 Hello, everyone, and thank you so much for coming tonight. I think most of you know why you're here, so we don't need to... Lawsor, as they say in Chinese, we don't need to add any extra... any extra gump. Delighted to see all of you here for two more of Taiming Liang's films, no form and where has the skywalk gone in the opposite order? As with last night, I'll be talking to Taiming Liang for about 15 minutes before the films begin, then we're going to show you the films, and then we're going to have a Q&A. And while the Q&A is scheduled for half an hour, there is the possibility of extending it a bit tonight if there's a lot of questions. So, you know, save them up and hit us with them afterwards. I will be doing interpreting as well. So, so pleased to be here again. My first question tonight is about something that you once said, which is that slowness is a type of rebellion. I'd like you to discuss this with relation to the films we're about to see. I've always felt that I was a rebel, but not like a violent, you know, cruel, wild rebel. I've always been afraid of my dad. He's gone now. He died when I was making my first film. So, he didn't have to get too angry. Myself, I'm not somebody who's slow. I don't move slowly. I'm actually quite quick. And when I walk, I'm like my mother. I just walk really, really fast. Once I was with my mother, we took a trip to Hong Kong. We were in the really crowded place in Hong Kong and my mother was just racing ahead and I was sort of back there with my dad. And I saw her do something. In front of her was this old lady who was blocking her way, so she just kind of pushed her aside. That's my mother. My character is in many ways like that of my mom. But my dad, by contrast, was very slow. I was always very curious about my father. He made me very curious. And I really didn't have a chance to study him, to figure him out, and then he was gone. And then later when I encountered Li Kangsheng, who became the actor in all of his films, I felt that he was like my father in many ways, so I wanted to understand him. He's very slow. He's very, very slow. When I first made a TV show with him, when I saw him on the street, there were things that attracted me, and among this was some sort of resemblance to my father. When he was filming, he was actually not afraid of the camera. He was not afraid. He was very natural, but he had a place that I felt was very unnatural. He was very slow on the way, and he was very slow on the reaction. He was very slow on the turn, and he was very slow on the speech. He doesn't, he's not scared of the camera. In some ways you could say he's very natural in front of the camera, but there are other ways in which he's really not natural. He walks really, really slowly. He turns his head really, really slowly. He talks really, really slowly. There was a scene in which I wanted him to turn his head. I had to do this particular take maybe ten times. I felt like he was just, he was like this robot or something. He was like a machine, and I said to him, can you at least blink in the course of turning your head, because then we'll know that you're a person, that you're alive. He said, he was a little bit angry with me, and he said to me, you know, this is how I am naturally. And that, what he said to me that day, changed really my views on performance and on making films. And that really made me interested in slowness. It was from Lee Kongshan. It's not a thing about looking for slowness in particular. It's about trying to return to a sense of naturalness. It's really hard to get naturalness in film, because people are taught not to be natural. There are certain ways that people are taught to act and so on. And that applies to pace, it applies to speed, it applies to tempo, it applies to speed, it applies to a number of things. And it's funny because you'll have the way an actor is in front of the camera, and then you'll maybe be having a cup of tea or eating with them, and you notice that the person in front of you is very, very natural and is not the person who was in front of the camera. But I really, really like that, I don't like the other. So whenever I'm with an actor, what I want to find, or what I want them to return to is that genuine natural self. And I don't really know where I've gone with that question. So, you know, slowness is a kind of rebellion, but in the end it really wasn't a rebellion at all. It's just natural. I myself have become slower, I'm older, and I'm used to this now, there's a slower pace. I could talk about a lot of reasons for slowness, but I'll just say that it's when you are being slow that you actually see things. We film, we think we're watching a story. So we think what we're not thinking about speed, but we're thinking about the details of the plot. So it's rare to see, to really feel the sense of time in a film, or to feel time in a film, or to see a movement clearly, or a behavior, because, you know, the two-hour time frame means that the story has to keep pushing forward. So you don't see these things as they are. And with yesterday's stray dogs, it's because it's slow, so we can see what, you know, what they're doing. I wanted to... No, no, I want to ask another question. He said, is the time to... As I know, I have another question. And this question applies to, in particular, the Skywalk film. And that is, you've talked about the importance of disappearance, the erotics of disappearance, how disappearance is very important to you as a theme. Would you mind talking a little bit about that? It's a similar principle to slowness. And it's, you know, like his father. When he was there, I always felt maybe... I felt his absence. But when he left, I really felt his presence. And I began to miss him and think of him. I'm not comfortable with things that constrain