专访首尔数字电影节总监　只有一个规则：影片是否感动了我们

　　在第3届首尔数字电影节开幕之前，现象网透过邮件采访了首尔数字电影节CinDi的联合总监之一CHUNGSung-ill先生。我们关注了中国影片进入本届电影节的情况，并请CHUNGSung-ill先生介绍了CinDi在中国的选片工作是如何开展的。我们是通过英文进行采访的，然后根据英文翻译成中文。由于存在语言之间的差异，在问答之间可能存在一定的偏差，不过，为了尽量保持访谈内容的原貌，我们并没有进行相关的文字处理。并将英文原稿完全发布，供各位读者参考。
　　
　　访谈整理如下：
　　
　　1. Why the 3rd CinDi choose the "SPRING FEVER" directed by Lou Ye as the opening film?
　　记：为什么选择娄烨导演的《春风沉醉的晚上》作为本届电影节的开幕影片？
　　Mr.CHUNGSung-ill:答案很简单。我们观看了很多候选影片 ，在这些影片当中，娄烨导演的这部影片是最具争议也是最令人感动的。我们知道这部影片在戛纳全球首映之后引起了不少的争论，但这并不影响我们将之选为本届电影节的开幕影片。
　　The answer is simple. We had watched a lot of films as candidates for opening film and, among them, LOU Ye’s film was most controversial and most moving. We are aware of the fact that there were arguments for and against this film right after its world premiere at Cannes. But it didn’t cause any problem for us as CinDi decided to go to bat for SPRING FEVER after watching the film. That is how CinDi chooses an opening film.
　　
　　2. As we know, Jia Zhang Ke's "24 city" was the opening film of the 2nd CinDi in 2008, and, Jia was a jury member as that Lou is a jury member this year.　Does that mean some special concern, especially about Chinese film? If yes, what's that and why?
　　记：2008年第二届CinDi电影节选择了贾樟柯的影片《24城记》作为开幕影片，并且贾樟柯导演也是评委之一，今年，娄烨导演也是这样的情况；这能否说CinDi特别关注中国电影？
　　Mr.CHUNGSung-ill:可能有些翻译上的些许差别。是这样的，我们在选片的时候并不会考虑影片的国别。第一届电影节的时候，我们选择了大卫•林奇的影片《内陆帝国》作为开幕影片，不象大家期待的，这部影片甚至于不是亚洲影片。我们不喜欢按照国别来区分影片。去年，当我们看到《24城记》的时候，我们是非常震惊的。贾樟柯导演有自己独特的完全原创的电影叙事方式，并且始终坚持了自己的方式。换句话说，他发现了一种全新的数字电影美学。同样的，娄烨导演在电影叙事结构方面也创造了新的方式。我想说的是，选择娄导演的影片作为开幕影片，和国别无关，只和影片本身有关。
　　There might be a slight difference of interpretation. We don’t consider the nationality of the film at all when selecting films. The opening film of the first edition of CinDi was INLAND EMPIRE by David LYNCH, which can be quite unexpected for not being an Asian film. We don’t like to divide films by their nationalities. Last year, when we watched JIA Zhanke’s 24 CITY, we were kind of shocked. JIA had found a totally original way of film narration and maintained his way. In other words, he found a new way of aesthetics of digital cinema. Likewise, LOU Ye found a new way of speaking in terms of structure of the narrative. Even if LOU Ye had made the same film in a different country with a different nationality, whether it would had been Japan, Taiwan, Philippines or Korea, it must have not affected us choosing his film as our opening film.
　　
　　3. There are 7 films from China in the competition section. Would you please tell us why these films? And would you please introduce to filmmakers in China: how does CinDi select films in China, besides "summit films" I mean.
　　记：本届电影节竞赛单元有7部中国影片入围，为什么是这7部影片？您能否向中国的电影人介绍下CinDi是如何在中国进行选片的？
　　Mr.CHUNGSung-ill:呵呵，我想说的是，答案和前一个问题是差不多的。重要的是影片本身以及它的创作者，我们选择影片是因为我们希望发现更多的优秀电影和电影人，而不是迎合哪个国家。如果我们在中国发现了更多不错的电影，那么，如果可能的话，竞赛单元的15部影片可以都来自中国。这当然是有可能的，因为我们不是选择哪个国家的电影，而是选择导演们的作品。相反的，如果我们在中国没有发现好的作品，那么竞赛单元里也可以没有一部中国电影。我们不按国别来区分影片，也不按类型来区分。无论该影片是剧情片还是纪录片，是动画片还是实验电影，都不是问题。只有一个规则：影片是否感动了我们。
　　关于影片报名CinDi，中国影片可以通过3种方式来报名。第一种方式，导演可以通过我们的网站直接在网上报名。今年，有很多影片就是通过这种方式报名的。
　　第二种方式，通过我们的三位节目顾问的推荐，TA们是：迪拜国际电影节选片人Philip CHEAH，东京FIMeX 片人ICHIYAMA Shozo，以及香港国际电影节艺术总监LI Cheuk-to。不过，这三位顾问的推荐并不意味着被推荐影片享有优先保证。每一位顾问有权选择一部影片入围竞赛单元，但是其他的12个竞赛席位则必须经由电影节选片委员会来决定。
　　第三种方式，我们有很多中国的朋友，他们会向我们推荐优秀的中国影片，但是我不能确定是能否把那些影片的名称告诉你，因为当中的很多影片是没有进入政府的相关审查体制的。
　　毫无疑问，目前在中国，大量的优秀电影正在被创作出来。
　　So, we might have to give you the same answer to your third question. The thing that matters for us is each individual film and its filmmaker because our wish is to meet new talents not new countries. If we find more interesting films from China, and if we are able to introduce those films, we can make our selection of 15 competition films all with 15 Chinese films. It would be possible because we didn’t choose 15 ‘Chinese’ films but films by 15 ‘directors’. Conversely speaking, it means that there can be no Chinese film at all in our competition line-up if we don’t find any interesting Chinese film, which will be, of course, a very sad thing for us but cannot be helped. We divide films neither by nationalities nor by genres. Whether the film is a fiction, a documentary, an animation or an experimental film, it doesn’t cause any problem for us. There is only one ruler: whether the film moves us by it s creative decision or not.
