Time Asia on 2046

In Time Asia Magazine ein Interview mit Wong Kar-Wei über 2046.

TIME: 2046 debuted at the Cannes Film Festival in May, but I've heard that you've made changes since then. How much has the film been altered?
Wong: It hasn't changed much. We just switched the sequence of certain scenes, and took out a few other scenes to compensate, because we are in a rush to catch the deadline of Cannes, so that version the sound and also the music is not perfect. We improved it, and also the special effects of the film. All this CG works hadn't been complete during Cannes. We put all the things that were supposed to be in the film back in their right place. Part of the delay is because I am working with CGI for the first time in my career. This is something beyond my control, and there are a lot of factors which are unpredictable.

TIME: What was it like watching the film for the first time at Cannes?
Wong: It is really a trip. We just finished the first reel of the film, one hour before we got on the plane. I didn't get any chance to watch the film as a whole in the cinema before that. We got to Paris the next morning. That night, I get to the cinema, and actually this is my first time to watch the film on a big screen, in front of the public. It's exciting because every moment you don't know what mistake will happen.

Außerdem eine angenehm umfangreiche Besprechung des Films, die in den allgemein euphorischen Kanon beherzt miteinsteigt.

Which is stronger: his love for the challenge and camaraderie of making a film or the heartache he feels when it's over? Maybe the two emotions are equally potent, since Wong makes movies that blend those two subjects: the coming together, the drifting apart. The maker of a film as splendid as 2046 should be eager to let it go, to share his treasure with the world. Instead there's an emptiness worse than postcoital or postpartum depression. That's the secret, whispered into a hole, by a man who is 60% romantic, 40% showman and 100% movie artist. He's like Chow in 2046, watching the most amazing woman walk out of his life.

In 2046 Jingwen reads a story Chow has written about her and finds the ending too sad. Could he please change it? We are happy to do that for Wong Kar-wai. He should realize that his unhappy ending is, for others, a beguiling beginning. His vanished beloved can now find a new suitor—millions of moviegoers, who will embrace the beautiful creature, who are ready to be put in the mood for love.

Wie gesagt: Wir freuen uns.


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