me, whether it's patriarchy, the idea of family, a father's authority, all this sort of thing. Let him disappear. And so what I do to... My reaction to this is to make them disappear. This is my method. So everything that I want to look at, I kind of destroy. I get rid of it. So, for example, in Viva la More, I, you know, the love, you destroy the love, and then you can talk about Viva la More. So, for example, in Viva la More, I, you know, the love, you destroy the love, and then you can talk about Viva la More. The direct inspiration for The Skywalk is gone. Came from when I was filming a scene in What Time Is It, which is another film. And in that scene, Li Kangshuang is selling watches on this overpass or Skywalk in Chinese. It's like Sky Bridge. Anyway, he's selling watches on this thing, so they were filming on this place all the time. And then three months afterwards, I happened to be walking past this place, and I looked up and it was like, wow, the Skywalk is gone. And it just had... it was gone. And so, it just made everything feel really surreal and kind of absurd and like a dream. And so, that's where the inspiration for this came. And I think... This kind of... In the reality, the state of disappearance, I don't think I have the feeling. I guess a lot of people have the feeling. Because that bridge, maybe it's from Taipei, or from Taipei, the people passing by are familiar with the bridge. Every day, they walk the bridge. One day, they suddenly disappear. I did meet some people when they were on the radio, they told me that they won't walk the road. They won't cross the road. There's no direction. Because you're starting to walk a new path, to the underground road, to find a new path. So I think, we're always chasing this change. In fact, it's very anxious to chase this world's change. So I want to send this feeling out. I wanted to film the anxiety that you feel when things disappear. It wasn't just me who missed that particular skywalk, or skywalks that are destroyed in Taipei. After... I got all these messages from people who were saying, yeah, yeah, I don't even know how to find any place anymore. I can't cross the street. There's no skywalk. You have to go under these underpasses and you have to find these new routes. It's just really disorienting. So it creates a sort of anxiety. We keep having to catch up with disappearances. And I wanted to film that sense of anxiousness. So I think my work is a kind of connection. For example, I think when this world is running too fast, we rarely can see where we live. Very rarely. We rarely see where we live or where we go every day. So I want to film a slower film. Because I want to see it myself. Because it will disappear soon. I feel like there's this thing that keeps running through my films and that is this sense of not seeing what's around us and what I want to do is capture this. And by making these films, which are slower and slower, as I go along, I feel like I am able to look at what I want to see. And I think with that, we can watch the films and then return to a Q&A. So thank you so much. Today, unlike yesterday when Timinglown gave a warning, there's very little danger of you sleeping during the films today because they are very short. Today we don't have quite as many people as yesterday. Yesterday it was absolutely packed because so many people from yesterday are probably too scared to come and see another film. That one gets better with every viewing. You're kind. I'm going to start with my question and then that's because I'm sitting here. It's like last night was like, why do you do this? Because I'm the director. So why do I get to ask the first question because I'm sitting here? So my first question is yesterday we talked about Yue Fei and Man Jiang Hong and we talked about Lao Zi and Tian Di Bu Ren. I'd just like you to say a few words about Xuan Zhang, the monk who goes to India across the Silk Road and brings back the scriptures because I know that you've talked about him a little bit before. I like Xuan Zhang. I like him a lot. I really love reading about him and it's not just from the popular fiction of Journey to the West which people know as monkey but it's from the historical records every time I've read anything about him I've been really moved. Many years ago I was interviewed for a television show. It was about me. At the end of the show he asked me to write a piece of paper and at the very end asked me to write a piece of paper and asked me to write a piece of paper my hopes and my dreams and my wishes. I was really surprised. I actually didn't have anything that I wanted to write down. And I thought well actually I don't want to have any particular desire. But they said what you have to because everybody comes on the show writes down their desire. So what I wrote was I would like to make a film about Xuan Zhang. But I knew that I wouldn't actually make a film about Xuan Zhang because I didn't want to make a story film a narrative. So I was writing that just to write something but it's not like you have to actually film everything. I really like him because there's a lot about him that really moves me and his spirit and his spirit of how he is walking spirit. And of course that was the age of walking. It's not everyone who has the ability the spiritual ability and the mental strength to make such a long journey along an uncertain path to a place that you're not really sure about. And in 2011 the National Theatre asked me to do a stage play and so I said okay because actually when I was in university I did that's what I studied, I studied drama. And they gave me a topic and it was monologue I could do anything I wanted and it was a single person play. So what I did is because there were actually four actors but I narrowed it down to three actors who I really really