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"The Grandmaster" to release in US on 8/23/2013
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PostPosted: Mon Feb 11, 2013 12:23 am    Post subject: "The Grandmaster" to release in US on 8/23/2013 Reply with quote

"The Grandmaster" to release in US

Cinema OnlineCinema Online

11 Feb – Director Wong Kar Wai's "The Grandmaster" has been picked up by The Weinstein Company and will soon be seen across cinemas in the Western side of the hemisphere. broke the news that TWC acquired all the rights in the US and English-speaking Canadian territories from Annapurna as well as the rights to Australia, New Zealand and the UK from Wild Bunch.

"I am pleased to continue our long-time and multi-picture collaboration with TWC on "The Grandmaster". With Harvey's (Weinstein) expertise and his passion for this genre, I am confident that he and his team will reach new heights with "The Grandmaster" by cultivating hard-core action fans as well as exciting and pleasing those long-time fans of my films," said Wong.

Weinstein returned the compliments, praising Wong as an extraordinary filmmaker.

"The Grandmaster" tells the tale of Bruce Lee's legendary mentor, Ip Man, who crosses path with various Kung Fu masters during the Japanese invasion in the 1930s. The film stars Tony Leung Chiu-Wai as the grandmaster as well as Zhang Ziyi, Zhang Chen and Korean actress Song Hye-Kyo.

The epic premiered in the Berlin Film Festival as the opening film on 7 February.

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PostPosted: Mon Feb 11, 2013 12:33 am    Post subject: Reply with quote

Berlin: So Much For Bad Blood Between Harvey And Megan Ellison; TWC Acquires Wong Kar Wai’s ‘The Grandmaster’

By MIKE FLEMING JR | Thursday February 7, 2013 @ 11:59am EST

The Weinstein Company has acquired all rights in the U.S. and English-speaking Canadian territories from Annapurna on Wong Kar Wai’s The Grandmaster, which premieres tonight as the opening film at the Berlin Film Festival. TWC also landed rights to Australia, New Zealand, and the UK from Wild Bunch.

The Grandmaster, written by Wong, Zou Jingzhi, and Xu Haofeng, was executive produced by Ellison (she has money in the movie), and produced by Jacky Pang and Wong. The film opened to critical praise last month in China and has just reached over $50 million at the box office there, making it the director’s highest-grossing film in his career.

I’m sure there is uneasiness between Ellison and Weinstein. In an interview I did with him at Sundance, Weinstein acknowledged their mutual disappointment over The Master and how it didn’t break out, with Ellison not coming near recouping the $35 million or so that she spent to make the film. In hindsight, Weinstein felt he could have helped by selling the more relate-able theme of the homebound warrior who’s lost and looking for something to believe in, rather than the origins of Scientology theme that stuck with the film and didn’t get a strong response.

It is an epic martial arts drama set against the tumultuous backdrop of 1930s China and inspired by the life and times of the legendary IP Man (Tony Leung), mentor to Bruce Lee. The story focuses on two kung fu masters, IP Man, and Gong Er, and as their worlds collide on the night of the Japanese invasion in 1936. The plot encompasses themes of war, family, revenge, desire, love, and memory. The all-star cast headed by Tony Leung Chiu Wa also includes Ziyi Zhang, Chang Chen, Xiao Shengyang and Song Hye Kyo as well as hundreds of Asia’s top martial artists.

Wong said: “I am pleased to continue our long-time and multi picture collaboration with TWC on The Grandmaster. With Harvey’s expertise and his passion for this genre, I am confident that he and his team will reach new heights with The Grandmaster by cultivating hard-core action fans as well as exciting and pleasing those long time fans of my films.”

“We here at TWC feel truly honored to be able to continue our relationship with Wong Kar Wai and Annapurna”, said Weinstein. “Wong Kar Wai is such an extraordinary filmmaker, and The Grandmaster is no exception as he takes the audience on an exciting and emotional ride. Annapurna has come to be one of the great cutting-edge new companies in our industry. They have produced numerous award-winning films including Zero Dark Thirty, and The Master which we had partnered on, and we are absolutely thrilled to be working with them again as they have shown invaluable support to our campaigns”.

The deal was negotiated by TWC COO David Glasser and Michal Podell Steinberg, EVP Business and Legal Affairs and Acquisitions, with Chris Corabi on behalf of Annapurna and attorney George Hayum for Fortissimo. CAA, Hayum and Schwartzman represented Kar Wai on the deal.

