最新消息

电影《三十儿立》412日起全泰国上映 !

配合泰国曼谷一年一度的泼水节来临,香港导演云翔的第七部电影作品《三十儿立》将在4月12日起全泰国30家影院上映,即将去曼谷庆祝泼水节的朋友,总会有一家在身边。

云翔导演于2016拍摄完成的第七部作品《三十儿立 Thirty Years of Adonis》,耻度再次升级,这次玩起了S/M、捆/绑、群/p,重口味路线,由第六部《同流合污》里的演员贺飞担任主演,g星兼男模包晗Eric East加入,以及香港老牌演员苗可秀和邵音音,甚至还包括巴西、新加坡、马来西亚的演员。
EN07_002

从影片里看这次依然是帅哥云集,青春荷尔蒙的盛宴。 据云翔导演透漏,这次是不同于他以往的同志片,主要是在讲性工作者,尤其是男的「性工作者」,这个特种行业一般人比较少了解,他要把台湾的「男“性工作者”」真实景况呈现出来。讲述了一个非常大时代的爱情故事。

对于电影游走在尺度边缘,云翔认为“艺术家就是要推动人们思考既有界限之外的事情”。他表示:“我的电影从来不局限于一个故事或人物的经历、出身、性倾向等细节,而是以角色作为媒介,体现电影的主题,反思生与死的根本意义。”
php0tyLAs-2-762x1024

贺飞再拍云翔导演同性片,尺度堪比《色戒》

大家对演员贺飞可能还不熟悉,先来介绍一下这位新人:贺飞,中国内地男演员。近几年参演了不少作品,但都不是太主流的题材。2014年参演的古装剧《犀利仁师》在东方卫视播出;2015年6月参演的首部电视剧《火线英雄》播出 ;同年出演云翔导演的电影《同流合乌》。
phpiLx0mS-1-696x1024

贺飞是一个很努力的新人,他在剧中的表演也是倾情出演。尤其是在《同流合乌》中。这是一部云翔导演的同志影片,在台湾这个性观念比较开放,性意识在亚洲地区比较前卫的地方来说,台湾的艺人们可能出演这类题材的电影可能心理上的障碍不是很多大,但是作为我们还比较保守的观念,他能在剧中真实出境,真的很佩服,其尺度尤胜当年李安导演的《色戒》。

中国男神Eric East(包晗)拍G片暴红, 转战大银幕发展!

起初很多观众以为他是韩国人,其实Eric East可是中国上海人,本名Eric Bao,(包晗) 成人同性色情影片(GV)男优,人体模特,现居于美国加州洛杉矶市。26岁的同志情色片男星Eric East身材健美,在美国演出G片走红,相貌俊朗,身材颇佳,表演投入,魅力十足,广受观众的追捧和热评, 在华人同志圈小有知名度。

现在他已经「引退」,转战大银幕发展,並拍摄导演云翔的新片《三十儿立》,这次参与演出《三十儿立》,他特別跟导演要求不要拍性爱戏分,希望有別的尝试,但是他在片中仍是有三点全露的画面。他说一直把自己的身体当作一个「商品」,能成为真正的演员是他的梦想。「能做演员这一行一直是我的梦,现在终于实现梦想,感到很开心。」Eric East (包晗) 在受访中曾经如此坦白告诉,导演云翔本来是邀请老板Peter Lee演出,因为腾不出档期,机会就落到他身上。
0

GV男优Eric East (包晗) 个人资料:

26岁的同志情色片(G片)男星Eric East,是中国上海人,原本就读上海外国语大学法语系,在大二那年开始兼差健身模特儿工作,后前往美国洛杉矶发展,2012年4月被G片公司Peter Fever签下拍片,在美国韩裔男星Peter Lee的个人付费网站宣布出道,出道时为21岁,至今曾经拍過20多部GV。立即成为第一位从亚洲远赴美国拍摄GV(男同志色情电影)的男优,並以艺名Eric East在同志圈走紅,然后受邀拍摄台湾男体写真大师《杜达雄》的写真集。除了拍GV,也在美国充当模特儿,以下是他为摄影师 West Phillips拍的照片。网路上有人称他是「华人最励志的G片男星」。

(转载至3C娱乐,原文链接: https://3cjournal.com/?p=876)

Win the tickets for the Thailand Premiere of Thirty Years of Adonis!