like to work with and I did three single person plays and that one was with Li Xiaokang and another one was with Li Kangsheng Li Xiaokang Li Kangsheng and another one was Chen Xiangqi and Chen Xiangqi was Lu Yijing the one from yesterday and Yang Guimei Oh there is somebody here who actually saw those three plays So I said to the actors well what are we going to do let's not perform some famous person's story or anything like that to play yourselves So Li Kangsheng his was pretty special he played himself and he played my father and those three men are the most important men in my life so So one of the things that we did was he walked across the stage from there to there and in the process went from being Li Kangsheng to being my father I said to him it's not that easy for you to become my father it's not going to be easy So I felt we want to have something that's difficult and we want to express this and so how exactly does he transform himself we invited a choreographer who came up with some dance related moves and we had music and tried that but neither Li Kangsheng or I were satisfied So one day it was just a mess and we had this fight and Li Kangsheng and I had this fight and he said okay I'm not doing this I use my method I want to walk very slowly and then he said you know I'll use my method I'm going to walk really really slowly So I said okay try So the length of the stage it took him 17 minutes to traverse that stage and I was really really moved by it I said you know I've been waiting for 10 years for those 17 minutes and so in the end when we actually were on stage he would go it would take him 25 to 30 minutes and there was no special lighting and there was no music I felt sorry for the audience but they were really amazing you know I feel like on the stage there's always these stories and narratives that are unfolding and people don't see they don't look at anything in particular and this actually gave them something to look at he has a really strange body his neck isn't very good he was injured well he has a bad neck and so there's a certain thing that he does with his neck that other people can't really do quite as well it's very special there were like maybe a thousand people who saw this and that was it that whole thing, that experience was that performance and then I said to him you know let's make a film with you walking and I didn't want to do a narrative I just wanted to do this thing and so I felt that he really had captured the spirit of Xuan Zhang the monk and that that slowness is something that doesn't match the speed that's demanded in society so that's why I call slowness a kind of an act of rebellion and this is so he made this and this was actually an advertisement for a mobile phone and then the second film of him walking you know in those robes was made in Hong Kong it was a commission from the Hong Kong Film Festival and the second one the one that was made in Hong Kong it was actually sponsored by UQ which is the mainland version of YouTube and so you can see that on UQ which is if you're interested why OUKU if you don't know it you can see that and within one month there were 4 million people who clicked on it that's probably the biggest number of people who've ever watched one of my films and then I saw many people who just they would leave comments that were really really like they were really rude and they really hated the film somebody said if Lee Kang Jung ever appeared in front of me I would hit him on the head with a brick people would say this isn't a film and I felt all these curses all these these complaints that were coming my way made me quite happy I felt there's not that many movies that can really inspire collective anger like that I never I never answered them but what I would have said which I was thinking was so I go slowly and what's stopping you from doing what's your problem you can see from the reaction that slowness is something that really is an excitement people you know they see a film and it doesn't have expression it doesn't have a story and they get really unhappy but I really want to continue doing this in the art museum it's not limited but it's weird I took six films in two years my sixth film is a film by a French artist called Xiyou it's a relatively long one that I made in Marseille which is 56 minutes and nothing happens it's just the same thing but it's really weird western media or comment especially like this film to express strangely enough western critics and media seem to like it and then this month I'm actually going to Japan to do another one and this one is also one that it was commissioned by the Hong Kong film festival but I want to go to Japan and do that I speak a lot no that's great so I just got 17 minute answer which is the exact amount of time that it took I speak 17 minutes in the same way as Li Kangsheng that time really? I can speak longer he could speak longer but I think we should ask what questions do you have okay the lady in the back okay is your intent to make the audience make us feel uncomfortable no but the audience isn't in my heart that's not what I'm thinking I'm just being a creator I'm expressing myself I've never really thought who am I making this for I'm making it for myself I don't set out to make people uncomfortable but if people are uncomfortable then it's an interesting question and there's a really strange attitude which is if something makes you uncomfortable you don't want that thing to but maybe but there are things that make me really uncomfortable like a movie that is too fast paced I'm really uncomfortable but I do know and I recognize that this can make people very uncomfortable I'm quite realistic I know that people will feel uncomfortable and that I won't have a huge audience for this sort of thing but I'm really happy that