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PostPosted: Tue May 28, 2013 10:13 pm    Post subject: Reply with quote

The Grandmaster - release in 8/23/2013

Company Info
The Weinstein Company Domestic Theatrical Distributor
Annapurna Pictures Domestic Theatrical Distributor
Sil-Metropole Organization Production Company
Jet Tone Films Production Company
Block 2 Pictures Production Company
Bona Film Group Production Company

The Grandmaster: Film Review
5:40 PM PST 1/9/2013 by Clarence Tsui

The Bottom Line
A scintillating mix of explosive action choreography and suppressed emotions, but it could have used more work on consistency in tone and character development.

Wong Kar-wai

Tony Leung Chiu-wai, Zhang Ziyi, Chang Chen, Wang Qingxiang, Zhang Jin, Zhao Benshan, Song Hye-kyo

Zou Jingzhi, Xu Haofeng, Wong Kar-wai

Wong Kar-wai's martial arts epic, the 2013 Berlinale's opening-night film, is equal parts existential melancholy and gravity-defying action.

Prior to The Grandmaster’s barnstorming pre-credits fighting sequence, the film’s main protagonist, Ip Man (Tony Leung Chiu-wai), is heard expounding his own view toward martial arts to an unseen friend. “Don’t tell me how good your skills are, how brilliant your master is and how profound your school is,” he says. “Kung fu: two words. One horizontal, one vertical -- if you’re wrong, you’ll be left lying down. If you’re right, you’re left standing -- and only the ones who stand have the right to talk."

STORY: THR Critics' 12 Best International Movies of 2012: THR Year in Review

It’s a line that sums up Wong Kar-wai’s much-anticipated historical martial arts epic. The Grandmaster, which will open the Berlin International Film Festival on Feb. 7, is an action-packed spectacle for sure -- indeed, the film contains some of the most dazzling fights ever seen onscreen, courtesy of the action choreography of Yuen Woo-ping (of The Matrix and Crouching Tiger, Hidden Dragon fame) -- but the Hong Kong auteur is seemingly more preoccupied with the introspective verbal exchanges between his battle-hardened warriors.

While martial arts aficionados will find fulfillment with the fights -- complete with more-than-explicit primers from some of the fighters themselves about the specialties of the art they practice -- Wong’s art house fan base also will find much to savor, with the leading characters oozing the kind of longing that defines the filmmaker's oeuvre. The suppressed affections between Ip and the young, headstrong northeastern fighter Gong Er (Zhang Ziyi) doubtless will mesmerize festival audiences converted to Wong’s aesthetics through In the Mood for Love.

REPORT: Wong Kar-wai in Last-Minute Rush to Finish 'The Grandmaster' for World Premiere

And beyond yearning of the romantic kind, The Grandmaster also is an evocation of the yearning for home from drifting individuals, with Hong Kong becoming a haven for fighters living out their last years after their forced departure from a politically tumultuous China (it’s hardly coincidental that the idea of the film was conceived as the director was putting final touches on Happy Together, his 1998 film about two Hong Kongers living in self-exile in Buenos Aires just around the time of the former colony’s transition to Chinese sovereignty). It’s a sentiment that should play well with audiences in the director’s hometown. If they are patient enough to draw such meanings from the film, that is.

Since Wong first announced the project in 2002, the life of Ip Man -- a real-life master who was responsible for the development of the Wing Chun school of martial arts, of which a teenage Bruce Lee was a student -- already has found its way to the screen with Wilson Yip's Ip Man and Ip Man 2. Offering a more straightforward account of Ip’s life, those films are distinctly more accessible than The Grandmaster, with actor Donnie Yen generating critical acclaim not just for the action but also for a measured performance revealing the man behind the moves.

This has certainly left a mark on Wong’s pursuit of The Grandmaster, with recurrent reports through the years of how the director was working to move his brainchild away from being just an Ip Man biopic. The project has traveled under the title of The Grandmasters for a certain period of time (the pluralistic title remains on the poster at the main web page of Wong’s production company Jet Tone Films). Indeed, it would have been a more appropriate title: While Ip’s perception of the world somehow frames the narrative -- through voice-overs accounting for his background and his observations of life and characters around him -- the final two-hour cut dedicates sizable screen time to Gong Er’s story, with other masters weighing in with their own philosophical and physical nuggets as well.

