City Entertainment - Interview with Tony Leung

[feixue]

from leungchiuwai.net
thanks next
http://www.leungchiuwai.net/dispbbs.asp?boardID=6&ID=1321&page=1

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[Looney Tune]

It's been real quiet lately while Tony is on holiday . Here's a translation of an old interview to spice things up a little ...well no juicy gossips here, but serious serious stuff.....

Sorry for posting so late, but I am saving it for just such a time. (What an angelic excuse for being lazy.... )


Q: Why do you think the Hong Kong Trade Development Board has appointed you as the ambassador to Hong Kong Entertainment Expo(HKEE)? What is the actual work of an ambassador?

T: The actual work of an ambassador of Hong Kong Entertainment Expo is to promote Hong Kong films to the rest of the world. I get a lot of opportunity to travel and meet people from the film industry from all over the world when promoting my films or filming, I think that’s why that chose me as it’s more “convenient” for me to do so. Last year, I took on the responsibility to promote Hong Kong films wherever I went. For example, in International Film Festivals like Berlin. I have a lot of opportunity to meet with other people from the movie industry, and get to know their views on Hong Kong films and to introduced Hong Kong films to them.

Q: The Hong Kong Entertainment Expo has many topics. On of them is a forum for Hong Kong Asia Film Investment., to give a platform for international cooperation. Part of the industry thinks that that is the future for Hong Kong films, what are your views?

T: I’ve always thought so. Since last year. I believed that the future of Hong Kong films lies in co-production. The current direction is to cooperate with mainland China. Everybody knows that the Hong Kong film market is shrinking. Relying on Hong Kong market alone is insufficient to cover production costs. Hong Kong films used to rely on overseas markets. Starting from the 60’s, Hong Kong films were sold to Singapore, Malaysia, Korea etc. The 80’s were the glory years, with the best sales results. We could make over 200 films a year. Now we know we don’t have that market anymore, but it was very important. Without the funds, it is difficult to maintain quality. Compared to other countries, like Korea, a new director could have USD$3 mil to make a film. In Hong Kong, only A grade like Infernal Affairs has USD$3 mil. This is all due to shrinking market. Are there any strengths in Hong Kong films? There is. But how do you find a way forward in the future? I think that comes from cooperating with other countries. On one hand, they’ll be more funds which ensures quality; On the other hand, as different countries will be involved in the production, there is a guarantee of overseas markets (in the respective countries). This is the future trend of Hong Kong films. Besides funding, if you look at films like “Hero”, “House of Flying Daggers”, “Kungfu Hustele” etc, it is actually the fruit of co-production with different countries. They’ll use Japanese art direction, Hong Kong actors, American screenwriter, Chinese Director, this form of co-operation is a trend. At the same time, their creation will have a mixture of the different cultures, which is a good thing for creating a movie. It also has the elements that appeals to audiences from different countries, which guarantees a market for the film. It’s easier to start with consolidating the strength from Asian countries to make a film, which we have already started doing.

Q: With this investment forum in the Expo, the response has been good with over 20 proposals submitted. Do you think the Investment Committee has provided the boost?

T: I am not clear on the details, but with a good subject matter and new director, at least there is a chance, and a platform to look for investors, which is a good thing.

Q: You have been filming big production. If independent film, or small production were to look for you, would you consider working with them?

T: All these years, my criteria for choosing a film have not changed. Firstly, either the director or the produce has to be interesting, or the story itself is captivating, then I’ll take it. If Martin Scorsese were to look for me, I’ll definitely do it. I’ve seen his film since young. He must be an interesting person. If it is a new director or independent production, I’ll look at what he thinks, and the concept of the story. If I think it suits me, I’ll agree to accept it.

Q: The HKEE will be conducting a research into the media content that will attract the consumers in China. What elements do you think Hong Kong production needs to attract the China market?

