上面一楼是的前十着装，读者选择（best dressed of the year 2012, reader's choice）：
1. Diane Kruger in Vivienne Westwood – ‘Amour’ Cannes Film Festival Premiere 2. Coco Rocha in Zac Posen – 9th Annual Spring Dinner Dance New Year’s In April: A Fool’s Fete 3. Blake Lively in Zuhair Murad Couture – ‘Savages’ LA Premiere 4. Catherine, Duchess of Cambridge in Jenny Packham – ‘Our Greatest Team Rises -BOA Olympic Concert’ 5. Zhang Ziyi in Marc Bouwer Couture – New York Chinese Film Festival 6. Nina Dobrev in Donna Karan Atelier – 2012 Met Gala 7. Gwyneth Paltrow in Tom Ford – 2012 Oscars 8. Karolina Kurkova in Rachel Zoe – 2012 Met Gala 9. Jennifer Lawrence in Prabal Gurung – ‘The Hunger Games’ LA Premiere 10. Kate Hudson in Atelier Versace – ‘The Reluctant Fundamentalist’ Venice Film Festival Premiere
此外还有一个专家评选的前十，没有亚洲明星入围 （所以专家选择和读者选择两组唯一当选的亚洲女星是子怡！） best dressed of the year 2012, Critic's choice:
1. Tilda Swinton in Haider Ackermann – 2012 Golden Globe Awards 2. Emmy Rossum in Monique Lhuillier – ‘Project Runway’ Taping 3. Sonam Kapoor in Salvatore Ferragamo – Ferragamo Museum and Palazzo Spini Feroni 4. Karolina Kurkova in Rachel Zoe – 2012 Met Gala 5. Keira Knightley in Erdem – ‘Anna Karenina’ LA Premiere 6. Blake Lively in Zuhair Murad Couture – ‘Savages’ LA Premiere 7. Diane Kruger in Vivienne Westwood – ‘Amour’ Cannes Film Festival Premiere 8. Kate Hudson in Atelier Versace – ‘The Reluctant Fundamentalist’ Venice Film Festival Premiere 9. Elizabeth Banks in Bill Blass – ‘The Hunger Games’ London Premiere 10. Gwyneth Paltrow in Tom Ford – 2012 Oscars
Weaving music, photography, and fashion in a whole new way, the Hong Kong director Wong Kar Wai (Chungking Express, In the Mood for Love) created a style as influential as it is gorgeous: He’s inspired everything from perfume commercials to films like Lost in Translation. His hotly anticipated latest work, which will open the 2013 Berlin International Film Festival, offers a poetic spin on the traditional martial arts movie. Showcasing three of China, Hong Kong, and Taiwan’s greatest (and most gorgeous) superstars—Zhang Ziyi, Tony Leung, and Chen Chang—this could well be Asia’s biggest international hit since Crouching Tiger, Hidden Dragon. Get ready to have your eyes knocked out. 以下是引用drspurple在1/1/2013 10:08:00 PM的发言：
China hasn’t seen an actress as equally treasured and disliked as Zhang Ziyi for a very long time. Edmund Lee visits The grandmaster star in Beijing to hear about her musings on Wong Kar-wai, the essence of acting and all those clueless haters out there.
At one point during our interview in a photo studio in Sanlitun, Beijing, with the first December snow descending on the capital, Zhang Ziyi describes herself as an ‘old school’ actress who ‘thinks in the traditional way’. “There are many people who take the less proper paths to look for their own sense of being,” she adds. “That’s how the environment [of show business] is – it’s not a very clean environment.” The truth is, as one of her country’s greatest current movie icons, Zhang must also live with the same time-honoured traditions of superstardom that hark back to the time of Ruan Lingyu nearly a century ago: putting up a defiant face on screen, confronting uber-sensational scandals off it, and juggling not gentle admiration and polite indifference but love and hatred by even the most casual observers day in and day out, year after year.
It is, indeed, extraordinary to think that the 33-year-old Beijing-born actress is already commanding an even higher international profile, and facing far more outrageous slanders, than Ruan ever experienced – even with the latter’s famous last words ‘gossip is a fearful thing’. “There are only two sides to one’s personality: it’s either tough or soft,” Zhang says, almost nonchalantly, when asked about her consistently strong-minded screen persona that can, no doubt, find roots inside the actress herself. The list of such roles is set to grow one longer with the expected January 10 local release – if we’re lucky – of Wong Kar-wai’s 1930s-set martial arts drama The grandmaster, which has also been chosen to open theberlin International Film Festival on February 7. In it, Zhang makes her latest star turn as the emotionally unflinching daughter of a respected leader in the martial arts world, who is caught between her admiration for the real-life Wing Chun master Ip Man (Tony Leung Chiu-wai) and her duty to her father’s legacy after his passing.
“When I encounter a tough character, it resembles me a little bit; and when I encounter a soft character, there’s also part of me in it,” says Zhang. “There are aspects of me in each of my characters.” Does she perhaps agree that the filmmakers look to be especially keen to cast her in insubordinate roles? “Actually, many of the roles highlight the greatness of women. It’s as simple as that. So…” She hesitates briefly, before flashing a rare glimpse of the cockiness – the only instance in this interview – that has allegedly earned her a myriad of detractors: “Perhaps that’s why I’m always [the directors’] first choice.”
It’s not anyone’s fault that she just happens to be correct. Trained as a dancer since the age of 11, Zhang spent six years honing her skills in traditional Chinese dance and, for a short period, classical ballet. However, as she has said in numerous past interviews, and again here, she knew she didn’t have a future in dance. “It was just a feeling I had then. When I look back at it now, I see that I was right,” she says. “It was right for me to change my profession [from dance to acting]. I feel great happiness when I act and I don’t have this same pleasure when I dance.” In reality, the transition was made a whole lot smoother when she caught the eye of the pre-eminent Chinese filmmaker Zhang Yimou, who was auditioning actors for a commercial he was directing at the time. Her first starring role, at the age of 19, came swiftly afterwards in the director’s Silver Berlin Bear-winning drama The Road Home (1999).
“That period was the best time of my life – and it was captured on film,” Zhang says fondly of her movingly innocent performance in that film. “The ‘me’ at the time, at that age: it’s a state that couldn’t be replicated. It’s impossible to act like that and it’s impossible to repeat that. Let me put it this way: I can no longer act in that movie today. It was a very natural movie with minimal traces of acting there.” I ask Zhang if she could have predicted her transformation from that authentic 19-year-old to the glamorous international movie star she is today. “Things just happened naturally,” she says casually, attempting to convey the spontaneity of her overnight success. “That is, I hadn’t planned my career path. After I made The Road Home, I took part in Crouching Tiger, Hidden Dragon (2000), and after that I made Rush Hour 2 (2001). It happened quickly and one followed another.”
In person, Zhang is amiable and soft-spoken, possessing a somewhat girly voice. She fiddles with my name card throughout much of our interview until she finally puts it down to sip some water through a thin straw. Dressed in an elegant white dress with sparkling sleeves, her long, tidy hair styled to curve dramatically below her shoulders, Zhang has a lithe and slender frame which belies the physical prowess that has seen her excel in arguably all the most globally acclaimed martial arts films since the turn of the century. Does it still surprise the actress that she’s accumulated such an impressive roster of movies on her CV? “I haven’t thought about that. But if you put it this way… I guess it may possibly be the case,” she says with a sheepish smile. “Especially [Ang Lee’s] Crouching Tiger, Hidden Dragon, [Zhang Yimou’s] Hero (2002) and House of Flying Daggers (2004): each of these three movies has its own special characteristics.”
