Director
Directed by 張釗維
聖嚴法師一生曾受到多位禪師、長老的提點。靈源法師要他放下紅塵；東初老人要他放下習性；印順長老要他放下批判；伴鐵牛禪師要他放下名位。而他的諸眾弟子則讓他，更進一步地認識何為「放下」。那就是，放下「師父」的身段，才能真正走進眾生的心房。而我在法師身上得到最大的啟示，亦是「放下」。然而，說得容易，做則困難。人生就是修行的道場，也許我們的智慧與悟性不足師父的千萬分之一，但我們可以用一生的時間，去參透因為「放下」而獲得的種種美好與喜樂。 聖嚴法師在生前最後留下了〈末後偈〉：「無事忙中老，空裡有哭笑。本來沒有我，生死皆可拋。」法師告誡我們，毋須懼怕生死，唯有當我們放捨諸相之後，當下便能夠發現自己的本來面目。我祈願自己，終有一日，也能證得「本來面目」的真實義。
《本來面目》裡，有幾處令我相當喜歡的片段。影片中有訪問美國佛教會創辦人沈家楨先生的片段，沈老先生握著比自己年紀稍輕的聖嚴法師說道：「聖嚴法師就是我的福田。」語畢後，只見法師雙手捂著臉，激動落淚。法師說他一生逆緣多而順緣少，沈老先生就是他的順緣，像是生命中的溫暖和一道陽光。看到此幕，方才理解，原來法師雖得智慧、開大悟，卻仍然是個有悲有喜的平凡之人。情之所至，依舊會流下淚水。
「我只想把和尚做好」——釋聖嚴 這句話不免讓人想起「人的一生只要做好一件事就好」這類的宣言。我並不太同意這種帶有命定論、結果論的說法可以有效地幫助時下年輕人面對困境，身為年近三十的青年，身旁的一切變動太快、太複雜，「把一件事做好」與「一生」對我來說是無法銜接的兩個句子，如何確定我正在做的事是值得做的？做一輩子是什麼概念？問題越來越多，反而覺得一生能做好一件事的人是否因為幸運或是有過於常人的堅持？ 但在《本來面目》中，聖嚴將「和尚做好」的經驗與行動說明了這類話可以是起心動念、也可能是晚年的回顧檢視，或者——「佛法這麼好，知道的人那麼少，誤解的人那麼多。」 如此單純的信念。 也許，做好一件事就是追尋本來面目的過程。
佛學不是玄學，獵人也不只是漫畫 在《本來面目》中關於聖嚴的思想多著墨在對於佛學的正確認識以及修行方法，令人不免好奇想更深入了解關於佛學/學佛的知識，就像當初看到日本動畫《獵人》念能力的基礎那段時，我也特別上網查了是不是真的有這些訓練方式。 在法鼓山的數位典藏資源裡有不少淺白易懂的書籍，看完其中關於禪修的方法就會發現其實不必要把禪學或佛學（甚至佛學與學佛是兩回事）當作飄渺虛無的玄學，實際上是一種可以練習整理思考的務實作法，在寫碩士論文閉關的期間，我也嘗試練習了一下，感覺還不錯，但別想獲得超能力就是了。
法鼓山聖嚴法師數位典藏「他者」如何詮釋一個人的一生？口白的角色與位置 如《本來面目》這類傳記式的紀實電影，我最在乎的往往是創作者作為「他者」如何理解與呈現出一個人的一生。 口白本身就是一個角色，並不是單純用來填補影像素材不足時的工具。「說話的是誰？」會影響觀眾去理解眼中所見的影像片段，例如黃信堯導演就很擅長以這種技巧去刺激觀眾；反之，若只是照本宣科唸一些可以直接用文字帶過的資訊，口白就顯得多餘。 《本來面目》的素材與文本已經很多元、紮實，鍾興民配樂也是十分豐沛，因此張釗維導演選擇再加以用口白的方式介入，更像是紀錄自己在創作此片時的追尋過程，事實上導演與聖嚴僅有一面之緣，所以口白也就成了跨越時空的一種對話方式。
張釗維導演在這部片裡使用了很多不同的敘事技巧，除了人物訪談、實地探訪與相片、現存影音與文字這類的資料呈現外，用了大量口白與章節式的戲劇式安排來導引故事進行，其中以影像轉描成動畫的橋段是我很喜歡的部分，動畫導演/視覺統籌馬毓廷的作品另有滅火器樂團的〈一九四五 1945〉MV（導演、編劇）、紀錄片《沖天》（視覺統籌、動畫導演）。 滅火器 Fire EX.－一九四五 1945（高雄大空襲桌遊主題曲 Theme of Raid on Takao ）：
滅火器 Fire EX.－一九四五 1945（高雄大空襲桌遊主題曲 Theme of Raid on Takao ）Official Music Video「對所有參與拍攝、製作與發行這部片的人來說，這段歷程，是對聖嚴師父的感念，也是自己實踐佛法的考驗。」——《本來面目》幕後花絮 「從2016年決定籌拍聖嚴法師紀錄片起，製作團隊調閱資料超過18500分鐘；完成聽打稿超過70筆，長度超過2500分鐘；閱讀整理超過百份的期刊、論文與書籍，之後，才開始拍攝工作。期間，共有百人以上一起工作超過一年，拍攝素材高達200小時，採訪超過40位以上的相關人物，拍攝地點除了台灣，還遠及日本、美國、中國大陸，手繪動畫超過萬張。最後，在經過年餘的後製歷程，才呈現出聖嚴法師跌宕起伏的一生。」 幕後花絮連結：
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