欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 在戛纳，终于见到了我一直很欣赏的演员彭于晏。自律、专注与魄力等等品质本身就为他的表演注入魅力，再加上这次他带来戛纳电影节的作品，《狗阵》中沉默寡言的“二郎”，同样是一个历经世事浮沉，胸中有千响而不轻易表露的角色，带有野性的气息。 生活中的彭于晏比我想象的还要阳光开朗得多，尽情抒发着他对于《狗阵》中“二郎”所走过这段旅程的思索，以及他本人一路走来的种种思绪。在我们聊天的过程中，《狗阵》中“黑狗”的扮演者小辛就在一旁酣睡。这是他在《狗阵》剧组收养的三条狗之一，拍完《狗阵》之后，狗狗就这样走进了他的生活，并将之改变。 节目录制当天是5月20日，录制结束后，他亲手送给我一束黄色的玫瑰花，在本届戛纳入围手册属于《狗阵》的页面中为我签下了“在路上”三个字。 希望大家通过这期节目，能够了解到更多“偶像”以外那一面的彭于晏。影片将于6月15日全国公映，到时候希望更多朋友能与《狗阵》找到彼此. 0:31 来自彭于晏的问候 2:12 photocall环节的大跳，呼应了第一次来戛纳的场景 4:27 跟蕾雅·赛杜合影的来龙去脉，蕾老师也吃了《狗阵》的安利 5:19 第一天来戛纳与格蕾塔·葛韦格的巧遇 7:29 《狗阵》中“二郎”的沉默吸引了彭于晏 9:55 说话与不说话，哪个难演？ 12:16 现场与狗狗演员的排练方式 17:25 黑狗与二郎样貌上的相像 21:48 二郎的转变和矛盾 23:33震撼到彭于晏的一场戏 27:45 管虎导演对于细节要求的严格 29:15 解读二郎全片最后一个笑容 33:09 逐渐隐藏在画面深处的彭于晏 34:38 标签和奖项，变得不再那么重要 36:51黑狗小辛名字的由来 37:48 养狗后生活的变化 39:35 和狗狗的渊源 43:56 彭于晏分享的养狗心得 46:18 彭于晏看“彭于晏” Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! At Cannes, I finally got to meet the actor I've always admired, Eddie Peng. His self-discipline, dedication, and drive are qualities that lend charisma to his performances, and this time, he brought to Cannes his work, the taciturn “Er Lang” in “Black Dog”, also a character who has experienced the world and has a thousand voices in his chest but does not show them easily, with an air of wildness. In life, Peng is much sunnier and more cheerful than I had imagined, expressing his thoughts on the journey Erlang has taken in “Black Dog”, as well as his own thoughts along the way. As we chatted, Sin, who played the role of “Black Dog”， was sound asleep. This is one of the three dogs he adopted on the set of “Black Dog”, and after filming “Black Dog”, the dog came into his life and changed it. The day of the taping was May 20th, and after the taping, he gave me a bouquet of yellow roses and signed “On the Road” for me on the page of this year's Cannes selection book that belongs to Black Dog in the Lineup. I hope that through this program, you can learn more about the side of Eddie Peng that is not “idol”.The film will be released nationwide on June 15th, and I hope more friends can find each other with "Black Dog" at that time 0:31 Greetings from Eddie Peng 2:12 The big jump in the photocall session, echoing the first time in Cannes 4:27 The ins and outs of taking a photo with Léa Seydoux, and Léa taking an recommendation from “Black Dog” 5:19 Coincidence with Greta Gerwig on first day in Cannes 7:29 The silence of Erlang in ““Black Dog”” attracts Eddie Peng. 9:55 Talking or not talking, which is harder to act? 12:16 How to rehearse with a dog actor on the spot 17:25 The resemblance between the black dog and Erlang 21:48 Erlang's transformation and conflict 23:33 A scene that shocked Eddie Peng 27:45 Director Guan Hu's strict attention to detail 29:15 Interpreting Erlang's last smile in the movie. 33:09 Gradually hidden in the depths of the screen, Eddie Peng 34:38 Labels and awards, they don't matter so much anymore. 36:51 The origin of the name of the black dog Sin 37:48 How life changed after getting a dog 39:35 The relationship with dogs 43:56 The experience of owning a dog shared by Eddie Pang 46:18 Eddie looks at “Eddie”. 送给听友的⬇️

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 来戛纳很重要的一个理由就是见世面，今天要讲的，入围主竞赛单元的恐怖片《某种物质》（现豆瓣已更名为《实体》）就让我们大开眼界。走出影厅大门，大家不约而同地看看对方，走近一些，温暖彼此僵硬的身躯。 看过导演科拉莉·法尔雅前作《复仇战姬》的朋友，应该都能想象到她的风格，但在看这部新作之前，一定想象不到她做到的程度。 向那些敢于“掀开房顶”的创作者致敬，尽管她给所有人带来了折磨。 本期嘉宾：《抛开书本》特约记者忠泽 0:46 别开胃菜了，没胃口 3:26 观影过程中，开始了羞耻的身体自检工作 5:30 保护好弱小可怜又无助的自己 6:31 “破茧化蝶”的设定，合理的逻辑 10:40 观影生涯仅见的尺度 11:40 和“身体恐怖”类型大拿柯南伯格电影的对比 13:53 嘹亮的影像宣言 16:25 女性电影崛起的讯号：“自食恶果” 19:04 戛纳选片团队为啥把它选进主竞赛？ 