　　
　　Chinese films in CinDi’s competition reach us through 3 ways. First one is, of course, that the director him or herself finds the information on our website and send us the submission. This year, large number of films found us in this way. Second is the recommendation by our three program consultants: Philip CHEAH, the programmer of Dubai International Film Festival, ICHIYAMA Shozo, the program director of Tokyo FIMeX and LI Cheuk-to, the Artistic director of Hong Kong International Film Festival. But recommendation by these program consultants doesn’t guarantee privilege to those films. Each consultant has the right to select one film on his own but the other 12 films will be selected by the selection committee of the festival after watched with other films. There is the third way. We have quite a number of friends in China who help us finding more Chinese films by recommending us those films. But I am not sure if I can tell you their names since most of those films are not yet under governmental authorization. In any case, we hope you to be one of those friends as we would like to introduce more Chinese films. It is without doubt that China is a country where the most interesting films are being made in the world.
　　
　　4. I notice that CinDi held tour-show in Beijing China，why do you hold the tour-show? Is that kind of tour-show also held in other countries besides South Korea and China? If yes, would you please share sth about the tour-show with us?
　　记：我注意到CinDi在曾在北京举办过巡展，请问举办这样的巡展是出于什么考虑？这样的巡展在韩国和中国之外的国家也举办过吗？如果有的话，可以和我们分享下相关情况吗？
　　Mr.CHUNGSung-ill：今年3月29日-4月19日我们曾经和中国独立电影影像档案馆CIFA合作，在798艺术区的伊比利亚当代艺术中心展映8部CinDi电影节2007年和2008年竞赛单元的影片，作为CIFA举办的“这里发生了什么”展览的一个组成部分。当中还有一个CinDi论坛：韩国电影的年轻一代和亚洲新电影平台。当时，CinDi的联合总监Park Kiyong，《after》的导演Choi Yong Suk，以及《Dog in Cheonggyecheon》的导演Kim Kyung Mook出席了该论坛。
　　CinDi的全称是“首尔数字电影节” cinema digital seoul_film festival。之所以在末尾加上首尔，是因为这样的话，我们可以很容易地换成其他城市。CinDi可以在任何一个可以分享我们发现的优秀电影作品的城市中举办。CinDi北京是我们海外巡展的第一步。4月28日-5月6日期间，我们还和Image Forum Film Festival合作举办CinDi在日本（CinDi in Japan），2008年竞赛单元中的4部影片在东京进行了展映。CinDi愿意和世界各地的电影界人士进行交流分享。
　　In collaboration with Chinese Independent Film Archive (CIFA), 8 films from CinDi 2007 and 2008’s competition were screened in Beijing as a part of CIFA’s exhibition ‘What Has Been Happening Here’. The event was held from March 29th to April 19th in Iberia Center for Contemporary Art in 798 Art District. There was a ‘CinDi Forum: The Young Generation of Korean Cinema and a Platform for New Asian Film’ with Park Kiyong (festival co-director of CinDi), Choi Yong Suk (director of ‘after’) and Kim Kyung Mook (director of ‘Dog in Cheonggyecheon’)
　　
　　The full name of CinDi is ‘cinema digital seoul_film festival’. The reason that we put a name of the city ‘Seoul’ at the end of the title was because we can easily exchange this name to other cities’. CinDi can happen in any cities where we can share our discoveries of emerging film talents. And CinDi Beijing was the very first step for this oversea tour. In the following month, CinDi had another tour called ‘CinDi in Japan’ in collaboration with Image Forum Film Festival. 4 films from CinDi 2008’s competition were shown from April 28th to May 6th in Tokyo. CinDi would like to go anywhere as long as our film friends there can share the visions of discovery and friendship with us.
　　
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