อะดอนิส รักแรงข้ามเวลา thirty years of adonisremember this redband trailer that blazed 2 million views?

For the 30-year-old Songkran Festival 2018, Zeero-S invites you to enjoy the full movie experience when the Thailand premiere happens this year!

Get a chance to win 20 pairs of free VIP tickets to the event, when you order any SCUD title on Zeero-S before 31st of March : http://ebook.zeero-s.com/emag/index.php/scud.html
Here’s how to win:

Share this post on your social media.

Follow @Artopians_HK on Twitter.

DM @Artopians_HK your order receipt and indicate your preferred screening date: Bangkok on April 5th or Chiang Mai on April 12th.

That’s it!

Artwalkers will announce the winners officially on their Twitter on April 1st and will personally conact the winners with details.

Good luck!

อะดอนิส รักแรงข้ามเวลา thirty years of adonis
記得這條紅爆網絡的VIEW數二百萬+的預告片嗎?
三十儿立潑水節全泰賀歲上映,Zeero-S 邀您免費觀賞!!
3月31日前凡於Zeero-S 的SCUD作品專櫃落單并完成下面動作,即有機會贏取泰國首映場門票!
-follow @Artopians_HK,並retweet此tweet
-將訂單截圖Direct Message到推特@Artopians_HK,註明屬意4月5日曼谷或4月12日清邁專場
藝行者將於4月1日於官方推特公布抽籤結果,并親自聯絡領獎辦法

Bare Emotion: An Interview with Scud on Voyage

By Gary M. Kramer.

Voyage-1

The mono-monikered Hong Kong writer-director-producer, Scud (born Danny Chan Wan-Cheung) has been making distinctive films for the past decade. His debut, City Without Baseball (2008), co-directed with Lawrence Lau, was based on stories of the Hong Kong baseball team, who also starred in the film. The entertaining film generated headlines for its extensive full male nudity, first on display during the opening credit shower sequence.

Scud’s sophomore effort was Permanent Residence (2009), his poignant, semi-autobiographical drama about Ivan (Sean Li), a gay man in love with his straight best friend, Windson (Osman Hung). Throughout the film there are several moving scenes of Ivan lying next to or embracing Windson, the love of his life, and basking in their bromance. That they will never be friends with benefits is a situation that causes Ivan tremendous heartbreak. Permanent Residence also features Scud’s emphasis on examining death, depression, suicide, and the afterlife, themes that were expanded upon in his later films, most notably Voyage (2013).

As Scud found his footing as a director – his background was in IT – he garnered international acclaim for his subsequent films, Amphetamine (2010) and Love Actually…Sucks (2011). These dramas depicted the pain of love as well as characters struggling with trauma, addiction, and depression. While playing the festival circuit, they helped establish Scud as a unique filmmaker of palpable emotions. He captured the speed and intensity of an unexpected if doomed affair in Amphetamine; the longing of a love not meant be in Permanent Residence; and a jaundiced view of romance in Love Actually… Sucks as six interwoven stories chronicled bad love affairs.

Scud’s films are stylish, glossy productions that showcase attractive actors expressing their passions and naked bodies in showers and bedrooms, on beaches and outdoors. His films are sexy, but they are not necessarily erotic. Despite the frequent full nudity, his emphasis is more of an expression of the character’s freedom. The characters often portray their emotions on their sleeves, since Scud focuses on unrequited love throughout all his work. His characters are obsessed with someone they cannot have, or a love that is forbidden in some way. What resonates is the yearning the characters and the audience feel.

