The preparation of a new screenplay is filled with challenges, and tiny little joys.
The past two days, in order to get into the right mood to write a new story, I was watching films that are relevant to what I intend to do.
Two days ago, I finally caught Jia Zhangke's monumental PLATFORM (2000). I was overwhelmed by its ambition and scope, its execution and style reminded me of the earlier works of Theo Angelopoulos (THE TRAVELLING PLAYERS and ALEXANDER THE GREAT came to mind, I think Angelopoulos shifted styles after VOYAGE OF CYTHERA as his stories became more intimate and more focused on one protagonist).
I realized I have never seen that many of Jia Zhangke's works. A few of his short films, and maybe just his later film, THE WORLD (2004). But I still keep this 2010 photo of myself with his muse (now his wife) Zhao Tao because of the Jia Zhangke photobomb.
Now that I look at it, the year 2000 was an amazing year for Chinese cinema. Wong Kar Wai's IN THE MOOD FOR LOVE, Edward Yang's YI YI, Jia Zhangke's PLATFORM, Ang Lee's CROUCHING TIGER HIDDEN DRAGON etc. Regardless of what you think of these films, they have all left a mark in history, influencing filmmakers and the film business in ways beyond description.
The past two days, in order to get into the right mood to write a new story, I was watching films that are relevant to what I intend to do.
Two days ago, I finally caught Jia Zhangke's monumental PLATFORM (2000). I was overwhelmed by its ambition and scope, its execution and style reminded me of the earlier works of Theo Angelopoulos (THE TRAVELLING PLAYERS and ALEXANDER THE GREAT came to mind, I think Angelopoulos shifted styles after VOYAGE OF CYTHERA as his stories became more intimate and more focused on one protagonist).
I realized I have never seen that many of Jia Zhangke's works. A few of his short films, and maybe just his later film, THE WORLD (2004). But I still keep this 2010 photo of myself with his muse (now his wife) Zhao Tao because of the Jia Zhangke photobomb.
Now that I look at it, the year 2000 was an amazing year for Chinese cinema. Wong Kar Wai's IN THE MOOD FOR LOVE, Edward Yang's YI YI, Jia Zhangke's PLATFORM, Ang Lee's CROUCHING TIGER HIDDEN DRAGON etc. Regardless of what you think of these films, they have all left a mark in history, influencing filmmakers and the film business in ways beyond description.
