Question: Your film is composed by quietness and sounds from real life. To create this kind of serenity, what are the difficulties in your practice and the reason you choose this way rather than using music or sound effect.
Answer: You mentioned quietness and serenity, these two words are really interesting. Quietness does not bring serenity, it is sound that can bring serenity. The frog jumped into the pond with a plop, and it was serenity. The sound reveals serenity, it is tense, and quietness is just unchanged. The key is to gain a grasp of tension.
Yes, I rarely use music in films unless it is for a special purpose. The image often wears away its own details because of the music, making the image only a certain emotional label, and the viewing experience will become too monotonous. Some people think that music can better set off the mood of the image, but in most cases it is just because the mood of the image is too weak, which requires music to remedy it. However, the picture should not be remedied by music, it needs to find a rescue in itself. The relationship between music and picture is a game, a duet dance, not a fire fighting scene. In fact, indiscreetly combining music and image, the music itself is also damaged. When you listen to Chopin's Nocturne or Tchaikovsky's June: Barcarolle, the beauty does not come from a certain image you think of, but the experience brought by the music itself. The practice of equipping the music with image will make this experience greatly compromised. If you decide to use music, it needs to bring something new to the entire film and enrich it.
Question: I'm personally impressed by your masterful way of merging the abstract blurriness with more detailed images. Through this way of telling the story, what kind of narrative do you want to express, and more importantly, through your way of artistic investigation, what does moon mean to you?
Answer: Yes, there are actually two narratives here, one is abstract narrative, and the other is imagery poetic narrative. Poetics means transcending logic. Abstract narration can be analogous to abstract painting, which uses colors and shapes to narrate; another kind of imagery poetic narrative uses certain specific images to narrate. You ask me what kind of narrative I want to express, but to me, no matter what type of narrative, they are all implicit. The narrative itself is not expressed, what is expressed is the experience brought about by the narrative.
The film is called Moon at Night, and it tells about the meaning of the moon in contemporary life. What does the moon mean? In the film I quoted an image of Apollo landing on the moon. This is one of the most exciting events of the last century. However, when Heidegger mentioned it in an interview with Der Spiegel magazine, he said: " The giant tree of human existence has already been uprooted totally." In his opinion, this seems to be some kind of danger. The meaning of the moon in the context of our contemporary life has undergone tremendous changes. In the eyes of the ancients, the moon is a very mysterious image. We know that she can often be seen in ancient poems. However, when contemporary people see the moon (because of atmospheric pollution, it may not be so easy to see the moon) most likely they think of space migration or resource exploitation. Of course, there is nothing wrong with this, and I am not promoting nostalgia. What I value is not the moon as a material existence, but as a carrier of a certain spiritual existence. The most concentrated expression of this kind of spiritual existence is "missing." Whether it is missing people or things, they can all reside in the moon. In modern life, due to various reasons, the meaning of the moon is gradually dimming, and in the night of contemporary life, the moon itself is gradually disappearing. I think the real danger is not that people will no longer have the moon, but that people will no longer have missing.