《浮生門》，古裝武俠微電影，2014柏林國際電影節參展影片
基本介紹
- 中文名：浮生門
- 外文名：Once upon a time in Shaolin
- 出品公司：北京旭光映像傳媒
- 製片地區：中國
- 拍攝地點：北京
- 導演：黃旭
- 編劇：黃旭
- 製片人：黃旭
- 類型：武俠、懸疑、文藝、公益
- 主演：楊元凱，劉振民，黃旭，武明陽，張二橋，王超，毛瑩
- 片長：20'48''
- 對白語言：國語
- 色彩：彩色 黑白
- 主要獎項：參加2014柏林國際電影節
晉級2014愛爾蘭#VOFF、美國五大湖、法國環境哲學三大國際電影節
新浪網首頁登載 - 線上播放平台：優酷、56、愛奇藝
故事梗概,導演闡述,
故事梗概
《浮生門》導演闡述
Director’s Statement of Once upon a Time in Shaolin
故事梗概：
故事發生在抗倭結束的幾十年後，幾位少林武僧在遠出的回寺路上遭遇襲擊，大師兄當即追兇而去。幾天幾夜後，當其他武僧趕到時，大師兄已遭毒手。於是每位僧人依照現場的遺蹟開始對大師兄的死因進行分析，眾人說法不一……最後，當得知真相時，卻發現這次的兇殺背後暗藏著一個令人寒脊、驚動天地的大陰謀。。。
Synopsis:
This was a story happened decades after the anti-Japanese pirates war in Ming Dynasty (1543-1563). Some Shaolin warrior-monks were assaulted on their way back to ShaolinTemple, and the foreman went to chase those assassins right away. Days later when other monks as reinforcements arrived, the foreman has already died. Afterwards, each monk started to analyze the reason of their boss’s death according to on-site clues, the answers were varied…They realized that an outrageous plot was just behind the assault when they finally found out the answer…
導演闡述
從電影類型上分類，本片應該屬於武俠片。貫穿始終的武術理念，講述的也是少林武僧的故事。但若按“商業/藝術”的角度來分，無論是從製作的成本還是思想內涵的表達，它不是單純的給觀眾製造快感，而是更注重電影含帶的信息本身。因此，應當說它是一部以武打為題材的藝術電影。
Director’s statement:
This is a martial art film classified by genres. The idea of martial art is expressed throughout the film which tells a story of Shaolin warrior-monks. However, to classify it by “commercial/art”, the film concerns more about the information itself that the film contains, instead of pure entertainment, no matter in production cost or expression of content. Thus, it should be an art film with the theme of martial art.
影片的初衷，只是希望利用當時手上強弩之末的資源做一部作品，沒有起碼的經費，甚至沒有充足的時間，更確切地說，當時的處境是——能夠拍得成片子來就不錯了！而本片的最大成功之處也在於：只用了兩個造型元素（光頭+草帽），和兩款僧服（現在時與過去時），兩到三天的拍攝時間，以及只夠吃飯的資金，打造了一部本該成本昂貴的古裝武俠電影。
At first, I just wanted to make a work of my own with what I had in hand at that time. Having got inadequate funds and time, I just wished I could make a film in that situation. Our team managed to make a costume martial art film out of two elements (bare heads + straw hat), two types of monk costume (current state and flashback state), a couple of days for shooting and funds that can only afford our board expenses, making the film a cost efficient one.
由於手頭上沒有足夠的資金，只能通過劇情來避免材、物的大量套用。想著想著，就想到運用《羅生門》的故事模式，把故事局限在具體的某一個事件或某一個場景里。那樣不用涉及太多人物，減少了對服裝、造型、道具、場景的依賴，大大節約了成本。把頭一剃，皆可上陣，因此我打算拍一個關於和尚的故事——功夫版的“羅生門”。但後來加進了自己的許多東西，所以影片也遠遠不止“功夫版‘羅生門’”這么簡單了。
The film didn’t make efforts on large applications of stage properties for funding concern, instead, we lay stress on the plot. Later on, the Japanese film Rashomon crossed my mind, thus I applied this mode to the film, confining the story to some specific occurrences or settings. By this way, not too many characters involved, thereby reducing the reliance on costumes, models, stage properties and settings, thus cost was saved significantly. At first, I intended to make a “Rashomon” of martial art about monks, because we just needed to shave our heads to make it. However, I added a lot of other elements of my own which made the film more than just a “Rashomon” of martial art.
