《幕後花絮》，2020
影像長度：12'41"
單頻道錄像
作品敘述一群在台北外拍的劇組，依序在天橋、馬路以及捷運站出口三種不同的場景，從開拍到結束所發生的事情。影像內容並非是再現劇組拍攝的流程，而是穿插於劇組周圍，三位側錄人員捕捉的畫面：無論導演、攝影、收音、演員等工作人員的談話內容，或是與行經片場的路人產生互動的片段皆被納入至作品當中，如同一場實境秀。
我將鏡頭後的畫面也納入為觀看的一部分，擾動既定「拍攝及所見」的主客體二元論。觀看作品的觀者，就如同在現場監看螢幕、檢視拍攝畫面的導演。當雙方達到「相同視角」的情況下，影像並不會與真實生活產生落差感，身為觀者的我們並不會將情感投射於影像的人物中，而是視為日常的事件。意即我們連同劇組人員，都是見證當下的當事者。無論演員、劇組還是周遭的路人，一旦進入鏡頭畫面中，都會成為某種程度的演員。藉由拍攝「劇組拍攝演員」的狀態，提供看似客觀、紀錄片性質的作品，但內容皆是按照劇本安排好的畫面。
Behind the Scenes, defined as the work flow behind the camera, can't be seen on the screen by the audience. This film, mentions about a film crew shooting outdoors in Taipei. Besides, this film not merely contains the shooting process of the crew, but also takes advantage of three side shooters to capture the interaction of the film crew, including the conversation among the director, the assistant director, the videographer, the boom operator and the actors, or the interaction with those passersby. The entire film looks like a reality show.
The viewer has the same perspective as a director looking at the shot through a monitor. When both of them share the same perspective, the film is equal to the real life. As the viewer, we won't project our emotion into the characters. Furthermore, we regard it as the daily events in our real lives. Whether the actors, the crew or surrounding passers-by, once they enter the camera frame, they will become a certain kind of "actor". With shooting the videographer who is shooting, I intend to present a film as an objective documentary, however, the content was made up from the script.
