Zhang Yimou
Introduction
This Speaking In Turn was based on the an interview with Zhang Yimou in Speaking in Images by Michael Berry.
Early Years
Zhang Yimou was born in 1951 in the province of Xi'an. He grew up during the cultural revolution in a family labeled by the government as "double counter-revolutionary" essentially meaning that his family was the worst of the worst. Because of this, Zhang was sent to the countryside for reeducation. While working a a factory, Zhang took up photography as a hobby. In 1978, when he was past the age of acceptance, Shang Yimou used his impressive portfolio of images to gain access to Beijing Film Academy. He says in the interview that he did not do this because he had a love of art but because he simply wanted to change his circumstances. And he did just that.
Cinematography
Zhang Yimou's first foray into the world of film was actually as a cinematographer, not a director. He was with Zhang Junzhao on One and Eight and then with Chen Kaige on Yellow Earth. The work on these films would define Zhang as man who pushed boundaries and made bold, visual statements. Zhang Yimou doesn't, however, feel that he is necessarily special, just that he was the first one to be doing what he did.
Themes
The themes that are apparent in Zhang Yimou's films are (p.110):
Color
Literary Adaptation
Political Engagement
Voyeuristic Gazes
Bold depictions of desire
In terms of color, Zhang has said that he doesn't really understand why he is so into using colors, especially blues and reds, just that it is what he does. In the case of Hero and House of Flying Daggers, colors were at the very start of the movie. The time period of Hero was decided because Zhang wanted a black palace and the color of the Qin dynasty was black. The color scheme for House of Flying Daggers was based on a painting.
His reason for doing Literary Adaptations more often than his own movies is that he doesn't really think he has a knack for writing. He also doesn't think that he has to write his own scripts just to prove his abilities as a director.
Zhang as Filmmaker
Rarely uses story boards, or uses them only partially if he does.
Is simultaneously editing and shooting each film.
Is criticized for either pandering to the Chinese Government or to foreigners. Knows he can't win so has stopped caring.
Believes that The Story of Qui Ju is his most complete film.
Uses actual action instead of CGI as much as possible in his films.
Worked primarily with Gong Li for his first decade of films.
"Discovered" Zhang Ziyi.