I've got the ability the right to do this thank you thank you so much are you uncomfortable did anybody feel that it was a kind of enjoyment the opposite of uncomfortable I think you know half and half I was just looking can I just say there's a person over here with a then we'll get the mic to you after somebody here raise their hand first then I'll come to you can I translate that so I've been reading who is an author if you don't know him from the 30s who has an essay called which is sort of gradual or slow or it has that same sense so what I was wondering are there any writers for example who give you inspiration in this sort of area I also read Feng Zekai he's really great in describing these little details of life for example eating crabs the person who I probably have read and re-read the most is Zhang Eiling and it really is about it's rooted in life and her best ones were written while she was still in Shanghai sometimes an error can determine the fate of a person it's about living for the sake of living and I should add I have two scrolls of Feng Zekai's I mean prince in my study because I love him too does that answer your question okay hello it's okay I'm loud enough I don't need it it's okay actually can you hear him I think so what's my understanding quite a few years ago one of my friends and me we did the same experiments in a small office in Beijing but the arts we used we tried to play some spiritual music some Buddhism some Buddhism of course it's not only for this religion but people feel noisy if you play hip-hop some fast reading while they are really happy but actually they are tired of life they live in the blocks they live in corporate forests but we need to ask question why people lost their lives it's the reason of liberalization and industrialization like the Zapat Marx said it's like war block people's ideas you can only see books but the second reason is life the reason life changed how fast they were many people in Paris lived in Taipei they spent two hours shuttle two hours shuttle to go to work four hours you see our life was filled with speed and you can really be calm down like slimmings slimmings become become uncertain people don't know what happened next so they feel a little bit scared you have a question no, no question okay, you have to translate yourself then okay okay okay okay okay okay okay okay okay I've never felt that slowness actually solves the problems and sometimes it makes me annoyed even I just feel but that train won't wait for us so I came early I still feel why it's so slow do you know what I mean? it's a matter of efficiency slow and efficient it doesn't fast speed and slowness don't necessarily have anything to do with efficiency for example sometimes I go to buy a ticket on an express train and the person, the girls behind the counter her attitude is really lovely she's incredibly polite she's very nice but she's really slow and I'm thinking the train's not going to wait I need my ticket so it doesn't necessarily relate correspond necessarily to efficiency I just want to let everyone think about a question that says we have to develop so fast but I want people to think about the question do we really need to develop and to move so fast a few days ago I had a friend on WeChat share with me how happy she is to go to Dubai because in Taipei 101 is a little baby her boat trip is so beautiful so fun I just went to Dubai I really want to reply to her but I didn't I don't want her to miss her tell me and said in Dubai and it's so amazing and this and this and this and I've been to Dubai as well but I kind of wanted to say something but I didn't want to burst their bubble with their happiness about Dubai I was like okay you know this person was so impressed with these buildings and these tall buildings and everything I'm like well we don't actually need all this stuff we can actually still be happy I just want to use the slow and long speed you see the speed is always different different speed different speed but the slow speed is the same and the fast speed is the same the slow speed is the same but the speed is different but the speed is different the speed is different in every city but there's always this this feeling of like you know anxiety got to go faster got to go faster that surrounds that slowness we have many more questions sorry first so please no more statements if you don't mind questions but it was an interesting statement I want to thank you again for those two films which were absolutely stunning thank you very much I'm thinking about other slow movie makers movie makers like Bellata Nure Belge Jlan from Turkey perhaps Hanukkah Ackerman are there other slow film makers who's films you admire and you like and you don't feel angry he likes these two films yes I read a movie when I was a student it was a movie a female director was it Agnes Varda I don't know her name because I don't know how to translate her movie called Anna's journey she was a woman she was in a train she went to the toilet and she was still in the train she made a film about somebody on a train a woman on a train and the film goes on and on and you can go to the toilet and you can come back and she's still on the train yes Ackerman yes that's it yes I saw her film when I was a student and I really liked it I like a lot of slow directors I like a lot of slow directors I like a lot of slow directors I also like some speedy directors I also like some speedy directors it's not a problem really it's just a question of is the film a good film or is it made well I want to share I recently watched a Japanese film a blind date I watched it when I was a child I saw it I was very surprised it was the first episode very good I thought it was a normal commercial I watched it when I was a child it was really really good it became