In the years since House of the Flying Daggers, Zhang has added two more Hollywood titles (2005’s Memoirs of a Geisha, 2009’s Horsemen) to her oeuvre (after playing a villain in Rush Hour 2), worked with three more prominent Chinese directors (Feng Xiaogang for 2006’s The Banquet, Chen Kaige for 2008’s Forever Enthralled, and Gu Changwei for 2011’s Love for Life), and co-produced and starred in the romantic comedy Sophie’s Revenge (2009), which already has a prequel – again co-produced by Zhang – on the way. It is, however, her artistically resonant, if not remotely prolific, working relationship with the Hong Kong auteur Wong Kar-wai, beginning with the heart-wrenching romantic drama 2046 (2004), that has contributed most to her credentials as a future arthouse great. Among the range of feverish compliments she has received for the role, which include the Best Actress recognition at the Hong Kong Film Awards, is New York Times film critic Manohla Dargis’ remark that ‘Zhang’s shockingly intense performance burns a hole in the film’.
2046 also marked Zhang’s introduction to Wong’s notorious insistence in working to his own rhythms – the film took years to make, before hastily making its Cannes Film Festival premiere with an unfinished cut that, as legend has it, was delivered directly from the film laboratory to the theatre. But if that experience gave Zhang pause to reconsider working with the director, she isn’t showing it. After their collaboration on 2046, itself a long and languorous production, the two have developed ‘a close relationship’, especially after they spent more than two weeks together at Cannes 2006, where Wong headed the jury and Zhang served as one of the jurors. “After that, [Wong] was no longer just a director to me, but became a mentor and a friend,” says Zhang, who describes her experience with the director as being ‘like two master fighters trading moves’. “No matter the process and result, [Wong Kar-wai] is a master. He’s the one and only. Therefore, we really don’t mind if he gave us a script or not. If you trust a person, you just let him manage it.”
Zhang is known for the exceptional care she puts into choosing the right movie roles, although Wong’s projects stand head and shoulders above the rest on her wishlist. “The selection mainly depends on whether a character moves me,” she says, before quickly adding, “except [when it’s a film by] Wong Kar-wai, whom I’d say yes to even without a script.” In fact, as Zhang confirms, The Grandmaster has no script: “For me, it’s all about trust. Our method of working together is indeed very unique. It’s during the shoots that we build up our characters and the relationship .
“In the earliest stage, my character had a lot of scenes in which she would show her emotions,” Zhang goes on. “For example, when she heard of her father’s death, she was very sad and cried. But through this process, we both realised that the character is a staunch figure that would not often show her emotions. So in the end, a lot of the crying scenes turned out to be a waste of my tears; those scenes had to be handled again in a different way. Through the performance itself, we kept on finding the direction and personality of the character.” So can the audience assume that the bulk of the footage included in Wong’s completed films was from the latter stages of his lengthy shooting schedules? “You really know him well,” replies Zhang playfully, giggling.
For The Grandmaster project, which Wong began to develop over a decade ago and finally entered production in 2009, all three of the lead actors – Zhang, Tony Leung and Chang Chen – were required by the director to train in their character’s respective school of martial arts and find the ‘essence’ – and not just the superficial look – of their craft. “The Grandmaster is different [from other similar films] in that it goes deeper into the realm of martial arts, exploring the meaning behind it all. It’s an altogether different kind of exploration,” says Zhang. “Wong wanted us to exude the essence, the aura and the charisma of the real martial artists. It’d have been impossible to achieve if we had only trained for three or five days; that’s why we spent such a long time training seriously. The strongest impression I got from the experience is how it has changed my life values and way of thinking. The training gave me a sense of tranquillity – it allows me to think before taking action.”
‘Thinking before action’, as it turns out, also reflects how Zhang has picked her projects over her eclectic career. The actress confesses that she only began to realise she wanted to make acting her career while shooting Hero – long after her sensational start with the equally revered The Road Home and Crouching Tiger, Hidden Dragon. Her sustained success since, however, has been no accident. “, it was simply a case of opportunities knocking, so I went with them,” she says. “I didn’t especially feel that I was going to make acting my career. But gradually, after making film after film, I discovered that I was indeed passionate about acting. Every new role has unique aspects that only belong to that character. Every new character is like that, which is what makes [acting] interesting to start with.
“You don’t need to bring your past experience to your character. In fact, every time I make a new film, I try to leave behind the experiences from, or techniques I’ve developed in, my past projects,” Zhang continues. “It’s becoming more and more difficult though, because your skills become more mature and you start to rely on them, rather than relying on your feelings. It’s quite hard to control this… you know what I mean? It’s when you don’t know [anything about acting] that you act most naturally, that everything is from your heart.” Zhang then offers an insight into her understanding of a great performance: “I think the most touching roles come from the heart. There isn’t a ‘best performance’, because the best performance is no longer just a performance. The most captivating performance is actually the [actor’s] most authentic state. It takes that to touch [the audience], and it’s not something you can replicate.”
Despite her rapid rise to fame internationally, Zhang’s breakthrough in Hollywood resembles more of a wakeup call than her ultimate calling. “To me, it was just a new and different experience,” she says of her Hollywood roles. “I don’t think they have had that much of an impact [on my career]. If I were to make another [Hollywood film], I hope it’ll bring a new challenge, with a role that is not merely typecasting. Otherwise, it’s not very meaningful to me.” The actress also admits to being ultra-selective when it comes to her Hollywood projects. Says Zhang: “There have been many offers, but I turned them all down because” – a short pause – “I’m an actress after all. I want to play characters that I’m interested in. I don’t want to give up on my [artistic] pursuit for the opportunity of Hollywood. As an actor, it also doesn’t mean much to me to play just a bit part. It’s not going to elevate my [status] or help improve my art.”
The rather trivial dents on her career these frivolous Hollywood offers could have are one thing. But in recent months, Zhang has suffered from a significantly more damaging kind of international exposure. While unfounded allegations and accusations against Zhang have been an unwelcome fixture throughout her career, none came as viciously as the media reports in May last year that she had allegedly been paid about US$110m to sleep with former Communi?t Party politburo Bo Xi1ai and other government officials, in the period between 2007 and 2011. The allegations originated from a US-based Chinese website, were picked up by Hong Kong tabloid Apple Daily and, with Zhang’s legal actions, promptly spread around the world.
“It’s constantly the case in Hong Kong,” Zhang says of her malicious detractors. Her profound distrust of our media is palpable. “I guess I’ve never been very close to the Hong Kong media, so they’re more inclined to quote me out of context or fabricate stories from photos. I guess that’s what they do. But, in my case, I feel that they are just relentless,” she says, letting out a bitter chuckle. “They always like to make up stories about me.” In addition to the unseemly media treatment, over the years Zhang has also collected a considerable mass of cynics who have been all too willing to vocally criticise her success. So what does she think of them? “I haven’t thought about this especially,” Zhang says slowly. “First of all, I don’t think every person understands movies or movie-making. There are many people who live in a different world with a different worldview. That is just a fact. Maybe they need to see you everyday at home on television to feel close to you and to appreciate you, but I work in a very different world. So you can’t expect everyone to appreciate you.”
