This document provides background information on the 1995 Wong Kar-wai film Fallen Angels. It discusses Wong Kar-wai's origins and career in Hong Kong film. It also profiles his frequent collaborator, cinematographer Christopher Doyle. The document outlines how Fallen Angels was originally conceived as part of Chungking Express and details its unconventional shooting style with wide-angle lenses. It also analyzes some of the film's visual and musical elements that portray Wong Kar-wai's vision of Hong Kong. Quotes from Wong Kar-wai provide insight into his themes and approach to filmmaking.
This document provides background information on the 1995 Wong Kar-wai film Fallen Angels. It discusses Wong Kar-wai's origins and career in Hong Kong film. It also profiles his frequent collaborator, cinematographer Christopher Doyle. The document outlines how Fallen Angels was originally conceived as part of Chungking Express and details its unconventional shooting style with wide-angle lenses. It also analyzes some of the film's visual and musical elements that portray Wong Kar-wai's vision of Hong Kong. Quotes from Wong Kar-wai provide insight into his themes and approach to filmmaking.
This document provides background information on the 1995 Wong Kar-wai film Fallen Angels. It discusses Wong Kar-wai's origins and career in Hong Kong film. It also profiles his frequent collaborator, cinematographer Christopher Doyle. The document outlines how Fallen Angels was originally conceived as part of Chungking Express and details its unconventional shooting style with wide-angle lenses. It also analyzes some of the film's visual and musical elements that portray Wong Kar-wai's vision of Hong Kong. Quotes from Wong Kar-wai provide insight into his themes and approach to filmmaking.
This document provides background information on the 1995 Wong Kar-wai film Fallen Angels. It discusses Wong Kar-wai's origins and career in Hong Kong film. It also profiles his frequent collaborator, cinematographer Christopher Doyle. The document outlines how Fallen Angels was originally conceived as part of Chungking Express and details its unconventional shooting style with wide-angle lenses. It also analyzes some of the film's visual and musical elements that portray Wong Kar-wai's vision of Hong Kong. Quotes from Wong Kar-wai provide insight into his themes and approach to filmmaking.
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墮
落 天 使 Fallen Angels, looking at Hong Kong through Wong Kar-wai’s lens Wong Kar-wai; 王家衛
Born: July 17, 1958, Shanghai
moved to Hong Kong when he was 5
his mom was a fan of movies so as a child he
went to the cinema everyday
he never attended film school, but has a
graphic design diploma
he first began his career as a screenwriter,
by 1987 the Hong Kong film industry was at a peak and he debuted as a director for his first film As Tears Go By, which was a critical success & Wong was named “Hong Kong New Wave” Christopher Doyle; 杜可風 Born: May 2, 1952, Sydney
he left australia when he was 18 &
travelled around Asia has no formal training in cinematography best known for his collaborations with Wong Kar-wai in films such as In The Mood For Love, Chungking Express, Happy Together, 2046….. Prequel Chungking Express 重慶森林 (1994)
Fallen Angels was originally conceived by Wong as
the third story for 1994's Chungking Express was cut after he decided to develop the story further into its own feature film and borrowed elements of Chungking Express Wong tried to differentiate it from Chungking, and along with cinematographer Christopher Doyle, they shoot mainly at night and used extreme wide-angle lenses, keeping the camera as close to the talents as possible to give a detached effect from the world around them. distance with long lenses, but the characters seems close to us. Fallen Angels 墮落天使 (1995) dir. wong kar-wai The movie is composed of two stories that have little to do with each other except for a few casual run-ins when some of the characters happen to be in the same place at the same time. Both stories take place in Hong Kong.
Fallen Angels’ soundtrack features “Forget Him” sung
by Shirley Kwan, its a reworking of the classic by Teresa Tang, and one of the very few "contemporary" Cantopop songs ever used by Wong Kar-wai in his films. This song is used as a message from the hitman to his partner. Other scores that were played in the film from scene to scene samples “Karmacoma” by Massive Attack & “Speak My Language” by Laurie Anderson. The Flying Picket’s version of the popular 80s Yazoo song “Only You” was played in the ending. Shooting with Wide- Angle Lenses Effects Doyle uses a lot of tilted camera angles, it makes the focus really shallow, making the characters seem more isolated from the world
he also used handheld cameras in order to
follow the characters’ movements closely, to increase tension, it also makes it easier for him to film in the narrow streets of Hong Kong, giving the viewer the sense of a compressed space.
Wong liked to use green filtered light to denote
a kind of social sickness in his loneliest characters, green is life, green is also representing a morbid state. the Hong Kong in Wong Kar- wai’s eyes “When I look at 'Fallen Angels,' I realize it is not a film that is truly about Hong Kong. It's more like my Hong Kong fantasy. I want Hong Kong to be quiet, with less people.” Wong Kar-wai " Most of my films deal with people who are stuck in certain routines and habits that don't make them happy. They want to change, but they need something to push them. I think it's mostly love that causes th em to break their routines and move on.