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.
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. :-)
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".
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.