同一個場景、同一批人、同一個造型，但是在這些相同之下卻隱藏著不同的性格與動機，這些不同的因素在這近似於封閉的空間裡碰撞出火花……這便是此片最初的構想。
Different elements contributed to the film in this almost closed space with the same setting, actors and models but different personalities and motivations…that was the initial idea of this film.
在影片的取名上，為了起到讓人顧名思義的效果，最終把片名定為“浮生門”，在漢語讀音上與“羅生門”相近，產生蒙太奇效應；並且在影片結尾處點題，形成“浮生門”的獨立含義——“浮生若夢，空門即始”。借用禪宗意味，倡導仁愛和平。英文名則翻譯為：Once upon a time in Shaolin，即“少林往事”。與《美國往事》(Once upon a time in America)、《黃飛鴻》系列(Once upon a time in China)等眾多“往事”系列形成對比，獨樹一幟。
As for the name of this film, I finally named it Once upon a Time in Shaolin (“Fu Sheng Men” in Chinese pinyin). This could produce a montage effect because of the similar pronunciation with “Rashomon” in Chinese pinyin. The theme was presented at the end to form an independent meaning of the film—“life passes like a dream, new life begins without lust.” The film advocates humanity and peace through the theme of Zen. The title was translated as Once upon a Time in Shaolin, compared with Once upon a time inAmerica, Once upon a time inChina and other stories, this film struck a line for itself.
武術是中國一項充滿內涵的文化。他和中國的文學一樣博大精深。從20世紀起，許多大師就想方設法在熒幕上展現出他們對武術的理解。然而在熒幕上是不可能完全還原武術的本質的。從來沒有人做到，只有不斷的接近。
Martial art is a unique culture inChina, and it is the same development as Chinese literature. Many masters of film managed to express their understanding to martial art in their works since the start of 1990s. However, it’s impossible to reproduce the nature of martial art solely on screen. Nobody has ever made it, but infinitely getting closer.
在真實的對抗中，如果雙方都是功夫高手，那么他們之間的較量，就將會是在對峙後塔上手的一瞬間分出勝負。這在電影中倒反不好體現，因為往往打鬥過程短暫而滿足不了觀眾的觀看欲望，更難以支撐起高潮部分的情感宣洩。因而在動作電影漫長的演化過程中，這樣的“紀實”路子卻給人感覺劍走偏鋒，多數成為了“另類”。
The fighting between master-hands ends at an instant in real situation which is hard to express in films, because short time fighting cannot satisfy the audiences and support the emotional expression in climax part. Therefore this kind of documentary route doesn’t please the public in the evolution of film, and most of them become the “outsiders”.
十幾年前有部影片叫做《雙旗鎮刀客》，在中國內地開創了這種“一招定局”的先河。但由於路線的局限性，能繼承、發揚其作風的後來者寥寥無幾。
The film “Swordsmen inDoubleFlagTown” decades ago created the precedent of “to win with one kick” in mainlandChina. However, the late comers could rarely inherit and promote the art because of limitation in routes.
本片嘗試這種武打風格，並闊寬了表達方式，從“招式”中跳出來，升華到了更高的層次——“意境”。片中有各種方式“一招制敵”的表達：陰手、意念戰、力量差距、以快制慢、情感誘騙、偷襲、假想、以退為進等等。其中高潮部分的虛空對決隨影一幕，是全片唯一一處寫實對抗，看似簡單，但每回合的過招都是出自於精心的設計，（具體解說可參見文後附錄）
The film tried on this type of martial art, and broadened the way of expression. It didn’t confine to “moves of martial art”, instead, it scaled up to a higher level—“moves of mind”. There were a lot of expressions about “to win with one kick” in the film, such as idiodynamic fight, power gap, swift hand, emotional trap, sneak attack, imagination, dirty fight, to win by step backward and so on. Fight between Void and Shadow in the climax part was the only realistic fighting in this film, and the seemingly simple moves were out of meticulous design. (See appendix for more details.)
