Christopher Doyle

Uh, yeah.

This is Wong Kar-wai and Christopher Doyle, the cinematographer's, kind of signature move, which is step printing.

Aha, okay.

I said, I said last time we brought it up that I don't remember...

The movie is a feast for the eyes, with deep colors and shadows that evoke the film noir style.

The cinematography by Christopher Doyle and Mark Lee Ping-bing is exquisite, capturing the essence of longing and unspoken desire through lingering shots and innovative camera angles.

The film's aesthetic choices, from the sumptuous costumes to the evocative music, create a hypnotic experience that lingers long after the credits roll.

The performances by Tony Leung and Maggie Cheung are nothing short of extraordinary.

I mean, we, it's funny cause he loved Wong Kar Wai as well.

And he actually worked with, fatefully he worked with Christopher Doyle, who was the cinematographer, the great cinematographer, uh, in, in Wong Kar Wai's best movies.

Um, they ended up one of the final episodes of his show that he did.

Um, Christopher Doyle was the DP on it, which was like a big dream for him.

A movie to take my favorite Boston movie of all time.

Yeah, I'm sorry I didn't ask you, but

Yeah.

Christopher Doyle, who I think we were talking about recently.

Yeah.

He's, he shot it.

But, you know, if we talked about looking at the film from, shall we say, the Vietnamese point of view, one is thinking, well, who would make such a film? Well, it'd be great if Wong Kar Wai made it because he would have had the same DP.

He would have had Chris Doyle.

And one of the, you know, it's kind of like a sort of in the mood for love sort of thing.

You know, I mean, it would have been very intriguing, I think, because one of the things that Chris Doyle brings to it, obviously, you know, is a great artist who's made so many terrific films, both internationally, but also, you know, big budget Hollywood films like this one, comparatively speaking, but also a lot of Hong Kong movies.

And he.

brings a very interesting approach to it because he uses a lot of point of view shots

You just don't know that yet.

So that's, I think, very smart.