a classic there was a film that I saw so I saw it again recently I didn't know what to expect I thought maybe it was just going to be some ordinary commercial it's a Japanese film and I saw it again it was amazing it was really really great I loved it yes here we have a microphone this is just a curious question that as a rebel you just define yourself do you feel comfortable with the identity you were initially experimenting and then gradually you are also defined by your audience as a person, as a director who produces slow movies do you feel comfortable comfortable about it do you have the idea of getting a category stuck on you or an identity that is now you are testing this slow thing as a rebel but later on you started doing a lot of slow movies and then the audience, the students started saying you are a slow movie person do you feel comfortable as a rebel with this kind of identity I don't do experiments I never do experiments it's not an experiment for me I don't experiment as such each work is using a method each movie finds its own method to express itself I feel comfortable it's about what makes me comfortable thanks for your film is stillness just an extreme form of slowness and is there a difference and if so what space is there for stillness in your films I don't want to analyze so much as a filmmaker I don't actually analyze it to that extent I don't start with a theory and then make the film so it's kind of hard to later on after I've made the films people go this, this, this and I'm like oh yeah, yeah, yeah actually I think we shouldn't often discuss slowly actually I don't think we shouldn't discuss, don't move we shouldn't discuss shouldn't discuss, don't move shouldn't always discuss what's the long shot I don't think there's anything to discuss it's like you shouldn't often discuss the same thing why should you discuss it's a method right? it's like long shots and slowness people love to talk about this but I don't know is there really that much to talk about I just don't know that there is that much to talk about with this slowness I know the important thing is what do you see so when I do this what do you feel what have you got got from what I'm doing that's kind of more there was this film director in Taiwan who once said there was this film director in Taiwan who once said I said which film director I can say a director I can't name him a director I can't name him a Taiwanese film director said I want to make a film in which every shot is three seconds long only and it's a film that I'm making in opposition to timing Liang I really hope he does it and I hope it succeeds I hope it's really successful I don't you know I don't love a lot of Hollywood but I don't oppose Hollywood I'm not saying don't go to see Hollywood films I just hope you appreciate my films sorry I don't know how to answer her questions but I said basically I just don't know how to answer that question I really want you to think I'm so slow or I only listen what do you feel or what do you see so it's more like I'm more interested in the question I have this really slow you know scene or there's stillness there's a shot that doesn't move what do you get out of it people are always asking questions that leave me slightly just kind of like oh why did I ask that question that's really strange when people go why do you always usually Kongsheng you know and I'm like well why do you ask that question there's often this thing where there are these kind of set ways of thinking or set questions set you know this has been sort of established established ways of approaching a question and you know you're asking it of somebody who who's not set in stone is that right I don't know is that right who isn't himself formed in a kind of set mold the front thank you I'll use the Chinese I have a question about these two films the first film I feel environment is still very important including the two stairs and I also saw in the river there were two stairs you meet on the stairs maybe you don't know each other and then you feel like this space is everywhere and then the second film is like this environment is not that important it's the person his body is more important including I feel when he was walking on the stairs I thought it's a difficult thing to walk you have to move your mind and then at a certain moment you have to stand on your own feet and then it's actually easy to fall I will think about the mobility and its weakness I would like to ask in this environment you go to Japan to Hong Kong what is the use of this environment just very briefly so if you compare the two films the first film has a lot of focus on the environment on the spatial environment of Taiwan and the chance encounters in that spatial environment but in the second film the environment is missing and we are focused more on the body and on its movements having to change weight and having to stand on one feet just the act of walking itself and just wonder for these walking series how is the environment going to play in the films if he is going to film in Japan and in Hong Kong Lee Kang-sheng is amazing because this performance is very difficult I first have to say that Lee Kang-sheng is absolutely astonishing it is a really really difficult performance when he was doing the stairs he said to me you know you are killing me I don't think I want to do the Hong Kong one of course he did in my in Marseille he had to do an even higher set of stairs he you know and then he told me this is the best I have done which one? Marseille he himself felt that his performance in the one that was made in Marseille was his best when I was in Marseille I made a decision I said after Lee Kang-sheng I said in two minutes I didn't say stop you won't you won't stop you can finish it you won't do the second time if two