《上海的女儿》参加第30届IDFA提案论坛

 

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本届荷兰阿姆斯特丹国际纪录片电影节(International Documentary Film Festival Amsterdam,简称IDFA)于当地时间11月15日隆重开幕。作为欧洲最大的纪录片电影节和纪录片市场,也是世界上最重要的纪录片电影节之一,IDFA吸引着全球纪录片从业人员和爱好者的目光。

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IDFA开幕式地点——阿姆斯特丹卡雷皇家剧院

本届阿姆斯特丹国际纪录片电影节中,有四部中国题材影片入选提案论坛(IDFA Forum)。分别为《人民医院》(导演:陈思毅),《爱过》(导演:范俭),《Born in China(出生在中国)》(导演:王男栿)以及《上海的女儿》(导演:陈苗,Hilla Medalia)。其中《上海的女儿》入围Round Table pitch Arts and Culture。

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Netflix选片人与《上海的女儿》项目导演会谈

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IDFA各大电视台选片人看片

阿姆斯特丹电影节

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本片导演Hilla(左一)、陈苗(左二),联合制片肖龙(右一)与选片人会谈

 

《上海的女儿》不仅仅是一个名人或名人后裔(周信芳女儿)的个人传记,也不是一个女演员的成长历史,本片赞礼了作为一个女人, 周采芹Tsai Chin独立思想,激进言行,和充满挑战的人生故事,从出名到匿迹再重返聚光灯下,她通过主流媒体展示了亚洲人的独特形象。对每个观众都会有所启发。

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在本届提案论坛中,本片导演Hilla Medalia和陈苗与NHK(日本广播公司),ZDF/ARTE(德国电视二台),Netflix(美国网飞公司),CAT&Docs(法国电视公司),TVO(大阪电视台)等公司进行了圆桌会谈,并形成初步发行合作意向。

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 阿姆斯特丹电影节盛况

The Word Of Tsai Chin 上海的女儿

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The  World  Of  Tsai  Chin

A   film    by   Michelle Miao  Chen and   Hilla    Medalia

ShortSynopsis

Tsai Chin is one of the first Chinese actresses to make it in the West. She is the daughter of Zhou Xinfang, the father of traditional Peking Opera who was brutally killed during the Chinese Cultural Revolution,and whom she didn’t get to see again after leaving in 1953.

Tsai Chin started her acting career in London, at first she was given small stereotypical roles, being the submissive and exotic woman, usually the ‘bimbo’. Her tenacity and big personality didn’t allow her to let go until she managed to break the stigma and make a real change in the way Asian women were depicted on TV and film. She is the only Chinese who played in both West End and Broadway and was even a Bond girl twice. Parallel to her success in acting,she started singing and immediately was signed by Decca,the same record label as the Beatles.

Her quick rise to stardom was followed by a big and painful fall. She lost all her fortune andfound left alone and anonymous,waiting tables at her brother’s restaurant,’Mr.Chow’s’,to survive.

Tsai’s is bigger than life. Her dramatic life story begins in a different, almost magical place and time. One that is gone forever. With the help of her unique and dramatic storytelling we are transferred to this era, to the Peking Opera, to the cultural elite of China and from it to the western world, the biggest stages, the lime light,the star dust that covered her life for so many years. Her fall from grace after being in the highest of places is a dramatic tale of resilience.

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Treatment

Tsai Chin’s role in The Joy Luck Club was groundbreaking and changed forever the portrayal of Asian Americans, especially women, in American culture. But this benchmark was not an easy or an obvious one for Tsai Chin. It came after a life filled with ups and downs, the peaks of fame and fortune and the lows of lonesomeness and anonymity.

Tsai Chin was born in 1933 in China. To be precise, she was born “on the road” with the Peking Opera crew that was led by her father Zhou Xinfang- the big master of the Peking Opera With such extreme beginnings,The rest of her unusual life story,only seems fitting.

Tsai was raised on and behind the biggest and most prestigious stages in China. She dreamt of becoming a professional actress since the age of 3, even though in China, acting was perceived as as low class occupation.

