在申請採訪，尤其是公眾人物時，我知道將面對的可能不只是受訪者一人，而是整個經紀公司或團隊，所以信件內文總是謹慎，除了表明自己的採訪目的，也得適時傳遞自己的風格與態度。畢竟，我沒有資深的採訪背景經歷、沒有專業團隊與我一起出動採訪或是高曝光的平台，因此每次申請對我來說都是難能可貴的機會。更不用提，當我收到對方肯定回覆時的感動與興奮。

聯絡少宗時是依著他在臉書上公開的電子郵件。收到的回信，竟然是他本人回覆的。文字簡短扼要，帶有詩人氣質，爽快答應了採訪申請，並且在前三封往返通信中已經定下採訪日期。

「怎麼是你回覆信件？當初收到回信時好驚喜呢。」不過採訪前幾日，少宗已經將臉書上聯絡的方式更改為經紀公司的，我竊喜自己的好運氣。原來，從2018年初與前經紀公司合約滿期後，一直是他自己管理安排工作。不過從2018年底開始（就在採訪之前），少宗在演藝工作上開始有不同規劃，從不同城市與不同的演藝性質，交給各個經紀團隊管理。「自主權都還是以我為主，我與各方工作人員聯繫討論工作內容。不過交給專業團隊來安排不同的工作，是我近幾年學到的寶貴經驗。」少宗坐在面向陽光的位置上，露出開朗的笑容。

這幾年曾少宗在戲劇演出的表現讓人印象深刻。回過頭瀏覽他的演出經歷，在2001年選秀中脫穎而出，以偶像團體可米小子成員出道。團體解散後，則全力轉往戲劇發展。不過他做的不只這些，以設計的背景與好友成立設計公司參與「許涼涼與她的少女們」戲劇的美術設計並且獲得金鐘獎提名，電視劇、電影及短片的演出，拍音樂錄音帶、拍廣告、也主持節目，同時演出舞台劇。如果還有印象的話，你知道他也創作詞曲，對文字敏感，這些年來出版了兩本書。

When applying for interviews, especially to well-known people, I know that I am not only interviewing the respondent but the entire team or agency behind him/her. Therefore, I always write the inquiry letters thoughtfully. In the messages, to show not only my purpose of the interview but also my personality. After all, I don't have enough experience at interviews, I do not have a team that always follows me for each mission, nor many fans and a platform to share the stories. Therefore, every request is an important opportunity for me. Not to mention, when I receive positive feedback from a respondent, I am thrilled.

I contacted Figaro via an email address that he publicly posted on his Facebook page. I was surprised that he replied my email by himself. His message was concise, yet with a touch of poetry atmosphere. He readily agreed to the interview, and soon, we arranged a date for the meeting.

"How come you personally replied to my email? I was pleasantly surprised when I received your response." A few days before our interview, Figaro had changed his contact email on the Facebook page which is connected to his new agency. It has turned out that since he had not cooperated with his former agency in early 2018, he managed his schedule by himself. However, since the end of 2018, there have been different plans for his career. There are different agencies in different areas to help him manage his business. "The autonomy is based on me, and I will contact all parties to discuss the work. But it is a helpful experience that I have learned in recent years to hand over to the professional teams to arrange different kinds of work." Figaro describes to me.

In recent years, Figaro’s achievement in acting has been impressive. Reviewing his career; he was a member of Comic Boys, a Taiwanese vocal quintet boy band. After the group was disbanded, he has been focused on acting. Besides, he set up an art-design company and participated in a drama producing, and the team won the Golden Bell nomination. Moreover, he has been participating in TV series, movies, short films and music videos. He hosted TV shows and participated in theater acts. If you still remember, you know that he also composed songs. Further, he has published two books over the years.