His romantic dramas are engaging because his actors communicate their desires, longing, and heartbreak through their intimacy and intensity. Byron Pang, as the troubled lover in Amphetamine, and Haze Leung, as a despondent policeman in Love Actually…Sucks, are especially noteworthy discoveries.

Both actors appeared in Scud’s 2013 film Voyage, an anthology of short films, all thematically linked by depression. The stories range in length and content as a psychiatrist (Ryo van Kooten) reflects on his patients, including Yuan (Byron Pang) who goes off to inner Mongolia as part of the Chinese re-education program; Ming (Haze Leung), a mentally disabled young man; and Sebastian (Sebastian Castro), an artist romantically involved with a young woman in the Netherlands.

While Voyage contained many elements from the director’s earlier work – the uninhibited nudity and distressing romantic entanglements – the film specifically addresses suicide and the afterlife from multiple perspectives. Voyage received an Artistic Achievement Award at the Chicago International Film Festival, where Scud was honored back in 2013. The film is only now getting a U.S. release on DVD, along with all of his earlier films.

Scud has since released two more films, Utopians (2015), and Thirty Years of Adonis (2017). He chatted with Film International about Voyage, his experiences with depression, his admiration for his actors, and his penchant for full nudity.

Voyage is a change of pace for you in that while it has some queer content, it is not an overtly queer or homoerotic film, unlike much your earlier work. Was there a reason you shifted your focus away from sexuality?

Everybody thinks I have a purpose, but it’s just a story I want to tell. City Without Baseball was an accident. I was still living in Australia, and I thought about becoming a filmmaker. One of my colleagues in my IT career was in charge of the promotion of the Hong Kong baseball team, and he wanted me to do a documentary. I thought it was better to make it a drama. So I did. Permanent Residence was more of my own story, and I wanted to make that film because it was in my heart and mind for years. That helped me reduce my depression.

So every film I make happens because the story is compelling to tell. People think I’m doing this to promote sexual equality, but that’s not my purpose. I have no political reasons. I just wanted to tell a story. I made Voyage because of my own depression. Samaritans is a British organization for suicide prevention in Hong Kong, and people there thanked me for making the film. They showed it to their clients. The film helped prevent suicide.

Can you talk about your interest in depicting romantic trauma, suicide, and mental illness?
Scud

ScudWhile I was making Amphetamine, I fell back into a wave of depression. It was a dark and sad movie, and I was sad making it. The character being raped by a few guys in a tunnel was a difficult scene to shoot, and my depression returned. After that I made Love Actually….Sucks!, and that was the end of my fantasy with love. That’s why I made the film, because for a long time I depended on passionate love to survive. I’m a very depressed person, and I tried to have some love to keep me going.

I am constantly standing on the edge of the cliff, and I could fall any time. But I want to live, so I tried to build some walls around me. I used to think that wall should be love and I tried that – but that’s the most unreliable wall on earth. If I leaned on that wall, I would fall. Now making films is my wall. That’s what keeps me going. As long as I have a project going on and have a story to tell, I will move on.

I had a bad experience making Amphetamine, despite the result. I like all of my films. Love Actually… Sucks! is one I like in particular. So I decided before I die, I should make a film about depression since I’m so well versed with it. I know my problems, and my friend’s problems, so I packaged them into a filmable format and made Voyage. All the stories were true stories.

What can you say about structuring Voyage as an anthology?

I make every film with the feeling it might be my last film. That’s always a possibility. Since it might be my last, I wanted to put as much as possible in it. For Voyage, everybody said I should tell one story and it would have a greater impact. Why dilute the impact with multiple stories? When I was writing Voyage, I just selected the stories I wanted to tell. I wanted to give different perspectives to depression. Voyage was the most difficult film for me to make. It took 3 years to shoot and because it was about depression, it brought me back to depression.

