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[出走地平線：黃金時代]
Flattening The Curve: Golden Age

法國電影都是吹水戲，裡面的法語對白都是談法國問題和態度，專為法國觀眾而設。

我沒有歸屬感。

我希望回歸自己關心的人事上。

所以我回到台灣，去中影公司叩門找工作。畢竟，我贏了一個金馬獎。

我想過可能會有點問題，因為電影公司仍然很嬲我這個非華裔的攝影初哥搶了風頭。

「我們沒有工作給你。」坐在巨型辦公枱後的公司負責人說。

「那麼，我的金馬獎？」我問道，手指向他背後書架上的三四個獎座。

「對不起，金馬獎委員會在頒獎禮後已經解散。」

「那我的獎座怎樣？」

「我不知道」他說。雖然我還差不多看見書架上有一個獎座有我的名字，他遞給我了一張名片：「這是幫我們製造獎座的公司。這些獎並不昴貴，不若你找他們為你鑄造一個？」

我把咭片擲到枱上，氣憤地站起來：

「如果我要做個假獎座，不好做個奧斯卡的，還做你隻假金馬？」

我離開了。

我想你應會說我報了仇……至今我已再拿多四個金馬獎。

French films are all talk. They are French dialogues about French issues and attitudes, and for French audience.

I didn’t feel at home.

I wanted to get back to the people and issues that mattered to me.

I go back to Taiwan to Central Motion pictures to see if there anything I might work on. After all, I won the Golden Horse award.

I think that may have been the problem. The studio was still angry that this non-Chinese beginner had up-staged them.

“ We don’t have anything for you ” the head of the studio said from behind his huge office desk.

“ Well, what about my Golden Horse? ” I ask, pointing to the three or four on the bookshelves behind his head.

“ Sorry, the Awards Committee disbanded right after the awards ”

“ So what happened to mine ? ”

“ I have no idea ” he claims. Though I can almost pick out my name on one of the ones on the shelf. He hands me a name card : “ This is the company that makes them for us. They are not expensive. Why don’t you go and have them strike one up for you ? ”

I throw the card on his desk and stand up angry :

“ If I ever never want someone to make a fake statue for me, it will be an OSCAR not one of your gilded horses. ”

I leave.

I guess you could say I have had my revenge since … I have won 4 other Golden Horses since then.

#DaysinTaiwan #台灣日子

[出走地平線：續遊]
Flattening The Curve: Travelling more

曾經有段時間，台灣大力支持年輕人拍片。

問題是，我不是台灣人。

我沒理會，沒有東西能阻擋我。

我很想拍片跟人分享，想了解其他人如何看自己的作品和想法。

所以我不斷參賽。

甚至用假名參加，可以說是獲獎連連。

最需要是奬金，我要錢拍自己下一部作品，但卻沒有權利去領取。

主辦單位都被弄得糊里糊塗。這時一位朋友的朋友找上我，說要為即將開拍的一齣紀錄片自組班底。

這紀錄片小組有台灣攝影師兼製作人阮義忠、張照堂，他們二人都有「被受肯定」的作品，還有畫家兼詩人雷驤。然而最大膽的舉動，莫過於即使我不是台灣人，又是攝影初哥，對方依然邀請我參與拍攝《映像之旅》。

There was a fund at the time to support young Taiwanese film.

Problem was I wasn’t Taiwanese.

I didn’t care. That didn’t stop me.

I wanted to share the films, I wanted to learn how people responded to my work and ideas.

So I entered every competition there was.

I used fake names. But I kept winning prize after prize.

Money prizes that, as much as I actually needed the money to keep making more films, but I didn’t have the right to collect.

The authorities were confused but a friend of a friend knew and he was forming a team to make a new documentary series.

The team got together Taiwanese photographers / filmmakers Ruan Yi-zhong and Chang Chao-tang, famous for their "committed" work and the painter poet Lei Hsiang and then, very bravely I thought since I am not Taiwanese and I was only a beginner, invited me to join them for a series called "Travelling Images".

圖：在街上或角落士多走一圏，如果想出五個新點子，你會發現，自己也是藝術家。（攝於南台灣）
Photo：If you take a walk around the block, or to the corner store and if you come up with five new ideas, you'll realise you too are an artist .（Taken in Southern Taiwan）

#DaysInTaiwan #台灣日子

[出走地平線：複視]
Flattening The Curve: Double Vision

朋友陳中華是民族音樂學家。當時我還是學生，有的是時間。

我們大概這樣聊過：

陳：我需要拿獎學金才可繼續我的創作。

杜：甚麼作品？

陳：挺棒的，必須給世人看看。拿着。

杜：這是相機，我不會用。

陳：舉起來、按快門，就行。

杜：拍甚麼？哪裏拍？

陳：拍我……在工作……到處拍……

於是我們遊逛台南，度過了二十個極其愉快的日與夜。陳中華相較自己年長三倍的前輩，更知曉、更懂得唱客家民歌。農舍裏，稻田中，我拍，他們唱。

兩星期後，我們把底片放出來。屏幕上盡是屋頂瓦片在雨中的濃濃的紅，以及白雲藍天下稻田的鬱鬱蔥蔥。可是，畫面大多昏黑一片，底片根本曝光不足。好些在沉鬱的室內唱歌的片段，都不見了！眼睛看得那麼清晰，出來的影片卻完全不是一回事，我很驚訝，也很好奇。

我想至今我仍然很好奇，也很驚訝。往後的許多日子，我都在設法解決這種視點的分歧。

My friend Chen Zhong Hua was an ethnomusicologist and I was a student. I had time.

Our conversation went something like this:

Chen: I need to get a scholarship to continue with my work.

DKF: What work?

Chen: It’s good work. We have to show them. Take this.

DKF: That’s a camera. I can’t use that.

Chen: Just point and shoot.

DKF: What? Where?

Chen: Me… at work… everywhere…

We traveled southern Taiwan for twenty glorious days and nights. Chen knew and sang more Hakka folk songs than old timers three times his age. Inside rustic farmhouses and out in the paddy fields, I filmed and they all sang.

Two weeks later, we projected the film. The screen filled with the saturated reds of cottage roof tiles in the rain and the lush green blanket of rice paddies under clouded blue skies. But most of the film was black. It was all so underexposed. Nothing of the moody interiors where most of the singing took place! I was shocked and intrigued that what the eye sees so clearly, the film sees in a completely different way.

I guess I am still intrigued and even shocked often enough, that trying to resolve the two is how I fill most days.

圖：在南台灣美濃區工作，最好還是每場之間擋擋陽光。
Photo：Working in the Mei Nong in southern Taiwan, it's best to keep out of the sun between takes.

#DaysinTaiwan #台灣日子