編輯嚴選空一格，QA
編輯嚴選
2020/03/11閱讀時間約 8 分鐘
Non Verbal QA-Interview by GISFF
一場關於無對話電影的訪談-全球默片影展
2018我有兩部作品在第三屆全球默片影展The Globe International Silent Film Festival入選，《跳房子》入選最佳短片，《空一格，戲院》並榮獲佳實驗片獎）
在眾多短片影展中，這是很一個特殊的─以「默片」為主題的影展，它有些很打動我的徵件信念敘述：我們相信，電影的沉默時代（1895-1930）使得畫面更加豐富，更加強大。儘管在電影中引入了聲音，但很久以前我們已經過去了這個時代，但是沉默的電影卻帶有很多前衛藝術電影……還有，對silent詳細的條件之：電影節只接受“沉默”的電影。這意味著電影不能包含對話或敘述，但使用音效和樂譜（音樂配樂）是可以接受的。 使用穿插字卡intertitles是可以接受的，等等。
以下，是作品入選後主辦單位的來信訪談。
GISFF: What was your inspiration for making " Hopscotch " and “ Phantom Cinema ”? 請問您創作「跳房子」和「空一格，戲院」的靈感是？
Cheng Li-Ming: Both are from my memories mix with imagination; one is from a children's game and the other is from cinema experiences. Both films I worked with the actress Liu and she helped me knowing dance and body languages.
都來自於我的回憶與想像的混合“其中一部來自孩童的遊戲，另一部來自電影時光。另外也得自於與演員劉姿君的合作，她幫助我了解舞蹈和身體語言。
GISFF: What caused you to turn to non-verbal filmmaking? 請問讓您選擇用「非語言」創作影片的因素是？
CLM: Silent is power. I am always fascinated by silent images more than speeches.
沈默就是力量，我總是對著迷於沈默的影像更甚於交談。
GISFF： What challenges did you face in the process of " Hopscotch" and “ Phantom Cinema’s” production? 當您在製作「跳房子」和「空一格，戲院」面臨到的挑戰是？
CLM: Money and communication.
金錢與溝通
GISFF:Have you ever made a film with dialogue? How is non-verbal filmmaking different with that?請問您有製作過有對話的電影嗎？ 它與「非語言」電影創作的差別是什麼？
CLM: Yes. When I make a non-verbal film, I don't need to worry about synchronization, but more words are needed for explaining to my crew, including the audience and investors. :-)
當然，當我拍非語言電影時我不需要擔心同步問題，但我需要用更多的文字和語言與我的伙伴解釋，甚至包括觀眾和老闆 :-)
GISFF:How hard it is to have revenue from making short films in your country?在您的國家，製作短片要有收益有多困難？
CLM: Very difficult. People usually think short films are free.
非常非常困難，人們總是認為短片是免費的。
GISFF:How do you see non-verbal short films in terms of audience tendency?您怎麼看待「非語言」短片的觀眾喜好、趨勢？
CLM: Audience of this type of films is minority, yet in modern age where information explodes and over multi-sensory stimulation, non-verbal films might bring some fresh air and a force of peace for both audience and filmmakers. This can be regarded as a movement of returning to "Pre-linguistic phase".
這類電影的觀眾很少，但在當今信息爆炸和多感官刺激的現代時代，非語言電影可能會給觀眾和電影攝製者帶來一些新鮮空氣和平和的力量。這可以看作是“語言前階段”的回歸運動
GISFF: According to silent films having a great historical background, what would you say the specifications of modern non-verbal films are?根據默片的悠久歷史背景，您會怎麼說明現代的「非言語」電影？
CLM: In this technology era with massive connections, non-verbal films create a new mode to enter "Pre-linguistic phase", where our senses can regain the power of silence. For creators, this is "Renaissance". Although it's not through dialogue to grasp the world in non-verbal films, the discard of dialogue is not giving it up but to sink oneself into meditation and to seek out the substitution or advance of film language.
在這個多媒體、多連結的科技時代，以一種新的方式進入「前語言時期」，視聽感官將能重新獲致沈默的力量。對於創作者來說，這就是“文藝復興”。儘管不是通過對話來掌握非語言電影中的世界，但對話的放棄並不是放棄對話，而是沉迷於冥想中並尋求電影語言的替代或發展。
GISFF:Since making this film what would you say has been the biggest lesson you've taken from it?請問您從製作這部影片中最大的收穫是？
CLM: More deep silence. :-) Finally, I found working partners with not much words needed.
更深的沈默 :-)，我終於找到一群不消太多言語解釋的工作伙伴。
GISFF:And finally, what do you hope people will take away from this film?請問您希望觀眾從您的片中得到什麼？
CLM: A kind of Yoga between one's eyes, ears, body and mind, not through dialogues.
一種透過你的眼睛身體和心靈的瑜珈，不需要透過對話。
翻譯：施怡帆
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