書名：光影詩人李屏賓 Mark Lee Ping-Bing: A Poet of Light and Shadow
作者：李屏賓 Mark Lee Ping-Bing
尺寸：21 cm × 17 cm
語言：中英雙語 (Chinese / English)
ISBN 978-986-7009- 78-4 (平裝)
“Ping-Bing’s so good and experienced that he decides everything on set. He has the ability to capture the reality. He understands and captures the scene, the situation, the real environment, the set and the people. He has his own vision. Lee Ping-Bing is a true master.” --Hou Hsiao-Hsien
“By Mark Lee’s unique sense of imagine, his willingness to challenge creative shots not previously seen. In other words, to create the feelings in the glorious likes of the Era Taisho. I believe he is capable of delivering artistic interpretations to the audience which is comparable to that of Mishima Yukio.” --Isao Yukisada
“What is the most impressive about Mark Lee is his graceful camera movement and his precise judgment of colour. He detests superfluous special effects; his camera focuses on the continuity of the character’s psychological development. Mark is someone who keeps challenging himself and pursuing innovation at work. ” --Tran Anh-Hung
“In my opinion, I think he is a humanist, feminist and optimist. Being on the set so exciting, this film turns out to be such a great learning experience for me. I’d love to work with you again in the near future.” --Koreeda Hirokazu
“Mark is a hunter of beauty, just like some chase butterflies. He looks for the decisive moment when the glow of the sun illuminates a glass facade, when the frog unveils the mountain... I don't know any cinematographer in the world that is capable of manipulating film with such creative freedom, giving all the labs of the world vertigo.” --Gilles Bourdos
“I was glad that my directorial debut was the collaboration with Ping-Bing. When we filmed in Tamshui, we had good memories and experiences together, and I learned a lot from him. Hopefully, we’ll be able to work together again.” --Jay Chou
Words from Directors
． 侯孝賢 Hou Hsiao-Hsien
． 王家衛 Wong Kar-Wai
． 行定勳 Isao Yukisada
． 陳英雄 Tran Anh-Hung
． 是枝裕和 Koreeda Hirokazu
． 吉爾布都 Gilles Bourdos
． 周杰倫 Jay Chou
On the road
Instants of life
Interview with Mark Lee Ping-Bing
訪問 / 聞天祥、楊元鈴
Interviewer / Wen Tien-Hsiang, Kelly Yang
I've been working with Lee Ping-bing since the film “The Time to Live and the Time to Die”. Before that, I had worked with Chen Kun-ho. When I work with someone for a long time, I don’t want to change my partner easily. So when I worked with Lee Ping-bing for the first time, I didn’t think the size or frame was not what I imagined. And at first, he wasn’t used to my frame, either. But after a film was finished, his master thought he did a good job, and that was why we started to work together as a team.
I often gave him challenges, things that were difficult to do or problems that were hard to solve. For example, when we were filming “Dust in the Wind”, I wanted him to film the clouds moving into the mountains. I was quick-tempered, and sometimes when it rained, I changed most of the things. Everything we did depended on the real situation and the environment we were in because I changed my mind all the time, but he did what I asked for every time, without any exception.
I've known Ping-bing for long, from “Dust in the Wind” to “Flowers of Shanghai” and “Café Lumiere”, even “Three Times” and “Flight of the Red Balloon”. We have been following the same mode. We have a track and he puts up a camera. And I explain to him that I want a close-up or something, and then he does everything all by himself. I never tell him what to do exactly. And no one really knows where the actors are going. It all depends on him.
He's used to it already. He’d find a best spot, at which he's able to get the best shot of this space. And the actors never rehearse. I never rehearse. So no one knows where the actors would go. Everyone listens to what he says. It's randomly. We look at the set practically to see how we can film it. His lighting isn’t always the same. He knows how to do it when he arrives at the set and take a look around.
Ping-bing's so good and experienced that he decides everything on set. I never tell him what to do, and he doesn't do things according to what I want because I don't know what I want, either. All we know is the story and the plots, but nobody knows how the actors will interpret it or how the filming is going to be. He has the ability to capture the reality.
Sometimes this is it. It's weird, but it gives the film life. We let the actors express everything freely and put themselves into the story, and then Lee Ping-bing captures them with the camera. This is how I work with him. He understands and captures the scene, the situation, the real environment, the set and the people. He has his own vision.
He's taking photos all the time, not only during the filming, but also between the takes. He used to take photos with those point-and-shoot cameras to observe his surroundings. Essentially, he is a creator himself. He creates with photography. Even if he doesn't have time, money or anything, he can do everything he wants within the limits. Lee Ping-bing is a true master.
李屏賓是個很有才華的工作夥伴，他讓我們合作的電影擁有了無可爭議的影像風格，他也是一位我十分信任的好朋友，在我最需要幫助與自我質疑的時刻，他總是以寬大情感與最堅定的直覺來幫助我。我對他另外感到親切的部份是，我們同樣來 自低下生活階層的家庭，和電影世界完全沒有連結，但我們都很幸運、也很幸福的 ，從事著自己熱愛的工作。
What is the most impressive about Mark Lee is his graceful camera movement and his precise judgment of colour. He detests superfluous special effects; his camera focuses on the continuity of the character’s psychological development. Mark is someone who keeps challenging himself and pursuing innovation at work.
He is a serious and hard-working, modest and sensitive person. His sense of humour makes him such an agreeable companion to work with. He rarely loses his temper, but I heard that once you’ve seen him lose his temper, you will never forget about it. He never lost control of himself in my presence. There had been quite a few times he was mistaken or misunderstood because of me, but he just quietly put up with it without any complain.
Mark is a truly talented collaborator. He created an indisputably unique visual style for our films. He is also a friend whom I trust wholeheartedly; when I need help and begin to doubt myself, he always supports me with his tolerance and intuition. In addition, one thing which contributes to our camaraderie is the fact that we both came from working class families with no connections to the world of cinema. But nevertheless, we are both very fortunate that we have found jobs we passionately love.
Through to completion, he was keeping to his policy of deciding his camera work and position only after he sees the acting. It was impressive.
In my opinion, I think he is a humanist, feminist and optimist.
Being on the set so exciting, this film turns out to be such a great learning experience for me. I’d love to work with you again in the near future.
【作者簡介 / AUTHOR】
Mark Lee Ping-Bing
Critically acclaimed Taiwanese cinematographer with over 40 films and 9 international awards to his credit. He has been the cinematographer for the majority of Hou Hsiao-Hsien's films. He also did the cinematography for Vertical Ray of the Sun and In the Mood for Love in 2000. Both films receiving considerable acclaim for the visual style, and won the Technical Grand Prize at the Cannes Film Festival.