Darker Than Black

我感觉残疾真的很可怕，特别是盲。一个盲人身上的锁不止一把，有别人锁上的，也有他们自己锁上的，在创作阶段我曾经拜访过几位盲人，有推拿师，有播音员，但总有一种感觉萦绕着我，那就是，他们活成了社会希望的样子，仿佛，没有过反抗。这也就是为什么我想讲一个这样的故事。我试图构想出一个由健全变全盲的主角，带入进去，看看他的生活，他的困境。他拥有着和正常人一样的经历，他知道蓝色的天，绿色的草，也知道镜子里舞蹈的自己就是梦寐以求的样子。但当这一切被遗传性黄斑病变一点一点剥夺的时候，他是不是只能做着可笑的反抗。在剧作阶段，我想让影片呈现出多元的可能，想让它尽可能映射出多的现象，能让看过它的人或多或少的从里面找到自己的影子，然后思考：我会怎么做呢？
I find being disabled really scary, especially being blind. There is more than one lock on the body of a blind person, some locked by others, and some locked by themselves. During the creative stage, I have visited several blind people, including massage therapists and announcers, but there is always a feeling haunting me, that is, they live the way society wants them to live, as if there is no resistance. That's why I want to tell a story like this. I was trying to come up with a character who went from being able-bodied to being completely blind, to take it in, to see his life, his predicament. He has the same experience as normal people, he knows the blue sky, the green grass, and he knows that he dances in the mirror is the dream look. But when all this is taken away bit by bit by hereditary macular disease, he can only do ridiculous resistance. In the stage of production, I want to make the film present multiple possibilities, want it to reflect as many phenomena as possible, so that people who have seen it can more or less find their own shadow from it, and then think: What will I do?