minutes is not good if two minutes is not right you can continue to finish so I said I won't stop I said because the Walker films are all about 20 or 30 minutes and they are one take so what I said to him is if in the first two minutes of shooting if I don't call out cut then keep going and I will let you continue and that will be the take so if I don't stop it in the first two minutes then it's the take because I don't want you to be that you know it would be that hard for you what I learned in the process of making or what I have learned in the process of making these films is to accept to be more accepting to be able to accept whatever happens so you know every different environment suggests a different speed I don't actually I don't have a preconceived idea when I go into that environment of what I'm going to actually be shooting my attitude is I want to look and see what happens the time that I'll give the shot is time enough for something to happen for a situation to develop and I want to observe that but of course I do want to pick the places so I the place the environment the scene is very very important when I go to Japan I probably not be setting my film in places that are very familiar to people because I'm not making a travelogue I'm looking for something that gives me inspiration so the thing is you've got this direction like Shenzang, the monk his goal was to get to India and get the sutras and bring them back to China but what was he going to encounter on that road who was he going to meet what was going to happen he couldn't know and that's the that's the sense that I'm reading to this if there's a pile of money in front of me I knew what to do do you understand what I mean my film is not really there's no thought so I'm very free I'm very happy it would be kind of different if there was this big pile of cash over there I just it is a sense of discovery along the way are there any more burning questions because okay so we've got two more questions we'll start with you and then we'll come to you nobody wants to go home nobody wants to go home hi I know when you were a child you watched a lot of movies with your grandparents and I wanted to know like obviously that had a big influence on your filmmaking especially in Busan and I wanted to I guess hear about what that experience was like for you and how big an influence that was on your filmmaking so it was really an important thing for me and it was you know it was the will of the heavens that was my fate to see these films to just explain the timing with either his grandmother or grandpa to see a film when he was little but everything every process, everything I've been through is also important because my films are self-expression so I'm expressing myself so the old theater was very special I actually I think the old theaters in Australia in the 60s and 70s the whole world had this kind of big theater after we experienced it we knew it was sweet it was so good but it wasn't very fast actually you won't remember it because you know the world is moving forward a lot of new things but one day you will dream of it and you will always dream of it you don't think of it it means you're old memory is back memory is back it seems to tell you what you want to do so I took it when I was little the cinemas that we went to everybody here of a certain age in Australians in the 70s the cinemas that were around were really really special very very special places and they were lovely and so seeing films there it was quite a special experience it was the actual cinema as well it was fantastic so now maybe it's just a sign of getting older I often dream of those beautiful old cinemas from that time and dream of it you don't even think of it and so you're not even like trying to think of them and they just come into your dreams they come into your thoughts and it's like those old cinemas are telling me there's something I want you to do I want to push you along on something so live a good life just live well it's important now we'll have one final question oh we have two questions okay okay sorry you'll be the last this gentleman is also a Mr. Tsai who was born in Malaysia this is a very philosophical question so this is a very philosophical question and that is that there's a concept of the path of yin and yang and there's absence and presence and every step is a dance of absence and presence and I'm hoping I'm getting this right so this absence and presence we realize ourselves through this this path of yin and yang how much did that play into your mind when you were doing this film not at all I wasn't thinking of that but it's interesting because he wanted to play this film he wanted to how to say it I think this is human nature finding his own nature so I'm really looking forward to one day how to say it for example, Li Kangsheng is coming where are you going to shoot this film when you meet us you can come with us I have this idea you can't leave I won't announce you to come but I think this is just like a practice this film I have a strong feeling with Li Kangsheng we are doing our practice I feel that this is kind of a spiritual practice even though I wasn't thinking of this yin and yang thing but when various people have seen the film especially say qigong people whose practice also refers to yin and yang and yin and yang and all of this sort of thing they recognize a commonality in this practice and they also think that Li Kangsheng is quite he's got that sort of he's got the qi he's he's got that the nature of what the Taoists talk about is nature so he has that thing and so yes in a sense even though I wasn't intending that that's where in a way it has ended up and the last question thank you actually you just answered a question about what we saw in the film I'm very curious when you were filming