《殺手與臥底的久別重逢》
#劉浩良
【浸大60周年校慶6x10短片】
10個故事●10種情懷
劉浩良《殺手與臥底的久別重逢》
一個被刺傷的臥底,和一個剛殺了人、喬裝的士司機的殺手……
在深夜,沒有人車的馬路上,在一輛的士的車廂中相遇……
想不到,臥底和殺手竟是在大學一起唸過電影的同學!
正如《墜落天使》所言,「殺手也有小學同學」。
原來劍拔弩張的處境,竟然變成一次舊同學聚會!
然而,當兩人懷緬聚舊時,卻有意想不到的結局……
這又應驗了《一代宗師》的一句對白:「人世間的相遇都是久別重逢!」
只要你讀過電影,無論將來你當上甚麼,殺手抑或臥底,唸過電影的氣質還是怎也洗不掉的……
導演簡介
香港電影導演、編劇。畢業於香港浸會大學傳理學院電影電視系。現任香港電影編劇家協會副會長。著有《三人行》、《一個人的武林》、《大魔術師》、《畫皮》、《槍王之王》、《飛砂風中轉》、《三國之見龍卸甲》等眾多電影劇本。《衝鋒車》是他執導的首部劇情長片,獲得第35屆香港電影金像獎最佳編劇及最佳新晉導演提名,並入圍多個國際電影節。《殺手與臥底的久別重逢》更獲邀參加2016年6月底舉行的第15屆紐約亞洲電影節。
LAU Ho Leung
Killer & Undercover: All Encounters in Life are Reunions after Long Times Apart
In the dark of night, nothing stirs on the street.
An injured undercover cop clambers into a taxi and meets the driver, a professional hitman who has just committed a murder.
The two men are surprised to learn that they are old classmates from film school.
It is ironic that a reunion is held at such a critical time.
One can easily tell who majored in film by observing his unique temperament.
What is less apparent is whether this encounter is good or bad….
Biography
Lau graduated from the Department of Cinema and Television, HKBU, with a major in film directing. He is the Vice-Chairman of the Hong Kong Screenwriters’ Guild. He has written over 20 screenplays for released feature films in different genres, including Kung Fu Jungle, Painted Skin and Three Kingdoms: Resurrection of the Dragon. His directorial debut Two Thumbs Up (2015) was nominated for Best Screenplay and Best New Director at the Hong Kong Film Awards and was a finalist in various international film festivals. Killer & Undercover: All Encounters in Life are Reunions after Long Times Apart has been invited to screen at the 15th New York Asian Film Festival to be held in late June 2016.
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Fabrice Fouillet,
Sony世界大賽2013年職業組建築類第一名,專訪,以及他的個人網站 Project : Corpus Christi
Fabrice Fouillet is a French professional photographer based in Paris. In 2013 he won the Professional Architecture category of the Sony World Photography Awards. After earning a degree in Sociology and Ethnology, he studied Photography at The Gobelins School. Since 2004, he has been collaborating with advertising agencies and magazines focusing on Still Life and Architecture.
His personal photographic research explores the notion of identity and the close relationship between humans and the environment. Recognised for his series on new places of worship and resemblance in the 2013 Sony World Photography Awards Open Architecture category, he has gained recognition internationally.
Hi Fabrice. Tell us more about yourself - When and why did you first approach photography?
I believe my passion for photography comes from my high school studies. With courses about European cinema and art-house movies I became more sensible and passionate about themes and images in a deeper and broader sense. Then, I approached photography with a small and old camera, making basic shoots of things all around me. From my house to garden, flowers, trees, and landscape, everything became my subject and I felt I was very serious about it. At the age of 20 it appeared to me a natural thing to try and make it professionally.
Have your previous studies in sociology and ethnology influenced your investigation of space?
The education you receive at a young age influences the rest of your life and I would say that my studies not only influenced the investigation of space, but the overall way I think about my projects. At beginning, I was focusing more on still life projects while now environment and social identity interest me more and more as in the ‘Colosses’ and ‘Eurasism’ series.
Do you have a photographic philosophy?
Be truthful to your own desires and emotions for each project you make. This is my photographic philosophy as finding your own artistic path is not such an easy thing. To me the best way is to remain faithful to your passions, be inspired but not too influenced. Precision, determination, rigor, and hard work are unavoidable in photography and they also form part of my philosophy.
With your winning series ‘Corpus Christi’, capturing new spaces of worship, architecture became a way to narrate humanity and its relationship with minimalism and aestheticism. Why did you choose this theme?
I have always found a graphic quality in religious imagery and particularly in catholic iconography. As an architecture devourer, this was the starting point for this project urging me to look for evidence, confront the classical with contemporary spaces of worship, and a way to take fascinating pictures. Somehow it called me out. I saw aesthetic mystery beyond the often cold, austere and classical representation with a firm anachronism between traditional iconography and modern architecture. In ‘Corpus Christi’ I wanted to highlight this rupture between classical imagery and modern religious architecture.
You won the 2013 #SWPA Professional Architecture category. Where did this take your photography?
Being a 2013 Sony World Photography Awards winner has been a great career step forward and it helped me to span my work, gaining a lot of visibility, interviews and press coverage in France and worldwide. Thanks to the awards, The New York Times Magazine & other media companies have contacted me for architecture commissions. It was a huge satisfaction and encouraged me continue with the art and subjects I am passionate about.
What would you suggest to young photographers aspiring to make create architectural photography?
To push the button can be easy and fast, but architectural photography - and photography in general, requires strong determination. Firstly, remember that between subjects and projects there’s half of the sea. So think carefully about what and how you want to proceed. Then, be precise and rigorous, chase the light and work the frame of course. Sometimes, wait for the good moment. Try again or come back if necessary. Push the limit and don't give up even if discouragement is knocking at the door.
Talking about your new project ‘World’s Tallest Statues’ you recently stated: “I was intrigued by the human need to build these immense shrines to power”. Could you tell us more about it and how you came across this subject?
Indeed, I have just mentioned the importance of determination and these gigantic statues are the perfect example. They symbolise the strong human desire of remembrance and commemoration directly related to the size of the monument. With this project I wanted to investigate the deepest meaning of both ‘symbol’ and ‘cult of personality’ as I have always been fascinated about how historical heroes, leaders or politicians were celebrated or idealised with monumental structures for the sake of collective remembrance.
Research led me to discover lots of monument or statues dedicated to Lenin, Stalin or Mao but despite their cultural and social meaningfulness they were not that big. As the documentation went on, I unexpectedly came across the picture of a huge white statue located in the middle of Dai Kannon, in Sendai, Japan. Sadly, the picture had no caption so I first thought it was unreal, but when I had the proof of its existence, I immediately felt that these huge statues were what I wanted to talk about.
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