With the impending release of The Grandmaster, which has all the hallmarks of a great Wong Kar-wai effort (the lush and entrancing visuals, the unconsummated feelings, the repeatedly postponed release date), Zhang, at least for the time being, finally has something positive to look forward to. As our interview draws to a close, after questions about her haters and accusers have seemingly sucked out her last traces of energy, Zhang says privately: “I can feel that you do really like film.” It doesn’t come across as a remark aimed at flattery. Rather, it seems that, perhaps these days, the greatest Chinese actress of her generation has simply become so overwhelmed by the hassles of fame that people no longer remember to ask her about the films anymore.
人肉速递成片已经去了美国imax制作处。
还有内部消息，这次没有胶片imax，有数字imax
可是，为什么我看了这些，还是迟迟不能相信一月八日就要上映了
too good to be true............你们懂的
[此贴子已经被作者于2012/12/25 3:07:47编辑过]
网上看到消息，说一代宗师真的拍完了，后期制作也基本完成。
人肉速递成片已经去了美国imax制作处。
还有内部消息，这次没有胶片imax，有数字imax
可是，为什么我看了这些，还是迟迟不能相信一月八日就要上映了
too good to be true............你们懂的
希望一切顺利啊～～～
MERRY CHRISTMAS！
@影视经纪人-萧萧 ： 电影<一代宗师> 2013.01.08会在电影院跟大家见面了!比较期待自己这次和梁朝伟的对手戏演出!由香港导演王家卫执导三年的拍摄,不容易啊!大家多多支持！支持！
章子怡纽约电影节蓝裙名列第五！
消息来源：http://www.redcarpet-fashionawards.com/2012/12/24/best-dressed-of-the-year-readers-choice-2012/
[此贴子已经被作者于2012/12/28 17:42:44编辑过]
1. Diane Kruger in Vivienne Westwood – ‘Amour’ Cannes Film Festival Premiere
2. Coco Rocha in Zac Posen – 9th Annual Spring Dinner Dance New
Year’s In April: A Fool’s Fete
3. Blake Lively in Zuhair Murad Couture – ‘Savages’ LA Premiere
4. Catherine, Duchess of Cambridge in Jenny Packham –
‘Our Greatest Team Rises -BOA Olympic Concert’
5. Zhang Ziyi in Marc Bouwer Couture – New York Chinese Film Festival
6. Nina Dobrev in Donna Karan Atelier – 2012 Met Gala
7. Gwyneth Paltrow in Tom Ford – 2012 Oscars
8. Karolina Kurkova in Rachel Zoe – 2012 Met Gala
9. Jennifer Lawrence in Prabal Gurung – ‘The Hunger Games’ LA Premiere
10. Kate Hudson in Atelier Versace –
‘The Reluctant Fundamentalist’ Venice Film Festival Premiere
此外还有一个专家评选的前十，没有亚洲明星入围
（所以专家选择和读者选择两组唯一当选的亚洲女星是子怡！）
best dressed of the year 2012, Critic's choice:
1. Tilda Swinton in Haider Ackermann – 2012 Golden Globe Awards
2. Emmy Rossum in Monique Lhuillier – ‘Project Runway’ Taping
3. Sonam Kapoor in Salvatore Ferragamo – Ferragamo Museum and Palazzo Spini Feroni
4. Karolina Kurkova in Rachel Zoe – 2012 Met Gala
5. Keira Knightley in Erdem – ‘Anna Karenina’ LA Premiere
6. Blake Lively in Zuhair Murad Couture – ‘Savages’ LA Premiere
7. Diane Kruger in Vivienne Westwood – ‘Amour’ Cannes Film Festival Premiere
8. Kate Hudson in Atelier Versace – ‘The Reluctant Fundamentalist’ Venice Film Festival Premiere
9. Elizabeth Banks in Bill Blass – ‘The Hunger Games’ London Premiere
10. Gwyneth Paltrow in Tom Ford – 2012 Oscars
[此贴子已经被作者于2012/12/28 17:52:57编辑过]
例一：消息来源：腾讯女性
http://lady.qq.com/a/20121226/000012.htm
例二：消息来源：腾讯娱乐
[此贴子已经被作者于2012/12/28 21:24:03编辑过]
消息来源：
http://www.redcarpet-fashionawards.com/2011/12/22/best-dressed-of-the-year-readers%E2%80%99-choice-2011/
Best dressed of the year 2011, reader's choice:
Here are the results of the Readers’ Choice Best Dressed Of The Year 2010.
1. Cate Blanchett in Givenchy Couture – 2011 Oscars
2. Catherine, Duchess of Cambridge in Alexander McQueen – Royal wedding
3. Nina Dobrev in Donna Karan – 2011 Emmy’s
4. Mila Kunis in Elie Saab Couture – 2011 Oscars
5. Angelina Jolie in Atelier Versace – 2011 Golden Globes
6. Diane Kruger in Jason Wu – 2011 Met Gala
7. Emma Watson in Oscar de la Renta – ‘Harry Potter And The Deathly Hallows Part 2′ London premiere
8. Rosie Huntington-Whiteley In Gucci – ‘Transformers: Dark Of The Moon’ Moscow premiere
9. Nicole Kidman In Jean Paul Gaultier Couture – 2011 Grammys
10. Zhang Ziyi in Christian Dior – ‘Love for Life’ Rome Film Festival premiere
[此贴子已经被作者于2012/12/28 18:15:20编辑过]
(子怡参加过好几次电影局新春招待会了,以行动支持中国电影事业)
2012.12.18子怡参加电影局新春招待会 这张有老徐出没:)
（据微博上称，这张里子怡后面是王中军）
[此贴子已经被作者于2012/12/28 20:51:33编辑过]
CCTV 13 新闻报道了这次活动，几个视频截图如下：
[视频]国家广电总局新春电影招待会 今年我国电影票房超过140亿元
http://news.cntv.cn/china/20121219/101030.shtml
截图1：
截图2: 子怡和老徐一直热聊，两边貌似是张国立和佟大为
终于找到一个还算清晰的私人合照
ps. 这衣服看起来挺洋气的
[此贴子已经被作者于2012/12/28 21:03:09编辑过]
希望所有演员都苦尽甘来，一月八日快来！
