Kobayashi:　That's right. I thought that it was more "images". Once reviewed this time, it was foggy. It is not clear. The forest of the Philippines is cheap in a good sense, is not it? If the producer says to shoot a forest, it would include philosophy and metaphors of sex and various things, but that's none at all.

Aida:　There is probably no philosophy. Actually, profound things are not in Kar Wai. However, the enchantment unique to Wong Kar Wai that makes misreading literature or video makes me rediscover the essence of movie media that records human instincts = memories. It is not even an existing "movie-like movie". Kar Wai continues to express Kar Wai consistently, but, for example, if it is mature like 「花様年華」(In the Mood for Love/2000), the "brilliant abstraction" that will touch our instincts will fade away. So, "Days of Being Wild" is prominent in me.

Kobayashi:　This work was made in 1990. In Japan, 北野武 Takeshi Kitano announced 「3-4 X 10月」(1990) and 阪本順治 Junji Sakamoto announces 「鉄拳」(1990). In Asia, エドワード・ヤン Edward Yang has announced 「牯嶺街(クーリンチェ)少年殺人事件」(A Brighter Summer Day/1991). All that is common, including "Days f Being Wild” is that it is the second work of the writer.

Aida:　28th Golden Horse Award, 「牯嶺街(クーリンチェ)少年殺人事件」(A Brighter Summer Day/1991) was awarded granprix, Karui shared the prize with the director's award. It is an amazing year.

Kobayashi:　Come to think of it, there were Shinji Soma and Yoshimitsu Morita, as well as (ヴィム・) ヴェンダース Wim Wenders, (ジム・)ジャームッシュJim Jarmush and カラックス(Leos Carax) in the 1980s. In Asia, there was ホウ・シャオシェン(Hou Haiti-Hsing). In the 1990's there were Takeshi Kitano and Junji Sakamoto as I mentioned earlier, and Edward Yang and Kar Wai. But since then, I feel like the era of such writers has ended.

Aida:　In Japan 岩井俊二 Shunji Iwai is the last one, isn’t he? I think it is a time. Because even Takeshi can’t make “3-4 X October,” Absolutely no plan goes through. "Days of Being Wild” was born because it was also from that time. In that sense, let's say that Won Kar Wai was the last movie writer here.

Kobayashi:　That's right. As a monumental work of the last age where the film director and the side who accepted the film were also free.

Aida:　it keeps living in the present progressive form still in me, and I think that feeling can be planted even for those who see for the first time this time. It will be a truly rare experience.