一个建筑发烧友坐在书桌对面的沙发上,仔细端详眼前的张铁林,发现他其实是一个很细致的人,有点家常,似乎与他给观众一贯的“豪迈印象”很不相符。“像我现在的工作,一种关于观念的东西,其实需要很多的精神养分,建筑也是我常常关注的一个方面。”在海外生活过多年的张铁林,对建筑的敏感程度似乎不亚于对表演的执着。他说,台北的城市建筑就像日本的老工业区:“乱”。而国内90年代末的城镇建筑,几乎是从一个模子里倒出来的,玻璃幕墙,拼贴瓷砖,“恶俗”——“建筑作为一个国家的标志,往往能从中体现出一个民族的生活状态。”学习过编导专业的张铁林,对场景的要求自然也是非常严格的,拿他自己的话说,就是一部好的电影往往耍从叙事的角度、主题的角度和场景的角度,来展现人 An architectural enthusiast sat on the sofa opposite the desk and carefully looked at Zhang Tielin, who was in front of him. He found that he was actually a very detailed person, a little homely, and it seemed to be inconsistent with his consistent “hormographic impression” of the audience. “Like my current job, something about ideas actually needs a lot of mental nutrients, and architecture is also an aspect that I often pay attention to.” Zhang Tielin, who has lived overseas for many years, appears to be as sensitive to architecture as Dedicated to the performance. He said that Taipei’s urban architecture is like Japan’s old industrial area: “chaos.” The domestic urban construction in the late 1990s was almost poured out from a mold. Glass curtain walls, tile tiles, and “vulgarity”—“building” as a symbol of a nation can often reflect a nation’s identity. “The state of life.”” Zhang Tielin, who has been a professional in the choreography division, naturally has strict requirements on the scene. In his own words, a good movie is often played from the perspective of narrative, theme, and scene. Show people