Jiang Wen's Ten Whys / Zhao Weimin

Lawrence 2022-01-22 08:02:33

Time: September 8, 2003

Source: Netease Television Channel

Website: http://ent.163.com/edit/000908/000908_61720.html

1. Why should I shoot "Ghost Show"? Jiang Wen said: This movie is not only a reproduction of the atrocities of the Japanese army, but also out of a duty of caution. In this film, the Japanese army massacred the real Chinese people and Chinese civilians. In fact, the Japanese army did kill many Chinese people. This tragedy happened in my hometown Tangshan. I want to tell Japanese audiences through this film: You have to really face this history and don't even want to deny it anymore. I also want to warn the Chinese audience: In the face of evil people, we cannot repay kindness for no reason. Faced with these facts that have already happened, both the Chinese and the Japanese should have a correct understanding to prevent this from happening again. 2. Why am I more interested in Chinese and Japanese culture? Jiang Wen said: In 1982, when I was going to school in Chinese opera, a group of Japanese students came to the class. They were the same age as us and had a very good relationship. When I left, I said goodbye and even fell in love with our classmates. At that time, I was very surprised. They said the same thing as the Japanese devils like Matsui in the anti-Japanese movie I watched when I was young. How come the attitude and mental outlook of people are so different from Matsui and others? They and Matsui are a generation away, but their images can't overlap. Since then, I have brought this question to listen to many people who have personally experienced the War of Resistance Against Japan. Later, when I had the opportunity to go to Japan, I also watched a lot and listened to a lot of anthropology such as "The Chrysanthemum and the Sword." , Sociological works... Up to now, I have gradually been able to overlap the images of these two types of Japanese people. They are actually the same thing, but in different forms of expression in different environments. This makes my hair horrified: a gentle Japanese can easily become a Japanese soldier in our mind. 3. Why do I value Japan as an opponent? Jiang Wen said: Japan is good at learning and studying China. We are facing an enemy with merits. If we cannot face up to these advantages but obscure them, and do not recognize them, we will face the danger of failure and disaster. The war of aggression half a century ago is a clear proof. This is a question that every Chinese should seriously think about. I think the formation of Lu Xun's thought and his criticism of national character have a lot to do with his stay in Japan when he was young. I think that the occurrence of a disaster is not terrible. What is really terrible is that we cannot thoroughly study and summarize the root cause of the disaster after the disaster. It is this kind of thinking that makes me always want to make a story between China and Japan. 4. Why did I choose Liu Xing's music for "The Devil Is Coming"? Jiang Wen said: The story of "The Devil Is Coming" was originally "hidden" in the many novels I had read for filming, but it did not clearly emerge. In the end, the inspiration was two CDs with different styles, one was Japanese military anthem, and the other was the album "Anyway" by the contemporary music hermit Liu Xing. The former is passionate and powerful with a domineering tendency, while the latter is the true essence of Chinese culture's detachment and etherealness. I heard the traces of folk songs for children from Japanese military songs. There is a kind of uncontrollable madness and ideals of adolescence. Such madness can easily commit unexpected atrocities if guided by evil forces. I admire the state of "Will It Yourself" very much. But if you want to reach this high level, you must have the strength of the "Japanese military song" as the foundation, otherwise it can only be "business women do not know the hatred of subjugation". 5. Why do I particularly value the role of "translators" in the film? Jiang Wen said: I have selected several themes about the Sino-Japanese War, including "Survival". What I saw was this point in "Survival"-a village that was not involved in the war, suddenly a Japanese soldier and a translator came, how do they face each other? And because of the role of this translation, the originally kind-hearted people could not correctly recognize the enemy on the opposite side, so that they were arrogant and inflated, and used the wrong methods. Among them are the problem of brutal enemies, and there is also the problem of translators misleading because of selfish desires, so things started to develop in unexpected directions. This core of the story is very optimistic to me. 6. Why am I wary of Japanese friends? Jiang Wen said: Friends of Japanese students who were chatting and laughing in the Chinese opera at the time, met a specific historical environment and instantly became the executioner of the massacre. This duality is well overlapped with the Japanese. Just like Li Yuhe and Hatoyama, who are familiar to our generation, they were "old friends" when they were in the Manchurian Railway Hospital! But this kind of friendship couldn't stop Hatoyama from becoming the captain of the military police, and later brought Li Yuhe to sit on the tiger bench. Although I will not delay asking Li Yuhe for a drink and talk about Buddhism, the secret code has to be taken out. There are too many such things. Friends belong to friends and principles belong to principles. The Japanese have a very strong concept of principle and national interest. 