In 1953 she moved to London, and became the first ever Chinese student at the prestigious and posh Royal academy. Leaving China in those days was very unusual and a privilege saved for a selected few. After leaving, Tsai never saw her father again. Both her parents were brutally killed during the Chinese Cultural Revolution.“I think it’s terrible to say this but I think it made me a better actor.”

It was made clear to her from the beginning, that she was expected to be quiet, small and submissive. “There were people in the Royal Academy that said – ‘you will never get a job when you get out of here’. But inside me I already knew.I will show you”

Her first job was as a presenter for the Taiwanese opera. She took it and in ‘her world’ saw it as an opportunity to stand at one of London’s biggest stages. After her first performance, though she was ’just a host’,the critics couldn’t get enough of her.Her career skyrocketed overnight.

Expectations were never something to stop this tenacious woman. Even at the cost of big sacrifices. At the age of 19 she had a son but decided to leave him for her husband’s family to raise. As she said “I wanted a career and in those days you could not be both”.

Tsai Chin’s little brother, Michael Chow, traveled with her to London. To this day she feels she deserves at least some credit for his success with the chain of restaurants he opened in the 70s in London and LA, the famous Mr.Chow.

When Tsai first started acting in the UK and in America, Asians were given small stereotypical roles, especially women who were mainly portrayed as small, submissive and exotic, usually typed cast as ‘bimboes’. She was a bond girl twice and was the only Chinese to have played in both in the West End and Broadway. In the UK her fame was only getting bigger and in 1962 she was given a record deal at the iconic Decca record company and recorded“The World of Tsai Chin”.

Tsai was on top of the world. She led an extravagant lifestyle, however, she was that success didn’t last long, and a combination of events lead her to lost everything on top of losing her parents to the Cultural.

Revolution. Her homes were repossessed and she was left with nothing. When Tsai turned to her brother for help, she claims his attitude was very insulting. He had turned into a “Trump wannabe”. He gave her a job as a waitress, which she perceived as demeaning as she still saw herself as an international star. Their relationship hit rock bottom as Michael had her sleeping on the floor. “He humiliated me and wanted to control me. One day I said goodbye. He turned white, he thought he had me”

Tsai made the decision to leave LA and never look back. She moved to Boston to live with acquaintances that used to be her tenants in one of her apartments in London. To make ends meet, she took a clerical job in Harvard University.As far as she was concerned,her acting days were behind her.

For almost 20 years she disappears from the public eye until one day she is invited back to China to teach. She is welcome with great honor as a famous actress and as the daughter of Zhou Xinfang, who was purged and persecuted by the Chinese government 40 years before.

Following her visit to China, in 1989 Tsai gets a renewed wave of recognition, and is cast in David Henry Hwang’s M.Butterfly in London’s West End, alongside Anthony Hopkins.

While doing that play, Amy Tan, the author of The Joy Luck Club approches her and offers her a role in the film.

Her role in The Joy Luck Club was groundbreaking as it was the first time Asian-Americans were featured leading roles as round characters and as individuals. It gave Asian Americans a real, authentic representation they could relate to and identify with.

Tsai was back. This time with a purpose. She became the go-to actress for the Asian mother role and became a sort of matriarch and mentor to young Asian actresses.

The film is based on the the vast amounts of archival materials from Tsai’s performances and interviews over the years as well as interviews with Tsai herself and people who knew her or worked with her throughout her life.

Tsai’s story reflects the story of the depiction of Asians in American culture, and the journey that many Asians had to make in order to find their identity within the stereotypical perception people had of them.

Tsai is a real-life bigger-than-life, over-the-top personality. Her way of talking and her gestures are mesmerizing and her storytelling can transport any listener into a another place and time. Her story begins in the biggest stages of the magical Chinese opera in the 30’s and passes through hollywood royalty parties and red carpet events in the 60’s and 70’s all the way to a painful fall and deep anonymity fromwhich she only emerged to fulfil the roles she waited for her entire life.

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Artistic Statement

The World of Tsai Chin charts the career of actress, singer, and writer, Tsai Chin- her rise and fall and getting back on her feet.

Combining archival material with interviews of people who worked with her, her friends, family, waxing nostalgic and entertainingly portrayal of her life and work.