如果人生中有個轉捩點，那麼三十歲前的自己也是令人珍惜的

二十歲的時候在電視上看到選秀消息，少宗搭車從岡山到高雄參加比賽。在舞台上，他選的是優客李林林志炫的離人這首歌。高音域、字正腔圓且獨特的表演讓他脫穎而出。

正當青春的年紀，怎麼會選擇一條曲風成熟的歌呢？站在那麼多觀眾前的台上會不會緊張？「小時候我很喜歡用錄音機把自己的聲音錄下來。從模仿連續劇的橋段、媽媽買的有聲書、故事小百科等，我逐字朗誦錄音，再回放出來聽，聽到自己的聲音覺得很有趣。園遊會、校園活動的時候也會主動爭取表演機會，加入樂隊當鼓手，後來甚至想當指揮、加入童子軍。雖然這都是在大眾面前的表演，不過那時候我其實不懂什麼是表演，也不是因為想讓大家認識我，只是單純享受在舞台上的感覺，還有那個過程。」從小跟著母親一起聽民歌，對優客李林有很深的印象，所以才會直覺地選了離人這首歌。

「選秀時，坐在台下的評審都是當時在娛樂界或唱片界知名的經紀人，事後回想，才覺得是規模很大的一次選秀。」二十一歲時來到曾經看似遙不可及的台北發展；多年後以這座城市為起點，如今三十七歲的曾少宗已經走得更高更遠。

少宗坐在我的右手方，兩人才剛坐下來不到十分鐘。面對這場採訪開場，他還略顯拘謹、謹慎；是那種我採訪知名公眾人物時他們從工作經驗中自然會顯露的保護色。

當每個人到了一個年紀後再回頭看過往，會發現以前那個自己顯得很陌生，似乎與現在的自己有很大的不同；這就是生命累積所帶來的成長。

二十一歲就獨自一人到台北發展，在經紀公司塑造的形象下，那個在螢光幕前大家所認識的「可米小子的曾少宗」與私底下的「曾少宗」是否做了個性上的調整來達到經紀公司的期許，與當初大眾對於偶像團體形象的期待呢？

「以團體出道有點像是出身在一個家世顯赫、父母身世背景很好、兄弟姊妹能力都很強的大家庭中。周遭的人會對自己投注很大的期許，希望自己變成他們理想中的模樣。不過當初自己所期待的發展其實有些不同。」少宗說，這與近期作品「你的孩子不是你的孩子」的情況有點類似，把這些壓力放大來看，就是社會對我們每個人的期待，卻也是個套在我們身上的無形框架。

所以在可米小子團體時期，少宗往往與自己過不去、常鑽牛角尖。因為外界看待他的眼光、加上對自己的期許、希望在工作上有好的表現等，各方面加總起來，就容易被莫名的情緒束縛。即使後來團體已經解散，「前偶像團體成員」也一直是少宗在媒體上的代名詞。

「我曾經有段時間很不喜歡那個階段的自己，無法對身旁發生的事情做出即時反應，無法理解人際關係的運作，一直試著尋找真正的自己。多年後在一次表演過後，一位粉絲跟我說，當初可米小子陪伴了她一段非常美好的時光。我才明白不應該輕易地否認過去，這樣等於抹煞了當初喜歡我們那群粉絲的心意與回憶。」

尤其2018年底開始，少宗在日本開始有演藝的機會，「這是因為以前以可米小子的身份到日本發唱片，演的偶像劇也曾經在當地播放，才有機會讓日本的觀眾認識我。如果不是過去的累積，就沒有現在的機會。當內心自由的時候，任何外界發生的事都會變成小事，因為我才是那個束縛著自己的人。」過去不明白的道理，曾經讓自己放不開；在近年體會了心境上默默的改變後，突然海闊天空。以前強迫自己有立即性成績表現的少宗，現在則更為享受慢慢累積的過程與點滴。

If there is a turning point in life, then the age of 30 should be the point of mine.

At the age of twenty, Figaro noticed a piece of audition news on TV. He joined the draft and won an opportunity to be a pop singer and teamed with other four boys as a band, Comic Boys. On the draft stage, he performed a beautiful song. The unique performance made him stand out.

Had it always been his dream to be a pop singer? Was Figaro nervous to stand on the stage in front of so many audiences? I wonder.

