我一直热爱铁路,尤其云南高原上的滇越铁路,是我见过的最美丽的铁路之一。当我在10年后重新激发拍摄纪录片的激情后,我想到的就是要再次去拍摄这个铁路。这次我放弃了把握整条铁路历史的野心,我把镜头对准其中某个车站。我试图表达时间。这个纪录片是个车站的各种日常生活场景的组合,缓慢而沉闷,相对这个时代来说,太慢了。我试图在反映世界变化的重要场合——车站,呈现某种不变的东西。我为这个作品深感自豪,这个片子是我的诗歌的某种延伸,它可以说是一部长诗。诗性的,但绝不是塔可夫斯基《镜子》那样的诗意,我的镜头是严肃的、记录的和不自我表白的,我试图在不动声色中唤起感动。中国纪录片总是唤起你的好奇,感动是比较罕见的。顺便说一句,我是费里尼电影的崇拜者,我不喜欢塔可夫斯基,后者的电影里 I have always loved railways, especially the Yunnan-Yunnan Railway on the Yunnan Plateau, one of the most beautiful railroads I have ever seen. When I rekindled the passion for filming the documentary 10 years later, all I thought about was to go filming the railway again. This time I gave up my ambition to grasp the history of the entire railway. I aimed my camera at one of the stations. I try to express time. This documentary is a combination of a variety of everyday scenes of the station, slow and boring, relative to this era, too slow. I am trying to present something immutable in a station that reflects the changing world. I am very proud of this work, this film is an extension of my poetry, it can be said to be a ministerial poem. Poetic, but by no means the poetic nature of Tarkovsky's “mirror,” my shots are serious, recorded, and uninterested, and I try to arouse the move with impoliteness. Chinese documentaries always arouse your curiosity, moving is relatively rare. By the way, I'm an admirer of Fellini films, I do not like Tarkovsky, the movie in the latter