吴云飞：被王家卫虐出了神经性脱发 http://www.chinanews.com/yl/2012/12-27/4442233.shtml
青年演员吴云飞在《乡村爱情》系列中因为扮演赵玉田被很多观众所熟知，近些年，吴云飞一直在拓展自己的演艺道路，除了继续拍摄乡村爱情系列剧，他还
加盟了王家卫导演的《一代宗师》。在《一代宗师》中，吴云飞饰演了一名暗杀组织的头目，不过这个角色也是换了三次才定下来的。而《乡村爱情6》作为新春大
戏也要在春节后出现在各大卫视，赵玉田的形象也有所变化。昨日，沈阳晚报记者采访了今年在影视圈中忙活得不亦乐乎的吴云飞，听他说了不少戏里戏外的趣事。
谈《一代宗师》：
我被王导虐出了神经性脱发！
吴云飞在《一代宗师》中除了演戏，还首次担任王家卫的助理副导演。吴云飞坦言自己非常幸运，在王家卫身边一跟就是两年。跟王家卫学习自然受益匪
浅，但是对于自己在剧组里被“虐”的经历，吴云飞也忍不住要吐槽：“王导喜欢晚上拍戏，从来都是晚上6点拍到早晨6点。拍了几个月后我后脑勺头发掉了一
圈，这样黑白颠倒，我都搞成神经性脱发了。”比不睡觉更虐的是，王家卫3次变换吴云飞在剧中的角色。“大家都知道，王家卫拍戏没有剧本。每天演员们都是化
好了妆，在休息室里坐等王家卫点名。叫到谁有戏，谁就进到棚里拍摄。”吴云飞称自己开始饰演章子怡的师弟，因此被安排和章子怡一起学习八卦掌：“等到八卦
掌练得差不多了，他突然改了心意，让我演张震的徒弟。”于是，吴云飞又和张震一起练上了八极拳：“当我认真揣摩人物时，王导突然让我演某暗杀组织的头目，
需要和张震对着干，这换来换去的，我差点把自己给演蒙了。”
谈《乡村爱情6》：
赵玉田这回特别正面！
备受期待的《乡村爱情6》即将在春节后与观众见面，象牙山中的老少爷们又将闹出什么新故事令人期待。在《乡村爱情》中，赵玉田因为大学生陈艳南
的出现而移情别恋，要和刘英离婚，被观众痛批是负心汉。此次在《乡村爱情6》中，吴云飞笑言自己“洗心革面”了，变得正面了。吴云飞特别向记者进行了小剧
透：“一次，谢广坤不小心掉进了河里，正巧被赵玉田赶上，赵玉田挺身而出下河相救。他见义勇为的行为，受到了村民的拥戴，被推举当上了村长，正儿八经地带
着乡亲父老为村里做了不少实事。”据悉，赵玉田与刘英这对吵吵闹闹的小夫妻，把家庭生活的重心转向了培养孩子，一大家子人因此又闹出了不少笑料。
谈未来：
陈宝国是我学习的目标
毕业于北京电影学院的吴云飞有着良好的戏剧基础，在经过了这几年多部戏的实践磨炼后，演技也愈发纯熟。在热播的电视剧《江湖儿女》中，吴云飞出
演了日本军官武纪木少佐，大秀自己的武术功底，给观众们留下了很深的印象，也让师傅赵本山对他赞不绝口。有了此次成功的塑造，吴云飞表示赵本山更是钦点他
在《说书人》中饰演一位日本柔道高手文化武官：“我和小沈阳将有不少武打的对手戏，相信会给观众不一样的感觉。”近些年吴云飞大多是出演农村题材的戏，演
多了同类型角色，吴云飞坦言有点担心自己被定型：“我觉得演员应该是多变的，现在我也在对自己未来的演艺道路进行规划和设想，明年我很想尝试演出年代戏，
陈宝国老师就是我的学习目标，我会向着这方面努力的。”
记者 张宁
p.s. - 最近歪脖套图好流行，算剧组赶个潮流。
《一代宗师》剧组可萌可武，习学咏春、八卦、八极和形意之外，还练就了“歪萌头”这项已经失传已久的绝学！2013年1月8日，电影院见宗师！
时间：2012/12/28-2012/1/27 11:00-20:00
地点：光点华山电影馆 2楼多功能艺文厅
28日开展记者会上，张震与6位金钗特别现身光点华山馆，
【台湾醒报记者郭琇真台北报导】由王家卫执导，耗时10年拍摄的武侠史诗《一代宗师》，将於下个月来台上映！为此，光点华山馆特别开辟特展，展出戏中章子怡与宋慧乔穿的真丝旗袍、精致花盘；28日开展记者会上，张震一袭黑白西装，简约出席。
谈及拍摄过程，张震有感而发的说，这部戏让他接触了武术，也因为接触武术，让他更了解自己，虽然辛苦，但很值得！
获选为第63届柏林影展开幕片的《一代宗师》，将於1月18日来台上演！此片由导演王家卫执导，故事虽从「叶问」起头，却逐步扩大，藉由金楼一地，囊括东北「宫二先生」、辽东「关东之鬼」、「一线天」等宗师，探讨乱世洪流里的宗师旅程。
《一代宗师》众星云集，导演王家卫邀请了梁朝伟饰演叶问、宋慧乔饰演叶夫人、章子怡饰演八卦掌宗师的独生女「宫二」，而张震则演八极拳宗师「一线天」；28日开展记者会上，张震与6位金钗特别现身光点华山馆，金钗们身穿戏中旗袍皆为真丝所制，每件造价大约10万台币。
因为《一代宗师》接触八极拳，进而爱上武术的张震感性表示，因为他在剧中饰演的是宗师级的角色，因此他花费了许多心血学习武术。在这段过程里，武术不只可以锻鍊身健体魄，也对心理层面有所成长，让他更加认识自己，他自信地说，未来他将会持续练下去。
「王家卫很重感觉！」张震直言，演王家卫的电影十分有挑战性，因为他永远不会知道导演要的是什麼，因此必须寻找很多资料、诠释感觉给王家卫看；而戏中「一线天」的角色因为具有爆发力，因此他在角色个性上便刻意安排亦邪亦正的性格，演《一代宗师》虽然辛苦，但很值得！
费时10年的武侠史诗将於下个月抵台，华纳兄弟特别与光点华山馆合作，举办《一代宗师》电影主题特展之「金楼风华，在台重现」，此展即日起开幕直到1月27日止，展览为免费开放。
图说：28日开展记者会上，饰演《一代宗师》一线天角色的张震一袭黑色西装，简单现身！（郭琇真摄）
[此贴子已经被作者于2012/12/28 23:36:57编辑过]
@新浪娱乐
跟周杰伦这是第二次同台，最近百度颁奖那是第一次同台，期待将来电影有合作。
这是目前最高清的了：
@章子怡中国官方粉丝团
自从前年与舞蹈女孩隋岳彤圆梦并资助她完成学业开始，#章子怡#便在圆梦的路上播种撒花，除了经常通过微博传递正能量外，还向身边的朋友讲述追梦人的故事。再一次踏上梦想舞台的章子怡不仅为12岁的阳光女孩司丽轩颁发了少年成长奖，还特别为她设计了一个节目，亲自担任小轩轩的梦想讲述人。
#梦想盛典#感谢章子怡为我们颁奖，恭喜司丽轩获得了“少年梦想奖”！面对巨大的磨难，她始终报以淡定的微笑，她的梦想是有一所学校，可以重回课堂。现在的她已经回到了课堂，让我们祝福她可以一切顺利！
（这是子怡第三度亲临助力梦想盛典，这次跟好友莫艳琳同台演唱。）
明晚21：10《中国梦想秀》华丽收官，章子怡三度登临梦想舞台为患有罕见病的“粘宝宝”顾若凡加油；“好声音”导师杨坤也与 “水泥哥“共同演唱《那一天》。
[此贴子已经被作者于2012/12/30 14:24:46编辑过]
[此贴子已经被作者于2012/12/30 14:28:12编辑过]
http://www.tudou.com/programs/view/yWPeEfKdYF0/
http://video.sina.com.cn/v/b/93960025-1455221727.html
[此贴子已经被作者于2012/12/31 14:10:30编辑过]
[此贴子已经被作者于2012/12/31 14:29:20编辑过]
章子怡29日上午搭机抵台，直奔下榻的王朝酒店后就一直待在饭店，出入都走地下停车场进出，工作人员称她感冒发烧呕吐，但她29日晚一袭金镂白纱礼服上台，不见病态，她先朗诵诗词，读完后周杰伦牵她下台就座，最后王力宏压轴演出，集体合唱《龙的传人》前，突然说：“我要邀我的好朋友上台，我知道她一定会唱这首歌。”便独自走下舞台手牵着她上台。会后庆功宴王力宏被问会不会怕临时加码桥段被打枪？他说：“我和子怡是多年好友，相信她不会拒绝我。”
章子怡29日晚并未受访，且身边有20名随行人员保全，以人海战术阻挡采访。她30日凌晨12点多活动结束后匆匆回饭店。主办单位30日否认车队专属章子怡，他称有需要用车的贵宾都可使用。
[此贴子已经被作者于2012/12/31 15:20:33编辑过]
List 地址：http://www.mtime.com/top/movie/anticipate/
王家卫的《一代宗师》终将于1月8日上映，而《007：大破天幕杀机》也即将在1月21日上映，他们也是近期两部网友最受期待新片。
[此贴子已经被作者于2012/12/31 19:02:06编辑过]
两个中歌榜活动的图
此主题相关图片如下中.jpg：
此主题相关图片如下中2.jpg：
[此贴子已经被作者于2012/12/31 14:29:20编辑过]
看得出来有些疲倦。裙子，妆容都很漂亮~
看得出来有些疲倦。裙子，妆容都很漂亮~
她生病呢，在台湾那天。发烧感冒呕吐，没想到中歌榜还能坚持出来。
《一代宗师》入选美国Vogue网站总结的2013最值得期待的13件文化大事，评价道：王家卫全情投入且将开幕2013年柏林国际电影节的最新电影为传统武术电影带来诗意之风。中国大陆、香港和台湾三大顶级巨星－章子怡、梁朝伟和张震的参演，将是自《卧虎藏龙》以来亚洲最大的国际巨制。请准备好引爆你的眼球！
http://www.vogue.com/culture/article/13-things-to-look-forward-to-in-culture-in-2013/#1
《一代宗师》入Vogue网站列出的 2013最值得期待的13件文化大事！
排名第十二
The Grandmaster
Weaving music, photography, and fashion in a whole new way, the Hong Kong director Wong Kar Wai (Chungking Express, In the Mood for Love) created a style as influential as it is gorgeous: He’s inspired everything from perfume commercials to films like Lost in Translation. His
hotly anticipated latest work, which will open the 2013 Berlin