The film is based on the the vast amounts of archival materials from Tsai’s performances and interviews over the years as well as interviews with Tsai herself and people who knew her or work with her throughout her life. Friends and family like Elizabeth Harris Aitken, her close friend from the Royal Academy days, and lawyer Carlo Colombotti, famous restaurant owner and Tsai’s brother Michael Chow, her Son, as well as those who acted alongside her like Anthony Hopkins, Sandra Oh, Ming Ha, and British director Leslie Woodhead among others.

We choose to call the film The world of Tsai Chin which reflects her personality and the world she creates for herself,both on and off screen.We would use her music as the soundtrack of the film which adds another element to‘Tsai’s world.’

The film has an historical elements with Tsai’s family story from her father’s artistic work to her experience in the west; some are obvious like the story of her father and the traditional Pekin Opera, the cultural revolution, films and theater, but also other important historical elements for example when she arrived to London there was 1 single chinese restaurant and people weren’t used to seeing Asians, followed by the success of her brother’s restaurant, and today where the cities she lives in, LA and London,both have ‘chinatown’s.

The World of Tsai Chin is the inside story of a pioneer who inspires Asian Audience and Actresses to stand up and appear as they are. Most Chinese use American Names, even Michael Chow, Tsai’s brother, uses an international name. Tsai insisted on keeping her Chinese name, though she has a perfect accent, she stand strong to keep her heritage and is very critical of people who don’t do that. Therefore we will also have her speaking some chinese in the film.

We gained unprecedented access to Tsai, her personal archive (she keeps all her cuttings…), and the people around her allowing us to have an intimate portrait of her story with all the ups and downs.

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Bios

HILLA MEDALIA – Director and Producer

Peabody Award-winning, three-time Emmy® nominated director and producer. Founder of Medalia Productions,a creative documentary production company operating in Israel and in the US.

Her films have garnered critical acclaim and screened internationally in theaters and on television including HBO,MTV,BBC and ARTE.

Among her films:

“Muhi – Generally Temporary” (2017), Muhi, a brave and spirited boy from Gaza has been living in an Israeli hospital, for 7 years. Caught between two homes and two peoples, Muhi is unable to return to Gaza. He is raised in paradoxical circumstances that transcend identity, religion and the conflict that divides his world. His time at the hospital is running out and Muhi now faces the most critical choices of his life. Premiered at the San Francisco Film Festival, screened at Hot Docs, AFI and Docaviv where it won the best debut film award.

“Censored Voices” (2015) BBC, ARTE, VPRO, Sundance Institute), a documentary about hidden recordings from the Six Day War, has premiered in 2015 at the Sundance Film Festival and screened at Berlinale – Panorama, Hot Docs, IDFA, BFI London, among others. It has won the Israeli Oscar for best documentary and has been released theatrically in the US and Europe.

“Web Junkie” (2014) dealing with Internet Addiction in China, which she co-directed and produced, premiered at the 2014 Sundance Film Festival and has been acquired by the BBC and released in the US and Canada.

“The Go Go Boys” (2014), the inside story of Cannon Films, Menahem Golan and Yoram Globus, premiered at the Cannes Film Festival.

“Dancing in Jaffa”(2013) is a hopeful portrait, following ballroom dancer Pierre Dulaine as he returns to his hometown to teach 150 Jewish and Palestinian 11-year-olds how to move gracefully together. “Dancing in Jaffa” premiered at the Tribeca Film Festival, won the editing award at DocAviv and the «Honorary One Future» award at the Munich Film Festival and 6 Audience Awards. “Dancing in Jaffa” was released theatrically in the US, France, and Germany and participated in the Sundance Institute Film Forward program.

For her documentary“After the Storm”(2009, MTV), Hilla won an Audience Award at the Woodstock Film Festival and the Crystal Heart Award at the Heartland Festival. Past projects include “Happy You’re Alive” (Channel 1, Israel) and “Numbered” (YES) which won the Silver Hugo at Chicago International Film Festival and“Best Debut Documentary”at the Israeli Documentary Awards and “To Die in Jerusalem” (2007,HBO).

Hilla has been awarded the Paris Human Rights Festival Jury Award, Golden Warsaw Phoenix, as well as the jury award at FIPA and more.

