Shirin Neshat)等會見傳媒,為一連11日的影展掀開序幕。

章子怡慶34歲生日

另一個跟柏林投緣的是章子怡,她主演《我的父親母親》、《英雄》及《梅蘭芳》均曾在此亮相,前日剛完成《一代宗師》巴黎宣傳之旅,即晚趕赴柏林。章子怡架上墨鏡穿著桃紅色Dior外套,雖然難掩倦容,但落機後仍大方接受內地傳媒訪問。明日是章子怡的34歲生日,她於4年前亦在柏林慶生,還不算有緣?

偉仔低調仍被認出

國際影展常客梁朝偉抱恙到巴黎會合章子怡,再赴柏林行紅地氈,幸獲星媽隨行照顧,就算人在異鄉度新歲,總算不致太淒涼。據報穿著羽絨外套的梁朝偉,打扮刻意保持低調,仍被眼利的海外影迷認出,他亦報以友善微笑。

今屆共有19部主競賽片,本地影迷較熟悉的有吉士雲遜(Gus Van Sant)執導、繼《驕陽似我》後再跟麥迪文(Matt Damon)合作的Promised Land,《毒網》金像導演史提芬蘇德堡(Steven Soderbergh)執導的Side Effects亦是矚目新作,亞洲代表則有韓國導演洪尚秀的《海媛》(Nobody's Daughter Haewon)。到底金熊獎花落誰家?本月17日閉幕禮自有分曉。

文:張晴

http://hk.news.yahoo.com
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PostPosted: Fri Feb 08, 2013 1:18 am    Post subject: Reply with quote

柏林电影节开幕 梁朝伟牵章子怡王家卫携夫人

2013-02-08 08:54:05

中国青年网

http://news.youth.cn/yl/201302/t20130208_2870689.htm

第63届柏林电影节今日(2月7日)开幕,王家卫以双重身份现身,成了最忙的人。他的新作《一代宗师》作为开幕片出现,他也是今年评审团的主席。柏林电影节在开幕晚会上播放了一段他的短片,女主持用他曾经把电影比作女人的话来打趣:“今晚的感觉是想和这位女士温存一番,还是随她消失呢?”墨镜王呵呵一笑:“感觉都挺刺激的。”

  柏林电影节的开幕式总是略显尴尬,一来天气太冷,今年似乎为了保持传统,放晴了两三天的柏林突然在红地毯开始时飘雪了;二来,明星质量不稳定,今年除了《一代宗师》三位主创,只有简·方达还在坚持赶场。早已抵达的马特·达蒙等好莱坞明星要把出场机会留给自己的电影,并未出席开幕典礼。

  梁朝伟和章子怡的国际知名度在发布会上已初现,欧洲影迷因为热爱王家卫也对他俩爱屋及乌,索要签名的人在红毯两旁尖叫,佩戴电影节赞助商通灵珠宝的章子怡也成了现场珍贵的华人之光。

  王家卫今年首次担任柏林电影节评委会主席,电影节为他特意制作了一部回顾短片,他在台上致辞感谢,因为他第二部长片《阿飞正传》1990年就入围柏林电影节论坛单元,也在此走进欧洲电影圈。这次伴随他重回柏林的《一代宗师》则是他第十部长片。

  王家卫还是墨镜造型出场,开幕式女主持打趣道:“你看得见我吧?”她提起他一句老话:“你以前好像说过,电影就像女人,你能做的事情只是尾随她、观察她。如果《一代宗师》也是个女人,今晚这个场合你有什么想法,跟她温存一番还是随她走了算了?”王家卫呵呵笑,并没有营造浪漫想象的意思:“感觉都很刺激。”他笑称希望接下来九天里自己记得准时看片,“只评出一座金熊太残酷了,但看电影本身是快乐的经历。”

  本文来源:网易娱乐专稿
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