In Voyage, there is the story of the German lady, Leni. I met her when Amphetamine was screening in Berlin. She told me her story about the suicide of her mother, and if you recall that part of the film, after her mother died, her family was in a sad mood for years. She told me her story, and got her family to be in the film, too. Her father was her father, her sister was her sister, but we had a British actress playing her mother – since her mother wasn’t alive anymore. I wanted to present different places and time.

Voyage is your first film shot mostly in English and largely without dialogue. Can you discuss this decision?

It’s my first film in English because of the stories. Only the one with Ming is set in Hong Kong. The others are elsewhere in Asia and Europe. In all of my films, I let the actors speak their language at that time. Voyage was criticized for the English accents of my actors, but I made them speak as if they are in real life. The woman who plays the Filipino maid for Haze’s character can speak perfect English – better than I do. But I made her speak like a Filipino maid in Hong Kong. When audiences don’t hear what they are accustomed to, they think it’s a bad production. But I made them use their language as much as possible. I used English because they spoke in English. But they do speak English because they don’t know Cantonese. I’m trying to be realistic.

You work again with Haze Leung and Byron Pang, who you cast in key roles in earlier films. You also feature out actor-singer Sebastian Castro in Voyage. Can you talk about how you created roles for each actor?
Amphetaminepic04
Amphetamine

I think one thing that kept me going is that I have luck with actors. I come across these guys and girls who are devoted to my work. I’m in debt to them. When I make a film, I just tell the story, with no purpose, as I said. But I do want the film to be successful to do my actors justice. For me, I don’t fucking care. I have no regrets, but the people who work for me and give their all, they don’t get the return they deserve – the recognition and fame. It makes me not sleep well.

Haze happened to be my assistant director. He graduated from film school and is very educated. He was in charge of casting Love Actually…Sucks! There were many cast members in that film because it has six stories. When he showed me the choices, there was one role I didn’t say anything about. He realized I was not satisfied with who he found for me. He asked me out for a drink. He said he knew I wasn’t satisfied with the casting for the Policeman, and he asked if he could do it. I had to change the script. He was an evil policeman, so the tone changed because of his participation. I gave him the role of Ming in Voyage.

Byron is the best actor I can find in Hong Kong. He’s so natural. I have to say I feel in love with him while shooting him. I was touched when my cameraman on Amphetamine, who is a straight, said, “I will make love to Byron with my camera.” I think he did. After Amphetamine, I invited Byron to work on Love Actually…Sucks!, but he had to pass on that, so I made him do Voyage, which I think his best performance. It is deeper and better than Amphetamine.

I met Seb when Amphetamine screened in Chicago. He came forward to sit in the first row and asked me a question at the Q&A after the screening. I was impressed, and when we left, I handed him my card. He told me he was an aspiring actor but had a problem with nudity. Whenever someone tells me he has a problem with nudity, it becomes my objective to strip him bare. After that, he moved to the Philippines, and he made successful [music] videos. He asked me to make his first video, but I declined.

Of course, we have to talk about the nudity in the film. Why do you focus so much on skin?

It has to go back to City Without Baseball. Before that, there was no male nudity in Asian cinema. There wasn’t that much nudity in City Without Baseball but it caused so much controversy. A gay forum online had a powerful article that was critical of my employment of nudity in the film. But I watched European directors – Pier Paolo Pasolini, Peter Greenaway, and Pedro Almodóvar – and there was so much nudity in their films. Asians have problems with male nudity especially. It made me angry and defiant. So, in Permanent Residence, the two leading men were unclothed throughout the film. That film was praised and people don’t talk about my nudity anymore. After that, you see more gay films and sex scenes; it’s almost mainstream now.

A famous actress in Japan came to me and did an interview after seeing Voyage in Japan. When she saw the nude scene of people walking into the sea, she was shocked at first. But then she realized how powerful it was; if they were clothed, that scene would not have so much impact on her. The first shots of Amphetamine featured Kafka (Byron Pang) standing on the edge of a roof about to jump. He is wearing only angels wing. Normally, he would have his briefs on, but I convinced the actor to drop them. When he watched it, Byron told me he knows why I insisted on him being naked. It makes such a difference.