She teaches at the IDC and is a regular lecturer at The NY Film Academy, NYU, EWA (European Women’s Audiovisual Network) and the New Fund for Cinema’s Women Greenhouse on the subject of production, directing and crowdfunding. Hilla is a mentor for the NFCT’s Business Card Program for Emerging Filmmakers she acts as lector and judge at film festivals and forums, Hilla is a board member of the Pacific Council, The Israeli Director’s Guild and The Israeli Academy of Film and Television and a member of the American Academy of Arts and Sciences.

Hilla holds an M.A.from Southern Illinois University.

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MICHELLE CHEN MIAO – Producer and Director

Chen Miao is one of the well-known film directors of China New Cinema. A graduate of Beijing Film Academy, she went to study and work in Hollywood before returning to China to apply her Western experience to filmmaking.

Her first feature film “Mi Ni” (2005) starring famous movie stars–Angelica Lee and Liu Ye was theatrically released nationwide in greater China. “A Girl Thirteen” (2007) her second feature was entered into the 60th Cannes Film Festival for the Junior Competition and won Best Digital Film at the 2007 Beijing Youth Film Festival. Her third feature “Son of the Stars” (2012) won the Best Upcoming Director’s Awards at China American Film Festival, won the Best Actress Award and the Best Humanity Awards at Beijing Youth Film Festival, won the Best Young Writer/Director Award from Shanghai Culture Development Funds, etc. In 2013, she founded the digital-media platform “Temperature Movie”, a collection of more than 250 mini films made by Chen Miao and other filmmakers throughout China. Many of the mini films won awards at international film festivals including the“2015 Golden Angel for Minifilms”at 2015 China American Film Festival.

Chen Miao is the founder of “℃ Temperature Movie”, a multiple media website/WeChat account. She is a seasoned documentary filmmaker. Her films “The Snake Boy”, “Shanghai Dreams”, “Lulu and Me” have been critically acclaimed at various international film festivals and have been broadcasted by TV channels throughout Asia.

Her former work experience includes her role as the International Production Manager at  Saban Entertainment, a Fox World Wide company and Founder/Executive Director at ChinaNow.com, a website in China. In addition, she teaches Filmmaking at the Shanghai Drama Academy and Shanghai Film Academy.

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XIAO LONG-Executive Producer

Xiao Long is a curator for documentary film festivals and events, and a producer for documentary and actual contents. He is the co-founder and Permanent Secretory of Beijing International Film Festival Documentary Sector, the co-founder and director of FreshPitch, the co-founder of Outdoor Documentary.

Season, the co-founder and director of the Documentary Training Courses of SARFT Training Academy, the Annual Development Program of DocChina, the experts and writer of Study Report of The Development of Chinese Documentary.

He is the producer of the documentary of A VR Journey of Kyoto Gardens in the Fall Season, the documentary of The Champion of the Nature. Projects in development including Taste of China, The Gulf Course,feature-length documentary The World of Tsai Chin,Wild Ball,the Dream of Everest,etc.

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RONNY MERDINGER – Line Producer

Film and television producer with extensive,diverse experience producing projects worldwide.

After graduating New York University’s Tisch School of the Arts with a film & television degree, Merdinger joined the production team of HBO’s cultural phenomenon Sex and The City. She went on to manage productions for BBC, HBO, NBC, Relativity Media, Paramount Pictures, Comedy Central, Warner Bros.,Showtime and Fox.

Due to the wide range of productions she helmed, including commercials, both narrative and documentary shorts and features, scripted episodic television, and music videos, Merdinger was able to build a unique type and level of experience. Her vast body of work includes Beyonce’s BET award-winning music video, Love on Top; Sundance smash, Half Nelson, for which Ryan Gosling was nominated for an Academy Award; and John Oliver – Live on Stage: Terrifying Times. Merdinger also produced HBO’s critical darling and Emmy award-winning comedy series, Flight of the Conchords.

She recently produced “Made Like a Gun”, a documentary following a group of Israeli army veterans dealing with trauma, on a motorcycle trip across the Himalayas.