International Film Festival, offers a poetic spin on the traditional
martial arts movie. Showcasing three of China, Hong Kong, and Taiwan’s
greatest (and most gorgeous) superstars—Zhang Ziyi, Tony Leung, and Chen Chang—this could well be Asia’s biggest international hit since Crouching Tiger, Hidden Dragon. Get ready to have your eyes knocked out.
以下是引用drspurple在1/1/2013 10:08:00 PM的发言：
前面帖子的原文链接 （我还不能发图）
http://www.vogue.com/culture/article/13-things-to-look-forward-to-in-culture-in-2013/#1
[此贴子已经被作者于2013/1/1 23:53:52编辑过]
一贯毒舌这次给了子怡很正面的评价:
来自子怡粉丝团weibo
《一代宗师》入选美国Vogue网站总结的2013最值得期待的13件文化大事，评价道：王家卫全情投入且将开幕2013年柏林国际电影节的最新电影为传统武术电影带来诗意之风。中国大陆、香港和台湾三大顶级巨星－章子怡、梁朝伟和张震的参演，将是自《卧虎藏龙》以来亚洲最大的国际巨制。请准备好引爆你的眼球！
时间接近了，万分期待。不知道这里什么时候能看到。
今天一下子多了两个封面，外带一个周末画报！给力
最近子怡消息井喷了，粉丝们要吐血了。。。。十天前的画报封面我还没更新呢。。。。。。。。
[此贴子已经被作者于2013/1/3 2:19:48编辑过]
子怡和北青缘分不浅，最早的封面就是跟她合作，北青算是最早见证子怡青涩的刊物。
[此贴子已经被作者于2013/1/4 1:10:53编辑过]
《TimeOut》系列杂志1968 年创刊于伦敦，创始人为Tony Elliot，至今已有43 年历史，是世界顶级杂志品牌。作为全球顶级城市生活杂志，《TimeOut》遍布北京、上海、伦敦、纽约、莫斯科、巴塞罗那、迪拜、新加坡等重要城市。
《TimeOut》 至今在全球范围24个国家37 个城市以十余种语言发行，有近1 千万人依赖TimeOut 杂志去探寻城中热点与生活资讯，同时出版逾百种《TimeOut城市指南》丛书。
活跃在世界各地的《TimeOut》 是百分之百为当地城市生活精心设计的杂志，并由经验丰富的编辑队伍来完成。《TimeOut》的国际标准，品牌价值及严格的流程控制，保证了各刊始终一致的质量。
2010 年，《TimeOut》被权威机构PPA（英国期刊协会）评选为“年度最佳国际消费杂志”奖项。母刊《TimeOut 伦敦》是2012年伦敦奥运会的官方合作伙伴。
《TimeOut》杂志是一本城市生活周刊，源于英国伦敦，提供休闲消费资讯、文化娱乐、休闲旅游、休闲生活的消费类双周刊。
___________________________________________________
来自百度
[此贴子已经被作者于2013/1/4 1:15:15编辑过]
China hasn’t seen an actress as equally treasured and disliked as Zhang Ziyi for a very long time. Edmund Lee visits The grandmaster
star in Beijing to hear about her musings on Wong Kar-wai, the essence
of acting and all those clueless haters out there.
At one point
during our interview in a photo studio in Sanlitun, Beijing, with the
first December snow descending on the capital, Zhang Ziyi describes
herself as an ‘old school’ actress who ‘thinks in the traditional way’.
“There are many people who take the less proper paths to look for their
own sense of being,” she adds. “That’s how the environment [of show
business] is – it’s not a very clean environment.” The truth is, as one
of her country’s greatest current movie icons, Zhang must also live with
the same time-honoured traditions of superstardom that hark back to the
time of Ruan Lingyu nearly a century ago: putting up a defiant face on
screen, confronting uber-sensational scandals off it, and juggling not
gentle admiration and polite indifference but love and hatred by even
the most casual observers day in and day out, year after year.
It
is, indeed, extraordinary to think that the 33-year-old Beijing-born
actress is already commanding an even higher international profile, and
facing far more outrageous slanders, than Ruan ever experienced – even
with the latter’s famous last words ‘gossip is a fearful thing’. “There
are only two sides to one’s personality: it’s either tough or soft,”
Zhang says, almost nonchalantly, when asked about her consistently
strong-minded screen persona that can, no doubt, find roots inside the
actress herself. The list of such roles is set to grow one longer with
the expected January 10 local release – if we’re lucky – of Wong
Kar-wai’s 1930s-set martial arts drama The grandmaster, which has also been chosen to open theberlin
International Film Festival on February 7. In it, Zhang makes her
latest star turn as the emotionally unflinching daughter of a respected
leader in the martial arts world, who is caught between her admiration
for the real-life Wing Chun master Ip Man (Tony Leung Chiu-wai) and her
duty to her father’s legacy after his passing.
“When I encounter a
tough character, it resembles me a little bit; and when I encounter a
soft character, there’s also part of me in it,” says Zhang. “There are
aspects of me in each of my characters.” Does she perhaps agree that the
filmmakers look to be especially keen to cast her in insubordinate
roles? “Actually, many of the roles highlight the greatness of women.
It’s as simple as that. So…” She hesitates briefly, before flashing a
rare glimpse of the cockiness – the only instance in this interview –
that has allegedly earned her a myriad of detractors: “Perhaps that’s
why I’m always [the directors’] first choice.”