I reckon my insistence on full nudity is because I’m a purist. Butts, tits, and penises are integral parts of a body. What’s an alien piece of cloth got to do with it? I honestly only find completely naked men sexy.

What can you say about the elements of ghosts and the afterlife in Voyage?

Voyage is a very special film, even from the others I’ve made. It took on a life of its own while I was making it. It evolved, and “talked” to me during shooting. I usually don’t improvise much. But this film took three years to make, and I found myself shooting more scenes about the afterlife. From what began as a study on depression, it became a film about the afterlife too. For every story I shoot, I have wondered what happens to the guys after they die. I have to really think about what would happen after death – to them, and to me. Will I see family and friends again? I had a very unique visualization of someone after his death. This is becoming more a theme of my films, especially in Thirty Years of Adonis, which is about the afterlife.

You end Voyage with the statement, “Film is like life.” Can you discuss that observation?

I didn’t study film. I had an IT career, and my social circle was with artists. My friends weren’t surprised, but the rest of the world was stunned that an IT guy became a filmmaker. Film has taken over my life and it’s given me a cause for everything I do. I can now tell my friends that they no longer have to worry about my depression as I still have films I want to make. So I will try to stay alive for as long as possible. It’s my lifetime passion, and it saved my life, and became my life. I’m so happy with my imagination that I am not afraid of death anymore because I know how I’m going to die: on a film set. Probably sitting on a chair examining a shot and having a heart attack. If I had to take my life myself I would try to decide on such a way that the death will help my film.

Voyage will screen at 7:30pm, Friday, March 23 at Plays & Players as the Centerpiece Screening of Philadelphia’s QFLIX.

Gary M. Kramer writes about film for Salon, Cineaste, Gay City News, Philadelphia Gay News, The San Francisco Bay Times, and Film International. He is the author of Independent Queer Cinema: Reviews and Interviews, and the co-editor of Directory of World Cinema: Argentina, Volumes 1 & 2.

( Originated from http://filmint.nu/?p=23662 )

藝行者全系列作品上架倫敦蘇豪區25年歷史成人生活店

藝行者全系列作品上架倫敦蘇豪區25年歷史成人生活店:Soho Originalshop,店家更特別安排作品放置在原為「任航」的當眼位置。任航是無可取代的先驅者, 我們也是。
1

《安非他命》 入選「紙上談戲‧香港電影海報展」

日期:12/1 – 18/3/2018

地點:香港電影資料館(愛秩序灣鯉景道50號)展覽廳

「紙上談戲‧香港電影海報展」展出近一百張由六十年代至近年的各類型電影海報,包括《跨鳳乘龍》(1959)、《猛龍過江》(1972)、《山狗》(1980)、《英雄正傳》(1986)、《賭俠》(1990)、《幽靈人間II鬼味人間》(2002)、《豪情》(2003)、《鬼域》(2006)、《安非他命》 (2010)、《奪命金》(2011)和《桃姐》(2012)。展場更設體驗區,重塑昔日貼滿電影海報的彌敦道及裝嵌巨型驚慄海報的巴士站。觀眾除了可近距離欣賞電影海報的設計,更可在體驗區感受海報作為宣傳品的威力。

2
1
3

《安非他命》有關的產品請瀏覽藝行者線上商店

These 12 Movies Exhibit Breathtaking Intimate Scenes Way Better Than Any Blue Film You’ll Ever Watch.

Did they do it or not? That’s the question you always wonder about after watching the intimate scenes in movies. Well, in this movie list the actors went ahead and really did it on screen. You surely don’t want your parents around while watching these films.

