《台北星期天》2010歡笑上映

新片參展國際電影節 大馬華裔導演圓夢多倫多

2010年09月14日 10:52　來源：中國新聞網　

【台風星光影展】

由新聞局、博愛醫院及曙光影視首度聯合主辦， 網羅近年11部口碑極佳、深獲好評的台灣電影。

包括：《台北星期天》、《父後七日》、《海角七號》、《艋舺》、《獵豔》、《聽說》、

《冏男孩》、《情非得已》、《眼淚》、《一閃一閃亮晶晶》、《帶我去遠方》。

2010台北電影獎頒獎典禮昨天落幕了，「台北星期天」獲得「電影產業獎」。

因為這是今年新增的獎項，導演何蔚庭獲獎時感到十分意外，也感謝主辦單位。

在電影中飾演跳樓小孩母親的陸弈靜，也是去年台北電影獎最佳女配角，今年與高捷擔任男女配角的頒獎人，也美美出席典禮現場。

狂賀！！！

「台北星期天」榮獲國際青年導演競賽"特別推薦獎"！！！

評審：以魔幻而富想像力的方式，傳達外籍勞工對家鄉的思念，兩位主角表演十分生動而出色。

緊接著而來的就是「台北電影獎」了，希望能再接再厲拿下好成績。

還沒欣賞「台北星期天」的朋友，可以至新莊鴻金寶麻吉影城、基隆統一影城、高雄和春戲院觀賞，場次請洽戲院。

＊國際青年導演競賽完整活動詳情

鴻金寶麻吉影城

6/30~7/7 上映時刻表

6/30  (三)  10:40  12:10

7/1    (四)  10:40  12:10

7/2    (五)  10:40  12:10

7/3    (六)  10:00  12:10

7/4    (日)  10:00  

7/5    (一)  10:40  12:10

7/6    (二)  10:40  12:10

7/7    (三)  10:40  12:10

揪過來揪過來~

只要參加活動就有機會獲得《台北星期天》特別放映場的電影票喔!!!!!

活動詳情請洽東南亞集團活動網站  http://seacomtw.pixnet.net/blog/post/8769556

鴻金寶麻吉影城

6/24─6/29《台北星期天》 放映時刻表

6/24(四)  10:40  14:10  18:30  23:25

6/25(五)  10:40  14:10  18:30  23:25

6/26(六)  10:00  13:30  20:15  22:40

6/27(日)  10:00  13:30  20:15  22:40

6/28(一)  10:40  14:10  18:30  23:25

6/29(二)  10:40  14:10  18:30  23:25

還沒看《台北星期天》的朋友趕快去看吧!!!!

台北星期天小兵立大功-艾比奎松 挑戰戴普戲路

記者鄒念祖／專訪

「台北星期天」以口碑在10天累積破百萬票房，還被「全民最大黨」模仿。帥哥男主角艾比奎松長得很像張震與鄭志龍，但他其實自詡為菲律賓的強尼戴普，努力挑戰多變戲路，還模仿過強尼戴普的經典造型。

4個月大入行戲齡驚人

37歲的艾比在影壇最特殊的經歷，就是與爸爸、哥哥同時飾演同一個角色的不同年齡階段。當時他29歲，飾演17歲的男同志，幼時還遭到性侵。這個角色讓他們一家三口一起贏得2001年比利時獨立電影展的最佳男主角，同時因為那年女演員的表現偏弱，艾比又抱回了最佳女主角獎。

學吃檳榔 想帶回西施

 因為演出「台北星期天」，艾比開始學會吃檳榔，提到檳榔西施，他則搞笑說：「我可以把她們帶回家嗎？」雖然為了拍攝本片，在盛夏的台北搬著超重的沙發，還在導演的要求下一直闖紅燈，幾度死裡逃生，但他仍大讚台灣工作人員的專業，很驕傲能參與這次的跨國合作。

■「台北星期天」的男主角艾比奎松希望自己能成為強尼戴普，他還曾模仿強尼戴普的經典造型。（記者宋志雄攝）

新聞來源：http://www.libertytimes.com.tw/2010/new/jun/19/today-show9.htm#

• Publication Date：06/04/2010
• Source： Taiwan Today
• By  Tien-ying Hsu

It may seem farfetched for a story about Southeast Asian workers to enjoy a high level of audience reception in Taipei, especially when it is labeled a “local” film in the Hollywood-crazy market of Taiwan. But since “Pinoy Sunday” premiered May 7, crowds have packed in to see the film.