"When I was little, I liked to record my voice with a recorder. From imitating the TV series, the audiobooks bought by my mother, etc., I recorded my voice and then played it to listen to my voice. It was fun. Moreover, I took opportunities to join all kinds of performance during my school time; I joined the school band as a drummer. I was evening thinking to be the conductor or to join the Boy Scouts. I had no idea about performance nor to be well-known by others. I simply enjoyed the moment standing on the stage."

"The juries of the draft were all well-known in the entertainment industry. Later, I just realized that it was a big audition." At the age of 21, Figaro came to Taipei where he had always dreamed of visiting or living when he was a little boy. Years later, taking the city as a starting point, he, at the age of 37, has gone higher and further.

Figaro sits on my right side; we just start the interview less than 10 minutes. He is slightly cautious; it is the kind of protection that they, the public figures usually reveal from their experience when communicating with strangers.

When we review our past, sometimes we find that the "younger me" is unfamiliar. It seems to be very different from the "present me". The gap is how we grow, and how life develops.

At the age of 21, Figaro became a team member of a pop band, Comic Boys. Following the expectation of his agency and the audience, the band became a popular group. However, the image he presented to the public was different from his real personality.

"The feeling was a bit like being born in a family with a great background, parents, brothers and sisters were all capable. People around me had a high expectation for me. Somehow, I had different ideas." Figaro says, being better than others is a kind of pressure, which is also the expectation of society for each of us. It is an invisible binding that ties everyone.

Therefore, when he was younger, he wasted time on insignificant problems. It was easy to be bound by all emotions. Later, even the band was separated, Figaro could not be released from the burden of the past.

"I didn't like myself very much. I couldn't react to what happened next to me. I couldn't understand how to keep relationships. I always tried to find a solution, but it did not work. Many years later, after a performance, a fan who followed us, Comic Boys, she told me that our band accompanied her for a long time and gave her an unforgettable period. And then, I realized that I should not easily deny my past, which is equivalent to ignoring the memories of our fans." Figaro tells me.

Since the end of 2018, Figaro has opportunities to act in Japan. "This is because we, Comic Boys used to publish albums in Japan. Also, our dramas were presented locally. Therefore, I had the chance to let the Japanese audience to know me. It is the accumulation of the past, without it, there is no possibility for now. When the inner is free, anything that happens will become a trivial matter. Because I am the only one who binds myself."

In the past, Figaro did not understand the logic and waste much time on insignificant problems. After realizing this truth, everything seems to be broader. In the past, he forced himself to found immediate results at work, and now he enjoys the process.

三十歲之後讓自己過的更簡單

年輕時追求現下立見的成績，擔心自己不夠好、不成熟、不飽和，於是少宗往身上套了很多沒有意義的枷鎖。「以前不懂，只覺得很辛苦，但卻摸不出一條路。有一次在做角色功課的時候與邱晧洲導演聊天（生死接線員的導演），他提點了刪去法的觀念，我才恍然大悟，不管是對生命、對生活或是對劇中角色的揣摩，感受周遭與當下時刻才是更為重要的。」那些附加在形象或是外表上的裝飾，自然而然就顯得沒有意義。

「從幾年前開始爬山後，這個行為似乎對我產生了化學變化。因為對大自然的敬畏，也改變了我過往的態度。以前有過幾次爬山時因為意外而感覺生命受到了威脅，這讓我瞭解到還有許多事情沒有做、沒有機會體驗。特別是當我們站在山交點時會感到自己很渺小、世界很大；所以不應該拘泥在小事上跟自己過不去，因為任何事情都會有出口，擔心強加都是不需要的。我現在感到很自在，也很期待以這個心態所開啟接下來的生活。」

少宗的房間裡是沒有遮光窗簾的，是因為希望可以跟上大自然的作息，天亮了可以感受到一天啟動的時刻。「除了這個原因之外，我也希望讓自己變的更簡單。因為如果常常處在優渥舒適的狀態中會降低對事物的敏感度，所以我也慢慢開始淨化思想來提高感受度。」

此刻坐在眼前的少宗似乎不再那麼拘謹，偶爾在回覆的字句間露出若有所思的優雅微笑。我說，少宗是位詩人，當他不在舞台上表演的時候，他為自己寫詩。

Let yourself be easier after the age of 30

When Figaro was young, he only focused on the current results and worried that he was not good enough, so he put a lot of meaningless burdens on himself. "I didn't get it before, but I felt everything was troublesome, and I couldn't figure out the answers. Once I was doing a character study, I chatted with Director Chiou Hau-Jou, he reminded me of the concept of a simple life. I suddenly realized that no matter what we try to figure out, it is more important to feel the moments around you and the present."

