BISFF Correspondence 通信计划
为了跨越种种障碍，开辟更多交流空间，我们设置了“BISFF Correspondence 通信计划”，对部分国际单元的参展作者进行系列访谈，这些访谈将在作品放映后发布在联展各个媒体平台。
This program involves conducting brief email interviews with the directors of the international films featured in the festival, in lieu of the traditional Q&A session that follows the screenings. Through this program, we hope to provide a platform for filmmakers to discuss their work and share their insights with our audience in China.
The Time Boat/Siam | 暹罗
杨宇烨｜2023 | 0:29:00｜China | Chinese Dialect
Director导演：杨宇烨 Yang Yuye
Interviewer&translator邮件采访翻译：乔屿 Qiao Yu
Q1: What is the central issue you want to explore through this family story? What draws you to telling it?
After the premiere of my short film in Beijing, a Teochew man from Cambodia asked me why I wanted to make this film. He mentioned that he had seen many films made by Teochew people, but he rarely saw a film like this that "traces the past". I explained to him that since I had been living in a place far from my hometown, I had always dreamed of the forest and sea, which I had never seen in reality. Being raised and bred in the city, my intuition tells me that is where I come from. I started to fantasise about the past, a place where I never physically lived, but one that nurtured my existence.
Q2: I was impressed by several sequences in the film, particularly the opening scene where a photograph is placed in the center of the image, acting like a boat crossing the lake of the word materials. This scene resonates with the title of the film, 'The Time Boat'. I am curious about what the Time Boat means to you and why you chose to include a question outline at the beginning of the film.
影片创造了非常多令人印象深刻的场景，比如在开场段落里，我们看到一张置于画面中间位置的照片，它好像一艘船行驶在由纸张铺成的湖面上，而这也呼应了影片的题目—The Time Boat。时光之舟对你来说意味什么？你为何会将采访的提纲放在影片的开场？
A2: 您的理解很有意思，同時也啟發了我。電影開頭的第一幕是在高速公路上拍攝的，是我回到父母故鄉的過程，而The Time Boat（時光之舟）這個片名來自楊炳藩先生三歲從暹羅坐船回國的經歷，兩段不同時空的回溯通過影像而連接，畫外音電話中的詢問與面對未知材料的心情則構建起這段回溯中的新材料。將採訪提綱加入其中，是因為我希望觀眾在看電影的時候和我處於同一個位置，我的好奇也是你們的好奇。
Thank you for providing a thought-provoking observation. The opening scene of my project was filmed on the highway during my trip back to my parents' hometown; the idea of "The Time Boat" was inspired by the personal story of Mr. Yang Binfan, who at the age of three returned to China from Siam. The two distinct worlds suddenly come together in the same visual context. And the voiceover from the phone and the mood of facing unknown materials together shape the new materials. With regards to the question outline, I want to communicate that I am in the same position as the viewers, and we share similar concerns and curiosity.
Q3: I have limited knowledge about Chinese opera, but I was impressed by the opera scenes. Can you provide more information about this part, including its significance and connection to the family history?
I don't know much about Chinese opera; some people thought I was trying to create a special atmosphere. However, it reminds me of my hometown. As a child, I used to watch live shows of Chinese opera during festivals and listen to the percussion sounds on the radio. Even though I didn't understand the content, I knew it was a part of our daily life and traditional culture. Recently, Mr. Yang's wife passed away, and to avoid loneliness, he plays Teochew Opera sound on the television very loud, which helps him feel better.
Towards the end of the movie, the younger generation paid their respects to the old man's wife by performing the customary kowtow. As per the tradition, Mr. Yang was required to stay inside the room until the younger ones were done. While walking past his room, Mr. Yang's expression left a deep impression on me, and so I decided to capture a shot of the TV screen displaying the opera. The reflection of Mr. Yang's face on the TV screen naturally created an overlay effect, which could only be achieved during the post-production process. To me, the mutual gaze between different mediums represents an otherworldly gaze.
Q4: I found the filmmaking style very fascinating, and I feel like I was watching a video photobook. For example, throughout the storytelling, there is a mix of black and white colors and the texture of the cine film. Another example is during the sequence of telling the story of Japanese occupation, the images were blurry and trembling. Can you explain why you opted for these particular styles and forms?
A4: 那些不斷變化的靜幀，很多人以為我是從老電影截取的畫面或者用舊照片後期添加的特效，其實這都是我自己拍攝的，而使用的這款相機是來自美國80年代生產的Nishika N8000 3D，它按一次快門可以同時通過四個鏡頭獲取四張不同角度的照片，因為主體與背景的差異，導致肉眼會覺得這是動態的，在以前人們需要通過特殊工具來觀察，現在只需要使用手機或電腦就能將四張圖片合成，同時你也可以調整幀率來控制影像變化的速度。在老人講述日本侵佔與國共內戰的經歷時我確實調快了幀率，以此更貼合當時動盪不安的時代氛圍，同時考慮到被攝人物講述的時代背景，我使用了黑白的福馬（FOMA）膠片，聽說福馬膠片的生產從上世紀七十年代至今從未中斷過，它仍保留著上世紀的影像風格。我一開始本打算使用超八攝影機（Super 8 Camera）拍攝，但因為時間與資金有限，還是回到了用靜態照片構成影像的老路上，但也因為這些限制激發了我的創造力。
Many people believe that I created those dynamic still frames from old movies or that I added special effects to old photos, but the truth is that I captured all of them myself. I used a Nishika N8000 3D camera manufactured in the United States during the 1980s. This camera can take four photos from different angles through four lenses simultaneously by pressing the shutter button once. Due to the difference between the subject and the background, the naked eye perceives the images as dynamic. In the past, special tools were required to observe these images, but now, with just a mobile phone or computer, you can adjust the frame rate to control the speed of the image change.
When the old man talked about the Japanese occupation and the civil war between the Kuomintang and the Communist Party, I did speed up the frame rate to fit the turbulent atmosphere of the era. Meanwhile, taking into account the historical background of the story, I decided to use black and white Fuma ( FOMA) film. "I heard that the production of FOMA film has never stopped since the 1970s. It still maintains the image style of the last century. I initially planned to shoot with a Super 8 camera, but due to limited time and funds, I had to resort to using still photos to compose my images. These limitations actually inspired my creativity.
Q5: Many times, we seem to hear printers printing. What do they print? Photos or documents? And what effects do you hope to achieve?
The sound of a printer reminds me of the sound of vehicles driving. When combined with dynamic images, it creates an illusion of going back in a time machine. All the sounds in this film were recorded using a tiny recording pen. The sounds you hear are from the printer scanning old photos and documents. This is a part of my production, including the sound of advancing the filmstrip and footsteps on the beach and through the forest. These sounds captured my journey of exploration. I didn't want to conduct a close field investigation before making the film. I wanted it to be a part of my film.
▌more information: https://www.bisff.co/selection/the-time-boat%2Fsiam