It’s not anyone’s fault that she just happens to be correct. Trained as a
dancer since the age of 11, Zhang spent six years honing her skills in
traditional Chinese dance and, for a short period, classical ballet.
However, as she has said in numerous past interviews, and again here,
she knew she didn’t have a future in dance. “It was just a feeling I had
then. When I look back at it now, I see that I was right,” she says.
“It was right for me to change my profession [from dance to acting]. I
feel great happiness when I act and I don’t have this same pleasure when
I dance.” In reality, the transition was made a whole lot smoother when
she caught the eye of the pre-eminent Chinese filmmaker Zhang Yimou,
who was auditioning actors for a commercial he was directing at the
time. Her first starring role, at the age of 19, came swiftly afterwards
in the director’s Silver Berlin Bear-winning drama The Road Home
(1999).
“That period was the best time of my life – and it was
captured on film,” Zhang says fondly of her movingly innocent
performance in that film. “The ‘me’ at the time, at that age: it’s a
state that couldn’t be replicated. It’s impossible to act like that and
it’s impossible to repeat that. Let me put it this way: I can no longer
act in that movie today. It was a very natural movie with minimal traces
of acting there.” I ask Zhang if she could have predicted her
transformation from that authentic 19-year-old to the glamorous
international movie star she is today. “Things just happened naturally,”
she says casually, attempting to convey the spontaneity of her
overnight success. “That is, I hadn’t planned my career path. After I
made The Road Home, I took part in Crouching Tiger, Hidden Dragon
(2000), and after that I made Rush Hour 2 (2001). It happened quickly
and one followed another.”
In person, Zhang is amiable and
soft-spoken, possessing a somewhat girly voice. She fiddles with my name
card throughout much of our interview until she finally puts it down to
sip some water through a thin straw. Dressed in an elegant white dress
with sparkling sleeves, her long, tidy hair styled to curve dramatically
below her shoulders, Zhang has a lithe and slender frame which belies
the physical prowess that has seen her excel in arguably all the most
globally acclaimed martial arts films since the turn of the century.
Does it still surprise the actress that she’s accumulated such an
impressive roster of movies on her CV? “I haven’t thought about that.
But if you put it this way… I guess it may possibly be the case,” she
says with a sheepish smile. “Especially [Ang Lee’s] Crouching Tiger,
Hidden Dragon, [Zhang Yimou’s] Hero (2002) and House of Flying Daggers
(2004): each of these three movies has its own special characteristics.”
[此贴子已经被作者于2013/1/4 1:27:17编辑过]
Hollywood titles (2005’s Memoirs of a Geisha, 2009’s Horsemen) to her
oeuvre (after playing a villain in Rush Hour 2), worked with three more
prominent Chinese directors (Feng Xiaogang for 2006’s The Banquet, Chen
Kaige for 2008’s Forever Enthralled, and Gu Changwei for 2011’s Love for
Life), and co-produced and starred in the romantic comedy Sophie’s
Revenge (2009), which already has a prequel – again co-produced by Zhang
– on the way. It is, however, her artistically resonant, if not
remotely prolific, working relationship with the Hong Kong auteur Wong
Kar-wai, beginning with the heart-wrenching romantic drama 2046 (2004),
that has contributed most to her credentials as a future arthouse great.
Among the range of feverish compliments she has received for the role,
which include the Best Actress recognition at the Hong Kong Film Awards,
is New York Times film critic Manohla Dargis’ remark that ‘Zhang’s
shockingly intense performance burns a hole in the film’.
2046
also marked Zhang’s introduction to Wong’s notorious insistence in
working to his own rhythms – the film took years to make, before hastily
making its Cannes Film Festival premiere with an unfinished cut that,
as legend has it, was delivered directly from the film laboratory to the
theatre. But if that experience gave Zhang pause to reconsider working
with the director, she isn’t showing it. After their collaboration on
2046, itself a long and languorous production, the two have developed ‘a
close relationship’, especially after they spent more than two weeks
together at Cannes 2006, where Wong headed the jury and Zhang served as
one of the jurors. “After that, [Wong] was no longer just a director to
me, but became a mentor and a friend,” says Zhang, who describes her
experience with the director as being ‘like two master fighters trading
moves’. “No matter the process and result, [Wong Kar-wai] is a master.
He’s the one and only. Therefore, we really don’t mind if he gave us a
script or not. If you trust a person, you just let him manage it.”
Zhang
is known for the exceptional care she puts into choosing the right
movie roles, although Wong’s projects stand head and shoulders above the
rest on her wishlist. “The selection mainly depends on whether a
character moves me,” she says, before quickly adding, “except [when it’s
a film by] Wong Kar-wai, whom I’d say yes to even without a script.” In
fact, as Zhang confirms, The Grandmaster has no script: “For me, it’s
all about trust. Our method of working together is indeed very unique.
It’s during the shoots that we build up our characters and the
relationship .
“In the
earliest stage, my character had a lot of scenes in which she would show
her emotions,” Zhang goes on. “For example, when she heard of her
father’s death, she was very sad and cried. But through this process, we
both realised that the character is a staunch figure that would not
often show her emotions. So in the end, a lot of the crying scenes
turned out to be a waste of my tears; those scenes had to be handled
again in a different way. Through the performance itself, we kept on
finding the direction and personality of the character.” So can the
audience assume that the bulk of the footage included in Wong’s
completed films was from the latter stages of his lengthy shooting
schedules? “You really know him well,” replies Zhang playfully,
giggling.
For The Grandmaster project, which Wong began to
develop over a decade ago and finally entered production in 2009, all
three of the lead actors – Zhang, Tony Leung and Chang Chen – were
required by the director to train in their character’s respective school
of martial arts and find the ‘essence’ – and not just the superficial
look – of their craft. “The Grandmaster is different [from other similar
films] in that it goes deeper into the realm of martial arts, exploring
the meaning behind it all. It’s an altogether different kind of
exploration,” says Zhang. “Wong wanted us to exude the essence, the aura
and the charisma of the real martial artists. It’d have been impossible
to achieve if we had only trained for three or five days; that’s why we
spent such a long time training seriously. The strongest impression I
got from the experience is how it has changed my life values and way of
thinking. The training gave me a sense of tranquillity – it allows me to
think before taking action.”
‘Thinking before action’, as it
turns out, also reflects how Zhang has picked her projects over her
eclectic career. The actress confesses that she only began to realise
she wanted to make acting her career while shooting Hero – long after
her sensational start with the equally revered The Road Home and
Crouching Tiger, Hidden Dragon. Her sustained success since, however,
has been no accident. “, it was simply a case of opportunities knocking,
so I went with them,” she says. “I didn’t especially feel that I was
going to make acting my career. But gradually, after making film after
film, I discovered that I was indeed passionate about acting. Every new
role has unique aspects that only belong to that character. Every new
character is like that, which is what makes [acting] interesting to
start with.
“You don’t need to bring your past experience to your
character. In fact, every time I make a new film, I try to leave behind
the experiences from, or techniques I’ve developed in, my past
projects,” Zhang continues. “It’s becoming more and more difficult
though, because your skills become more mature and you start to rely on
them, rather than relying on your feelings. It’s quite hard to control
this… you know what I mean? It’s when you don’t know [anything about
acting] that you act most naturally, that everything is from your
heart.” Zhang then offers an insight into her understanding of a great
performance: “I think the most touching roles come from the heart. There
isn’t a ‘best performance’, because the best performance is no longer
just a performance. The most captivating performance is actually the
[actor’s] most authentic state. It takes that to touch [the audience],
and it’s not something you can replicate.”