"Since I have been starting to ascend mountains and get closer to nature a few years ago, this behavior seems to have caused me a change. Nature has changed my attitude. There have been several times when I had accidents in the mountain areas and felt my life was in danger. It made me realize that my life is too short and there are still many things that I have not experienced. Especially when I stand at the mountain passes, I feel that we are tiny and the world is huge. Therefore, we should not stick to insignificant matters, because there will always be answers for everything. I feel very comfortable now, and I am looking forward to the new journal."

There are no curtains in his room because he wants to follow the operation of nature so that when it is dawn, he can feel the beginning of the day. "In addition to this reason, I also want to make my life easier. Because if one is often in a comfortable situation, it will reduce one's sensitivity to things. Therefore, I slowly begin to refine myself to improve my senses."

At this moment, he seems to be less cautious. Occasionally, when he replies to my questions, he shows elegant smiles. I think that Figaro is a poet. When he is not performing on the stage, he writes poems for himself.

演員有沒有屬於自己的個性與情緒呢？

「演員是個必須背負許多敏感情緒的職業，因此也特別容易放大情感。」少宗的雙眼圓亮，從慢慢進入採訪的情緒中可以感受他豐沛的情感。當初拍攝你的孩子不是你的孩子這部戲的時候，少宗刻意退出所有社群軟體、媒體，也減少與朋友見面的機會，希望藉由限制行為來守住凝聚好的情緒。

「幾年前拍攝東華理髮廳時，也有類似的經驗，除了在外型上刻意增胖、理了小平頭外，也花了很多時間與精力準備好角色的心理建設。常常有人好奇演員下戲之後的情緒管理；當一部戲殺青之後我們當然會有抽離的空虛感，因為與角色相處了幾個月時間，每天以這個獨特的個性來思考、說話與行動反應，（下戲後）真的會有一種找不到自己的感覺，所以抽離是需要一點時間的。」

挑戰性高、迥異角色變化的劇本是每個演員在演藝路上都十分期待的。不過這是在情緒醞釀上的功課準備。鏡頭背後外型的維持、皮膚保養，與保持良好精神狀態也是每個演員都很在意的細節。

「因為無法預期下個劇本出現的時間與劇情發展，所以必須把自己維持在某個程度的良好狀態。也因為在表演的時候，需要大量的肢體動作，很依賴身體的靈活度，所以也得保持體態與精力。就好像如果劇情有裸身的要求，才能隨時演出；演員必須能滿足編劇寫出來的角色才行。」雖然我們都因為對話而笑了，不過大眾或許很難想像「隨時隨地將自己準備好」那種看似不費心力的魅力，其實必須靠著強大的意志力才能維持。

採訪中聊到少宗接下來的戲劇安排，2018年十二月中將出發北京開拍一位青年導演的獨立製片電影（與少宗的採訪在2018年十二月初）。劇情講述的是一位警探從參與山難調查的過程中漸漸找回自己的故事。在外型上，少宗必須留長髮、蓄鬍，以滄桑、不修邊幅的姿態上鏡。

「我很期待與自己氣質反差很大的角色，所以當初拿到這個劇本的時候真得很開心。加上又是創作力豐沛的青年導演，另外，美術與攝影都是電影學院背景出生的劇組組合。我總是很興奮與不同背景的工作人員合作，因為他們看待事物的角度很不同、很多元。十分期待自己在這部劇中的角色呈現。」採訪之後一直到文章上線前，我陸續在少宗的社群看到他在外地拍片的花絮，因為劇情需求頂著亂髮的他，雙眼顯得特別有精神，閃閃發著光。讓人也期待著這部戲劇呈現在大眾前的那天。

Does an actor have his personality and emotions?

