Having now seen In ther Mood for Love and Chungking Express I am also tending towards Wong Kar Wai as my favourite director . . . but then I recall /Park Chan Wook . . . Of course you just cannot compare them, they are so different. One predominantly stimulates the heart , the other predominantly stimulates the head. Both are geniuses. Thankyou as always, Joe, for another great analysis.
@@bobbsaunders Nice to see you as always Bob ! As you say, both are geniuses and it’s difficult to compare the two of them. It’s great to hear you’ve seen In The Mood for Love now as well ! I hope you manage to check out Fallen Angels, Happy Together and 2046 at some point (I would say these are the remaining essential works of his that you haven’t seen.) Best wishes as always ❤️
Wong Kar-Wai is often noted as a great stylist, with people even writing off his work as all style and no substance, but actually one of his greatest strengths is his ability to direct actors. You mentioned the book with John Powers, The World of WKW, and in there, when he talks so effusively and lovingly about his actors, you realise that he is the one who had a huge hand in refining Maggie Cheung, Tony Leung, Takeshi Kaneshiro and Leslie Cheung's acting styles. The other great strength of his as a director is his ability to shape the film through the edit. His process without a script is super chaotic, but it shows how flexible he is and change up his stories and characters when he sees what his actors and the actual shoot brings. The concept and script for In the Mood for Love and Happy Together were drastically different from his initial idea and he just changed it up as he shot the film because he saw that the story was changing just as problems cropped up, or what his actors brought to the table.
@@hollywooddarling The World of WKW is such a great book, I wish I could of included more but there’s always a point where I have to leave certain things out as it effects the rhythm of my essay so thank you for typing this here ❤️
@@cracklingsoda Thank you so much man ! It’s nice to know I’m moving in the right direction. I will forever be learning and refining my craft, trying to push things as far as possible ❤️
Thank you so much for this wonderful video! ❤️ You’ve captured the essence of his films in such a beautiful way. I've enjoyed watching his works countless times, and I’m thrilled to see his cinematography appreciated and analyzed by someone as observant and talented as you!
@@KavaliSaikumar-q9i Thank you so much my friend ! I am always engaged in the creative process, but in order to make videos to the best of my ability it takes time. I need time to research, catch ideas, find the narrative and its structure, sound design, the overall rhythm of my essays etc, there are a lot of moving pieces at work here. With that said I will absolutely do my best to provide essays In a reasonable time period. Thank you so much once again ❤️
@@sLePpInG I am so glad you liked it ! I always try and make my essays as tight and pertinent as possible. I’d love to explore Fellini at some point, although I have sadly not gotten round to his films yet (the directors I’ve been watching a lot recently are Varda and Von Trier). However Fellini is very high on my priority list. Any place you’d recommend I start ? ❤️
@@AuteurCinema La Dolce Vita is a good start I think. Late in his career he gets very surreal and experimental, and most people don't like them as much (I think it gets too crazy at times). And I'm watching Cleo 5 7 later, my first Varda!
@@spruceguse There may be a slight influence for sure. As I have begun creating more I watch much less TH-cam but I believe I have seen some of his work before and every thing I watch, read, listen to etc may be re fragmented in some way through my work. With that being said though, I don’t want to copy anyone else and I want to continue to find my own voice, which is in all honesty a lifelong process.
I appreciate your appreciation. I've long been in the "Wong Kar-why?" camp. To me, he often seems to strive too hard for superficially pretty or dazzling effects without putting much thought into why he's doing it or what he wants to convey. He goes out of his way to impress with undeniably striking but haphazard images rather than cohesively expressing anything in particular in the way of feelings, moods, or ideas... The films feel flashy and scattered to me, like outtakes from perfume commercials. I don't get that compelling "aftertaste" that stays with me and draws me back -- but I've only seen four or five of his films, from "Chunking Express" to "My Blueberry Nights." (I gave up after that one in 2007.) I tend to like movies that open up and allow me room to really watch them, and I feel suffocated by Wong's films sometimes -- like he's ordering me around and pushing me out. That said, many of my favorite movies are ones I didn't like (or didn't "get") the first time around, so I intend to revisit his films when I'm feeling more receptive. Maybe they'll grow on me or I'll grow into them...