21:24 允许掀房顶的人存在 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! One of the most important reasons to come to Cannes is to see the unimaginable stuff, and today we are going to talk about it, and the horror film “The Substance” , which has been shortlisted for the competition section, is an eye-opener for us. Walking out the door of the theater, we all look at each other in unison and come closer to warm each other's stiff bodies. Anyone who has seen director Coralie Fargeat's previous film, Revenge, should be able to imagine her style, but before seeing this new film, one must not have imagined the extent to which she has gone. Hats off to the creator who dared to “lift the roof” despite the torture she inflicted on everyone. 0:46 No more appetizers. No appetite. 3:26 During the movie, the shameful body self-examination begins 5:30 Protect your weak, pathetic, helpless self. 6:31 “Butterfly in a cocoon” setting, reasonable logic 10:40 The only scale you've ever seen in your movie-going career. 11:40 Comparison with “body horror” genre master Cronenberg's movie 13:53 A Loud and Clear Video Manifesto 16:25 A sign of the rise of women's cinema: “Self-Eating” 19:04 Why did the Cannes selection team choose it for the main competition? 21:24 Anybody who lifted the roof is allowed to exist

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 作为今年戛纳主竞赛唯一一部国产电影，《风流一代》在卢米埃尔厅的首映堪称中国影人的大聚会。 很难用语言形容《风流一代》的故事，因为我们每个人都生活在这样的故事里面。“如此度过三十年，直到大厦崩塌”。 这期节目，试着聊聊贾樟柯这部跟以前作品截然不同的电影。他用20年的素材积累，在无意间触达了未来，触达了世界通用的电影语言。 本期节目还含有一个彩蛋，那就是科长本人的声音！在《风流一代》的华文媒体发布会上，我抓住机会向贾樟柯提出两个问题：从导演角度来看，赵涛是一个怎样的演员？为什么会选择在当下回望“我去两千年”的世纪之交？ 希望能够给大家带来不同方面的解读和信息的补充。 0:28 开胃菜 1:15 戛纳电影节发生的“检票事故” 7:01 没票碰运气的观众推荐来瓦尔达厅，有票观众建议提早来 9:11 在欧洲观影迟到怎么进场？ 12:25 主菜 14:12 《风流一代》，淡淡的剧情片 16:01 贾樟柯与娄烨新片体裁存在的相同之处 18:59 贾樟柯拍每部作品的习惯：“多拍一点”。正是这20年来多拍的东西积攒出来，构成了《风流一代》的主体内容 21:15 这部电影能把赵涛送上戛纳影后宝座吗？ 24:15 科技创新线勾连时代变迁 26:20 震撼我的第一个镜头 32:18 巧巧之于大同：即是幽灵又是精灵 34:44 中国式奇观，艺术导演的“画框” 38:29 疫情让大城变为小镇 42:10 彩蛋 42:58 贾樟柯：“未来的电影会分为疫情前的电影和疫情后的电影” 44:54 “怎么总是找赵涛演啊？” 46:46 “龙标窗口期”，国产艺术电影的喘息之机 51:44 甜点 52:07 大尺度电影日 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! As the only domestic film in the COMPETITON at Cannes this year, the premiere of Caught By Tides in the Lumière was a great gathering of Chinese filmmakers. It's hard to describe the story of Caught By Tides in words, because each of us lives inside such a story. “Spend thirty years like this until the building collapses”. In this episode, try to talk about this specific Jia Zhangke's movie, which is very different from his previous works. With 20 years of material accumulation, he inadvertently touched the future and the universal language of cinema. This episode also contains an surprise in the form of the voice of Jia himself! At the Chinese-language media launch of Caught By Tides, I seized the opportunity to ask Jia Zhangke two questions: What kind of actor is Zhao Tao from the director's point of view? Why did he choose to look back at the turn of the century when “I've been there for 2,000 years”? I hope to bring you different interpretations and information. 0:28 Appetizer 1:15 “Ticket mishaps” at the Cannes Film Festival 7:01 Theater Varda is recommended for those who don't have a ticket to take their chances, and for those who do have a ticket, we recommend coming early! 9:11 How to get in late for a movie in Europe? 12:25 Main course 14:12 Caught By Tides, a light drama. 16:01 The similarities between the genres of Jia Zhangke's and Lou Ye's new films 18:59 Jia Zhangke's habit of making each work: “shoot a little more”. It's what he has shot more of over the past 20 years that makes up the main body of Caught By Tides. 21:15 Can this movie put Zhao Tao on the Cannes throne? 24:15 The thread of technology and innovation connects the changing times 26:20 The first shot that blew me away 32:18 Qiaoqiao in Datong: a ghost and a spirit 34:44 Chinese spectacle, the art director's “frame”. 38:29 Epidemic turns big city into small town. 42:10 Bonus 42:58 Jia Zhangke: “The future of cinema will be divided into pre-epidemic and post-epidemic cinema.” 44:54 “Why do you always cast Zhao Tao?” 46:46 “Dragon Label Window Period”, a respite for domestic art films 51:44 Dessert 52:07 Big Scale Movie Day