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Visual Materials:

A 14 min assembly made after two days of shooting with Tsai Chin and some of her former co-workers.

https://vimeo.com/218758966 Password:DOS

Contact: Hilla Medalia Medalia Productions +972-54-4791124

hilla@medaliaproductions.com

Michelle Miao Shnaghai Seeding Film inc. +86021-58586657

miaofilm@gmail.com

 

《上海的女儿》周采芹将以现代的表现手法,多时空的交错,以象征,隐喻和穿越的电影语言,以华丽的年代再现和纪实风格的采访相交替,表达导演眼中那个穿过历史的重力走向世界的舞台的中国女儿。 本片又一个亮点:著名国际明星组成的阵容——将由3个演员来扮演一个丰富多彩的人生的多个侧面,她们演绎一个人物却是完全不同的舞台,人生的多彩和跌宕。采芹自己也会串联全片,“人生本是戏”,把艺术和生活的界限模糊了。

陈苗《做好一件事》获中美电影节金天使奖

第11届中美电影节于2015年11月1日在美国洛杉矶隆重开幕。曾在2011年中美电影节中凭借作品《星星的孩子》获得“金天使奖”的陈苗导演,再次受中美电影节主席邀请,携《做好一件事》、《愚公移山》等短片参加第11届中美电影节。其中《做好一件事》荣获2015年中美电影节年度中国微电影“金天使奖”。

  中美电影节是中美两国电影人的交流平台,由中国国家新闻出版广电总局与美国电影协会、中国驻美使馆共同支持创办。在第11届电影节期间将举办包括欢迎晚宴、中美电影合作高峰论坛、中美电影节开幕式暨颁奖典礼等十多场各具特色的大型电影专场、研讨活动以及上百场的影片展映等系列精彩活动。

在今年中美电影节最受瞩目的“金天使奖”颁奖典礼上,陈苗导演执导的微电影《做好一件事》荣获年度中国微电影“金天使奖”。该剧以2010-2011年度上海市杰出志愿者——张轶超为蓝本,讲述的是张轶超致力于为来沪务工的外来子女提供志愿服务,为孩子们创办公益合唱团,帮助这些孩子认识自我,融入城市,提高综合素质,同时也激励了数百名优秀年轻人先后加入到志愿者队伍中来,让志愿精神更好地传递下去的故事。

另外,在11月2日派拉蒙片厂Paramount Theatre举行的中美电影合作高峰论坛中,来自中美两国的影视制作企业、制片人、导演等业界人士及政府与媒体代表近百人齐聚一堂,共商中美文化交流新未来。此次论坛围绕“中美电影创新与新媒体、新经济”、“中美电影国际发行”以及“中美电影合拍的机遇与挑战”等议题展开讨论,触及中美合拍电影的现状和问题,也深入探讨了中美电影合作的前景与方向。

在论坛期间,陈苗导演作为上海苗子文化艺术咨询有限公司的代表,与中美专家就苗子公司未来跨国跨界合作事宜进行了深入商谈。在此期间,美国代表们对苗子公司在未来两年内将推出的6大电影项目表现出浓厚兴趣,并提出合作意向。

上海苗子文化艺术咨询有限公司自2004年成立之日起,致力于电影(故事片,纪录片和短片)的制作、创意策划、编剧和融资,以及影视产业链的IP创意研发和产学研结合项目,并出品、监制、拍摄、宣发影视作品,实现电影产业链的一体化。

经过11年的积累,苗子公司已和中国电影集团,上海电影集团,西安电影集团,万达电影公司,签署过联合制作协议;并与万达电影院线,上海联和电影有限公司,安乐(北京)院线,中影南方电影新干线,国家广播电视总局电影卫星频道节目制作中心等20家公司签署过发行协议;此外,还与新媒体如爱奇艺,中国视讯等签署过宣传和发行协议。近年来更是结交了优秀的战略合作伙伴,如上海河马动画、北京星邦美那娱乐文化传播公司、春秋时代(天津)影业有限公司等,这无疑为苗子公司的市场运作提供了强有力的支持和帮助。

凭借陈苗导演在好莱坞Fox Worldwide的工作经验,以及中美电影节给予的跨国合作机会,苗子公司在不断铺陈跨国跨界的合作道路,为未来更大规模的国际合作奠定基础,促进中国影业在原创阶段就和国际接轨。

在论坛上,陈苗导演接受采访时不仅对中美电影节主席的邀请与授奖表示感谢,同时也表示无论市场如何发展和变化,作为创作者,我们的态度从没有改变:“忠于内心,忠于作品,抱团每一个从业者,向大家学习,共同进步。面对一个充满国际和国内危机的市场,我们只有自强与合作并进,方能创造出辉煌的未来!

