我們的電影大多是在一如往常的空間拍攝，狹小的環境讓我們要變法或是即慶創作，用一個更具創意的方式，讓觀眾確切跟主角和他們的處境「親近」。我相信在工作現場處理空間上的挑戰，能讓演員、團隊以至最終面對的觀眾，都能構成一份能量。
日以作夜，顧名思義是把日景當夜景拍攝，最佳的時份莫過於黃昏，日落西山下，「天上的光」映照空間帶出優雅的沉鬱感。若用黑白菲林拍攝，加上紅色濾鏡，藍天會變黑。如現代用彩色菲林拍攝，最好不要拍到天空，而要讓影像曝光不足，再為臉龐補光。到數碼攝影時代，有更多方法甚至DaVinci Resolve已能解決不少難題。
很多時，你不能夠為海面打燈，它會看得出被照明。同一道理在沙漠：你怎能携上幾顆大燈去補光，讓它看起來像月亮映照遼闊沙漠的模樣。當你在北歐夏季時間拍攝，當地日照至晚上11點….在冰島，太陽高懸地平線上，24小時晝夜不息….當你要去一個准予你拍攝的地方拍攝，那為何一定要選擇這地方，若非本來就能有其他選擇？
拍攝「真」夜景，每個人的精力大約到凌晨2點便慢慢減退….你減慢了速度，腦袋也不如日間般靈光….喝一杯咖啡或威士忌或有幫助，大約到凌晨4點倦意的循環漸過，但始終失去了專注和行動力。
對我來說，拍攝《三更之回家》的美感在於採取了實務的選擇，大量以日景作夜景拍攝。故事的主角們像處身「地獄的邊緣」：一個抽象又不明確的地方。他們的世界就只有PMQ這空間，它是在世界外圍的邊緣，所以我認為它值得有屬於自己的觸感、外觀和氛圍。我希望大家永遠不知日夜，就像故事帶出我們無從知道何謂真實與幻象，夢想與夢魘。
Most of our films are made in the space in which they are told. The limitations of small spaces make one adapt, or improvise, and respond to what is there in a more creative way I believe the audience feels literally “closer” to the characters and their predicaments because of this. I am sure that in “solving” the challenges of the working environment, a certain energy is created which engages the actors, the team and ultimately an audience.
Day for Night means what it says: you shoot a night scene during the daylight hours. It works best when around dusk when the sun has gone down but what is called “sky light” gives the space an ethereal moodiness. With black and white film, a red filter would turn a blue sky black. With modern colour film, it’s best to keep the sky out of shot and underexpose the image but try to light up the faces. With new digital technology there is a whole lot even DaVinci Resolve can help you achieve.
In most situations you can’t light the sea. It will look lit. Same thing with the desert: how can you get big lamps far enough out there to make it look like the moon has lit such a vast space. When you shoot in Northern Europe in Summer in most places it’s light till 11 pm … in Iceland the sun is hangs on the horizon for the full 24 hours of a day …. So you make the film the location allows you to make. And anyway why did you choose to make it here or there if the way the place is not the reason you came here in the first place?
When you shoot “ real ” night everyone’s energy starts to fade around 2 am …. You slow down. Your mind doesn't react as fast … a coffee or a whiskey might help, and usually most come out of this cycle around 4 am, but still you lose focus and function.
But for me with Three, Going Home is was as much an aesthetic as practical choice to shoot so much day for night. It seemed to me that the characters were in some kind of LIMBO: an abstract, unspecified place . Their world is that PMQ space itself. It is outside the outside world, so I felt it deserved a feel and look and mood of its own. I hoped we would never really know what time of day or night it is, just as the story suggests that we don't know what is real or imagined, fantasy or nightmare.
影片來源Video:《三更之回家》 “Three, Going Home” (2002)
#前荷里活道已婚警察宿舍 #三更之回家 #陳可辛 #真實與幻象
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