T: In comparison to China production, Hong Kong production is more contemporary and has more variety. That has always been the attraction for China market. As to how to satisfy China market, that is difficult as there are many restrictions on subject matter. You can’t just film anything you like. Their movie has no classification, which is why they are very stringent. We still have to abide by their guidelines; otherwise, you won’t be able to release it in China. As for co-production, it can definitely boost the exchange of creativity for both sides, and to a certain degree, there is a guarantee of being able to release in China. But there are still a lot of restrictions.

Q: Being in the industry for so many years, what serious problem do you think the industry is facing now? What do you think the future direction is?

T: There is high and low for any industry. Film industry is one that should keep pace with a changing society, and this is the time to change. From a being simple local industry, we are going to transform into a trans-asia industry. We can’t survive using the present model. This is the time to change. You can say the industry is going through a low, but we should all look at the future.

Q: You have made a wide variety of film. Are there any subject matter that you have always wanted to film, but nobody want to invest?

T: There are many, I am keeping it until I become producer myself. But I won’t invest because I don’t know how to do business. I’ve been an actor for 20 years, and I still enjoy acting. In the future, I would like to do more behind-the-scene production, like creativity, script writing, producing. These are my future goals. As for subject matter, it may be very simple. Ordinary things that you experience in daily life can spark off creativity. I think I still have time to think about it.

Q: What are the things that you think should be supported or discouraged in the industry?

T: The industry has always been very efficient, hardworking, varied and quick to change, which is unique about Hong Kong film industry. I’ve filmed in other countries like France, Korea, Japan, China etc, and noticed that Hong Kong people are most quick to adapt to changes. In other places, they won’t change. They will follow what they have written, as change in one department will inconvenience the rest, and they have a complete system. This can be good and bad, but to be able to change instantaneously is a characteristic of Hong Kong film. They can cope when they encounter situations. As for the thing that we need to change, I feel that we need a union to protect the low-paid workers in the industry. They may be worth $3 but only given $2. They don’t have any union to help them. I feel that they should be paid reasonably for them to produce exceptional work.

Q: Some actors have reduced their price to help the industry. As an actor, what other methods are there?

T: I feel that reducing the price, has nothing to do with the film itself. That’s how the film industry is in the past, always able to ask the playwright to reduce his price. He’ll be force to reduce as he is jobless. Something that is worth $15 is paid $3, and he won’t be happy doing it. For example, I would be worth a certain price for the years of experience and professionalism in the industry, and you pay me $2. I will not be happy doing it. I think that actors reducing price is not a positive thing to do. A normal wage earner’s wage is reduced by his boss, will the industry fare better, and the economy prosper? I feel reducing the pay will only reduce the cost of production, and does not improve the quality of the film. The best way to support the film industry as an actor is to give his best and film high quality films for the audience.

Q: What are your plans for 2005?

T: I plan to rest and recharge in 2005. I have not stopped filming for 4-5 years. It’s about time that I take a good rest and live my life, read books, watch movies, exercise. We are suppose to film “The Master’ at year end (2004) but I felt that needed more time to train in Wing Chun. Furthermore, it’s easier to sustain injury in winter, so I’ve decided to postpone it till Spring or Summer next year (2005). I’ll make a trip to US in the middle of next year to promote 2046, and to meet up with some film company and see if there are opportunities for cooperation.

[Evie]

[mu99le]

wow thanks looney! evie's right...you've picked the right time to translate this article a little amusement is just what we need now
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"Soon we must all face the choice between what is right...and what is easy"

[news]

Thank you Looney Tune and feixue.

[Gathoni]

I agree with Evie. I'm impressed by Tony's original ideas, yeah, I always knew he was serious about his work, but this down to earth approach gives him even more credibility. Yes, one should excel in whatever one undertakes and then give only the best, this guys is a real superstar! and his views about economics and progression are well grounded! Kudos Tony, keep it that way!

Thanks Looney!
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The strengthening of faith comes through staying with it in the hour of trial.

[Desiree2]

Thank you so much for the translation. As I don't speak (not to mention read) Cantonese I would be lost.

Don't mind having been lazy - that's normal, but you finally made it and brightened up our days!
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Kind Regards,
Desiree


宁死不屈。