"An actor is a job that has to carry a lot of sensitive emotions; therefore it is especially easy to expand our sensations." His eyes are bright, and I can slowly feel his rich passions. When filming of "On Children", a TV series that represents the parenting and education issues happen in Taiwan, Figaro deliberately withdrew from all social media, and also reduced the chances of meeting friends. He expected to keep the concentrated emotions to achieve better performance.

"A few years ago, when I shot the Donghua Barbershop, I had a similar experience. Besides, to gain weight deliberately and shave a short hairstyle, I also spent a lot of time and energy preparing for the character. People often wonder how we manage our emotion from different roles in stories. I certainly have the feeling of emptiness when shooting comes to an end. I have been thinking and acting with a character for a few months and living with this unique personality every day. I sometimes have a feeling that I can't find myself, so it takes a little time to get away."

Every actor expects challenging scripts and different roles. "We can not plan when comes the next script and how it will develop. Besides, we need a lot of energy during performances; we rely on the body. Therefore, we must keep ourselves in the best condition. An actor must be able to achieve the character written by the scriptwriter." We may find it difficult to imagine to be ready at any time. The seeming effortless is actually maintained by strong willpower.

Figaro talks about the next drama that he will fly to Beijing to join a film in December 2018, right after our interview. It is an independent production film and leads by a young director. The story is about a detective gradually rediscovering himself from participating in a mountain accident investigation. Figaro has to keep his hair and beard longer to match the vicissitudes of life in this story.

"I am looking forward to this character that is different from my personality. I was thrilled when I got this script. Moreover, the team leader is a creative young director; also, the art director and photographer have an education background of the film academy. I am always excited to work with staff from different backgrounds because they see things from different angles."

(The interview was at the beginning of December 2018. After our interview, while I was composing the article, I have been reading Figaro's feed on his social media. He wore a messy hairstyle because of the script; however, his eyes looked particularly spirited and sparkling. I am also looking forward to the film.)

到異鄉發展的契機以及在不同文化中的工作經驗

拍攝日語What is real短片時，劇中那個認真、執著甚至有點可愛的男主角Aton令人印象深刻。當少宗聊起這段拍攝過程時，依舊顯露出興奮的神情。有沒有哪些拍攝場景至今難忘呢？

「無時無刻都令人難忘，那是個很棒、很特別的經驗，卻同時帶給我很大的衝擊。在自己生長的環境拍片總是感到很自在，因為是自己熟悉的生活環境。不過拍攝What is real這部短片時，必須時時刻刻把感官放大。雖然在現場有翻譯陪同，不過翻譯只能轉達劇組在口語上的要求，我必須隨時保持專注的精神來感受現場的氛圍、導演的情緒以及工作人員之間溝通的細節。所以那時候給自己的壓力很大，不希望有些微的閃神而錯失關鍵時刻。」

在亞洲幾座不同的城市工作，因為文化背景不同，因此思維與作法都有值得學習的地方。這幾年的工作經驗中，也讓少宗看到每個文化背後的精神與感動力。

「日本的團隊很重視自我要求的匠人精神，關注每個細小的環節。永田琴導演拍攝What is Real的時候，就連不同鏡頭間晃動時所呈現的韻律感都很講究。比如說，她希望可以更精準地傳達出主角在走路或是爬山時的氣質與模樣，甚至心情、姿態都可以透過不同的鏡頭來表現細膩的情感。同時，以不斷的排練希望每個演員在重複的過程中體會每個角色在劇情中發生的故事，並且激盪出新的靈感。這是我第一次完整感受到日本團隊的工作態度。」

雖然在不同地區都有工作機會，但目前少宗大部分時間定居於北京。這座新進開發卻又富有早期文化的大城市則帶給他無限的衝擊與靈感。「同一個劇組的工作人員來自不同的省分，文化相當多元，當大家聚在一起彼此分享自己的文化背景是很有趣的。當我有機會聽到不同的人生故事時，也可以產生很多靈感，累積演藝上的厚度與深度。尤其當大夥互相支援行動的時候，特別可以感受到凝聚力。」