STORY: Berlin 2013: Wong Kar-wai's 'The Grandmaster' to Open Festival

The film’s first half-hour is definitely Ip’s (and Leung’s), though. Set in Foshan, the section first lays down Ip’s backstory, with his narration about his childhood and his marriage juxtaposed with images of a young Ip being initiated into martial arts by his teacher Chen Heshun (choreographer Yuen) and then intimate sequences of Ip’s contented domestic life with his wife Zhang Yongcheng (Korean actress Song Hye-kyo). Ip’s voice then leads the viewer to the Golden Pavilion, a lavishly appointed establishment, and brothel, which serves as a 1930s version of the tavern in old-school martial arts films.

Ip is contracted into a duel with Gong Yutian (Wang Qingxiang), a martial arts master from northeastern China looking for a last fight (and a consolidation of the supremacy of his school over its southern rivals) before he retires. When Ip emerges victorious, Gong’s daughter, Gong Er, challenges Ip to a fight to restore her clan’s reputation. She satisfies her hunger for a win but also finds herself subjected to another craving: With her and her opponent's limbs winding up all entangled (and some parts of the fight shot beautifully in slow motion), their yearnings begin.

But it’s at this point that Ip recedes into the background and Gong Er is allowed to take over. Shifting to her hometown in Japanese-occupied northeastern China in the late 1930s, the story kicks into play again as Gong Yutian dies after a confrontation with Ma San (Zhang Jin), his estranged ex-protege. Gong Er vows to avenge her father’s murder in the face of much disparagement from her misogynist elders, who tell her to let things lie and get married.

In one of their last meetings, Gong admits to having once harbored amorous feelings for Ip. But it’s a confession that leads to nothing. Just as significantly, she also tells Ip about what her main regret in life is -- that she has yet to see life as it is, and asks Ip to do so on her behalf.

Ip has survived all to tell the tale, albeit in a solitude shared by many of Wong’s forlorn protagonists in previous films. Putting Ip in a suit and tie in one of the film’s final scenes, it can be said that Wong might be evoking Chau Mo-wan, the fictional 1960s martial arts novelist whom Leung plays in In the Mood for Love.

When asked about the challenge of adhering to deadlines -- postproduction of the film reportedly was finished just in time for its Jan. 6 world premiere in Beijing -- Wong said in a press conference that he would have spent “a couple of months more” editing the film if he could. It’s easy to agree with him on the need for this: While this domestic-release version is a sight to behold, Wong struggles to channel his original vision into a limited time span. (His first rough cut, which reportedly came in at four hours, easily could appear later somewhere as a redux, as his Ashes of Time did in 2008.)

While Zhang Ziyi’s Gong Er is more or less complete and coherent, the same can't be said of some of the other characters, such as Chang Chen’s Razor, an expert of the Bagua school who is supposed to be another of the grandmasters. Song’s Madam Ip has only a cursory presence and is basically rendered invisible in the film’s second half. It’s a situation brought about reportedly by the long gestation of the film -- rumors are that the Korean actress couldn’t fit additional filming into her schedule -- but it also undermines Wong’s efforts to provide a fully realized, nuanced account of Ip’s emotional torment.

Still, The Grandmaster offers audiences much to marvel at visually. Production designer William Chang Shuk-ping has come to Wong’s aid with sumptuous sets, ranging from the pompous Golden Pavilion to the stunning snowscapes in which Gong Yutian’s funeral march takes place. Philippe Le Sourd’s cinematography brings Yuen’s scintillating action sequences into sharp focus -- a crucial factor given Wong's penchant for close-ups that can seemingly reveal a universe in the burning tip of a cigarette.

True to Wong’s style, The Grandmaster is infused with melancholy and a near-existentialist resignation to the uncertainties of fate. Even though we know that Ip eventually will prosper -- Wing Chun is now one of the most well-known martial arts schools in the world -- Wong's version of Ip ultimately is a portrait of a sad, isolated figure. Wong seems to be saying that Ip may be the last one left standing, but he is not necessarily the one who wins, after all.

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PostPosted: Thu Jul 11, 2013 7:51 pm    Post subject: Reply with quote

View With Your Crew: 'The Grandmaster'
July 11, 2013 | Jennifer Lafferty

The Hong Kong-Chinese martial arts drama The Grandmaster, starring Tony Leung, is headed to American theaters Aug. 23, 2013. The film, which has already seen a lot of success after premiering in China this past January, depicts the exciting life of Wing Chun, grandmaster Ip Man who trained Bruce Lee.