With a light comedy approach and a refreshing viewpoint, the movie, released by Good Day Films, raked in NT$1 million (US$30,900) in its first 10 days in theaters. Although these box-office receipts may seem miniscule compared to those of Hollywood blockbusters, to director Wi Ding Ho, 39, originally from Malaysia and a graduate of New York University, they are not insignificant.

“The number not only reflects audience support, but serves as a symbol of my personal dream-come-true,” said Ho, who came to Taiwan 10 years ago, when local films were often overlooked by most moviegoers. In fact, critics at the time believed the film sector would soon perish under the onslaught of popular western films. Looking on the bright side, however, Ho felt that with less fierce competition on the island, he would be able to more quickly achieve his goal of making a full-length feature film of his own.

“Having lived in Taipei for so long, my criticism and love for the city have grown equally,” said Ho. “As of late, there have been films presenting the romantic, glamorous sides of the city, but I thought there are also ‘uglier’ aspects of Taipei, such as traffic jams and crazy media, worth talking about.”

The protagonists painstakingly move a red sofa across downtown Taipei.

Ho was inspired by Roman Polanski’s “Two Men and a Wardrobe” (1958), in which two fellows come out of the sea carrying a huge wardrobe, which they lug into town, where they run into a series of absurd confrontations.

Ho, who once scavenged a single-person couch from the streets of New York, thought it would be fun to show a sofa being hauled around the city on foot. It made sense to have foreign workers, who could not afford to hire a truck, be the ones to do the hauling.

The director, who left home at age 18 to study abroad and has since lived in several different Asian cities, knows what it is like to be an outsider, observing the city from a foreign resident’s perspective.

By presenting the familiar through an unfamiliar viewpoint, a city can be more truthfully and comically revealed, he said.

Famous Taiwanese art-house actress Lu Yi-ching plays one of the disruptive characters in the film.

The film shows the laborious trip of two Philippine bicycle workers on a Sunday in Taipei. They find a red sofa downtown and decide to carry it back to their dormitory in the suburbs. Their journey, however, is interrupted by unexpected encounters with locals, including an aggressive drunk, a suicidal boy and a sex-bomb betel nut vendor.

With its simple story line, spiced with details of life in the city, audiences take to the film easily. But it is the universal longing for home that makes it even more appealing. One of the two male protagonists, Dado (played by Bayani Agbayani), desperately misses his family back home, while the other, Manuel (Epy Quizon), is constantly on the lookout for a girlfriend to settle down with. The red sofa, which Dado dreams of sitting on with his family, and Manuel with his lover, becomes a critical symbol of home.

“This in a way reflects my own early life,” said Ho. The director mentioned how he had arrived in so many strange cities without knowing anyone there. Even when he made friends later on, he had no family in those foreign places. Now that he has a family of his own in Taipei, the city has truly become home for him.

Audiences have reacted warmly to the film, which has attracted both local and expatriate moveiegoers. In particular, workers from the Philippines have gathered on Sundays, their only day off, to watch this story about them. According to Ho, one Filipino viewer even told him this was the first time in years that she watched a film in Taiwan.

The movie has continued to receive positive audience response and critical reviews. Strangely enough, however, while Spot Taipei Film House and Vieshow Cinema, where “Pinoy Sunday” is playing, have extended its run past the scheduled two weeks, they have cut the number of daily screenings to just one.

“I don’t see the point of doing this, because we are indeed making money for the theaters,” said Ho. “It is really difficult to keep the screening going when the film is released by an independent distributor.”

Another difficulty lies in that one of the film’s sponsors, the Government Information Office, expressed doubts about the “localness” of the film. “With so little local language spoken in the film, although the story is based in Taipei, our film is rated ‘inauthentic,’” said Sunny Hu, executive producer of the film and Ho’s wife.

The creative duo at least partially resolved the issue by releasing a version of the film dubbed in Holo, a variety of Chinese spoken by around 73 percent of the island’s population, and an indication of nativeness in Taiwan. “It’s a pity that we have not had enough time to invite popular entertainers to do the dubbing for us; otherwise this could have been used to promote the film,” noted Hu.

The Holo version is now being shown at SBC International Cinema in Zhongli, Taoyuan County, where foreign workers make up a substantial part of the population. The movie is also playing at the Vieshow theater in Taichung City, central Taiwan from May 28, in addition to the two cinemas in Taipei.

With “Pinoy Sunday” carving out a niche in Taiwan, the director looks forward to interacting with more movie fans across Southeast Asia. “I have been in talks with distributors from Indonesia, Singapore, Malaysia and of course, the Philippines,” said Ho. “I am confident people there will even more passionately embrace the film, because they are more deeply in touch with the issue of working abroad than audiences in Taiwan.”