當然，少宗更是享受在台灣的工作，因為熟悉整體作業方式與手法，所以特別感到舒服與自在。台灣的戲劇圈在電影、電視新浪潮的轉型階段中有了相當成熟的躍進，對劇本與拍攝細節也十分要求。從植劇場開始，一直到你的孩子不是你的孩子這些戲劇的累積，慢慢地讓大眾注意到人生與社會議題。

在不同文化環境中工作的時候，少宗絕對尊重每個劇組的工作方式。「每個人做事的方法都不同，身為演員的我只是一個執行者。拿到劇本之後，只專注在自己的角色上。」尤其美術設計出身的少宗有許多幕後的工作經驗，知道每個團隊的創意開發者、幕後工作人員都非常辛苦，並且背負著沈重的壓力，所以更加珍惜在幕前演出的機會，與劇組共享發表的成果。

The opportunity to develop in foreign countries and the experience to work with teams in different cultures.

His role in the film "What is real" was Anton, a young photographer. When we talk about the filming process, Figaro looks excited. Does he have any unforgettable scene during the shooting? I wonder.

"Every moment is unforgettable. It was a great and special experience, but it also gave me a big impact. I always feel comfortable when working in Taiwan, because I am familiar with the atmosphere. But when I shot the movie in Japan, I must always keep myself in a state of high alertness. There was a translator to assist me to communicate with the team. However, the translator could only convey the requirements from the crew; I had to concentrate on feeling the atmosphere of the scene, the mood of the director and the staff. It is not only about to understand a foreign language but to learn a different culture. At that time, I was under a lot of pressure. I did not want to miss any important moment."

Although Taiwan, the Mainland, and Japan are all Asian countries, the cultural backgrounds are different. Therefore, Figaro has learned both on thinking and practice among all. In the past few years, the work experience in different cities has also allowed Figaro to see the spirit and passion behind each culture.

"The Japanese team attaches great importance to the self-required spirit and pays attention to every detail. The director, 永田 琴 ながた こと even paid attention to the rhythm of all movements through using different lenses. For example, she expected that different lenses could accurately convey the quality and features of the characters while we were acting; even to reveal delicate emotions through different lenses. At the same time, through repeated rehearsal, she believed that we (actors) would know better each character in the story, even to gain new inspiration. That was the first time I have fully experienced the attitude of a Japanese team. "

Although there are job opportunities in different cities, most of the time Figaro has settled in Beijing. This newly developed but large city with old culture brings him unlimited influence and inspiration. "The staff of a team comes from different provinces across the Mainland. All cultures are quite diverse. It is interesting when everyone gets together and shares their experience. When I have the chance to hear different stories, I am inspired. Especially when everyone supports each other, you can feel the team is starting to gel."

Of course, Figaro especially enjoys working in Taiwan. Because he is familiar with the processes and systems, he feels particularly comfortable. The entertainment industry of Taiwan has made considerable progress in movies and TV series. "We also pay attention to stories that reflected the issues of life and society and slowly let the public notice it." He says.

When working in different cities, Figaro respects all the working style of each crew. "Everyone has a different system of arranging things. As an actor, I am just an executor. I only focus on my role." In particular, with an art and design background, Figaro knows that it is hard to work in the industry. Therefore, he cherishes each opportunity to perform and shares the results with the crew.