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 一部看起来充盈而柔和，甚至是有几分天真的电影，只是因为不回避冲突，就遭到了404的结局，不禁让人唏嘘。 直到娄烨导演离开戛纳，他都未曾接受一家华语媒体的采访。据朋友回忆，临近首映的那几天，剧组主创在街上看到中国记者，都会投来警惕而审慎的目光。个中原因不难理解，毕竟导演手上还有一部制作规模较大的影片等待上映，但关于这部影片幕后详尽的故事，我们仍旧一无所知。 我相信，这部这部电影仍处于未完成状态，直到它能跟更多中国观众见面，在大家能够不必跟法国安保傻大个掰扯、不用赶公交车，也能静静地看完的时候。 0:47 开胃菜 1:07 干货分享：怎么要到心爱影人的签名合照 8:53 在戛纳最要紧的事，想到了一定要立马去做 12:09 放弃戈达尔遗作唯一一场放映赶场去看娄烨，谁能有我痛苦？（还没赶上） 14:39 中国影迷一起堵在路上 15:53 主菜 16:26 由《春风沉醉的夜晚》未公布镜头而衍生出的新故事 19:16 秦昊在《春晚》和《风雨云》里角色的连接 20:00 疫情爆发下的剧组生活 21:17 伪记录和伪剧情的两个极点 22:05 娄烨追求艺术尝试的方向改变 25:09 竖屏格式的创新运用 30:10 张颂文分享过娄烨在片场的状态 32:57 困在窗口中的视点 39:34 “告状电影”？ 45:42 记录讲述等于指控？ 49:53 还会有第七代导演吗？如果有，他们需要具备什么素养？ 56:00 甜点 57:02 《风流一代》首映后，第六代导演的同年作品大对比 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! A movie that seemed full and soft, even a little naive, was met with a 404 ending just because it didn't avoid the conflict, and one can't help but be saddened. Until director Lou Ye left Cannes, he had never accepted an interview with a single Chinese-language media outlet. According to a friend's recollection, in the days leading up to the premiere, when the cast and crew saw Chinese journalists on the street, they would cast a wary and cautious gaze. It's not hard to understand why. After all, the director has a bigger movie on his hands waiting to be released, but we still don't know anything about the detailed behind-the-scenes story of the movie. I'm sure the movie will remain unfinished until it reaches a wider audience in China, when we can all watch it in peace without having to wrestle with French security giants or catch a bus. 0:47 Appetizer 1:07 How to get an autographed photo of your favorite filmmakers 8:53 The most important thing to do in Cannes is to do it as soon as you think of it! 12:09 Abandon the only screening of Godard's last film to go see Lou Ye, who can share my pain? （I haven't caught up yet.) 14:39 Chinese moviegoers are stuck in traffic together. 15:53 Main course 16:26 A new story derived from unreleased footage of Spring Fever 19:16 Connection between Qin Hao's roles in Spring Fever and The Shadow Play 20:00 Life on the set under the epidemic outbreak 21:17 The two poles of pseudo-documentary and pseudo-drama 22:05 Lou Ye's change of direction in pursuit of artistic experimentation 25:09 The innovative use of vertical screen format 30:10 Zhang Songwen shared Lou Ye's condition on set 32:57 Point of view trapped in a window 39:34 “Sue movie”? 45:42 Record telling equals accusation? 49:53 Will there be a seventh generation of directors? If so, what qualities do they need to have? 56:00 Dessert 57:02 After the premiere of Caught by the Tides, a big comparison of the same year's work by the sixth generation of directors

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 第三天的更新，终于追上来啦！最近几天重磅内容很多，《疯狂的麦克斯：狂暴女神》、娄烨新片、还有科波拉新作《大都会》。有的内容我认为以播客日记的载体不足以盛放我们全部的情绪和启发，所以后续会以更深度的形式与大家见面～ 今天这一期的节目，主要聊聊对于几个媒体证件等级权益的观察，以及展开说说《狂暴女神》的相关讯息，以及新闻发布会上主创的交流。 1:49 开胃菜 2:25 粉证线上抢票与其他证件的待遇区别 3:26 粉证参加媒体发布会的高级权限 5:09 媒体证四大颜色级别划分 7:56 疑似白证的一位老哥刷新了我的认知 10:18 主菜 11:08 戛纳电影节对乔治·米勒的优待 13:24 《狂暴女神》与其他《疯狂的麦克斯》系列不同的类型风格 14:57 五大篇章，深度挖掘前作中查理兹·塞隆的角色魅力来源 15:52 安雅·泰勒-乔伊之于《狂暴女神》，有点像杨幂之于《没有一顿火锅解决不了的事》？？ 16:56 小女孩跟锤哥的双人对位戏份味如嚼蜡 20:07 评析视觉风格的三个方面 20:18 一眼新的武器装备 21:43 双方战斗场面平淡，不死乔一派的加入增加了变化 23:23 呈现死亡的方式多元，想到了“五行杀人”的创意 25:30 彩蛋 28:40 乔治·米勒关于摄制技术进步的观察 29:58 乔治·米勒对于动作商业片中电影语言的探讨 31:48 乔治·米勒分享《疯狂的麦克斯》一拍拍五部的心路历程 33:13 会不会还有续集？