書名：光影詩人李屏賓 Mark Lee Ping-Bing: A Poet of Light and Shadow
作者：李屏賓 Mark Lee Ping-Bing
出版：2009.11.26 初版一刷
尺寸：21 cm × 17 cm
頁數：288頁 ∕平裝∕全彩
語言：中英雙語 (Chinese / English)
定價：380元
臺北市：田園城市文化事業
ISBN 978-986-7009- 78-4 (平裝)
● 阿賓很厲害的，他已經厲害到一個地步，對影像、對情境、對整個真實空間、場景與人的掌握跟捕捉，養成對現實的某種眼光。他基本上已經是一個創作者了，用影像去創作。李屏賓已經到一個境界了。——侯孝賢
“Ping-Bing’s so good and experienced that he decides everything on set. He has the ability to capture the reality. He understands and captures the scene, the situation, the real environment, the set and the people. He has his own vision. Lee Ping-Bing is a true master.” --Hou Hsiao-Hsien
● 李屏賓是個不斷思考著攝影的人。透過他獨特厚重的影像調性，成功地在銀幕上表現出前所未見的、絢爛的大正時代感覺。我認為，李屏賓的攝影，不僅對我，也給予日本電影很大的影響。——行定勳
“By Mark Lee’s unique sense of imagine, his willingness to challenge creative shots not previously seen. In other words, to create the feelings in the glorious likes of the Era Taisho. I believe he is capable of delivering artistic interpretations to the audience which is comparable to that of Mishima Yukio.” --Isao Yukisada
● 李屏賓最令人懾服的是他優美的攝影機運動、對於色彩的精準與品味、拒絕華而不實的特效、著重角色心理動機的連貫性鏡頭，以及在工作過程中，追求自我挑戰與創新的精神。他是個很有才華的工作夥伴，也讓我們合作的電影擁有了無可爭議的影像風格。——陳英雄
“What is the most impressive about Mark Lee is his graceful camera movement and his precise judgment of colour. He detests superfluous special effects; his camera focuses on the continuity of the character’s psychological development. Mark is someone who keeps challenging himself and pursuing innovation at work. ” --Tran Anh-Hung
● 我認為李屏賓是個人道主義者、女權主義者及樂觀主義者。在如此令人興奮的組合中，這部片對我而言是一次絕佳的學習經驗。我非常樂意日後能再與他合作。——是枝裕和
“In my opinion, I think he is a humanist, feminist and optimist. Being on the set so exciting, this film turns out to be such a great learning experience for me. I’d love to work with you again in the near future.” --Koreeda Hirokazu
● 李屏賓如同「美」的獵人，像追捕蝴蝶一樣，捕捉所有獨一無二的美。我覺得世界上沒有任何一位攝影師能像他如此自由的運用膠捲，顯像出一個幻眩的世界。——吉爾布都
“Mark is a hunter of beauty, just like some chase butterflies. He looks for the decisive moment when the glow of the sun illuminates a glass facade, when the frog unveils the mountain... I don't know any cinematographer in the world that is capable of manipulating film with such creative freedom, giving all the labs of the world vertigo.” --Gilles Bourdos
● 很榮幸第一部自導自演的戲就跟賓哥合作。他拍的東西通常不用經過後期的調色，就很完美了。在淡水一起拍攝時，我們擁有了很棒的回憶和經驗，我也從賓哥身上學到了很多東西。——周杰倫
“I was glad that my directorial debut was the collaboration with Ping-Bing. When we filmed in Tamshui, we had good memories and experiences together, and I learned a lot from him. Hopefully, we’ll be able to work together again.” --Jay Chou
【內容簡介】
曾以《戲夢人生》、《海上花》、《花樣年華》等片贏得金馬獎及坎城影展等國內外眾多攝影獎的李屏賓，不但是多位導演心目中最想合作的攝影師，也可說是當代華人攝影大師中最重要的一位。細膩寫實的光影捕捉、詩意優美的攝影風格，二十幾年來，李屏賓的名字，總在銀幕的光影閃爍中，刻畫在觀眾的腦海裡，也清晰烙印在台灣電影史的扉頁上。
「李屏賓已經是一種境界了」長期合作的侯孝賢導演如此推崇而讚嘆的說。而除了電影之外，無時無刻不在創作的李屏賓，也用他獨特的藝術之眼，留下了他與自己、世界對話的紀錄。
本書收錄了李屏賓多年來隨手拍攝的作品，在工作、生活、旅行等生命不同時刻裡的吉光片羽，讓觀眾得以透過定格照片的瞬間，領略攝影大師眼中看出去的世界，也提供觀眾在電影之外，一個感受攝影大師李屏賓心靈風景的方式。
【目錄】
11 導演們眼中的李屏賓
Words from Directors
． 侯孝賢 Hou Hsiao-Hsien
． 王家衛 Wong Kar-Wai
． 行定勳 Isao Yukisada
． 陳英雄 Tran Anh-Hung
． 是枝裕和 Koreeda Hirokazu
． 吉爾布都 Gilles Bourdos
． 周杰倫 Jay Chou
44 在路上
On the road
106 生命的瞬間
Instants of life
164 膠卷之外
Beyond camera
200 自我的凝視
Facing myself
