電影作品《寶島大爆走》創作論述

《寶島大爆走》是一個講述親情與家庭，從隔閡到融合的動作喜劇片。故事描述一個上海女孩譚艷妃，參加了兩岸首次開放的自由行旅遊，卻意外與南臺灣鵝鑾鼻派出所，屆臨退休的警察澎仔，共同捲入一個烏龍綁架案。兩人在經過了一連串從南到北的冒險之後，最終，單親爸爸澎仔重拾了與女兒的親情，譚艷妃也意外揭開自己的身世之謎。創作緣起於筆者在兩岸往返工作之時，觀察來自不同地方、講述不同語言的人們，特殊且幽默有趣的相處之道。經由系上教授的指導後，進而發展出一個類型電影的劇本。而在經過一段時間的集資與籌備後，也順利以兩岸合拍片的合作模式拍攝完成，並同檔期在台灣與大陸的院線發行上映。本作品闡述主題為「無論身在何處，有親情的地方，永遠就是一個家。」。藉由一個跨海懸賞的綁架案，運用荒謬、誇張的表現形式，巧妙陳述來自兩岸、兩對父女關係變化敘事線的故事。在主題研究上，以《極速追殺令》與《飲食男女》兩部片來做分析比較。而在類型比較上，則是以《午夜狂奔》和《尖峰時刻》為例，進行探討。論述中除了針對劇本進行分析外，也就劇本中，多線敘事風格呈現的各個角色，進行深入討論與研究。而在整體電影創作的各環節工作上，如劇本書寫、籌備集資、拍攝後製，到上映發行等，也進行了各階段工作的闡述與檢討。本作品是筆者第一部劇情長片作品，從劇本到上映，歷時將近四年時間。在論述中，也特別就這段漫長時間裡，許多得來不易的創作心得與兩岸電影合製工作，進行檢討與分享。

關鍵字

動作喜劇片；兩岸合拍片；親情與家庭；父女關係；台灣觀光

並列摘要

“Bang Bang Formosa” is a movie about kinship and family, developed through the genre of an action comedy. This is a story of a girl from Shanghai - Tan Yan Fei - who travels to Taiwan on the Cross-Straits free travel policy, and gets involved in a kidnapping incident in southern Taiwan, and befriending retired policeman Peng. The two embark on an adventure taking them from south to north, ending with Peng regaining the affection of his estranged daughter, and Tan Yan Fei accidentally uncovering a previously unknown mystery of her life.    The concept of the film originated from the author’s work experience traveling between Taiwan and China, from his observations of how people from different places and languages interacted with each other with their own senses of humor. Through the guidance of the department professor, these concept and ideas evolved into a movie script of this particular genre. After a period of fund-raising and preparations, including the development of a successful cross-straits cooperation co-production model, the shooting began and completed smoothly with the movie being released simultaneously in both Taiwan and China.   The work illustrates the theme of "no matter where the place is, as long as there is affection, it can be called home". Through the exaggerated manifestation of a cross-straits kidnapping scenario, the movie cleverly builds up a fun, parallel narrative of the evolution of two pairs of father-daughter relationships. On the issue of subject matter, two films – “Midnight Runner” and “Rush Hour” – will be analyzed and compared; while with regards to genre, “Wasabi” and “Eat Drink Man Women” will serve as the case studies for discussion. Aside from the script, every aspect of the making of the film – the script-writing, the multiple dimensions of the various characters, the screenplay, the fund-raising, the post-production, the screening and release – will be subject to critical evaluation and analysis. This work is the author's first full length feature film, which took nearly four year from script to release. Many of the hard-won creative ideas and the experiences gained over the cross-straits film co-production will also be shared and discussed.