when you were watching every time the time must be different and whether or not you saw something different is there a different experience that you saw a special and then because of me I just saw although I was walking like you said there seems to be something but I found that he was still walking and the scene is different but every time there seems to be a camera but when I walked I felt the camera wasn't a camera I thought I was watching this film but in the end I felt that you were looking at us so no give us a short summary it's basic you give us a short summary because the director answered a question previously and his answer was that the point is that what the audience can see from the movie so my question is that when he when he was filming and he will he will probably watch it later and so he can see something different different from his movie something like that I think everybody is amazing here so it's such a nice atmosphere everybody is so patient and that's because you've all seen my films and if you there was no patience you'd be gone and some people they start out patient and they grow patient they start out impatient and then they slowly grow patients I don't have a lot of words I don't have a lot of dialogue in my films so it's you know you say I'm watching a film and with my films you really are watching you're watching that's what you're doing that's how you take them in I think you know watching is really an important concept and that we're losing that patience for watching I think I think I think I think I think I think I think I think I think if you actually look at nature at the natural world it's a lot better than watching my films I mean a lot more beautiful but you have to have that patience you have to have that stillness and that calmness to be able to look at nature I look at my window here I've come to Australia and I'm looking at the clouds and I think wow they're really different from our clouds they're really they're really three-dimensional they're really three-dimensional I've also been looking at the trees I've also been looking at the trees I've also been looking at the trees I like reading trees trees because I know you've been reading a lot here I've also been reading trees I've also been reading trees for those of you who don't speak Chinese trees are books and trees are trees so I know that he's been reading a lot so I just want to make sure he's been looking at the trees too every tree is just incredibly beautiful every tree is just incredibly beautiful and then you think every person is very beautiful there's no reason to do anything everybody is beautiful sometimes I give these talks in Taiwan and all these rich ladies come And when I finish, they don't feel like they go and have to have plastic surgery and all that sort of thing. I don't know, I think sometimes language is still very important. You have to communicate a little bit. Of course. After communicating, it will feel a little bit better for my movie. And she is willing to do it. So I said, you know, I'm going to tell you a story. I have a friend before I came here. He is a businessman. He said, Cai Mingliang, I'm a woman. I lost over 10 million last year. What should I do? I said, I have a way to make you come back. So I have this friend. She is a business woman. And she says to me, I've lost 10 million. 10 million? Is that right? Yeah, 10 million. It's presumably Taiwan dollars. And he said, I know how you can get that back. So I said to her, every night for three months, you are to copy out the diamond sutra, a Buddhist text. And your money will come back. And she said, really? And I said, really? And she said, really? And I said, really? And she said, really? And I said, really? And I said, really? And I said, go do it. I have no idea what might happen. But something will happen. Yeah, there will be some sort of change. But what it is, who knows? That's kind of an interesting notion. But you know, actually what you asked me, I've forgotten. I don't really come back and watch my films over and over again, but I'm glad that other people do. Yep. I, when my films are showing, I go out, and I walk around, and sometimes I get something to eat, and and but I think all the time like I think about you and I think whoa gee I wonder right now I'm eating something really yummy and they're watching that that shot that took 14 minutes and the two characters are just standing there and you know I'm kind of curious but I'm not gonna ask he's just a joke you know so you know my actors they basically you know the strip naked they're just and I don't say to them you know I don't ask them I don't ask them how they're feeling I don't do this I just you know I appreciate it and and I'll give them a hug the end he's just going to tell me what he's going to say all the directors are going to get me out of the way but what he's going to say is I'm not just going to get you out of the way I want you to imagine that you're a piece of meat hanging over there and selling it he's just he doesn't have any reaction he just left and then he came to my scene and didn't say anything oh when I was making face which is a film for the Louvre one of the actors in it is a famous model and I said to her you're gonna have to take off all your clothes and what I want you to do is think of yourself as a slab of meat just hanging there and she kind of went right just walked away and then she shows up for the filming and she just takes off her clothes and you know does it and then later she was saying to a reporter you know all male directors they just go yeah you got to take off your clothes but I but I always know that even before I take off my clothes they've stripped me naked there's only one male director that doesn't give me that feeling and that's timing now thank you thank you