乔治·米勒在打“太极” 35:49 甜点 36:10 娄烨和《大都会》，都值得好好讲讲 Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! Day 3 of updates, finally catching up! There's been a lot of heavy content in the last few days, with Furiosa: A Mad Max Saga, Lou Ye's new movie, and Coppola's new Megalopolis. I don't think the podcast diary is a good enough vehicle to hold all of our emotions and inspirations, so I'm going to follow it up with a more in-depth installment~! Today's installment focuses on observations about the rights of several media credentialing classes, as well as expanding on the message of “Furiosa: A Mad Max Saga”. 1:49 Appetizer 2:25 Pink card online ticket grabbing and other credentials treatment difference 3:26 Pink card to participate in the media conference of advanced privileges 5:09 Media pass four major color level division 7:56 An old man suspected to be a white pass refreshed my knowledge 10:18 The main course 11:08 Preferential treatment for George Miller at Cannes 13:24 The genre style that sets Furiosa apart from the rest of the Mad Max series 14:57 Five chapters that dig deeper into what made Charlize Theron's character so appealing in the previous film 15:52 Anya Taylor-Joy to Furiosa kind of like Yang Mi to Nothing Can't Be Undone by a HotPot 16:56 The little girl's duo scene with Chirs tastes like a chewy mess 20:07 Commenting on three aspects of the visual style 20:18 A look at the new weaponry 21:43 Battle scene between the two sides is bland, the addition of the Immortal Joe faction adds variety 23:23 Multiple ways of presenting deaths, thinking of the “Five Elements of Murder” idea. 25:30 Bonus 28:40 George Miller's observations on advances in filming technology 29:58 George Miller's discussion of the language of cinema in the action business film 31:48 George Miller shares his thoughts on making five Mad Max movies 33:13 Will there be a sequel? George Miller avoiding straight answer 35:49 Dessert. 36:10 Lou Ye and Megalopolis, both worth talking about

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 救命，第三天才发第二天的节目，俺真的已经尽力了，结果还是拖了更...但希望从内容上能在单纯影评以外聊些朋友们更感兴趣的。 比如：戛纳电影节的红毯谁能走？报道里很少提到的大道封禁，以及一条马路之隔的巨大拥堵。当然，也评评昨天看的两部主竞赛单元的女性电影，从而延伸出欧洲三大对于女性电影选择的一些隐性标准。 1:37 开胃菜 2:11 有卢米埃尔大厅票就能走的戛纳红毯 5:39 荷枪实弹，极其严格的道路封禁 7:47 为什么戛纳的观众都会化身无情的鼓掌机器人？ 10:25 主菜 10:24 《野性钻石》，抖音少女的魔怔成长 16:04 近几年欧洲电影节关注女性电影的角度 18:56 《拿针的女孩》，挑战伦理观念的剥削电影 25:06 甜点 25:30 《疯狂的麦克斯：狂暴女神》《一部未完成的电影》《大都会》，最想先听哪个？ Shownotes in English: Welcome to Douban.com to listen to the program related to “NonsenseFuel” 77th Cannes Film Festival, thanks to Douban! Help, I'm posting the second day's program on the third day, I've really tried my best, but I still ended up dragging it out more... But I hope to talk about something more interesting to my friends than just movie reviews. For example, who gets to walk the red carpet at Cannes? The seldom-mentioned boulevard closures, and the huge traffic jams across the street. And, of course, a review of the two women's films in the main competition that I saw yesterday, which extends some of the implicit criteria that the big three in Europe use to select women's films. 1:37 Appetizers 2:11 Cannes red carpet with Grand Lumière Theater ticket 5:39 Heavily armed, extremely strict road closures 7:47 Why are Cannes audiences transformed into relentless clapping robots? 10:25 The main course 10:24 Diamant Brut, the spellbinding growth of a Tiktok girl 16:04 Perspectives on women's cinema at European film festivals in recent years 18:56 The Girl with the Needle, an exploitation movie that challenges notions of ethics 25:06 Dessert 25:30 Furiosa: A Mad Max Saga, An Unfinished Film, Megalopolis, which one do you want to hear first?