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左起:陈苗导演、于冬(博纳影业总裁)、龙新华女士、曹保平导演

《星星的孩子》导演陈苗:用好的故事打动人心

刚刚在第十九届北京大学生电影节斩获“人文关怀”奖的电影《星星的孩子》,2日下午在南京举行了观摩研讨会。影片导演陈苗在接受采访时表示,要用好的故事来打动观众,温暖人心。

影片讲述的是母亲梁铮铮独自带着7岁的自闭症儿子从内蒙古到东莞千里迢迢寻找丈夫的故事,艰辛生活的重压之下,绝望的梁铮铮在女人和母亲两个角色中痛苦地挣扎和抉择。
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《星星的孩子》女主梁静获最佳女主

“我自己本身就是一个母亲,当我去听其他母亲讲述心路历程的时候,我特别能理解她们一路走来是多么的不容易。”陈苗说,在电影的筹备阶段,她走访了许多现实生活中的自闭症儿童的父母,更深切地感受到他们的悲伤与无助,“多少次的希望就有多少次的失望,最后走到绝望。所以我就希望通过电影将这种绝望之后逢生的希望和爱传递给更多的观众。”

陈导坦言,吸引更多的人来关注闭症家庭群体的现实生活状态,推广社会对自闭症家庭的理解与关爱,是她的创作初衷。

一些已为人母的观众在观摩影片后略感意外,影片中并没有让她们痛哭流涕的场景。对此,陈苗给出了解释:“在电影创作的过程中,有很多人建议我让孩子最后叫一声妈妈,不然观众的眼泪怎么下来。但我没有选择这种煽情的做法,因为这对于很多自闭症患者来说是永远不可能做到的。”

“有人说我们是小众电影,是文艺片。但我认为,只要能有一个好的故事,能触及观众柔软的内心。”面对质疑的声音,陈苗导演表示,希望自己的电影能体现出人文关怀,将智慧和感动奉献给大家,在当下的社会展现精神层面上的意义,温暖人心。

作为国内第六代新锐女导演,陈苗曾执导《十三岁女孩》、《米尼》等多部影片,并获得11中美电影节杰出新晋导演“金天使”奖等。她的这部新作《星星的孩子》将于今年母亲节期间在全国18家院线同步上映

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陈苗导演在北京大学生电影节

女导演陈苗执导电影《十三岁女孩》转战捷克

从戛纳电影节青少年单元参赛归来后,年轻女导演陈苗执导的电影《十三岁女孩》又获选第47届捷克儿童和青年电影节。该片由《武林外传》中莫小贝的扮演者王莎莎主演,讲述了一个十三岁女孩在青春期面临家庭、友谊和亲情改变的故事。目前,电影已被翻译成英语、法语、西班牙语等多种语言。

独家专访导演陈苗:戛纳是全世界电影人的天堂

网易娱乐独家报道(文/第五铁峰)陈苗是北京电影学院87级唯一的女生,用她自己的话说是前后几届仅有的一个女生,对于戛纳电影节的最初期印象也开始于电影学院求学时期,“那个时候张艺谋、陈凯歌他们就已经开始频频在欧洲电影节上拿奖,在我们心目中戛纳金棕榈就是至高无声的荣誉。”。

毕业之初,陈苗并没有和她的同学、学长们一样开始一段“地下电影”时期,而是选择了去美国进修,“我觉得我还需要一段时间的沉淀,所以我选择了去美国继续深造”,随后她开始了长达数年的纪录片拍摄工作,直到近些年才开始执导故事长片,去年她带着自己的第三部影片《十三岁女孩》参加了戛纳电影节。

网易娱乐:去年你的《十三岁女孩》入围了戛纳电影节青少年影展,对于参加戛纳电影节你有何感受?能谈下第一次赴约戛纳的感受吗?