Hu said they hope to make another film in the next one or two years. “It is also likely to be a story about Taiwan, about our land,” she said. “We hope to encourage the generally more passive audiences in Taiwan to look at their living spaces more closely, and in a different light.” (THN)

引用自：http://www.taiwantoday.tw/ct.asp?xItem=105883&CtNode=427

在電影上映前，導演何蔚庭南下高雄國際勞工影展參加「台北星期天」的放映座談，主持人是「不能沒有你」的男主角陳文彬喔！

雖然活動已經結束一段時間，但主辦單位很細心的整理兩人當晚的對談，沒有參加映後座談的朋友，不妨從中瞭解導演對電影的想法喔！

陳：當初為何選擇用比較詼諧的角度詮釋在台外籍移工的生活呢？

何：我當初覺得用幽默的手法來呈現他們的故事是最直接的做法，因為如果用負面、說教的方式去陳述他們悲慘的生活，會讓觀眾產生距離感；用喜劇的方式，可以讓觀眾在笑與感動之中、認同他們，因為認同他們的角色，你就會以「人」的角度去理解他們。我希望這部片可以讓人認為外籍人士也是普通人，他們也有自己的情感，並不是一個符號。目前為止，除了移工反應特別好之外，學生或者是進戲院的族群對片子有些反應，很多人甚至覺得說看完了會哭，因為他覺得自己也像搬沙發的人，因為年齡到了一個階段就開始自己創業、有房貸、有壓力，生活比較多挫折，所以會認同兩個主人翁。這是我在放映的時候聽到的反應。

陳：我看到這部片子就想起大學時候跟同學搬著床墊回家的過程，尤其又遇到下雨，不管是窮學生也好，或是第三世界發展中國家的人，總是會遇到這樣的一個過程，我覺得這是一個很有意思的社會發展過程。我想請問導演，這個影片其實非常全球化，我們知道你是來自馬來西亞籍的導演、編劇是印度籍、攝影師是美國人，還有菲律賓的投資，又拿到台灣的國片輔導金------，這真是一個題材與製片過程上都相當全球化的作品。但我知道你在推這個片子的時候，有些戲院擔心說這個片以菲律賓籍移工為主題，屆時會有比較多的外籍移工朋友來戲院看，然後把台灣的觀眾嚇走。所以請問導演是否可以談談目前戲院推片時遇到的困難？第二個困難就是聽說新聞局的國片輔導金說片中的國語發音部份不夠多，要求何導演重新配音。請針對這兩個部份講一下。

何：我當初覺得台灣滿國際化的，但發音這件事讓我開始不確定。近期舉辦的世運、聽奧都標榜國際化，可是國際化不能只是一個口號，要真的像紐約ㄧ樣能夠接受各種族群的人，而且每天感知到他們的存在。我是馬來西亞人，在美國念書，所以對我來說，跟每個國家的人一起做事很自然。戲院方面的問題、基本上我也沒有想要有像「葉問二」那樣的發行規模，我當初的策略就是台北市三家戲院，中南部我就靠單場放映讓大家知道。台北常態放映國片的三家戲院，在試片的過程他們也覺得不錯，但陸續開始出現各式各樣的藉口、不方便放，今年的國片產量也不少，所以我們目前只在光點獨家播放，這對票房滿傷的，所以我們希望未來會有多幾家戲院來播放。再來是國片輔導金的問題。現在輔導金的金額與補助次數都增加了，許多城市也提供補助，但是量多沒有用，國片還是缺乏放映管道，在戲院根本沒辦法與好萊塢影片相比。甚至有些片子，台灣是唯一比好萊塢早七天放映的國家，這是一個淪陷的市場，讓好萊塢電影進來不用課稅。其他國家多少有制度規定一年要放多少國片，像菲律賓規定戲院有一個月必須播映國片，為什麼台灣沒有這種策略？我感到非常的吃驚！當然，我不排斥好萊塢電影，但這件事情上我覺得非常弔軌。我們本來不想報輔導金，就直接跟新聞局說這是外片吧！但他們說這不是外片，因為你們外資不夠多，所以請我們報輔導金，申請階段過後就拿到輔導金。通常輔導金是分階段領的，到第三階段，新聞局看到這部電影就嚇壞了，可能他們看腳本是中文，但他們講的是菲律賓話，但我也不可能把腳本寫成菲律賓話讓你審，所以他們就開始說你這個比例不一樣等等，而且開始想各式各樣的方法讓我們解決。說實在的這是他們行政上的錯誤，所以我們不太擔心，但是為了要取得他們的同意，決定錄製台語版，配音完還必須在某個戲院的某個時段特映一場台語版，那就好交代，其實只要不阻止上映就好了。