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 在阵阵寒风中，我开始了第一天正式的看片日程。今天的播客内容，主要跟大家分享分享追星和开幕式内场节目的观看体验，以及本届开幕片、昆汀·杜皮约导演新作《第二幕》的简评。 附涛姐美照一张 0:54 开胃菜 1:15 主要场馆的体验，咖啡领取的福利 5:03 《艺术人生》式的戛纳开幕仪式 6:00 开幕典礼的两个主角：评审团主席和荣誉金棕榈得主 7:30 跟格蕾塔·葛韦格的深情互动 8:51 比诺什给梅姨颁奖，念稿给自己念哭了 10:30 卢米埃尔大厅的后门，追星之门 12:35 主菜 14:06 远了不好说，《第二幕》应该是三年来最好看的开幕片 18:07 在幽默中塞议题 21:02 各种玩梗、冒犯和“人身攻击” 22:05 亮点和不尽兴 26:14 甜点 26:17 空降主竞赛的女导演长片首作《野性钻石》，关注度较高 Shownotes in English: In the midst of a gusting cold wind, I began the first official day of my movie watching schedule. Today's podcast features a sharing of the viewing experience of the stargazers and the opening infield program, as well as a brief review of this year's opening film, the new Quentin Dupieux-directed film, Second Act. 0:54 Appetizers 1:15 A taste of the main venues, coffee pick-up benefits 5:03 Opening ceremony in Cannes in the style of “ARTIST”（A celebrity interview program broadcast in mainland China） 6:00 The two protagonists of the Opening Ceremony: the President of the Jury and the Honorary Palme d'Or Winner 7:30 An affectionate interaction with Greta Gerwig. 8:51 Binoche presents the award to Meryl and cries as she did the speech. 10:30 The back door of GRAND THÉÂTRE LUMIÈRE, the door to the stars. 12:35 The main course 14:06 Too far to tell, Second Act should be the best opening movie in three years 18:07 Stuffing issues with humor 21:02 All sorts of jokes, offenses and “personal attacks” 22:05 Highlights and lowlights 26:14 Dessert. 26:17 Wild Diamond, the feature debut of a female director who dropped into the main competition, is getting a lot of attention

欢迎到豆瓣收听《废话燃料》第77届戛纳电影节相关节目，感谢豆瓣的支持！ 终于终于来到戛纳。走出机场大门的瞬间，阳光明媚，戛纳电影节负责嘉宾接驳车的柜台也就在视线范围之内。迄今为止，一切都称得上是我最为顺滑的线下参展体验。 无巧不成书，前两天刚刚听完我上一期“五年戛纳，三年模拟”节目的一位听友，在命运的安排下跟我住进了同一间民宿，谁在了同一张床上。 这是一番怎样的邂逅？今年戛纳电影节开始抢票以来，各方体验如何？本期的甜点，我们还给大家分享了比我上一期播客里提到的更为详细的“媒体证件申请指南”，希望能帮到更多来到这里却抢不到票，非常难受的朋友。 戛纳的报道历程正式开始啦！大家想看到哪方面内容，欢迎和我们留言互动起来哦。 本期播客特别介绍：《抛开书本》记者/《走出森林》播客主播/剪辑师/导演忠泽 2:22 前菜 2:30 与忠泽同病相怜的“待机”经历 4:00 从线上抢票开始，聊聊戛纳电影节的初体验 13:43 延伸话题：一天最多看过几部电影？ 16:38 观影场域的概念 18:48 戛纳电影节与柏林、威尼斯抢票系统的对比分析 24:06 戛纳电影节影迷证与媒体证抢票的机制不同 25:16 转票在戛纳电影节是可行的吗？ 30:35 主菜 30:55 对于科波拉新作《大都会》的期待 33:16 对于娄烨新作《一部未完成的电影》以及陈可辛《酱园弄》的期待 35:31 对于在戛纳能看到的版本的讨论 37:05 老油条的无期待 39:53 甜点 40:33 三日证的内卷，影迷证的高门槛，都不能保证很好的抢票体验 42:54 戛纳对于新兴媒体账号申请证件看中的元素有哪些？ 43:31 对于播客等多元媒介的拥抱 52:03 换个角度想想，根据自身优势，去到最适合自己的电影节 Shownotes in English: Welcome to NonsenseFuel's 77th Cannes Film Festival related program, thanks to Douban.com! Finally arrived in Cannes. The moment I walked out of the airport gate, the sun was shining brightly and the Cannes Film Festival's counter in charge of guest shuttle buses was within sight. So far, everything qualifies as my smoothest offline exhibiting experience. Coincidentally, two days ago, after listening to my last program “Five Years in Cannes, Three Years in