211 李屏賓口述訪談
Interview with Mark Lee Ping-Bing
訪問 / 聞天祥、楊元鈴
Interviewer / Wen Tien-Hsiang, Kelly Yang
282 作品年表
Filmography
【推薦序】侯孝賢眼中的李屏賓
我跟李屏賓合作，是從《童年往事》開始，之前我合作的攝影師都是陳坤厚居多，你知道合作久了之後，都會有一個既定的感覺，所以剛開始跟李屏賓合作，我感覺SIZE不是我想像的，不一樣FRAME，他起先也不習慣我的FRAME，就這樣一路拍，拍完了片子出來，他的師父看了覺得說他拍的很棒，這是合作的開始。
我通常就會給他難題、給他狀況，給他不容易拍的狀況，譬如拍《戀戀風塵》，雲一來，我說拍那個雲，拍那個雲的移動到那個山裡面，我很性急，有時候雨一來，我改幾個戲就改拍了，所以所有的東西都跟拍戲當下的現實跟現場有很大的關係。因為我隨時在調整，但他每次都可以接招，每次都沒問題，
我跟阿賓很熟了，從《戀戀風塵》，到後來《海上花》、《珈琲時光》、過來《最好的時光》、《紅氣球》，基本上也是個形式，一個軌道以及他架一個機器，然後我說拍近的或是稍微怎麼一個樣子，然後他就自己弄，我基本上就是不管，而且誰也不知道演員會往哪裡走，完全就交給他了。
阿賓很厲害的，他已經厲害到一個地步。他會找到一個最好的位置，可以拍這個空間的最好位置。演員也不用試戲，演員會怎麼樣演，會怎麼樣其實沒有人知道，都聽他的，完全是一種隨機的。我們眼光完全投在現實的，去看這個場景裡頭可以怎麼拍，這個能力累積下來，他就不是一種固定的打光方式，是來到現場一看，他就知道了，他已經有個捕捉真實的能力了。
有時候就是這樣，很怪的，但就會碰撞成像是活的，盡量把這個空間丟還給演員，讓他們就進入，有了真實的情境，然後李屏賓就負責捕捉。這個就是我跟他合作，這種對影像、對情境、對整個真實空間、場景與人的掌握跟捕捉，養成我們對現實的某種眼光。
他隨時在拍，不只在拍片的過程，看景或什麼的，反正他隨時都帶著他的相機在拍，他以前還用那種最傻瓜型的拍，平時就是不停的在觀察，不停的在拍。他基本上已經是一個創作者了，用影像去創作，即使今天沒有時間、沒有錢、沒有這個那個，但是在限制，他也可以去做到。李屏賓已經到一個境界了。
I've been working with Lee Ping-bing since the film “The Time to Live and the Time to Die”. Before that, I had worked with Chen Kun-ho. When I work with someone for a long time, I don’t want to change my partner easily. So when I worked with Lee Ping-bing for the first time, I didn’t think the size or frame was not what I imagined. And at first, he wasn’t used to my frame, either. But after a film was finished, his master thought he did a good job, and that was why we started to work together as a team.
I often gave him challenges, things that were difficult to do or problems that were hard to solve. For example, when we were filming “Dust in the Wind”, I wanted him to film the clouds moving into the mountains. I was quick-tempered, and sometimes when it rained, I changed most of the things. Everything we did depended on the real situation and the environment we were in because I changed my mind all the time, but he did what I asked for every time, without any exception.
I've known Ping-bing for long, from “Dust in the Wind” to “Flowers of Shanghai” and “Café Lumiere”, even “Three Times” and “Flight of the Red Balloon”. We have been following the same mode. We have a track and he puts up a camera. And I explain to him that I want a close-up or something, and then he does everything all by himself. I never tell him what to do exactly. And no one really knows where the actors are going. It all depends on him.
He's used to it already. He’d find a best spot, at which he's able to get the best shot of this space. And the actors never rehearse. I never rehearse. So no one knows where the actors would go. Everyone listens to what he says. It's randomly. We look at the set practically to see how we can film it. His lighting isn’t always the same. He knows how to do it when he arrives at the set and take a look around.
Ping-bing's so good and experienced that he decides everything on set. I never tell him what to do, and he doesn't do things according to what I want because I don't know what I want, either. All we know is the story and the plots, but nobody knows how the actors will interpret it or how the filming is going to be. He has the ability to capture the reality.