陈苗:青少年影展单元是戛纳主办方从全世界选出10部青少年题材的影片参加竞赛,除了有专业的评委之外,他们还会邀请一些小朋友,比如在校学生等,和专业评委一起评奖。我觉得非常开心,戛纳电影节真的是世界各大电影节里将艺术和商业结合的最好的电影节,它每年选出的影片都非常有质量,而且电影节期间的电影交易市场也非常好,让电影的制作者和购买者有一个很好的沟通和交流的机会。

网易娱乐:有没有想过若干年后亲手捧起金棕榈大奖?

陈苗:到是真的没有这么期望过,但金棕榈肯定是所有电影人的一个梦,记得去年电影节期间观看韩国电影《密阳》的时候,电影结束后全场响起了长达7分钟的掌声,那样的情景真的让你觉得做电影是一件多么值得骄傲的事情,这对导演的创作热情和动力是很大的鼓励。

网易娱乐:就像你说的戛纳一直是很多导演的梦想,在你心中戛纳是什么样的?

陈苗:我上学的时候,张艺谋、陈凯歌这些师兄级的导演已经开始在欧洲电影节上获奖了,每次他们获奖以后,都会带着他们的影片来电影学院放映,那个时候开始对戛纳有了初步的印象,就觉得金棕榈是一个电影人至高无尚的荣誉。

我在好莱坞也有很多电影界的朋友,他们几乎每年都会去戛纳,不管是有没有自己的影片入围,就是去看电影感受电影的氛围也是很棒的,每年的5月就好像是全世界电影人的一个大聚会,那种无尚光荣和开心的气氛始终存在着。

网易娱乐:你如何看待中国电影在戛纳所取得的成绩?

陈苗:我觉得那些影片都是在中国电影史上值得书写的影片,他们代表的中国电影的一个时代,无人可以超越。

网易娱乐:在戛纳历史上获奖的影片中你最欣赏哪一部?

陈苗:太多了,真的要说一部的话挺难的,《霸王别姬》是我最喜欢的影片,当然它也获得了戛纳的金棕榈奖,陈凯歌在影片里对那一个时代的书写真的是无人能及。

网易娱乐:在有机会参与戛纳电影节的中国影片和影人,你最欣赏谁?

陈苗:我还是要说陈凯歌和他的《霸王别姬》吧,其他,娄烨的《颐和园》我也很喜欢,虽然没有得奖 ,但确实是一部很棒的电影,有他自己对于时代的思考和积淀,这和陈凯歌又有些不一样。

网易娱乐:中国导演在柏林电影节和威尼斯电影节上屡屡斩获大奖,而戛纳电影节历史上,只有陈凯歌的《霸王别姬》拿过金棕榈,还是和澳洲女导演简·坎皮恩 《钢琴课》并列,此外都则一直没有机会,你怎么看这现象?

陈苗:一个导演要创造出一部伟大的作品,真的是需要天时地利人和,陈凯歌在那个时候达到了创作的巅峰,所以取得了那样的成就,而后来的中国导演肯定还有再创辉煌的机会。

网易娱乐:在获戛纳大奖和票房卖座上,你更希望你的电影是哪一类?

陈苗:你这个问题问的太好了,但是我想我的回答肯定不会令你满意。我觉得作为一个导演面对这个问题,那就要清楚你到底要什么了,在我们现在的这个创作环境下要想做到一些人说的两全其美是不可能的,所以要艺术还是要票房,那就做到那个方面的极致吧。

网易娱乐:今后还会将自己新的作品送往戛纳电影节吗?目前新影片方面有什么计划?

陈苗:我手头现在就有两个项目,也存在你刚才说的关于艺术和商业的判断问题,一个是很商业的影片,有冒险、动作的元素,是和加拿大合作的大投资,另外一个则是偏向艺术的题材,我想后者会去一些电影节参展吧。

采访手记:

陈苗是北京电影学院87级的学生,用她的话说是王小帅和娄烨的师妹,是贾樟柯的师姐。但是她的影像风格和电影美学追求却和第六代的其他导演有着很大的区别,“我不太喜欢描绘过去时代的风貌,也不喜欢灰色调子的主题”,陈苗喜欢将自己的镜头对准当下,因为在她看来现实的丰富性足以成为她电影书写的源泉。在她看来一个导演要创作出一部伟大的作品需要积累,还需要更多的外部因素的配合,陈凯歌就在1993年等来了属于他的《霸王别姬》。 (本文来源:网易娱乐专稿)