Despite her rapid rise
to fame internationally, Zhang’s breakthrough in Hollywood resembles
more of a wakeup call than her ultimate calling. “To me, it was just a
new and different experience,” she says of her Hollywood roles. “I don’t
think they have had that much of an impact [on my career]. If I were to
make another [Hollywood film], I hope it’ll bring a new challenge, with
a role that is not merely typecasting. Otherwise, it’s not very
meaningful to me.” The actress also admits to being ultra-selective when
it comes to her Hollywood projects. Says Zhang: “There have been many
offers, but I turned them all down because” – a short pause – “I’m an
actress after all. I want to play characters that I’m interested in. I
don’t want to give up on my [artistic] pursuit for the opportunity of
Hollywood. As an actor, it also doesn’t mean much to me to play just a
bit part. It’s not going to elevate my [status] or help improve my art.”
The rather trivial dents on her career these frivolous Hollywood offers
could have are one thing. But in recent months, Zhang has suffered from a
significantly more damaging kind of international exposure. While
unfounded allegations and accusations against Zhang have been an
unwelcome fixture throughout her career, none came as viciously as the
media reports in May last year that she had allegedly been paid about
US$110m to sleep with former Communi?t Party politburo Bo Xi1ai and
other government officials, in the period between 2007 and 2011. The
allegations originated from a US-based Chinese website, were picked up
by Hong Kong tabloid Apple Daily and, with Zhang’s legal actions,
promptly spread around the world.
“It’s constantly the case in
Hong Kong,” Zhang says of her malicious detractors. Her profound
distrust of our media is palpable. “I guess I’ve never been very close
to the Hong Kong media, so they’re more inclined to quote me out of
context or fabricate stories from photos. I guess that’s what they do.
But, in my case, I feel that they are just relentless,” she says,
letting out a bitter chuckle. “They always like to make up stories about
me.” In addition to the unseemly media treatment, over the years Zhang
has also collected a considerable mass of cynics who have been all too
willing to vocally criticise her success. So what does she think of
them? “I haven’t thought about this especially,” Zhang says slowly.
“First of all, I don’t think every person understands movies or
movie-making. There are many people who live in a different world with a
different worldview. That is just a fact. Maybe they need to see you
everyday at home on television to feel close to you and to appreciate
you, but I work in a very different world. So you can’t expect everyone
to appreciate you.”
With the impending release of The
Grandmaster, which has all the hallmarks of a great Wong Kar-wai effort
(the lush and entrancing visuals, the unconsummated feelings, the
repeatedly postponed release date), Zhang, at least for the time being,
finally has something positive to look forward to. As our interview
draws to a close, after questions about her haters and accusers have
seemingly sucked out her last traces of energy, Zhang says privately: “I
can feel that you do really like film.” It doesn’t come across as a
remark aimed at flattery. Rather, it seems that, perhaps these days, the
greatest Chinese actress of her generation has simply become so
overwhelmed by the hassles of fame that people no longer remember to ask
her about the films anymore.
[此贴子已经被作者于2013/1/4 1:27:43编辑过]
今天Time out singapore 网站也刊登了一代宗师的内容
目前还不知道是否会是这期新加坡版Time out的内页。
[此贴子已经被作者于2013/1/4 1:30:53编辑过]
《TimeOut London》 （英国版） 2004年12月2-8日
《TimeOut NewYork》 （美国版） 2004年12月2-8日
《TimeOut 北京》 （中文版） 2008年10月16-29日
《TimeOut Beijing》 （英文版） 2008年10月
《TimeOut HongKong》（香港版） 2013年1月2-15日
2004年10月英国伦敦版，也就是母版封面，随后2004年的12月登陆了美国纽约版本封面
2008那年因为奥运的缘故，和一群知名人士上了《TIMEOUT 北京版》40周年封面，中英文双版！
[此贴子已经被作者于2013/1/4 1:31:24编辑过]
[此贴子已经被作者于2013/1/4 1:35:22编辑过]
