我們一直覺得電影的感覺和演員的素質，都能從「一鏡直落」發揮。我很喜歡手搖鏡頭，因為能跟演員的距離更親近，與他們有能量的交流，跟他們起舞。張國榮絕對是我最喜愛的「舞伴」。
拍攝這壓場一幕的地點，有很強的個性。我們很想好好地展現這空間，證明它是真實場景，而不是搭景，讓觀眾探究為何劉德華和張國榮會在那裡出現，又會發生甚麼事。「一鏡到底」似乎是最理想的方式，可惜手拿攝影機爬梯又極高難度。於是，我們首次使用攝影防震器拍攝這一幕的開端。
問題是要從光猛的外景，切入陰暗的室內環境，讓觀眾清楚看見全貎，便要從窗外打燈讓光射進去。把窗戶打開，讓我們思考了良久，應如何放置燈光而不會「穿崩」，因為攝影機以360度全方位拍攝。我們也跟演員走了很多次位，務求使鏡頭跟演員「一拍即合」。
We felt that the mood of the film and the quality of our actors would be best celebrated in long takes. I love to hand hold the camera, to be as close as possible to the actors, to share their energy, to dance with them. Leslie of course is my favourite “dance partner”.
The location we found for this climactic scene had such a strong “character” we felt we needed to celebrate as much of it as possible. We wanted to show that it is a real space, not a set. We wanted a sense of anticipation for why Andy and Leslie are here and what is going on. One continuous shot seemed the a perfect way to do so. But it’s almost impossible to hand hold a camera and climb steps. So for the first time, we used a Steadicam to create the scene’s opening shot.
Thing is we are going from a bright exterior to a much darker interior. And since we wanted to see the whole space, the only way to light the scene was from outside the windows. But the windows are open, so it took a great deal of planning and to place the lamps so the camera wouldn’t see them as it turns 360 degrees around the room, and a lot of rehearsal so that the camera and the actors would dance together as one.
影片來源Video:《阿飛正傳》“Days of Being Wild”（1990）
#阿飛正傳30週年 #王家衛 #張國榮 #劉德華
#DaysOfBeingWild30thanniversary #WKW #LeslieCheung #AndyLau
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