1. Dogtooth (2009).
Movies with intimate scenes via
1
Though at first you wouldn’t feel like this movie can have intimate scenes as the main theme is a father’s blinding love for his daughters, which compels him to lock away his three adolescent children. But stay with it and you will get the surprise.

2. 9 Songs (2004).
Movies with intimate scenes via
2
A musical journey of two longing souls, with the passion for live music. This kind of movies are for die hard romantics and what makes this movie even better are the intimate scenes and oral s**.

3. The Center Of The World (2001).
Movies with intimate scenes via
3
The theme can be quite similar to Pretty Woman. The main leads involve into a s**ual arrangement for three days of wild partying and s**. But gradually they fall prey to human emotions.

4. Love (2015).
Movies with intimate scenes via
4
This is the only sober picture I found where the three protagonists are in clothes. If you have a knack for threesomes, this movie is perfect to watch. It has above the par steamy intimate scenes and wait for plot twist when one of the girls get pregnant.

5. Lie With Me (2005).
Movies with intimate scenesvia
5
Once you start watching the movie you’ll realise it’s basically a porn with a lengthy story. Two youngsters burning with animalistic s**ual energy get involved in casual fling, but Leila is seen to struggle with her fear emotional intimacy.

6. The Brown Bunny (2003).
Movies with intimate scenes via
6
Some scenes of the movie became so controversial at the time that it ruined the acting career of imminent actress, Chloe Sevigny. Watch for yourself the uncensored scene of Chloe performing fellatio which created the stir.

7. The Dreamers (2003).
Movies with intimate scenes via
7
Some movies just leave a disturbing impact on our mind, specially when they show familial relations in an intimate dimension.

8. Nymphomaniac (2013).
Movies with intimate scenes via
8
It’s an European art film with a 5 hour duration. But trust me, unlike other art movies, this film based on s*x addiction and terrific acting, is a treat to the eyes.

9. Anatomy Of Hell (2004).
Movies with intimate scenes via
9
This movie is all about isolation and loneliness which compels a woman to pay a gay for s*xual pleasures. The intimate scenes are truly exciting to watch.

10. In The Realm Of Senses (1976).
Movies with intimate scenes via
10
Enticing, isn’t it? The title itself suggest how pleasurable and intimate the scenes would be. But wait for the end, when the Japanese actress cuts off her partner’s penis and testicles and carries them around in her kimono.

11. Love Actually….Sucks! (2011).
Movies with intimate scenes via
11
Does that remind you of a Romantic movie? Yes, the title is a funny wordplay of the film Love Actually. This Hong Kong movie is also based on complicated relationships, except this has a lot more steamy, intimate scenes.

12. Through The Looking Glass (1976).
Movies with intimate scenes via
12
No, this movie has nothing to do with ‘Alice In Wonderland’. Some movies really have weird concept. The female protagonist finds herself attracted to her mirror which arouses her s*xual desires.

Love Actually…Sucks! is honoured to be ranked alongside some great directors’ work, you can find the DVD and blu-ray in our online shop:
http://www.artopians.org/shop/blu-ray-dvd/love-actuallysucks-blu-ray-hong-kong-version/

影評/《三十儿立》如果結局已命中注定 你會選擇怎麼活?

文/臺孝婷

有雷

我一直到進戲院前,都認為《三十儿立》是一部同志情慾片,電影的前半段我依然抱持著這種想法,因為不斷出現的各種裸體、性愛場面,連我這個平常講話尺度無極限的人都忍不住看到雙手摀臉。但隨著劇情慢慢往後推移,我開始發現其實《三十儿立》不只是一部同志情慾片,反而更像是一部探討人生、輪迴的「哲理片」。

的確在《三十儿立》中充斥著許多「性愛畫面」,但就像導演雲翔說的,其實性就像是吃飯、呼吸一樣,都是人類最基本的慾望,為什麼要被「另眼相看」?而且「文學」和「性愛」常常密不可分,就拿我最喜歡的小說家村上春樹來說,在他的作品中就出現許多性愛情節,甚至是以抽象的形式出現,因為這也是表達「藝術」的一種,因此我覺得在看《三十儿立》時,不妨以將中心放在導演真正想表達的理念上,而不是注重在多P、SM、裸體上。

