FILE 台灣南方影像學會 » 《完全選舉手冊》導演的話
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Submitted by on 2011/10/10 – 22:20:48122 Comments





但在製作《完全選舉手冊》時,我打破了這個傳統。我特意決定不在開拍前寫任何計畫或劇本,堅持只紀錄所有在我面前發生的事情,避免做任何事前的研究,也不 與被攝者在拍攝前進行討論。這並不是一個瘋狂的決定,只是想要忠於我對於紀錄片製作的理念:導演應該盡量減少先入為主的觀念,而純粹去探索攝影機所拍攝到 原有的現實。這個理念對於一部由作者自己獨立出資和拍攝的影片而言,要能夠成功是個相當奢侈的想法,尤其我必須同時操作攝影機和收音的同步。結果是,這次 的拍攝是最為鼓舞和激動人心的一次,充滿了讓人大開眼界的新經驗。




by Kazuhiro Soda

I don’t think of CAMPAIGN (SENKYO) as a political piece, though  politics is its subject matter. Rather, it is what I call “an  observational film” in which the viewer is expected to perceive and  interpret the complex, difficult-to-articulate reality of an election  campaign run by the Liberal Democratic Party, the party that has held  power in Japan for the last 50 years.

Most documentary filmmakers conduct extensive research on their  subjects and to write detailed scripts and treatments before they  begin shooting. The scripts are often written to persuade members of  the production team—executive  producers, staff members, and
investors—that the movie is interesting and  worth producing, both  artistically and financially.

In making CAMPAIGN (SENKYO) I broke with this tradition. I made a  conscious decision not to write a word before shooting. I was  determined to record whatever took place in front of me and to avoid  research and pre-shoot meetings with the subjects. This wasn’t  because I was lazy. It was because I wanted to be true to my  philosophy of documentary filmmaking, that a filmmaker should  minimize preconceived ideas and should simply learn from the crude  reality captured on camera. This strategy was a luxury made possible  by the fact that this was a self-financed one-man operation; I both
operated the camera and recorded sound simultaneously. As a result,  the shoot was one of the most thrilling ones I’ve ever had, full of  eye-opening experiences.

In the editing room as well I chose the most naturalistic path. I  constructed the cinematic reality using only moving pictures and  sounds recorded during the shoot. I did not use any narration, super- imposed information, computer graphics, special effects, or music.  This is because I wanted the viewers to observe and experience the  election campaign as directly as I did while I was shooting it.

CAMPAIGN (SENKYO) asks viewers to observe and think about what they  see on screen. In this sense, reality is not painted in black and  white. Instead it is gray and complicated, the way we experience it  every day. I hope that viewers will leave the theatre with unanswered  questions, ones they will continue to think about for days, weeks,  even years to come.