對未來的計畫

演員必須透過演示不同的角色才能累積出個人自我成長的軌跡。很多時候因為一部作品的後製期比較長，所以通常在作品公開時，演員的人生已經到了下一個階段。比起一般大眾，演員需要更多的時間做好工作上的事前醞釀，也必須擁有更多的耐心來期待成果的發表，往往無法在短時間內推進工作上的成長。

「後來明白，事情會在最適當的時間點發生。以前我是個心急的人，希望參與的工作或是作品可以在最短的時間內呈現。不過，事情與生命都有自己的軌跡，會在適當的狀態下出現；所以很多事情是急不得的。也許在期待的過程中會感到焦躁不安；可是當事件發生後，我們再回頭看發生的時間點，就會瞭解萬物都有它存在的原因與發生的道理。就好像我很喜歡的牧羊少年的奇幻之旅這本書中的故事脈絡，少年也是到最後才明白，不管寶藏在哪、是否尋獲了寶藏，重要的是一路上所體驗的過程與看到的世界。如同可米小子那段經歷對我而言，絕對是寶貴的人生過程與累積。」

少宗認為，年輕時候的自己雖然充滿勇氣、完全大無謂，不過以前卻太急著表現，現在則希望自己多聽多看多感受，不要設限太多，而以行動來累積成長與發展。

「牧羊少年的奇幻之旅中行走在沙漠裡的駱駝商隊，雖然在廣大的沙漠中必須繞開許多危險的區域、繞了很多的路，不過最終都會依照著星星的方向往綠洲前進。如果我是少年，那麼天上的星星對我而言，或許是夢想、或許是自我期許。雖然人生有太多的可能性會發生，不過我都很期待。」

Plans for the future

An actor reveals the individual's self-growth by performing different roles. The production period often takes a long time; usually, an actor's life has reached the next step when the former work is shown to the public. Compared with the general public, actors need more time to achieve their goals. They must also have more patience to expect the results. It is often difficult to develop the growth of work in a short time.

"Later, I realized that things would happen at the most appropriate time. I used to be an impatient person, and I hoped that the work I had participated in could be presented in the shortest possible time. However, things and life have their own path which will happen at the most appropriate time. There are reasons and answers for it. It is like the story of the book, The Alchemist that I like very much. The boy just understood in the end, no matter where the treasure is, whether he has found the treasure, the point is the process, the experience and the world he saw along the way. As the adventure being a member of Comic Boys, it was definitely a precious experience for me."

Figaro believes that although he was full of courage when he was younger, he was too anxious to present himself before. Now he wants to attend more, see more, and explore more. He doesn't set any limit or rule. He would like to grow and develop slowly.

"Like the camel caravan walking in the desert in the story of The Alchemist. Although they have to circumvent all dangerous things and areas, in the end, they move forward to the oasis in the direction of the stars in the sky. Although there will be many possibilities in my life, I am looking forward to it; no matter it is my dreams or my self-expectations."

快問快答

• 茶或咖啡：咖啡。（採訪當天，少宗點的是冰滴咖啡。）

• 巧克力或蛋糕：無糖巧克力。（「因為體質的關係，吃了糖臉容易浮腫，加上演員的身份，必須對自己的外型有所控制，所以我在日常中是戒糖的。在巧克力與蛋糕的選擇中，我選巧克力，因為還有無糖的巧克力。」）

• 東京或首爾：東京。（「我不會特別拘泥於某個城市的文化，而是享受待在不同城市裡的氛圍。小時候的夢想是當個游牧民族，沒想到長大之後真的有機會在不同的城市生活、旅行。」在累積了更豐富的旅遊經驗後，是否有機會再出一本類似曼鏡頭的創作呢？「有，希望可以再分享這些年的旅行經驗與想法。」身為一位攝影師，我很期待少宗的下一本攝影集，透過他詩人般的雙眼所觀察的世界會是很有趣的。）

• 海灘或高山：高山。（「我很怕海，覺得魚長得很可怕。以前有浮潛的經驗，不過總是很害怕從海底下會鑽出可怕的生物。」感覺少宗很可愛呢。）

• 最想合作的台灣男演員：吳慷仁。（「以前有合作過，不過沒有對手戲。因為吳慷仁個人的特質與魅力，會讓人更加期待。」這樣的組合應該也會讓影迷們期待的。）

• 最想合作的台灣女演員：柯淑勤。（「她是我的生命導師，讓我瞭解許多生命中深刻的事情。她很自在、豁達，珍惜生命也尊重生命。雖然很久以前有過對手戲，不過那時候我還太年輕，對自我認同的敏感度沒有那麼高。現在到了生命中的另一個階段，希望可以透過角色與她分享這些年的轉變。」）

Q & A

• Tea or coffee: coffee. (On the day of the interview, Figaro ordered an iced coffee.)

