여기 오는 비행기로 에어프랑스를 탔다.
2주 전까지 깐느영화제여서 6월호 에어프랑스 기내잡지에는 깐느영화제 심사위원장인
왕가위에 대한 소개기사와 이와 별도로 장만옥의 인터뷰가 실렸다.

난 이상하게 왕가위 영화 이야기만 나오면 울컥하는데,
이 잡지 기사를 읽으면서도 그랬다. 시차로 잠도 안오길래 타이핑이나 끄적끄적.
사실 별 내용도 없이 그동안의 필모그래피에 대한 이야기인데
막판에 신작 상하이에서 온 여인이 잠깐 한줄나와서 반가왔다는..

This month, Wong Kar-wai becomes the first Chinese to preside over the jury of the Canne Film Festival. It's the ultimate consecration for this 48-year-old director, who achieved international stardom with 'in the modd for love(화양연화)'. He's never received the Golden Palm, but he's no stranger to The Croisette. In 1998, the Semaine de la Critique selected his first film, As tears go by(열혈남아), a dazzling and shocking work. Wong Kar-wai began as a television scriptwriter and went on to invent an urban style of filmmaking - under the avowed influence of Martin Scorsese.(글쎄...그런가?)

He grew up in Hong Kong (his family left Shanghai in 1963, when he was five), and the city provides the heart and soul of his film, from the great melancholic sagas(Days of Being Wild, 1990) to the icy thrillers(Chunking Express,1994;Fallen Angles,1995).
An ambitous and eclectric filmmaker, he offered his own splendid and meditative tke on the martial arts genre with Ashes of Tim, which involved a grueling set in the dessert. In 1997 - The year Hong Kong was handed back to China- Wong Kar-wai flew off to Angentina to make Happy Together. This bitter portayal of a disintegrating relationship earned him the Best Director award at Cannes.

In 2000, his in the Mood for Love, with a soundtrack featuring Nat King Cole, conquered the general public. Cannes rewarded Hong Kong actor Tony Leung-who starredin the film and is one of Wong Kar-wai's favorite actors to work with - the Best Actor award. As a result of the movie, Wong Kar-wai was transformed into a popluar filmmaker whose influence now extends to fashion and advertising.

He's more instinctual than cerebral, and is fond of improvisation. He spent several years working on 2046. This complex film seems to be haunted by his previous work, and plays on different layers of time. It reached the 2004 Cannes festival just in time for its official screening. The film incorporates the essence of his lyrical world:nostalgia for the 1960s, a fetish-like fragmentation of the female body, and and inordinate use of slow motion and rythms.

In 2003, he co-worte the movie Eros with filmmakers Michelangelo Antonioni and Steven Soderbergh. The film is a potpourri of three movie segments revolving around love and sex. Wong Kar-wai's segment, entitled "The hand" features his highly personal art of erotic suggestion and an indefinable existential sadness. Wong Kar-wai has the reputation of being an actor's director, and inspires the best work from the greatest Asian stars, from Meggie Cheung to Gong Li and Zhang Ziyi. His upcoming project will be his first film in English. Entitled The Lady From Shanghai, the movie features an impressive lineup:Nicole Kidman, Norah Jones, and recent Oscar-winner Rahcel Weisz.

그리고 장만옥 인터뷰에서 왕가위와 화양연화 관련 내용 일부..

A superstar in Asia and a muse of independent filmmakers in Europe, Maggie Cheung occupies a unique place in contemporary cinema. She's a favorite with filmmaker Wong Kar-wai, who heads up this year's jury at the 59th Cannes Film Festival. The Festival has been good for her, with a resoundingly succesful presentation of in the Mood for Love in 2000 and the Best Actress award for her role in Clean(2003).

What do u remember about your first Cannes film Festival?
I came for Imma Vep(1995), which was also my first film with Oliver Assayas. I didn't know much about European cinema and even less about major festivals. Today I understand what Cannnes represnts, espeically in Europe, but at the time, I just went whenever I was taken: photo shoots and rapid-fire interviews all day long. In 2002, I was in competition for in the Mood for Love. Now i'm a regular.

During the screening of in the Mood for Love, could you sense that if would be become a cult favorite?
I thought this film could be either a great success or a catastrophe. The images, color and style make it a strong, innovative film. But if something hadn't worked, it would have seemed kitsch. I remember coming out of the screening for in the Mood for Love and Clean more upset than when I went in. I was too scared to notice the pubic's reaction. When the film went on to be such an exceptional success, it was a great joy for all the crew, and especially for me, as I had discovered my craft with Wong Kar-wai.

(중략)

You received the Best Actress award for your role as Emily in Clean, yet you say you weren't trying to act.
Yes, there is a certain irony in this. But I think this was another way of actin, a truth that i'm seeking, that I want to discover. I think that Clean was the right film for testing this out: I decided to live the story, not to anticipate my actions. I just wanted to be present, to let the feeling flow through me. I had just acted in the Mood for Love and Hero (Zhang Yimou, 2002), in which I played a warrior in ancient China. These films had too many constraints to try this method. In the Mood for Love was a daily torture: we worked mostly at night and I had to sit through five hours of makeup and hair styling - every day for 15 months.

(중략)

You know Wong Kar-wai well; how do you see him as jury president?
It's hard to say. I think he'll like "big films" Not necessarily big-bugets films, but powerful., ambitious ones, rather than experimental work. (켄로치 영화가 상을 탔으니 그녀의 예상은 맞은 것일까?) It's huge responsibility to be on the jury. Your decision can change someone's life. Look what happend to Steven Soderbergh: He received the Golden Palm for his first film (Sex, Lies and Videotape, 1988) and became a famous filmmaker overnight. if I'm on the jury some day (I was already aksed, but I wasn't free), I'll prepare myself. It's a strnage experience for actresses: you have to be a Barbie doll, well-dressed and made up, but at the same time, take notes, concentrate on the films and discuss them with other jury members. (과연 이영애는 베를린 영화제에서 장만옥의 이런 마음 반만이라도 준비하여 갔었을까?)

....