这杂志分新闻.生活.财富，城市四个版本，下面一图是各版本的拼图，子怡的生活版在中间：
（赫然看到Chris Christie, John Kerry也在，凌乱了。。。。。 ）
[此贴子已经被作者于2013/1/4 1:38:37编辑过]
封面服装根据杂志内容说是elie saab
[此贴子已经被作者于2013/1/4 1:51:32编辑过]
【年度价值榜之年度明星】章子怡：我只想和我的角色在一起 #名汇FAMOUS# @透明的稀土 @稀土部队 @章子怡中国官方粉丝团
#章子怡#@FAMOUS杂志 2012年第24期内页服装来自范思哲 2012秋冬系列。
模特队比图：
项链：Forevermark(永恒印记) Forevermark“承诺系列”- ANCIENT爱伦斯特“至爱永恒”项链
材质：金，钻石（共27克拉）
[此贴子已经被作者于2013/1/4 1:59:02编辑过]
服装是Dolce & Gabbana2013春夏RTW 模特队比图：
[此贴子已经被作者于2013/1/4 2:11:19编辑过]
一些访谈内容：
武出人生哲学 Spirit of Life
张震与章子怡这双封面男女组合，不难令人联想起他俩有份主演，
观众引颈以待足足3年的《一代宗师》。虽然他们演的是戏，
但两人又的确实实在在为了戏中角色苦练了3年武术。
戏演过了，他们着实在过程中领悟了一些。
Text:
Helen Leung Art Direction & styling: Winnie, Greenness, Gwyneth
Photography: 张文华 Hair: Calvin Chan（张震） & Heibie Mok@Hair Culture（章子怡） Makeup: Candy Law（张震） & 江中平（章子怡） Manicure: Vee Ho （Nail Me）
这天，在著名摄影师张文华的影楼，笔者一次过跟两位星级演员近距离接触。
子怡准时到达，为封面拍完照，工作还未结束，要拍另一些宣传硬照，完成已是黄昏时份。这时候，她总算能抽空坐下来，静静跟笔者聊天。访问开始，她已忍不住叹一口大气，「来吧，我们开始！」虽然从早到晚很累，对于笔者的提问，她并没有敷衍了事。
首
先，实在很有兴趣知道拍《一代宗师》那几年间，练功的感觉如何，是有趣，还是痛苦？她说：「其实我一点都不觉得这是一件好玩儿的事，因为由始至终我都是用
严肃的态度来看待它。我们从一开始就知道王家卫导演要还原一个真实的武术时代，他希望我们体现的，不只是外在动作，他真的希望我们通过刻苦的研习，都能真
正了解功夫是甚么，武术的精神是甚么；其实这亦是他的一个特殊方法，帮我们在银幕上去体现这些人物的精气神。」子怡在电影中饰演的北方女宗师宫二先生是八
卦掌传人，八卦掌是传自清朝大内的拳法，阴柔中带凶狠，特点是灵活、变化多，子怡自小磨练的舞蹈根底，令她拥有较常人更好的身体柔韧度，然而，在锻练柔韧
性的同时，她还是下了不少苦功。她继而补充：「其实每次拍戏我都是很认真的对待它们，包括角色和我选择合作的工作人员，我不希望在拍电影的过程当中浪费时
间。
心甘情愿去捱苦
当然，对于王家卫的拍电影方式，她也是从一开始便很了解，多年前的《2046》是两人首次擦出的电影火花，并为她带来首个
香港电影金像奖最佳女主角名衔，所以，王大导要她为新戏捱这些苦，她心甘情愿。「我们都很认识王家卫这位导演，每次的合作我们都预想到是很漫长的，这是他
的风格，我们都心甘情愿的陪伴他一起去呈现这个作品出来，因为我们都太爱他了，更尊重他对艺术的追求。」
她说，王大导就是拥有一种独一无二的魔力，会令演员有时候不相信自己，「他总是有本事令我想：噢！这是我吗？」
算是自我发现的过程吗？「我认为这是发现与被发现的互动，会觉得自己被改变了。而且我们在一起3年多，这是非常漫长的过程，与其说是塑造一个电影人物，不如说是通过这个角色，改变我的命运，改变我的人生态度，改变我的价值观。
[此贴子已经被作者于2013/1/4 2:17:23编辑过]
恶搞海报：
#2012年度华人红毯六杰#angelababy、张曼玉、章子怡、周迅、李冰冰、舒淇……她们也许并非今年国内女明星最会穿衣的前六甲，但这六个造型却是国内女明星的巅峰之作，是国内女明星在今年最美的六个红毯时刻。
[此贴子已经被作者于2013/1/4 2:29:45编辑过]
一代宗师剧照：
真得很好奇，叶文和宫二这是啥情景。。。。
还有那个楼主，是时候该更新下题目了，希望能够加入近期海量封面内页的刊物简短名称们
外加《超级访问》。
此外红秀的那个棒单此楼还没更新，目测就差这一个活动，其他都补齐了。
明天要有看片会了。
这么多图， 真是太赞了～～～
我昨晚差点累吐血了
各位都去哪了？ 一代宗师第一小波影评出来了，口碑要爆棚！我好激动！～～
来了来了， 我也好激动～
@萌特斯
@天边一朵绒毛：一代宗师，真真把功夫拍成了诗，对白句句难忘，字字珠玑。人活这一遭，时间本来就是用来浪费的，催他干嘛。现在这样多好。章子怡的部分写的最好，补拍再多次也值了。
@殷维同学：一代宗师终露真容，它是2013年的最佳华语片最大竞争者。该片集动作爱情于一身，文艺但不晦涩，有笑有泪，有强烈荷尔蒙。章子怡奉献了最好的表演 梁朝伟甚至都成了陪衬。赵本山完全突破，小沈阳倒是一如既往的搞笑。只可惜张震，练了三年戏份不如猴子多。张晋这回占了最大的便宜！@新文化报 @新文化网
@鹦鹉史航
//@公子牛萌: 半夜看《一代宗师》首场：1.依然是每个镜头咔下来都可以当桌面，美；2.章子怡很出彩，像玉娇龙但更沉稳；3.故事比王家卫的前作都要清楚连贯，前2/3很大气，包揽武学、江湖4.台词崩脆句句耐嚼，配角个个扎实；5.小沈阳和赵本山都是彩蛋，绝不会招你讨厌
@高大全的小托老师
影评老大爷暗夜骑士
竹聿名
@陆芳观影团
《一代宗师》：优美伤感，文戏武演，武戏文演。还真是别无二家的王家卫。大时代实为飘渺背影，银幕放大的仍是眼角眉梢。可把功夫当探戈看，把对白当警句看。从此功夫武侠除了竹林客栈，又多雨中大战。梁老虎是定海神针；章子怡大提升，足以跃升一代女神，或可叫《女宗师》？字幕看哪些工作者去世，致敬
秦小婉
@悦幕中国电影观察：【《一代宗师》16年（1996-2012）大事记】#独家#1996年，王家卫有了想为李小龙师傅叶问拍摄影片的想法，至今整整16年，如今影片即将上映。观众的漫长等待与期许，盼来的是一部精彩绝伦、品质上乘的影片。悦幕将@一代宗师 筹备、拍摄16年间的轨迹做了梳理，一边让大家对这部影片有更多的了解！
[此贴子已经被作者于2013/1/6 1:14:59编辑过]
目前最担心的两点放心了，第一，这次墨镜的故事比以往都流畅完整，没有那么重文艺腔。
第二，武林武侠的感觉气质都出来了，独树一帜。
还有一点很出乎意料，墨镜这次貌似把电影拍成了一代女宗师，子怡很出彩！
这部片子确实是宫二的部分最完整，连叶问都是男配
张震的角色更加突兀，没头没尾。张晋的戏份都比张震多
故事很王家卫，画面很细致，中文台词很深刻
其他再看过一遍再说吧
见面会上明显ziyi最兴奋，确实这片子很捧她
★ 发自iPhone App: ChineseWeb 7.7
刚刚在影院看完IMax版回来，还和ziyi爸妈哥嫂一个厅
这部片子确实是宫二的部分最完整，连叶问都是男配
张震的角色更加突兀，没头没尾。张晋的戏份都比张震多
故事很王家卫，画面很细致，中文台词很深刻
其他再看过一遍再说吧
见面会上明显ziyi最兴奋，确实这片子很捧她
★ 发自iPhone App: ChineseWeb 7.7
这是媒体见面会照片， 其实小章刚刚做过一个胃部小手术：
过去的三年，对章子怡来说真是跌宕起伏的三年。她说，前晚看电影，看到最早拍的放在了最后，最后拍的放到了最前面。三年前，拍第一个镜头，在一个寺庙，自己处于人生最低谷，寺庙里很冷很冷。三年拍一部电影，三年对一个女人来说，容颜、神态都会发生很大的变化。她真的感慨万千，以致一晚上没睡着。
王家卫执导的功夫电影《#一代宗师#》，于1月6日下午在北京举行了全球首映发布会。导演王家卫率主演梁朝伟、章子怡、张震、王庆祥等主创出席。发布会现场，#章子怡#表示，自己“决定以后再也不拍功夫片了！”原因除了辛苦之外，她认为这次扮演的“宫二先生”已经是个人在功夫电影中的极致。
分享图片 @章子怡 @张艺谋 @王家卫 祝#一代宗师# 大卖，希望照片你们能喜欢
@北京万达影城
@战台烽
@河马A
@王江月
@张文伯伯
@章子怡中国官方粉丝团
#一代宗师#全球首映典礼上，#章子怡#身穿Georges Chakra 2012-2013秋冬高级定制礼服与Giuseppe Zanotti Design黑色高跟鞋。@唐毅
★ 发自iPhone App: ChineseWeb 7.7
貌似很好看的样子啊
★ 发自iPhone App: ChineseWeb 7.7
好像这次故事居然完整了，武戏出乎意料的好。 更加期待了！
刚刚在影院看完IMax版回来，还和ziyi爸妈哥嫂一个厅
这部片子确实是宫二的部分最完整，连叶问都是男配
张震的角色更加突兀，没头没尾。张晋的戏份都比张震多
故事很王家卫，画面很细致，中文台词很深刻
其他再看过一遍再说吧
见面会上明显ziyi最兴奋，确实这片子很捧她
★ 发自iPhone App: ChineseWeb 7.7
膜拜牛人，居然可以提前观影，还ｉｍａｘ版本！！
不是说ｉｍａｘ转制还没有完成，所以国内ｉｍａｘ版上映会晚几天么？
２Ｄ版不变，１月８日开画。
两大恩师阿，十多年了，感慨！