This biographical action saga is told largely in flashbacks. The story really picks up when Ip Man is challenged by northern China martial arts master Gong Yutian. In a strange twist, the fight between the two turns out to be an exchange of philosophical ideas. After establishing his reputation by defeating Yutian, Ip Man continues his journey to Hong Kong, where he faces enormous competition from other martial arts masters.

The film has been lauded for its visually stunning combat scenes. A scene in which Ip Man fights dozens of combatants in the rain is especially impressive.

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PostPosted: Thu Jul 11, 2013 7:53 pm    Post subject: Reply with quote

Review: The Grandmaster

By Kristie Michelle Chiew
The New Paper
Saturday, Jun 15, 2013

Set in the 1930s, the movie follows Wing Chun master Ip Man (Tony Leung Chiuwai) from his youth, to his experiences through the second Sino-Japanese war and finally his journey to the position of a Grandmaster in the martial arts world.

What I like is that while the first half of the movie focuses on Ip Man, we also get to see other gongfu masters, like Gong Er (Zhang Ziyi), the daughter of a gongfu master from northern China.

It is Gong Er and Ip Man's first fighting scene that is most poignant, made even more intense by sharp cinematography.

The Grandmaster is definitely a visual marvel with luxurious sets ranging from the gilded Golden Pavillion (a brothel or tavern of some sort), to the stunning snowscapes of Gong Er's northern home.

There are loads of contemplative shots and the music that underscores the film is more than amazing.

I also have no complaints about the cast, featuring famous names like China's stage actors Zhao Benshan and Xiao Shen-yang, martial art veterans Cung Le, Lo Mang, yuen Woo Ping and Bruce Leung, and Korean actress Song Hye-Kyo.

The DVD comes with a great behindthe- scenes featurette.

It showed how the actors trained for their roles, how they perceived their characters and how understanding the historical realities of that time affected their portrayal.

My only beef? I wish the DVD included the original language track for the movie, which was a mix of Mandarin and Cantonese. The DVD version is all Mandarin.
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PostPosted: Thu Jul 11, 2013 7:55 pm    Post subject: Reply with quote

The Films of Wong Kar-wai at the MFA
Museum of Fine Art (Boston)

Tickets may be purchased at, by calling the MFA Ticketing Line at 800.440.6975, or in person at any MFA ticket desk. Ticket prices: $9 for MFA members, students and seniors; $11 for general admission. Discount matinee prices (weekdays until 5 p.m., weekends until 12:30 p.m.): $7 for MFA members, students, and seniors; $8 general admission. $5 to all screenings for University members with valid student ID.


Acknowledged throughout the world as one of the most important directors working today, Wong Kar-wai has developed a signature style of bold cinematography, music, and editing that demands the immersive experience of the big screen. This complete feature film retrospective, at the Museum of Fine Arts Aug 1 through 25, includes a special advance screening of his latest film The Grandmaster. All films are in Cantonese with English subtitles and screen on 35mm unless otherwise noted.


As Tears Go By (Thu, Aug 1, 5 pm, Sat, Aug 3, 1 pm)

As Tears Go By by Wong Kar-wai (Hong Kong, 1988, 102 min.). Balancing experimentation and realism with brazen romanticism, As Tears Go By heralded one of the most auspicious directorial debuts in international cinema. Wah (Andy Lau), a rising star in the Hong Kong underworld, engages in a loyalty tug-of-war between Triad bosses and his unreliable partner. As an escalating test of wills with a stubborn debtor explodes into bloodshed and a ruthless police crackdown, Wah’s growing fascination with the beautiful Ngor (Maggie Cheung) becomes his last chance for an escape from a violent past.

Days of Being Wild (Fri, Aug 2, 7:30 pm, Sun, Aug 4, 3:30 pm)

Days of Being Wild by Wong Kar-wai (Hong Kong, 1991, 94 min.). Days of Being Wild offers an intoxicating cocktail of lush nostalgia and bitter alienation equaled only by Wong Kar-wai’s subsequent films. When Luddy (Andy Lau) beguiles lovely shop girl Su Lizen (Maggie Cheung), he unknowingly sets in motion a sequence of broken hearts and unremembered promises that climaxes in naked obsession, inadvertent self-discovery, and shocking violence. Days of Being Wild’s visionary audacity and deep romantic conviction sustains and rewards multiple viewings.