• Chocolate or cake: sugar-free chocolate. ("If I eat sugar, it is easy for me to get a puffy face. Moreover, being an actor, I must keep my body shape in good condition, so I quit sugar. In the choice of chocolate or cake, I choose Chocolate, because there are sugar-free chocolates.")

• Tokyo or Seoul: Tokyo. ("I don't stick to a certain city, but enjoy the atmosphere of staying in different cities. My childhood dream was to be nomadic. I didn't expect to have the opportunity to live and travel to different cities after growing up." After gaining a richer experience in traveling, is there a chance to publish another book to combine a photograph album and travel stories as the former one? "Yes, I hope I can share the travel experience and ideas of these years and publish another book soon." As a photographer, I am looking forward to the next book by Figaro. Through his poet's eyes, the world he represented will be interesting.)

• Beach or mountain: mountain. ("I am terrified of the sea, I feel that fish are terrible. I had a snorkeling experience, but I felt that there were terrible animals under the sea." From his words, I feel that Figaro is cute.)

• A Taiwanese actor you would to cooperate with: Wu Kang-Jen. ("We had cooperated before, but we did not play opposite. Because of his personal qualities and charm, I look forward to it if I would have an opportunity." Such a union should also make fans look forward to it.)

• A Taiwanese actress you would like to cooperate with: Ke Shu-Qin. ("She is my tutor. She let me understood a lot of profound things in life. She is very cheerful and open-minded. Although I had played opposite with her, I was too young to experience the process. Now I am at another stage in my life; I hope that I can share the changes of these years with her through the role.")

儘管我是因為很欣賞少宗才提出採訪申請，也的確透過他近年參與的戲劇演出感受到他在演藝上的突破與轉變。不過面對一位「演員」時，還是讓我在訪談前有許多預設想法；這位受訪者會不會以演出的方式、套上另一種個性來接受採訪呢？

從剛坐下來聊天時的拘謹模樣，在短時間之後，少宗已經開始大笑、以較為放鬆的肢體語言來表達加強說話內容的情緒時，我感受到他從一開始就未曾戴上面具的誠摯性格。尤其是少宗面對問題時多加思索的神情與態度，可以看出他認真對待不管大小事物的初心。

「我很喜歡與人相處，與不同的人聊天。不過也很享受孤獨，自己獨自旅行。」採訪接近尾聲的時候，少宗這麼說著。我想他或許還在揣摩與人、與自己之間一個最舒適的靠近距離，找出一個剛好的尺度與範圍來相處。不過在拿捏之間，他也坦露真心，不以刻板印象而後諸行動。

少宗，謝謝你提供我這個採訪的機會，不只打開了我的眼界，也讓我更深特體會到生命的累積是需要時間的。當我們朝著一心想抵達的方向時，前進的模樣已不再重要，而是那份心、那份執著，那麼自然地，那份凝聚力就會感動他人。

I appreciate the act of Figaro at work; therefore I applied for an interview. Through his performances, I can feel his transformations in performing arts. However, when interviewing an "actor", I had some presupposed ideas before our meeting. For example, would he play a role and treat the interview as another performing?

He was initially a bit cautious. Later, when Figaro began to laugh and relax his body, I felt his sincerity. Especially when he answered my questions thoughtfully, I could see his initial intention to deal with things.

"I like to get along with people and chat with them. But I also enjoy to stay alone and travel alone." When the interview comes to an end, he tells me. I think he may still try to figure out a comfortable distance between people and himself, and find a comfort zone to stay alone. However, he also reveals his sincerity and doesn't act with any presumption.

Figaro, thank you for the interview opportunity; it not only opened my vision but I also profoundly realized that life needs time to develop. As we concentrate on moving toward the goal, the appearance how we move is no longer important. It is all about the spirit and the strength, and naturally, that potential will touch others.

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