Wong Kar-wai by Silver Wai-ming Lee & Micky Lee

Author:Silver Wai-ming Lee & Micky Lee [Lee, Silver Wai-ming & Lee, Micky]
Language: eng
Format: epub
ISBN: 9781496812858
Publisher: University Press of Mississippi
Published: 2017-03-15T04:00:00+00:00

NOTE

1. Steenbeck is an editing suite that only deals with analogue film. Editing on this system requires manual cutting.

Interview with Wong Kar-wai: In the Mood for Love

Michel Ciment and Hubert Niogret / 2000

From Positif (France). No. 477 (pp. 76–80). Interview conducted in English. Reprinted by permission of the publisher. [Editors’ note: Wong’s answers in English were transcribed from the interview included in In the Mood for Love DVD (Criterion edition). The questions were translated from French by Micky Lee.]

Michel Ciment and Hubert Niogret: You seem to have blended the preproduction and filming of the films 2046 and In the Mood for Love.

Wong Kar-wai: We tried to finish the production of this film [In the Mood for Love] in August last year (1999), but obviously we were too slow. Because we also had the economic crisis [due to SARS] in Asia, all the investors of this film In the Mood for Love withdrew. We had to stop production and find other investors. By that time we had already started to make the film 2046 so that meant we had two films mixed together to schedule, and the whole process was very painful because it’s like loving two persons at the same time! When we were scouting locations for 2046, we thought this probably should go to In Mood for Love and vice versa. So in the end we decided the two films should be one film. So maybe in the future when you see In the Mood for Love and 2046, you will see something of 2046 in In the Mood for Love; and in In the Mood for Love you have some things from 2046.

MC&HN: Why did you decide to situate In the Mood for Love in 1962 and 1966? The story of Days of Being Wild took place in the same era, and you did not see In the Mood of Love as the second part of Days of Being Wild?

WKW: I’m very fond of that period in Hong Kong because it was a special period. The people whom we describe in the film: the landlady and all these Shanghainese communities were actually very special. They were people coming from China to Hong Kong after ’49 when the Communists took over China. They were living by themselves; they didn’t have any contact with the local Cantonese. They had their own language. They had their own food. They had their own cinema. In Hong Kong there was Mandarin cinema which was mainly for those people, and they had their own rituals. That’s why I wanted to put the film in this environment because I came from this background. As a kid, I heard the gossips, and I knew our neighbors. I want to re-create this part of Hong Kong in the film. Only five at the time, [I] had an overall impression of that time, so some of the details in the film are more beautiful or nicer than they actually were. But in memories everything is fine.

MC&HN: Is the

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