@@bacarandii Thank you for taking the time to share your experience. I think it’s great that despite Wong’s work not resonating with you on your first viewings, you’re willing to revisit his world. Maybe they will resonate with you next time round or maybe not 😂. I remember having a similar experience with Blade Runner, where on my first viewing I disliked the film, but when I revisited it I was blown away. It’s exactly what Wong said “you might not get it at the first time, but somehow it lingers.” When you do manage to revisit his films, I’d be very interested to hear if you’re opinions have changed in anyway ❤️
I’m hoping that this gets me to actually like Wong Kar Wai, because I’ve been ultimately unimpressed by the 4 movies I’ve seen from him. Chungking express is very good but everything else I’ve seen, Fallen Angels, in the mood for love, and Happy together, are just pretty good but I still don’t get how he is considered one of the best ever
@@RugbyRyan You don’t need to force yourself to like his films haha. Not every film is made for every person and that’s completely fine. Wong’s films operate in a more experimental realm with a particular emphasis on mood which really works for some people (like myself 😂😂) but for others it can be a struggle. However with this being said, his films definitely do linger and who knows what your reaction would be if you enter his world again ❤️
There is a wide spectrum to mood based cinema though. For example Lynch is a different filmmaker to Wong Kar-wai despite them both emphasising mood. Wong has described his films as “musicals just without the music” so it places him in a rather specific place.
The greatest director of all time... IMO.
@@tccandler I’m right there with you man, a very special director ❤️
Having now seen In ther Mood for Love and Chungking Express I am also tending towards Wong Kar Wai as my favourite director . . . but then I recall /Park Chan Wook . . . Of course you just cannot compare them, they are so different. One predominantly stimulates the heart , the other predominantly stimulates the head. Both are geniuses. Thankyou as always, Joe, for another great analysis.
@@bobbsaunders Nice to see you as always Bob ! As you say, both are geniuses and it’s difficult to compare the two of them. It’s great to hear you’ve seen In The Mood for Love now as well ! I hope you manage to check out Fallen Angels, Happy Together and 2046 at some point (I would say these are the remaining essential works of his that you haven’t seen.) Best wishes as always ❤️
Asia is putting out the best film this century.
Wong Kar-Wai is often noted as a great stylist, with people even writing off his work as all style and no substance, but actually one of his greatest strengths is his ability to direct actors. You mentioned the book with John Powers, The World of WKW, and in there, when he talks so effusively and lovingly about his actors, you realise that he is the one who had a huge hand in refining Maggie Cheung, Tony Leung, Takeshi Kaneshiro and Leslie Cheung's acting styles. The other great strength of his as a director is his ability to shape the film through the edit. His process without a script is super chaotic, but it shows how flexible he is and change up his stories and characters when he sees what his actors and the actual shoot brings. The concept and script for In the Mood for Love and Happy Together were drastically different from his initial idea and he just changed it up as he shot the film because he saw that the story was changing just as problems cropped up, or what his actors brought to the table.
@@hollywooddarling The World of WKW is such a great book, I wish I could of included more but there’s always a point where I have to leave certain things out as it effects the rhythm of my essay so thank you for typing this here ❤️
Your videos have grown so significantly in quality. Kudos man. Always rooting for you
@@cracklingsoda Thank you so much man ! It’s nice to know I’m moving in the right direction. I will forever be learning and refining my craft, trying to push things as far as possible ❤️
Amazing video ❤
@@InterchangeofNight Thank you as always my friend for your support ❤️
Thank you so much for this wonderful video! ❤️ You’ve captured the essence of his films in such a beautiful way. I've enjoyed watching his works countless times, and I’m thrilled to see his cinematography appreciated and analyzed by someone as observant and talented as you!
@@maj3732 Thank you so much as always Ma ! There’s never a bad time to revisit the wonderful world of Wong Kar-wai ❤️
I love Wong Kar Wai, he’s amazing.