Chungking Express (Wed, Aug 7, 8 pm, Fri, Aug 9, 3 pm)

Chungking Express by Wong Kar-wai (Hong Kong, 1994, 102 min.). Kar-wai populates Chungking Express with characters dark and comic, magical and existential in this defining work of ’90s cinema. Two heartsick Hong Kong cops (Takeshi Kaneshiro and Tony Leung), both jilted by ex-lovers, cross paths at the Midnight Express takeout restaurant stand, where the ethereal pixie waitress Faye (Faye Wong) works. The layered soundtrack combines the busy streets of Hong Kong, jazz music, and the iconic song, “California Dreamin’ ” into a film filled with romantic longing. Digital presentation.

Ashes of Time (Thu, Aug 8, 5:30 pm, Sat, Aug 10, 3:30 pm)

Ashes of Time (Hong Kong, 1994, 100 min.). In ancient China, swordsman Ouyang Feng (Leslie Cheung) retreats to the desert to recover from the sting of an affair gone wrong. With a hardened heart, he subcontracts out killings to bounty hunters, who face their own dilemmas on the road to redemption. Tony Leung, Brigitte Lin, and Maggie Cheung also star in this martial arts epic. Featuring stunning choreographed fight sequences, Ashes of Time is “an excursion into the realm of pure cinema,” The New York Times.

Fallen Angels (Thu, Aug 8, 8 pm, Sat, Aug 10, 1 pm)

Fallen Angels by Wong Kar-wai (Hong Kong, 1995, 96 min). Set in the neon-washed underworld of Hong Kong, Fallen Angels intertwines two parallel tales about love and isolation with ultra-hip style and classical cinematic sensibilities. There’s a love affair between a contract killer and the ravishing female agent. Ex-convict He Zhiwu (Takeshi Kaneshiro) makes a living by re-opening shops that closed for the night and intimidating customers into buying goods and services from him. After an awkward romance with a girl named Cherry, He finds himself all the more alone.

Happy Together (Fri, Aug 9, 8 pm, Sun, Aug 11, 3 pm)

Happy Together by Wong Kar-wai (Hong Kong, 1997, 96 min.). Happy Together is a cinematic balancing act, a stunning display of filmmaking style, and a touching love story evenly mixed into one film. Tony Leung and Leslie Cheung play a pair of gay lovers living out the waning days of their relationship as expatriates in Buenos Aires. Happy Together reveals a corner of the world alive with intimate colors and an astonishing array of sounds.

The Grandmaster (Thu, Aug 15, 8 pm)

The Grandmaster by Wong Kar-wai (Hong Kong, 2013, 129 min.). See one of the year’s most anticipated films before its Boston release! The Grandmaster is an epic action feature inspired by the life and times of the legendary kung fu master, Ip Man. Gorgeously filmed in a range of stunning locations that include the snow-swept landscapes of northeast China and the subtropical South, The Grandmaster features virtuoso performances by some of the greatest stars of contemporary Asian cinema, including Tony Leung and Ziyi Zhang.

In the Mood for Love (Fri, Aug 16, 8 pm, Sun, Aug 18, 3 pm)

In the Mood for Love by Wong Kar-wai (Hong Kong, 2000, 98 min.). Hong Kong, 1962: Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) move into neighboring apartments on the same day. Their encounters are formal and polite—until a discovery about their spouses creates an intimate bond between them. At once delicately mannered and visually extravagant, In the Mood for Love is a masterful evocation of romantic longing and fleeting moments. With its aching musical soundtrack and exquisite cinematography, this film has been a major stylistic influence on the past decade of cinema.

2046 (Wed, Aug 21, 8 pm, Thu, Aug 22, 5 pm)

2046 by Wong Kar-wai (Hong Kong, 2004, 129 min.). Visually decadent and structurally complex, 2046 picks up where In the Mood for Love ends. Through time travel and parallel worlds, this lushly photographed romantic drama explores Chow Mo-wan’s (Tony Leung) relationship with other women only to realize his true love is for Su Li-zhen (Maggie Cheung). “An unqualified triumph” (The New York Times). In Cantonese, Japanese, and Mandarin with English subtitles.