7. Why don't I always talk about "patriotism"? Jiang Wen said: Patriotism does not need to be aroused. As long as a person knows who he is and has a certain respect for his personality, he will love his motherland. Lu Xun's satire and sarcasm about certain issues in his own nation and culture is also full of love. Why didn't he ridicule and go to Japan? Because he wanted China to lose its neck and be stronger than Japan. This is the greatest patriotism. On the other hand, some people pretend to be praised for their own selfish desires, so as not to let people see the essence of the problem. Just like the translator Dong Hanchen in our film. I think the "patriotic thieves" are even more terrifying than the "traitors". They carry the banner of "patriotism", but they are more harmful than "traitors". Although I can't reach it. Lu Xun’s high level, but I admire and admire him very much. He sometimes behaves harshly, but he sees problems very accurately. In sharp contrast, many people do not see problems, do not want to see problems or I don’t want to say it. Why don't I often stand up and refute the words and deeds of the Japanese right-wing forces that deny war crimes? Jiang Wen said: Because of the filming of "The Devil Is Coming," many newspapers recently asked me to express my views on the reactionary remarks made by Japanese right-wingers. But I think what we need most is not that we accept the move every time the Japanese anti-China forces make a move. Rather, we need to study this opponent from a deep level. It is useless to pull a few celebrities out and live a mouth addiction indignantly. Japan’s attitude towards China has never changed. It’s just that we didn’t fully understand this level, so we looked at it as a friendly neighbor with a strip of water for a while, and at a later time it was the resurrection of militarism. This is what we need to reflect on. Japan continues to use some of the addictive words that we have said when the community is passionate to achieve some of their goals, including some of our movies have become examples of their excuses. For example, when we shoot the guerrillas, they quote the relevant international law of war saying that the guerrillas do not enjoy the treatment of prisoners of the regular army after being captured, and they make excuses for killing. For another example, we have a famous movie line called "more than a hundred devils, more than two hundred puppet troops", and they are very sinister to shirk many crimes of killing on the puppet troops in China. The problem is not that Japan has made any discordant voices recently and how we should fight back, but that we should calmly understand what kind of neighbor we are facing. We always say that if we want to go to the world, we must first pass the threshold of Japan. After stepping through Japan, you will naturally go to the world. 9. Why didn't I let the Chinese audience "beat" the devils in the film? Jiang Wen said: There is another purpose of making this film, which is to change some "old films" with the theme of the War of Resistance against Japan, which may give people, especially some misunderstandings for Japanese audiences. From a historical point of view, those films are very good, and they have indeed played a role in educating the people and fighting the enemy. But these movies also have some problems. For example, these old movies were taken to Japan by the Japanese to educate the young people in Japan: Look, which Chinese people are not spies, and which of them are not soldiers without uniforms? Since they "all people are soldiers", we can "annihilate them all". As a result, these old films of ours became their handle to cover up the massacre of Chinese civilians. But in fact, we did not "all the people as soldiers" at that time, it was just an ideal of ours. And when we are making movies now, we can no longer give the Japanese people this kind of eloquence. I think it’s easy to get addicted by making a movie, and it’s often eager for quick success, but after things pass, it neither works nor makes the audience really think. I made "The Devil Is Coming" to try to make the audience understand that if we want to avoid the unpleasant history that we all know, there is no other way besides being addicted to the mouth. I dare not say that "The Devil is Coming" gave this conclusion. In fact, I can't do it with a director or a film. The highest ideal is to have a direction! 10. Why don't I believe in the "friendliness" of the Japanese? Jiang Wen said: In the process of interacting with Japanese people, especially Japanese young people, I discovered that there are many Japanese right-wingers, anti-China forces, and war crime denials. A handful of people jumped up and down there. If we do not realize this, we have not faced up to Japan, a powerful opponent. Another bad tendency is that some of our literary works often apologize for the Japanese to the Chinese. In fact, there are a large number of Japanese who refuse to apologize. Why do we always use that small group of apologizing Japanese to numb and satisfy ourselves? There are a few Japanese actors in the movie "Devils Are Coming". They have seen my "Sunny Day" before and would like to cooperate with me, and the remuneration is easy to negotiate. But after reading the script, they resisted, and we also had constant debates during the filming process. These 30-year-old Japanese actors represent the backbone of Japan. Through this film, I have more or less changed some of their more extreme ideas. I believe that when this film is shown in Japan in the future, the audience will change like this group of actors, at least they have some doubts about the opinions they have accepted in the past.

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Extended Reading
  • Jayme 2022-03-19 09:01:09

    Chinese farmers are kind and good people. At the same time, it is stupid and weak. Weakness often causes goodness to deteriorate and become deceived.

  • Zachery 2022-03-15 09:01:09

    I was brainwashed by "Big Brother and Sister-in-law", but I really dare to write. Jiang Wen is indeed too poor. Some passages are almost endless, but he can't stand his overflowing talent... And not only is the script good, the actor Each one is also unique. The ending is even better. In the end, Wu Dawei’s Hong Kong-Taiwan accents promote democracy and humanity. The irony is really at the max level. . #162min版