Simulation”, a friend of mine stayed in the same B&B as me by fate, in the same bed. What kind of encounter was it? How have you experienced the Cannes Film Festival this year since the start of the ticket rush? In this installment of Dessert, we also share with you a more detailed guide to applying for press credentials than the one I mentioned in my last podcast, in the hope that it will help more people who came to Cannes but couldn't get a ticket and are having a hard time doing so. The journey to Cannes has officially begun! Feel free to leave a comment on what you'd like to see. 2:22 Appetizers 2:30 The “standby” experience with Zhongze 4:00 Starting from the online ticket grabbing, let's talk about the first experience of Cannes Film Festival. 13:43 Extended Topic: How many movies do you see in a day? 16:38 The concept of the cinematic field 18:48 Comparative analysis of Cannes and Berlin/Venice ticketing system 24:06 Differences between fan passes and press passes at Cannes 25:16 Is ticket transfer feasible at Cannes? 30:35 Main course 30:55 Expectations for Coppola's new film Metropolis 33:16 Expectations for Lou Ye's new film “An Unfinished Film” and Chen Kexin's “Soya Sauce”. 35:31 Discussion of the version to be seen at Cannes 37:05 No expectations from the old farts 39:53 Dessert 40:33 The inward roll of three-day passes and the high threshold of fan passes don't guarantee a great ticket-grabbing experience 42:54 What elements does Cannes look for in emerging media accounts applying for credentials? 43:31 The embrace of multiple mediums such as podcasts 52:03 Think differently and go to the festival that suits you best, based on your strengths

从2021年开始，今年是我第四次拿到戛纳电影节的证件了，却将是第一次本人前往戛纳，参与线下活动的经历。 这中间发生了什么？为什么实现出国参加电影节这样一个小小的愿望竟要耗费3年时间？ 当我整理思绪，试图回溯3年以来的体验的时候，发现记忆里的素材早已经足够组成一段转折迭起的故事。于我而言，戛纳电影节的意义早就不只是“看电影”这么简单，而更像是一扇门，一扇艰难触碰到的门。 本期节目由我自己完成录制，但要感谢的人有很多。这里面包含适量的干货：我所获得过的三日证、线上观影证以及媒体证的申请条件和办法；少量的情绪，以及大量的人间戏剧。 希望能对大家有所帮助，也祝愿大家能早日登上“九九八十一难”里最后一难的大王八后背。 3:16 大学毕业以来的复杂工作经历 9:18 2020年开始，在豆瓣上加入影迷群体，了解到戛纳电影节相关讯息 10:14 2021年申请三日证 11:17 三日证的简介以及申请经验：写好动机信 18:03 主观无知与客观条件限制，选择退证 21:13 关注世界电影节，开始积累艺术电影的评论稿件 22:40 2022年申请线上看片证——专业证中的一种 23:02 申请线上看片证的注意事项，需要提供相关公司的资质证明 24:21 线上证的局限：想看的基本都不给看 27:46 开始产出同步于戛纳电影节举办日期的报道内容 28:07 2023年申请媒体证，渡劫的开始 32:18 戛纳媒体证件审核资质的策略：宽进严出 34:37 对于想要申请法国商务签的自由职业者的5条建议 40:00 我所犯下的错：申商务签找公司挂靠 42:10 戏剧性的一幕：发小考公上岸，我法签拒签 45:46 疯狂的日更报道计划 48:27 备战2024 49:14 2024年通过大平台申请媒体证 51:18 四月初拿到媒体证，再去预约签证中心的时间，发现整个四月都没名额了 51:57 一些病急乱投医的办法 53:56 2024.4.12晚，希望渺茫，基本没戏 56:31 2024.4.13早，被狗吵醒，峰回路转 58:50 2024.4.15早，表格没交，汗流浃背 1:07:27 2024.4.18午，补充材料，一脸懵逼 1:08:12 “FL”到底是啥？是灵魂的尽头，还是宇宙的终点？ 1:15:06 2024.4.19早，签证通过，喜出望外 1:16:37 2024.4.19晚，钱包丢失，乐极生悲 1:17:35 2024.4.20早，忐忑不安，无功而返 1:18:41 2024.4.22早，找回钱包，五进五出 1:19:38 心情：什么时候是我的第八十一难？ 