@@MoriohAnime He really is ❤️
Keep it up man.your channel deserves more subscribers.put up videos consistently
@@KavaliSaikumar-q9i Thank you so much my friend ! I am always engaged in the creative process, but in order to make videos to the best of my ability it takes time. I need time to research, catch ideas, find the narrative and its structure, sound design, the overall rhythm of my essays etc, there are a lot of moving pieces at work here. With that said I will absolutely do my best to provide essays In a reasonable time period. Thank you so much once again ❤️
love how concise this was with the selection of interviews. I'm subscribing in case you ever make one about Fellini :)
@@sLePpInG I am so glad you liked it ! I always try and make my essays as tight and pertinent as possible. I’d love to explore Fellini at some point, although I have sadly not gotten round to his films yet (the directors I’ve been watching a lot recently are Varda and Von Trier). However Fellini is very high on my priority list. Any place you’d recommend I start ? ❤️
@@AuteurCinema La Dolce Vita is a good start I think. Late in his career he gets very surreal and experimental, and most people don't like them as much (I think it gets too crazy at times).
And I'm watching Cleo 5 7 later, my first Varda!
@sLePpInG Thanks for letting me know ! Cleo is my favourite from Varda so far so I hope you enjoyed it ❤️
Any chance you've been influenced by Dodfords video style here?
@@spruceguse There may be a slight influence for sure. As I have begun creating more I watch much less TH-cam but I believe I have seen some of his work before and every thing I watch, read, listen to etc may be re fragmented in some way through my work. With that being said though, I don’t want to copy anyone else and I want to continue to find my own voice, which is in all honesty a lifelong process.
I appreciate your appreciation. I've long been in the "Wong Kar-why?" camp. To me, he often seems to strive too hard for superficially pretty or dazzling effects without putting much thought into why he's doing it or what he wants to convey. He goes out of his way to impress with undeniably striking but haphazard images rather than cohesively expressing anything in particular in the way of feelings, moods, or ideas... The films feel flashy and scattered to me, like outtakes from perfume commercials. I don't get that compelling "aftertaste" that stays with me and draws me back -- but I've only seen four or five of his films, from "Chunking Express" to "My Blueberry Nights." (I gave up after that one in 2007.) I tend to like movies that open up and allow me room to really watch them, and I feel suffocated by Wong's films sometimes -- like he's ordering me around and pushing me out. That said, many of my favorite movies are ones I didn't like (or didn't "get") the first time around, so I intend to revisit his films when I'm feeling more receptive. Maybe they'll grow on me or I'll grow into them...
@@bacarandii Thank you for taking the time to share your experience. I think it’s great that despite Wong’s work not resonating with you on your first viewings, you’re willing to revisit his world. Maybe they will resonate with you next time round or maybe not 😂. I remember having a similar experience with Blade Runner, where on my first viewing I disliked the film, but when I revisited it I was blown away. It’s exactly what Wong said “you might not get it at the first time, but somehow it lingers.” When you do manage to revisit his films, I’d be very interested to hear if you’re opinions have changed in anyway ❤️
I’m hoping that this gets me to actually like Wong Kar Wai, because I’ve been ultimately unimpressed by the 4 movies I’ve seen from him. Chungking express is very good but everything else I’ve seen, Fallen Angels, in the mood for love, and Happy together, are just pretty good but I still don’t get how he is considered one of the best ever
@@RugbyRyan You don’t need to force yourself to like his films haha. Not every film is made for every person and that’s completely fine. Wong’s films operate in a more experimental realm with a particular emphasis on mood which really works for some people (like myself 😂😂) but for others it can be a struggle. However with this being said, his films definitely do linger and who knows what your reaction would be if you enter his world again ❤️
@ that’s the thing, because I usually like movies that hinge on mood like Le Samouraï
There is a wide spectrum to mood based cinema though. For example Lynch is a different filmmaker to Wong Kar-wai despite them both emphasising mood. Wong has described his films as “musicals just without the music” so it places him in a rather specific place.