Sometimes this is it. It's weird, but it gives the film life. We let the actors express everything freely and put themselves into the story, and then Lee Ping-bing captures them with the camera. This is how I work with him. He understands and captures the scene, the situation, the real environment, the set and the people. He has his own vision.
He's taking photos all the time, not only during the filming, but also between the takes. He used to take photos with those point-and-shoot cameras to observe his surroundings. Essentially, he is a creator himself. He creates with photography. Even if he doesn't have time, money or anything, he can do everything he wants within the limits. Lee Ping-bing is a true master.
Hou Hsiao-Hsien
【推薦序】陳英雄眼中的李屏賓
李屏賓最令人攝服的是他優美的攝影機運動、對於色彩的精準與品味、拒絕華而不實的特效、鏡頭著重角色心理動機的連貫性，以及在工作過程中，遠追求自我挑戰 與創新的精神。
他是個認真又專注，謙虛又易感的人。他的高度幽默感使他成為一個令人舒適的工 作夥伴。他很少發脾氣，但我聽說發起脾氣來很讓人印象深刻。他總是很有技巧的不在我面前爆發怒氣，影響工作，有幾次因為我的緣故，使他必須承受誤會或者是被曲解，他也始終默默承受，從來沒責難過我。
李屏賓是個很有才華的工作夥伴，他讓我們合作的電影擁有了無可爭議的影像風格，他也是一位我十分信任的好朋友，在我最需要幫助與自我質疑的時刻，他總是以寬大情感與最堅定的直覺來幫助我。我對他另外感到親切的部份是，我們同樣來 自低下生活階層的家庭，和電影世界完全沒有連結，但我們都很幸運、也很幸福的 ，從事著自己熱愛的工作。
What is the most impressive about Mark Lee is his graceful camera movement and his precise judgment of colour. He detests superfluous special effects; his camera focuses on the continuity of the character’s psychological development. Mark is someone who keeps challenging himself and pursuing innovation at work.
He is a serious and hard-working, modest and sensitive person. His sense of humour makes him such an agreeable companion to work with. He rarely loses his temper, but I heard that once you’ve seen him lose his temper, you will never forget about it. He never lost control of himself in my presence. There had been quite a few times he was mistaken or misunderstood because of me, but he just quietly put up with it without any complain.
Mark is a truly talented collaborator. He created an indisputably unique visual style for our films. He is also a friend whom I trust wholeheartedly; when I need help and begin to doubt myself, he always supports me with his tolerance and intuition. In addition, one thing which contributes to our camaraderie is the fact that we both came from working class families with no connections to the world of cinema. But nevertheless, we are both very fortunate that we have found jobs we passionately love.
Tran Anh-Hung
【推薦序】是枝裕和眼中的李屏賓
整個拍片過程中，他總堅持在看過所有行動之後，才決定自己的攝影機位置，這令人很印象深刻。
我認為他是個人道主義者、女權主義者及樂觀主義者。
在如此令人興奮的組合中，這部片對我而言試一次絕佳的學習經驗。我非常樂意日後能再與他合作。
Through to completion, he was keeping to his policy of deciding his camera work and position only after he sees the acting. It was impressive.
In my opinion, I think he is a humanist, feminist and optimist.
Being on the set so exciting, this film turns out to be such a great learning experience for me. I’d love to work with you again in the near future.
Koreeda Hirokazu
【作者簡介 / AUTHOR】
李屏賓
1954年生於台灣，畢業於省立基隆海專，其後進入中影技術訓練班，並於八○年代台灣新電影時期，與侯孝賢導演展開長期合作關係，完成《戀戀風塵》、《戲夢人生》、《海上花》、《千禧曼波》等經典作品，並與世界各地導演如許鞍華、田壯壯、張艾嘉、姜文、陳英雄、行定勳、是枝裕和等人合作，以細膩寫實的光影捕捉、詩意優美的攝影風格，贏得金馬獎最佳攝影等國內外影展眾多獎項。2001年並以《花樣年華》贏得坎城最佳攝影獎，奠定其當代華人攝影大師之地位。
二十幾年來，李屏賓的名字，總是如同光影閃爍般，在漆黑電影院中的大螢幕上浮現然後流逝，來去不留痕跡、卻又處處如影隨形，不知不覺地刻畫在觀眾的腦海裡，同時也清晰烙印在台灣電影史的扉頁上。
Mark Lee Ping-Bing
Critically acclaimed Taiwanese cinematographer with over 40 films and 9 international awards to his credit. He has been the cinematographer for the majority of Hou Hsiao-Hsien's films. He also did the cinematography for Vertical Ray of the Sun and In the Mood for Love in 2000. Both films receiving considerable acclaim for the visual style, and won the Technical Grand Prize at the Cannes Film Festival.
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