谭:吕乐的《美人草》、侯咏的《茉莉花开》,你的《孔雀》,你们几位摄影师做导演,都不约而同地选择文革那段时间作为自己影片表现的故事背景,是因为那段岁月容易表述,还是因为那段时光确实是你们潜意识中一个挥之不去的情结?顾:我也说不清。但是我想人的行为是有一些潜意识的影响,虽然这些故事,或者情境,那些具体的 Tan: Lulou’s “Beauty Grass”, Hou Yong’s “Jasmine Blossom”, your “Peacock”, several of your photographers as directors, invariably choose the period of the Cultural Revolution as the story of their film’s background because That time is easy to express, or because of that period of time is indeed a lingering complexion in your subconscious? Gu: I can not tell. But I think people’s behavior has some subconscious influence, although these stories, or situations, those specific