1:21:35 追求去戛纳这件事的曲折对我性格产生的影响 特别鸣谢： 一直无私资助并鼓励我的史凤文女士 二十二岛主 陆支羽 孙凯 大清早把我吵醒抢名额的小金毛多多，祝她万寿无疆 Starting in 2021, this year will be the fourth time I've gotten my Cannes Film Festival credentials, yet it will be the first time I've traveled to Cannes in person and participated in the offline experience. What happened in between? Such a small wish as going abroad，why did it take 3 years to attend a film festival? As I organized my thoughts and tried to retrace my experiences over the past 3 years, I realized that I had enough material in my memory to form a story with many twists and turns. For me, Cannes Film Festival has long been more than just “going to the movies”, but more like a door, a door that is hard to reach. I recorded this program myself, but I have a lot of people to thank for it. It contains a fair amount of knowledge: the requirements and methods for obtaining three-day passes, online passes, and press passes that I've received; a little bit of emotion, and a lot of human drama. I hope it will be helpful to you, and I wish you all a speedy ascent to the back of the last of the “81 Difficulties”. Shownotes in English: 3:16 Complex work experience since college graduation 9:18 Starting in 2020, joining fan groups on Douban and learning about Cannes Film Festival 10:14 Applying for a three-day pass in 2021 11:17 Introduction to the three-day pass and the experience of applying: writing a good motivation letter 18:03 Subjective ignorance and objective constraints, choosing to withdraw from the festival 21:13 Focusing on world film festivals and starting to accumulate review copies of art films 22:40 Applying for an online viewing pass in 2022 - one of the professional passes 23:02 Notes on applying for an online pass, and the need to provide proof of qualifications from relevant companies 24:21 Limitations of online passes: basically no one that we want is allowed to see 27:46 Starting to produce content synchronized with the dates of the Cannes Film Festival 28:07 Applying for a press pass in 2023, the beginning of transcending my mortal coil 32:18 Cannes' strategy to qualify for press credentials: lenient entry, strict exit 34:37 5 tips for freelancers who want to apply for a business visa in France 40:00 The mistake I made: getting a company to rely on for my business visa application 42:10 Dramatic scene: my homie's exam was successful and I was denied a French visa 45:46 Crazy daily reporting schedule 48:27 Preparing for 2024 49:14 Applying for a media license through a big platform in 2024 51:18 I got my media pass at the beginning of April, and then went to make an appointment at the visa center and found out that there were no spots available for the whole month of April 51:57 Some sick and desperate solutions 53:56 2024.4.12 night, little hope, basically no chance 56:31 Early 2024.4.13, woken up by dog, peaks and valleys 58:50 2024.4.15 AM, form not submitted, sweating like hell 1:07:27 2024.4.18 AM, additional materials, confused 1:08:12 What is “FL” anyway? Is it the end of the soul, or the end of the universe? 