朱大導演傳來了共三十多頁的劇本，一翻看就知道又是導演個人的生活寫照。從朱大導第一部回澳拍攝的電影畢業作品 "亞明的澳門"開始，我就已經喜歡他拍的東西。他的作品給人一種很貼近生活的感覺，誠懇、平民化、富人情味。澳門人都係咁家啦，都擁有這些特質。不過，這當然和他根深柢固的宗教信仰有關。而每次欣賞他的作品時，都會會心微笑。
今次朱大導拍的新片，是和他自己所熟悉和生活著的社區有關，我幫手為女主角珠珠設計一些形體動作，是聖經傳道書第三章裡的內容。我很喜歡這一章裡所寫的文字和意義。設計動作時，我也把自己投入角色裡，抒發對這段經文的領會.....天下萬務都在神的時間表內，而且所有一切都是互相關連的，因為他們同出一處；而亦因為他們之間相互結連的關係，事情就會以藤連瓜瓜連藤似是按時發生。
石頭公社多年前的一個演出“後太平天國系列之「天國近了」”，朱導演就自拍了一段自己跳舞的短片，手舞足蹈、魁梧的身影投影在牆上，與時針跳動的影像交錯重疊，一段非常真情流露的舞蹈。當時看到了這段片的第一個感覺就是驚訝，驚訝他可以如此放膽地舞動。驚訝他雖然不是舞者，但可以拍出這樣有感覺，自編自導自演的 dance video，小妹實在佩服。早兩天和朱大導談起這段片，他說發現自己跳舞時總覺得手腳不協調，腳跳起來怪怪的。我心說：怪不怪並不緊要，只要跳出來的是真實的、忠於自己身體感覺的,怪又有何干。
在 Macau Closer 雜誌看到了一篇有關朱大導的訪問，摘錄如下： “………..it was my dream to study film. But then, when I finally got the chance, I realized that wasn’t really where my heart was. I grew more concerned with the intention behind the process. The fact is, I don’t like so much to make films just for the sake of making them. In the end, that’s just about technique. And no matter what means I use to achieve it, I find my ideal has always been centered on Macau.”
But seeing the rapid changes in Macau’s society nowadays, Albert Chu admits that his desire to make film has grown strong again. “After ten years being back in Macau and working here, I still have a feeling that I am not close enough to the people. I want to be inside the society completely, that gave me the idea for the film. I wanted to investigate filming the historic values of the city from the angle of a “subjective documentary” – subjective in that we are not obliged to talk about UNESCO heritage site, but can very simple see how people are living and linking themselves with the buildings, how architecture influences our culture, which in turn defines our identity.”
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