但我更希望本片被人記住的是文戲，而不是武打。如果被當成一部“武打片”，那么就是本片的失敗了。
What I want this film to be impressed is the plot instead of martial art. If the audiences see the film as a “martial art film”, it would be a failure of this film.
不知道大家有沒有注意到這么一個細節：在片中，“懷空”這個人物從來沒有和主角以外的人有過交流，也沒有被其他人“理睬”過。這是精心的設定，希望大家發現。另外高潮部分的“退破千招”更多的是體現出“退一退，海闊天空”的心態，淨化心靈，宣揚反戰思想。
Have you noticed: Valley did not have any contact with others except Void, and others also didn’t respond him? I hope you could find this specially designed plot. Besides, the move “to run away is to win” in the climax of this film represented the attitude of stepping backward. This was to purify the souls and advocate anti-war ideology.
把故事發生的時間設定在抗倭結束後的幾十年中，是因為居合刀法（拔刀術）的創始人就幾乎出生在抗倭開幕的那一年，1543年，所以將本片的故事設定在抗倭時期不是很合理。而若故事發生在抗倭戰爭之後，萬曆韓戰（1592年）之前，則能起到承上啟下的作用，同時也很方便把少林僧兵打擊倭寇的歷史故事融入進來。
It wasn’t reasonable to set this story in anti-Japanese pirates war, because the founder of Iaido (art of sword drawing) was born near 1543, the beginning of the war. Thus the story should be happened decades later. If the story was happened after the war and before the Korean War in the year of Wanli in Ming dynasty (1592), it could serve as a transition of the two events. In the meantime, the story of Shaolin warrior-monks fighting against Japanese would be easier to put.
在人物的取名上，隨影則是繼承了日本崇尚速度的風格，與冷月交相輝映。虛空與懷空單從名字上就可看出關係緊密，惺惺相惜。“虛空”反應出了該角色長期處於那樣的身份背景下進退兩難、壓力山大的心境；而“懷空”則折射出了一種虛懷若谷的人生態度，同時“懷空”這詞更有“成、住、壞、空”中的“壞、空”之意，與片中這一虛幻人物相吻合。大師兄、兇手、寡婦等符號不表。
For the name of characters, “Shadow” inherited the style of Japanese swiftness, corresponding to the name of “Coolmoon”. Void and Valley were very close friends and brothers, as we can see from their names. “Void” reflected the dilemma and stress of this character under that identity and background; whereas “Valley” meant a very modest attitude towards life, meanwhile this word implied finality and emptiness in Buddhism, which was in accord with the character in film. The foreman, murderer and widow didn’t have implied meanings.
全片採用無特技剪輯——既然講排場比不上好萊塢，那么我們就還原其水墨本質，藝術電影勝在內容嘛。片頭、片尾均以“浮生”貫穿始終，而片尾浮葉鏡頭的放慢、停滯，則呼應了片頭“其生若浮，其死若休”的理念，也有“一瞬即永恆”之意。
This film didn’t adopt any special effects editing. I reproduced the real settings, because we cannot catch up withHollywood, so we laid more stress on content of the film. The “floating life” ran through the whole story. Floating leaves at the end slowed down and became still, working in concert with the idea at the beginning “to live is like to float, to die is like to retire”, resembling the meaning of “instant, the eternity”.
回憶中，隨影在說教時，知道說“身不動，水不動，是我們的心在動”。而當自己計畫失敗，剖腹自盡時，才反省，自己的一切行為與計畫，以及最終陰謀的失敗，是否都是因為自己“心動”呢？？？
In the flashback, Shadow preached to say, “The water doesn’t float if we don’t move.” However, he reflected on himself only when he failed his plan and killed himself. He started to see his failure: “is it the “heart” that changed?”
這實際上是作者本人在這個時候借用該角色之口向觀眾闡明了影片的中心思想——
因為“心動”，所以“浮生”……
As a matter of fact, it was the author myself that wanted to interpret the theme of the film by the character’s lines—“heart moves”, thus life is like to float…
（影片的最後將故事帶向尾聲的歌曲用的是波斯語，與主角“虛空”的西域人身份相關聯；歌詞大意亦與本片主旨相符，洗滌靈魂，宣揚反戰思想。同時片中排除門派之見，亦是倡導民族團結，具有反侵略、反分裂的當代現實意義！）
(The song at the end of this film is Persian, relating to the protagonist Void’s identity. The content of the song is in accord with the theme of this film, like talking to people’s souls with anti-war ideology. The movie, at the same time, advocates national unity, eliminating hostilities in different schools, which endows the film with realistic significance in modern times, namely anti-aggression and anti-secession.)
