Director’s Statement

導演的話

《女孩白日夢》的靈感來自於我2020年回到台灣後，旁聽中文系課程的經歷。與同學們的交流中，我發現他們對畢業後的未來充滿迷茫。雖然對文學充滿熱情，但是否能靠寫作維生，讓他們感到焦慮。我深有同感，作為電影創作者，想要拍一部電影，這條路真的非常艱難。但如果不去嘗試，永遠不知道成功的可能性有多大。放棄了，就意味著不僅放棄了夢想，也放棄了從挫敗中學習的機會。

我希望通過這部電影分享我所了解的，影片中的角色包括那些夢想成為作家、畫家、攝影師和導演的人物。這不是一部娛樂片，也不是勵志故事，而是一部純粹講述追夢過程的電影，記錄當下的狀態。但對於每一位追夢者來說，過程或許並不順利，未來也可能充滿挑戰，但停下來的決定只能由自己做出。

我希望探討現實與夢想的界線到底在哪裡，因此開始了這次創作。

寫這個劇本的過程是流動的。在疫情期間，我搬回台灣，在資源有限的情況下，專注於適應環境並探索新的創作途徑。劇本只寫了一個大綱，並隨著我們找到合適的演員隨時調整。拍攝團隊人數保持精簡，遇到問題時就立即解決，無法解決的就讓時間慢慢化解。

《女孩白日夢》以黑白片形式呈現，強調對情緒的觀察與記錄。偶爾用黑白來看待人生中的情緒，可以帶出更強烈而純粹的溫柔。通過記錄當下的困惑、焦慮與混沌，展現出即使在不確定的過程中，也能捕捉到純粹的瞬間。

這部電影打破了傳統的三幕結構，以更自由的形式展開，讓劇情和角色自然發展。對我來說，《女孩白日夢》是一部實驗性的劇情片，採用了非傳統的手法來探索當下的情感。儘管每個人的環境與資源不同，這部電影也記錄了我對人生旅程的理解。隨著時間推移，或許會有不同的想法，但這部電影會讓我記起創作它時的心態。真誠、不完美，但盡力而為，不留遺憾，這是我對《女孩白日夢》的期許。

The inspiration for I’m Still Kind of a Daydreamer originated from my experience auditing Chinese literature classes at a university in 2020 after moving back to Taiwan.

Engaging with classmates revealed their uncertainty about post-graduation futures. Despite their passion for literature, they were anxious about the viability of a writing career. This sentiment resonated deeply with me.

As a filmmaker, the journey to creating a film is extraordinarily challenging, yet without the attempt, the potential for success remains unknown. Surrendering equates to forfeiting everything, including the opportunity to learn from failures.

Through this film, I aim to share my insights via characters who aspire to become writers, painters, photographers, and directors.

This is not an entertainment piece or an inspirational story but a film purely about the journey of pursuing dreams, capturing the present state. It is imperfect, but for every dreamer, the journey may not be smooth, and the future may be full of challenges.

However, the point at which one stops can only be decided by oneself. I wanted to explore the boundary between reality and dreams, thus beginning this creation.

Writing this script was a dynamic process. During the pandemic, I returned to Taiwan and, with limited resources, adopted a low-budget and low-risk approach to filmmaking.

The script was only a rough outline, adjusted according to the suitable actors I encountered. The crew was kept minimal, solving problems as they arose and allowing time to gradually resolve what couldn’t be immediately fixed.

I’m Still Kind of a Daydreamer is presented in black and white, emphasizing the observation and documentation of emotions.

Sometimes viewing life in black and white brings a more intense and pure gentleness. By capturing the current confusion, anxiety, and chaos, it shows that even in the process of not understanding, pure moments can be seized.

This film breaks the traditional three-act structure, unfolding in a freer form, allowing the plot and characters to develop naturally.

To me, I’m Still Kind of a Daydreamer is an experimental narrative film, employing innovative filming techniques to explore contemporary emotions.

Despite everyone’s different environments and resources, this film also records my understanding of life’s journey. Over time, my thoughts may change, but this film will remind me of the mindset during its creation.

Sincere and imperfect, but giving my best with no regrets, this is my hope for I’m Still Kind of a Daydreamer.