Word: tsai
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Giuliana Bruno, professor of Visual and Environmental Studies at Harvard, calls Tsai an “architect of time…a meticulous and rigorous filmmaker who takes his time...
...Tsai says that he was inspired to film Goodbye by the theatre itself. “It spoke to me,” Tsai says. “It said, ‘I’m closing, tell my story.’” And the crew did nothing to alter the physical space of the theatre except taking down a wall. There is a minute-long shot of the empty theatre at the end of film, when the few members of the audience had filed out, with only the endless blue rows of seats...
...place is a character,” Tsai says. “[The audience] is clear of its presence. The actors play supporting roles...
...brutality of the theater’s empty seats is perhaps understood only by those who had seen it in its heyday, like Tsai, and it is to get toward that spirit that he cites oldies music and films like Dragon Inn throughout his film. The original Dragon Inn was a wuxia pian (martial arts movies) 1966 bestseller in Chinese, which opened the door to a new wuxia genre with its simple melodies and lyrical setting in the old inn in contrast to the spectacular clamor of those which came before...
...Goodbye, Tsai summons back the star, Miao Tian, of the original film who was then in his twenties. Miao reappears as the nostalgic old man in the audience, the aged star, as he is in real life. Ironically, it was the star himself who bears the memory of the days when the house was full, in yet an empty theatre...