There is continuity between these three films just because they have many common actors and scenes. But the rebellion of neon god is still deeply rooted in reality, and the life of love is more dramatic; Then, with the development of the river, I assumed a more symbolic dimension.蔡：這三部電影之所以有連續(xù)性，是因?yàn)樗鼈冇性S多共同的演員和場(chǎng)景但《青少年哪吒》依然深深地根植于現(xiàn)實(shí)，而《愛(ài)情萬(wàn)歲》則更具戲劇性；然后，在隨后的《河流》中，我采取了一種更具象征意義的方式In love and river life, there is no taboo to depict sex, even incest. How were these films accepted in Taiwan at that time?馬：在《愛(ài)情萬(wàn)歲》和《河流》中，對(duì)性的描繪是沒(méi)有禁忌的，甚至包括亂倫這些電影當(dāng)時(shí)在臺(tái)灣是如何被接受的？When I started shooting with Li Kangsheng, of course I didn't know I would continue shooting him for 30 years. When I first met him, he was in a TV film (corner of the world, 1989, ndlr), I even felt uneasy about his slowness and acting like other actors. Then it attracted me and became a projection of my inner existence. I owe him the form and rhythm of my film.蔡：當(dāng)我第一次和李康生一起拍攝的時(shí)候，我當(dāng)然不知道我會(huì)繼續(xù)拍他30年當(dāng)我第一次見(jiàn)到他時(shí)，我甚至對(duì)他在一部電視電影中（《海角天涯》，1989年，NDLR）的緩慢和像其他演員一樣的表演感到不安然后它吸引了我，成為我內(nèi)心存在的投影我的電影的形式和節(jié)奏都?xì)w功于他

He is not just a composer, but a body. You can see his changes in every film.馬：與其說(shuō)他是一個(gè)譜曲者，不如說(shuō)他是一個(gè)身體。

你可以看到他在每部電影中以及多年來(lái)的變化Over the years, with this river, I realized that I was moved by the evolution of his body, But there is also a cruel way to observe its gradual aging. In commercial films, no one wants to see the cruel side of life. For me, this is the most real and moving.蔡：正是在拍攝《河流》的時(shí)候，我意識(shí)到我被他的身體的進(jìn)化所感動(dòng)，但也意識(shí)到在觀察他逐漸衰老的過(guò)程中，又是多么地殘忍在商業(yè)電影中，沒(méi)有人想看到生活殘酷的一面對(duì)我來(lái)說(shuō)，這是最真實(shí)的，也是最讓我感動(dòng)的

In the past few days, the scene we saw reminded people of the river: when Li was treated in various ways, the pain changed his posture and posture.馬：在《日子》里，我們看到了一些場(chǎng)景，讓人想起了《河流》：當(dāng)李以各種方式接受治療時(shí)，疼痛改變了他的姿態(tài)和手勢(shì)。

This is Li's experience.I got out of the painful neck pain that made him a few years ago, and I've been twisting his neck for weeks. I was with him when he went to see the doctor. I used this experience in the film. A few days ago, when I made another film five or six years ago, Li was born in a documentary made by an assistant. Li was ill for three or four years. It was in the documentary made by another assistant that I saw how his physical condition changed him. I was moved to see him trapped in his sick body. When the doctor asked me to see him again for exercise.I never thought that the main purpose of the film was to tell stories. What I am most interested in is shooting the body and feeling. After the stray dog, I feel very tired. I'm tired of writing dramas and playing the industry. Even as a bystander, the script gives me a more and more artificial feeling, a feeling away from the essence. I don't want to write any more. What I want to achieve is not imagination.蔡：我從沒(méi)想過(guò)電影的主要目的是講故事我最感興趣的是拍攝身體和感覺(jué)拍完《郊游》之后，我感到非常疲倦我厭倦了寫劇本來(lái)嬉戲于這個(gè)行業(yè)即使作為一個(gè)旁觀者，劇本也越來(lái)越給我一種人為的感覺(jué)，一種遠(yuǎn)離本質(zhì)的感覺(jué)我不想再寫了我想抵達(dá)的不是想象

You have embarked on the road of sword, but with movies like hole or watermelon flavor, which have musical scenes and a rather strange sense of humor, you will feel that you are also tempted by another temptation: fantasy and vitality. Did you really give up this road?馬：你走上了先鋒之路，但是有了像《洞》或《天邊一朵云》這樣的電影，帶有音樂(lè)劇的場(chǎng)景和相當(dāng)古怪的幽默感，你會(huì)覺(jué)得你也被另一種誘惑所引誘：幻想和活力。

你真的放棄了這條路嗎？At that time, I wanted to try to make some films that attracted more audiences, not for commercial reasons, but to see if I could be accepted by more audiences. Today, I got rid of all this. I no longer rely on the film industry. I still listen to these old songs. I still like musicals very much, so I haven't completely given up this type of film, but I prefer simplicity now. Then I want to be free and no longer rely on the agenda, work plan and deadlines. I've been wondering how I can keep shooting. When I saw myself at work, Chang Jhong yuan, a young man who shot the city of sunlight, asked me to buy a small camera to shoot alone, which opened my eyes. A good example I'm looking for today is your face. I photographed the faces of 13 people