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张爱玲说,戏里只能有正旦、帖旦、小旦之分,而不应当有悲旦、风骚旦。这与我对树木落叶的看法是暗合的。诗书典籍里的那些自古逢秋悲寂寥的言说,只能是过多的打上了个人的印记,将自己的愁思悲情硬派给落叶,有强人所难之嫌。秋叶飘落无论于视觉还是听觉都应是一场舞剧盛宴,一场华美交响。当秋风带着远方的讯息飘过树梢,一场大自然陆离宏大的多幕剧便开始上演了。没有主配角之分,每棵树都是主角。
Eileen Chang said that the film can only have positive, post Dan, Xiaodan points, and should not be sad, courageous. This is inconsistent with my view of the deciduous trees. Poetry books and dynasties in those ancient and tragic silence every autumn and autumn, can only be too marked with personal imprint, will be the sadness of their own hardships sent to the leaves, a strong man of the suspects. Autumn leaves fall in both visual and auditory should be a feast of dance drama, a gorgeous symphony. When the autumn wind drifts away from the treetops with a distant message, a multi-screen drama of nature has started to unfold. No main supporting role points, each tree is the protagonist.