1:15:06 2024.4.19 AM, visa approved, overjoyed 1:16:37 2024.4.19 Evening, lost my wallet. 1:17:35 2024.4.20 AM, nervousness, return with nothing 1:18:41 2024.4.22 AM, recovered wallet, 5 in 5 out 1:19:38 Mood: When is my 81st difficulty? 1:21:35 The effect that the twists and turns of the quest to get to Cannes have had on my personality

感谢豆瓣对《废话燃料》的支持！欢迎到豆瓣收听第14届北京国际电影节专题报道。 一段黑白光影，承载不朽灵魂。 北影节期间，我约到电影《乘船而去》的配乐作曲愚生一起走进影院，看了拍摄教授生前最后一场钢琴演奏的纪录片《坂本龙一：杰作》，内心不由得产生很多波澜，关于音乐、关于教授其人、关于这部作品给我们带来的力量。所以我们便约在了愚生老师的工作室里，伴着缕缕幽香，聊了聊我们眼中的坂本龙一，和他生命最后的舞动。 艺术千秋，人生朝露。 （也希望大家通过愚生老师的分享，更多地关注到像他这样富有才思的青年音乐人，趁着还有排片，多多去影院支持《乘船而去》～ 1:27 《乘船而去》的配乐风格：傍水而生，润物无声 2:40 《乘船而去》配乐创作的历程 4:00 找到“铃铛”的意象 5:32 《乘船而去》配乐和坂本龙一曲风的一些联结之处 6:48《Andata》（《离去》）纯钢琴版的变化 8:43 教授在《坂本龙一：杰作》中追求的创作方向与状态 10:17 纯钢琴版《东风》（《Tong Poo》）和YMO乐队演奏时期的版本相比，带来巨大的震撼 13:19 造成教授音乐极简风的转变背后的社会原因 14:50 音乐会纪录片的形式，延伸到对《泰勒·斯威夫特：时代巡回演唱会》的探讨 16:39 对《坂本龙一：杰作》影片本身的评价，精巧的设计 20:17 光影运动的想象，一日与永恒 22:27 全片少数几句台词的内容 23:49 本片独家收录的曲目整理，这几处不要睡！ 第2首《BB》（《贝纳尔多·贝托鲁奇》） 第5首《for Johann》（《致约翰》） 第15首《20180219 (w/prepared piano)》（《预制钢琴》） 24:23 领会到的禅意 25:01 演奏本片曲目初衷的猜想，为世人留下检索自己的线索 27:27 关于于特制字幕版本的讨论，字幕的作用：说明、拉回现实、代入...... 31:50 《遮蔽的天空》原著文字和音乐的情感叠加效果 35:21 首次听到教授作品的感受，以及他带来的影响 39:06 对教授创作不同阶段风格的评价 41:20 被海水泡过的钢琴，“特调钢琴”的科普 43:57 《战争上的快乐圣诞》和《末代皇帝》背后的故事，风华正茂的青年教授 49:26 由弥留之际的坂本龙一所思考到的哲学，流逝感，“贪生不怕死” 54:11 所谓大师 55:13 “在旅途戛然而止的瞬间里共通了悲欢”

感谢豆瓣对《废话燃料》的支持！欢迎到豆瓣收听第14届北京国际电影节专题报道。 对话陈冲的节目终于上线啦！在第14届北京国际电影节中，陈冲以北京策划·主题论坛嘉宾的身份参与一场论坛以及一场大师班活动。 在这期节目里，我试图提出女性视角的问题，而陈冲的回答逐渐转向个人的表演经历和愿望方向，让我听到了一些预期之外的声音。但我们之间还是存在着一些默契，比方说都高度称赞桑德拉·惠勒的表演。（还不了解这个演员的可以去听听我们之前在《坠落的审判》影评节目中对她的评价）。 录制过程中，因为一些意外，我收获了珍贵素材——陈冲导演的爆笑音频，陈冲究竟是被什么逗得前仰后合？这事说来话长...... 对话提纲：小陆 串台主播：《IF Radio》@徐惟 后期包装：废话队长CAPTAIN NONSENSE 0:55 陈冲参加第14届北京国际电影节身份 2:12 一个关于陈冲的录制彩蛋 3:31 陈冲对听友们的问候 3:57 由《坠落的审判》与《利益区域》注意到的演员桑德拉·惠勒 5:25 什么样的角色能够引起陈冲的兴趣？ 6:22 相比年轻时，现在的陈冲更努力，更用功 7:36 女演员处境在欧洲会比在好莱坞好一些吗？ 8:27 中国的演员体制和欧美的差异 10:07 渴望丰富性 11:56 出演《弟弟》时也在融入自己的生命经验 12:23 陈冲的状态总结 13:37 让陈冲爆笑的真正原因 15:34 值得深入展开的问题，陈冲的处境能否代表其他同龄的女演员？ 这期整个大福利！大家在豆瓣播客《废话燃料NonsenseFuel》转发本期节目，并关注我的豆瓣账号，我将会抽出一位听友，赠送陈冲亲笔签名的工作手卡（背面有我的字迹），已经塑封好了，非常值得珍藏哦～

感谢豆瓣对《废话燃料》的支持！欢迎到豆瓣收听第14届北京国际电影节专题报道。 跟往年单纯买票看片不同，今年我是以媒体身份参与到北影节当中。尽管我从小在这里长大，北影节的报道工作对我仍旧是新鲜的。 本期节目，就跟大家在北影节开幕式当天发生在我身上的一场奇遇，我是怎么以工作人员的视角打开了红毯开幕式，我看到了哪些不常为外人道的景象，包括但不限于：北影节的工作餐水平如何？北影节的承办方是如何完成工作的？ 作为本期的彩蛋，我还短暂地对话了一下携新作《红楼梦之金玉良缘》亮相的第五代导演胡玫，以及刚刚从香港回到北京担任创投单元评审的大鹏。 1:18 今年参加北影节的媒体身份 2:12 北影节媒体和展映部分泾渭分明的特殊性 3:58 预约媒体活动的反馈 5:17 峰回路转，身份的转变 6:17 清早出发，准备工作 9:53 抵达红毯区，严格的权限以及“贴标”的需求 12:21 和北京台同事聊到审核媒体活动的一些依据 14:02 进馆吃员工餐，伙食怎么样？ 16:13 正式工作开始，走红毯的动线 18:13 突发状况的涌入，解决问题 21:00 帮忙裁纸，压力山大 22:50 丰富的执行经验 23:30 回归媒体工作，群访区的拍摄 25:36 光鲜背后是汗水 26:11 彩蛋部分——胡玫与大鹏的语音 26:41 胡玫导演的18年创作之路，《红楼梦之金玉良缘》的创新 31:14 大鹏送给豆瓣网友的一句话