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Maggie Cheung wears a different cheong-sam dress in each scene. There were 46 in all, though not all made it to the final cut.
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Filming was shifted from Beijing to Macau after Chinese authorities demanded to see the completed script. The director never uses scripts.
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The original idea and inspiration for the film stemmed from a Japanese short story concerning two characters who often walk by each other in a stairwell, but do not converse. In that story the characters end up committing suicide.
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Kar-Wai Wong was shooting the finale, and editing the film a little over a week before its debut at Cannes.
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During filming, Kar-Wai Wong improvised often with the actors, crafting the story and mood of the film as he went along. Originally, "In the Mood for Love" was a much more obvious romance film, with the actors throwing witty dialog at each other and engaging in several scenes of love-making. Eventually, the actors and director decided to tone the mood down to the more subtle version that was released in theaters.
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Director Kar-Wai Wong found the English title for "In the Mood for Love" while listening to a song from a Bryan Ferry CD with a similar title, "I'm in the Mood for Love". It is a cover of a 1930s song with the same title, Kar-Wai Wong used the title and the song in an early Hong Kong trailer of the film, and it was also used in the USA trailer of the film.
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Maggie Cheung's hair and make-up took five hours a day.
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The number of the hotel room where Chow stays is 2046, which is the director's next feature length film.
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Filming took 15 months.
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Ranked #2 in BBC's "100 Greatest Films of The 21st Century" list, and the highest ranking non-English film.
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Despite being the two primary antagonists of the piece, the characters of Mr. Chan and Mrs. Chow are never physically seen on-screen. Roy Cheung and Paulyn Sun, who play these respective characters, actually filmed scenes as their characters which were edited out of the final cut (these scenes are present on the DVD and Blu-ray as deleted scenes) and their presence only remains in the film as voice cameos.
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The 5th collaboration between Kar-Wai Wong and cinematographer Christopher Doyle out of their 7 collaborations.
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The film is the highest ranked modern film on Sight and Sound's top 250. It holds the spot of #25 (2015-10-12)
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Chosen by "Les Cahiers du cinéma" (France) as one of the 10 best pictures of 2000 (#05).
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The original cut was 130 minutes long, before 32 minutes were edited out to achieve the 99 minute theatrical cut.
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Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.
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Ranked number 9 non-English-speaking film in the critics' poll conducted by the BBC in 2018.
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This film is part of the Criterion Collection, spine #147.
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