其中男主角楊可(賀飛 飾演)不願接受有錢老男人提出的包養,放棄垂手可得的好生活,反而答應拍攝雜交情色片,導致自己被一群不認識的人無情侵犯,最後遍體鱗傷的倒在人去樓空的片場,讓人看了相當揪心。雖然有些人會覺得被包養和拍情色片沒有什麼兩樣,但就我所理解的楊可,對他來說被包養不只是出賣肉體,也是出賣了靈魂,反觀雖然是拍情色片,但離他想當演員的初衷仍算往前跨近一步,因此做出這樣的決定,誰能說他是錯的?

「如果一切都是命定,我們這樣努力活著,是為了什麼?」我相信看完《三十儿立》的觀眾都會問自己這個問題,因為片中強調前世今生、命運輪迴,這樣是否代表我們每個人生下來就注定被命運牽著走。如果真是如此,我們為什麼還要試圖努力改變命運呢?但其實導演雲翔早就透過電影告訴我們答案,「就算結局已經注定,我們依然要盡最大的努力,將生命揮灑出最耀眼的色彩。」這是一部需要認真看、多看幾次才能發現其深度的電影,我相信就算你不是LGBT的一員,看完這部片依舊會有很深的感觸。

專訪/「被包裝的電影太多」 雲翔盼帶給觀眾最真實的作品

記者臺孝婷/台北報導

香港導演雲翔拍攝過多部同志電影,日前他和新片男主角賀飛一同來台宣傳《三十儿立》,並接受《三立新聞網》專訪。雖然在新片中雲翔依舊採用一貫的手法,使用大量的裸體、性愛畫面,但對他來說《三十儿立》是一部講述價值觀的電影,其中「人生的悲,輪迴的苦和無法解決的問題」才是他透過鏡頭想闡述的思想,「性愛」只是其中一種最真實的表達方式。

1084707-XXL
▲導演雲翔(左)和賀飛一同接受專訪。

《三十儿立》在台上映後表現不俗,除了在全台多家電影院都有場次外,觀眾看完後反應也都相當熱烈,認為比起雲翔以往的作品,《三十儿立》相對的簡單易懂許多,甚至多了一絲幽默感,讓人會心一笑。對此雲翔認為,他在《三十儿立》中講述了大量有關哲學、輪迴、宗教等思想,這些都是和台灣人日常生活比較貼近的話題,因此才會引起許多共鳴。

1083786-XXL

▲賀飛在片中面臨前世所種下的因果。(圖/翻攝自臉書)

雲翔也透露,許多觀眾問他為什麼要讓男主角楊可(賀飛 飾演)下場這麼悲慘?他表示:「任何故事我們都可以把它講到尺度、深度沒有那麼大,但是我想那種被包裝、淡化、溫和的詩情的電影已經太多了,我想我能帶給世界電影的是可以做最直接、最赤裸裸、最深刻的刻畫。」

三十ㄦ立,雲翔,賀飛,ERIC EAST,肉便器,同志,電影 ID-1083788

對於電影、藝術、佛教思想侃侃而談的雲翔,其實一直到30歲前都是從事IT產業,「我一直都認為我活不到30歲,然後突然間30歲了,又覺得一事無成,所以決定做一些事情去證明自己,就算失敗,也算是一種解脫我心裡面的事情。」因此雲翔毅然決然成立了「藝行者獨立電影公司」(Artwalker Limited),但後面幾年卻因經營困難,讓他再度跌入憂鬱症的深淵,可是現在回想起來,這些經驗都變成了之後拍攝電影裡不多缺少的素材。

原文鏈接:http://www.setn.com/E/News.aspx?NewsID=301985