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陈苗在戛纳电影节

现代愚公

导演:陈苗

主演:曹卫宇

片长:10分29秒


四个人,六年,七十二个月,两千一百九十天,修路五公里……这是一个发生在现实世界的“寓言故事”。 4个人、4双手,这份力量看上去实在太过渺小的,但是天地国亲师的信念,最终换来山为之开,石为之裂,路为之出。

这是一个发生在现实世界的“寓言故事”,4个人、4双手,面对着连绵大山,狰狞巨石,他们要撼山碎石,开出一条通往外面的道路。如果这份力量看上去实在太过渺小的话,那么再加上一份执着的信念和2000多个日日夜夜,最终换来山为之开,石为之裂,路为之出的结果。

云南省文山州西畴县鸡街乡肖家塘村的4位村民,为了打通村子通到外面的道路,仅仅凭借自己的双手,用了6年的时间,硬生生在大山峭壁中开出了一条长5公里,宽4米的石头路。演绎了一幕当代版的“愚公移山”故事。

这是一条道路,也是一条出路,更是一条信念之路,一条对天地国亲师的信念之路。让我们记住这4位硬汉的名字,他们是34岁的侯寿高、57岁的邓招财、59岁的姚仕斌和71岁的姚光金。
没有路,十几户人家只剩4户,为了守护祖辈的村子,4户人家决定自发修路。修路只靠手和简单工具,却要完成不可能的任务。曾经有人动摇过,但回头后再也没人提过“放弃”。四个人没想过哪天能修通,只知道要一直干下去。4双手,手背划痕斑斑,手掌结满厚茧。路通的那天,他们喜极而泣,每户人家背上巨债,但“路通了就有希望”,信念的力量让我们看到“现代愚公”的完美结局。

孔雀之梦

导演:陈苗

主演:杨政、李曼怡

片长:7分47秒


许多人心中多多少少会有一种奢侈品情结,不为炫耀,或只为感受到自己也值得拥有美好事物。梦想,是最美的奢侈品。而你是否也曾怀揣过像奢侈品一样昂贵的梦想?这样的梦想你是否又实现过?当你穷的只剩下梦,你还会视她为最美的奢侈品吗?

“每一个不曾起舞的日子,都是对生命的辜负”《孔雀的梦》娓娓的和我们道来一个关于起舞的故事。大龙因为身体原因放弃了舞蹈梦想,安心的做一个普通的城市白领。但当他遇见热爱舞蹈的孔雀之后,被她深深打动,以一己之力,开办了一座舞蹈学校,帮助孔雀等这些家境困难的孩子圆梦,而自己在这个过程中也找到了新的梦想,和孔雀一起拥有了最美的奢侈品,名为梦想的奢侈品。

 

晨光探戈

导演:陈苗

主演:郭晓峰、郭进尧

片长:4分05秒


爱她,就像37℃体温,恒常不变的温暖。爱她,愿守住一份简单的从容,在寻常日子里翩翩起舞。爱她,在唯美的晨光里,一支探戈与她优雅共舞……

 

微电影《晨光中的探戈》,抓住城市中一对普通夫妻在寻常生活中的爱意瞬间。他们各自经历过人生起起落落,坎坎坷坷。但泥沙俱下的现实却让他们更懂得彼此,爱护彼此。卖早餐之余的晨光探戈里,他们望向彼此的目光如此幸福。

的哥

导演:陈苗

主演:郭晓峰、刘牧

片长:4分06秒

《的哥》的故事缘起于一句暖心的话—— “我挣钱比你容易”。天津出租车司机马师傅没有收一位盲人朋友的车费,并说“我不收你钱是因为我比你挣钱容易”。而目睹马师傅行为的一位陌生乘客随后却替那位盲人朋友付了车费,理由是:“我也不伟大,但挣钱比您也容易点,就希望您继续做好事吧!”简单的话语,却是在将爱进行到底,接力不断。℃电影愿和你一起,在这温暖的春节,听37℃暖心话,看最温暖的《的哥》。