附錄： 虛空VS隨影
第一回合，雙方距離遠，突顯棍子“一寸長，一寸強”的優勢；第二回合，“距離遠，我則以飛鞘破之，再用利刃奇襲”——照樣是劍、鞘一體，一擊必殺，不失居合刀本質；左、右、中的鏡頭跳軸並非只是單純的製造視覺衝擊，它更多的是符合劍道中過頭頂從三個角度進攻的劍意；第三回合，距離稍近，“我沒那么多廢話，棍子純樸一擊”（你不是劍、鞘一體，要拔刀嘛？我則封刀）；第四回合，你要封刀，我則先不出刀——誰告訴你拔刀術一定要先出刀的？我打到你了再出刀，照樣是劍、鞘一體，一擊必殺。
Appendix: Void VS. Shadow
Round 1: The two were far from each other, showing the advantage of cudgel for Void: long and powerful.
Round 2: To tackle this long distance, Shadow answered with swift sheath and soon blade point. By this way, sword and sheath was just like one, killing people with one kick, and the feature of Iaido sword thus showed. Shaft jumping of camera in right, left and middle was not only for visual shock, but to express the skill in kendo which was to attack from three angles over head.
Round 3: The distance was narrowed, Void simply hit with one move of cudgel. (“You have the oneness of sword and sheath, whereas I win by sheathing your sword.”)
Round 4: “I just don’t unsheathe my sword in case of being sheathed by you, because it’s not necessary to unsheathe first in this art. I hit you first, and then sheath my sword, so I could also kill you with one kick.”
後來回到現實中，隨影幹掉虛空的手法也是在此基礎上改變了鞘擊的方式，隨後反手拔刀，一擊必殺。這看似簡單的幾次交手，實則凝聚了本片武打理念的精華。但是唯一遺憾的地方就是，最後虛空擊敗隨影的“退破千招”，本意是指，在隨影追趕虛空時，虛空突然殺出回馬槍，隨影剎不住腳，步法亂了，被虛空有效擊中——手法近似於“林沖棒打洪教頭”。但由於拍得太趕，步法亂這一意圖，沒有得到很好的展現，此乃本片在敘事上的唯一缺憾。
Back to the reality, Shadow killed Void by changing the way of sheath hitting, then he unsheathed backhand, killing Void with one move. These seemingly simple fights were the essence of martial art in this film, however there was one pity here. “To run away is to win” at the end that Void used in fighting was meant to be like this: Void turned back suddenly when Shadow was running after him, and shadow was unable to brake, so his footwork got panic and hit by Void. The technique was similar with the one in Outlaws of the Marsh: Lin Chong beats coach Hong. As time was limited, panic footwork was not properly showed, which could be the only pity in the film.
順帶一提：
我們只有一台攝像機，沒有任何如軌道、搖臂等其他輔助設備。並且由於資金原因，影片被迫趕在3天之內拍完（主要是前兩天），連場地事先都來不及熟悉。這3天猶如打仗一般地和時間賽跑，大多數鏡頭都來不及拍第2遍，有的鏡頭甚至來不及架上腳架，是好是歹都只能一遍過（尤其第2天，除去中午買飯、吃飯的一兩個小時，從上午10：30到下午太陽下山之前竟單機拍了130多個鏡頭！本人也因此累病）……所以個別鏡頭稍帶晃動，請予體諒。
Note:
The film was shot by only one camera, no more equipment. What’s more, film shooting was forced to be finished within three days (mainly the first two days) for funding concern, having got no time to know well the site. During these days, we were working like dogs, and most of the shots were just allowed to shot for once only. Some of the shots even didn’t use the tripod of camera (the second day, especially, we made over 130 shots by one single camera from 10:30 a.m. to sunset, removing lunchtime. I got sick after longtime working.)…You may find some of the shots were swaying, and your understanding will be appreciated.
