招生信息：
Stephen Chow 大话周星驰
The result is Kung Fu Hustle, a martial arts comedy extravaganza that
has been three years in the making. “I combine traditional martial arts
with modern special effects in a way that’s never been done before,” he
says with a hint of pride. “To me, special effects are a tool I can use
to realise my imagination. The story and the characters are still the
most important elements.”
The various kongfu experts in the cast also show a reverence for
authentic martial arts, despite the many whizz-bang-pop special effects
that populate the movie. “To me, the spirit of Kongfu represents
everything that is positive about being human,” he pronounces
thoughtfully in somewhat halting Mandarin.
Indeed, from being disparaged for his so-called mo lei tau
(Cantonese for “nonsense”) humour in the 1990s to being revered
as a cultural icon today, you might say Stephen chow could do
without Hollywood’s blessings.
Academics from prestigious Chinese universities have even
written books about his movie’s postmodern sensibilities.
But as him whether he feels he has progressed at all as a
filmmaker and comedian, and he is nonchalant. “I’m the sort of
person who likes to look forward. I very rarely look back at my
old movies, so I can’t really say how I’ve changed,” he says.
“I’m very grateful and happy that different kinds of people,
including academics, enjoy my work. But frankly, I think they are
giving me too much credit. Actually my aim is very simple: I just
want to entertain.”
So while some call Kung Fu Hustle, Wong Kar Wai’s 2046, which
appeals only to arthouse moviegoers, and Zhang Yimou’s House of
Flying Daggers, which gets labelled as lacking substance, the three
blockbusters to watch in Chinese cinema this year, he declines to
predict if his film will capture the hearts and minds of a larger
audience. “I don’t categorise movies as arthouse and commercial.
There are only good and bad movies. Filmmaking is a difficult
business and the only way to do it is to do the best job you possibly can.”
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