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A truth that's stranger than fiction

By Raymond Zhou (China Daily)
2011-02-23 10:04

Cineastes have been studying his work for traces of influence from earlier masters. Emir Kusturica, a Serbian and Yugoslav filmmaker, and Sergio Leone, known for his spaghetti westerns, are often cited. But Jiang denies the link: "The pacing of my work stands in contrast with theirs." The only filmmaker whose work Jiang admits as having an impact on him is Martin Scorsese. After watching a string of the American director's movies, Jiang requested a meeting with him on a trip to the United States arranged by the US Embassy. Scorsese has acted like a mentor, sending him detailed materials from his production.

"When a director sees a story or a script he's crazy about, he does not have any towering figures in front of him. He must feel he himself is the greatest. It is nonsense when people say they are paying respect to this or that predecessor. If anything, it should be an apology for throwing those masters behind you," Jiang says.

Often criticized for his arrogance, he says he exercises much more restraint now than when he was a student. He also says that if there comes a day when Scorsese cannot obtain funding any more, he would be willing to raise funds in China for the American master - much as Scorsese and Spielberg did for Akira Kurosawa.

Asked why snippets of music from his previous film were audible in the Bullets soundtrack, he surprises me by saying: "That was me paying homage to myself."

Telling it as it is

Jiang Wen on the inspiration for Let the Bullets Fly

In the original story, the county magistrate bought the official position to make a fortune, but he could not finish all the things he wanted to do within that period. I thought, Gee, a fake official has time constraints, just like us filmmakers. That detail is tangential in the story, but it piqued my interest.

On political analogies

No matter how you shoot it or cut it, you will bring something of yourself into your movies, just as the old saying goes about everything being imprinted with ideology. You do not necessarily intend it. I never meant to make In the Heat of the Sun or Devils at the Doorstep autobiographical. Some people say the main character in Bullets is me post-Sun, others suggest he stands for Chiang Kai-shek. I'm an avid reader of history, but I don't think history should be approached only in the way we were taught in school. Artists have their own interpretations. So, we make art with our worldviews, but by no means do we create everything in our own self-image.

On film and theater

The term "cinematic language" could be misleading. Many film classics, such as Citizen Kane, The Godfather and Quentin Tarantino's works, have a close affinity with traditional stage plays. The essence of drama is to understand man, and it is done through literary and theatrical mechanisms. Performance has its charms. It enables someone to play God and create something. But to touch the inner world, you do not need a so-called cinematic language. Is "To be or not to be" fit only for stage exaggeration? Not when you reach my age. You could feel that way when you are 15 and say to yourself, "Why are you so verbose when you could simply kill the guy?" That's because you're too simple and do not have that sense in your heart. Simplicity is for nostalgia, not pride.

On Chairman Mao Zedong, who has often been reported to be his hero

I don't know what hero worship is. I simply cannot imagine in my mind what a hero is like. It is ludicrous to be kowtowed to by others. My ideal is a world where everyone has dignity and independent thinking. If there is a good script, I'd be willing to play Chairman Mao Zedong, but not direct the project. I don't know whether the time is right for that. He is a historical figure with huge influence, yet controversial. However, he is not my idol. Because so many people take a brusque attitude toward him, I want to emphasize that he was not as ... (pause) as you thought.

On art and politics

Artists cannot be good politicians. I do not intend to get into politics because artists can turn into fascists when involved in politics. Or, shall I say, fascists are themselves a kind of artist. In art and literature, people have contempt for each other. In politics, you have to let people live and I don't know how to go about it.

On film critics

Why should Chinese film critics be obsessed with box-office revenue? That's the job of the investors and producers. What do you lose when you praise a good movie that does not sell? You should write what you believe in. Critics who are guided by money are pathetic.

China Daily