My Blueberry Nights (Thu, Aug 22, 8 pm, Sun, Aug 25, 3 pm)

My Blueberry Nights by Wong Kar-wai (Hong Kong/China/France, 2007, 95 min.). Wong Kar-wai’s debut English language feature takes his audience on a dramatic journey across the distance between heartbreak and a new beginning. After a break-up, Elizabeth (played by songstress Norah Jones) sets out on a journey across America, leaving behind a life of memories all while in search of something to mend her broken heart. Elizabeth befriends others whose yearnings are greater than hers, including a troubled cop (David Strathairn) and his estranged wife (Rachel Weisz), and a gambler (Natalie Portman) with a score to settle. In English.
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PostPosted: Fri Jul 12, 2013 11:03 pm    Post subject: Reply with quote

Get Excited for Wong Kar-wai's 'The Grandmaster' With a New US Trailer
By Hillary Weston , July 12, 2013

Earlier today, we took a look back at the beautifully painful love and longing in director Wong Kar-wai's films. But with this latest feature we're given a film that harkens back to his Ashes of Time sensibility with The Grandmaster. Starring the ever-incredible Tony Leung—a true Kar-wai staple—the film tells the story of famed marital arts master Ip Man.

A few months back we got a glimpse of the film with a domestic trailer but today the full-length theatrical version has been released. With gorgeous cinematography and stunningly choreographed fight sequences, this may not be a languid existential romance but it sure looks incredible. Speaking to the film back in January, Variety stated:

Venturing into fresh creative terrain without relinquishing his familiar themes and stylistic flourishes, Hong Kong auteur Wong Kar Wai exceeds expectations with "The Grandmaster," fashioning a 1930s action saga into a refined piece of commercial filmmaking. Boasting one of the most propulsive yet ethereal realizations of authentic martial arts onscreen, as well as a merging of physicality and philosophy not attained in Chinese cinema since King Hu's masterpieces, the hotly anticipated pic is sure to win new converts from the genre camp.
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PostPosted: Fri Jul 12, 2013 11:12 pm    Post subject: Reply with quote

Grandmaster Interviews & Reports in different Languages:

Try to use one of these online translation tools:

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PostPosted: Sun Jul 14, 2013 4:20 am    Post subject: Reply with quote

Congrats to this amazing program, dear U.S. fellow fans.....a "WKW and Tony
-Festival".Good luck to get a chance to watch some of these BEAUTIFUL FILMS. Such a rare chance to watch them all in theatre ! Hold my fingers crossed for you to get tickets you want :)....
......and hope for s short report when you managed ;) haha
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PostPosted: Sat Jul 20, 2013 8:11 am    Post subject: Reply with quote

Sandy wrote:
Grandmaster Interviews & Reports in different Languages:
Fans, please make screen scraping and translate if you got time.

I`m working on it, at least on 2-3 articles. Give some more time, OK?
Water which is too pure has no fish.
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PostPosted: Mon Jul 22, 2013 11:10 pm    Post subject: Reply with quote

Wong Kar-Wai Takes on Yip Man? The Trailer for ‘The Grandmaster’ is Here.
by Bill Gibron on July 16, 2013 at 10:23 am

He was known as Yip Man, a master of martial arts that literally changed the face of modern fighting. Perhaps best known for training future international superstar Bruce Lee, his legacy, and the skill set known as “Wing Chun,” has been a focal point of contemporary wushu for decades.

Naturally, the iconic figure has been the subject of several films, including the immensely popular ‘Ip Man’ franchise starring Donnie Yen. Now, “visionary” director Wong Kar-wai, celebrated among the festival circuit crowd for his artistically ambitious films like ‘In the Mood for Love’ and ’2046,’ is taking on Yip’s story and cinephiles are already anticipating (and questioning) the results.

Imagine if David Lynch actually helmed ‘Return of the Jedi’ as planned or Shane Carruth tackled the next Batman reboot – that’s how fans are reacting to Wong working on this kind of material. Granted, he’s brought along ‘The Matrix”s amazing wire fu genius Yuen Woo-ping to give the fighting its ambitious authenticity, but it still seems strange for the auteur responsible for ‘Chungking Express’ to tackle a traditional action effort like this. Of course, one view of the latest trailer for ‘The Grandmaster”s impending U.S. release argues that Wong is working well within his own creative comfort zone.

Dang! John Woo wishes he could use as much slo-mo as Wong utilizes here and stars Tony Leung (as Yip) and Zhang Ziyi (of ‘Crouching Tiger, Hidden Dragon’ fame) appear perfectly content to mix it up in carefully choreographed fight scenes. Not much of the story is hinted at here (supposedly, the narrative focuses on the master’s life from the ’30s to the ’50s) just rainy backdrops, flying fists, and somber snowfalls. Critics have been complimentary (the movie was released internationally earlier this year) but with Western audiences looking for more bang for their buck, one wonders if Wong’s aesthetic will earn respect or rejection. We’ll have to wait until The Weinstein Company opens the movie in theaters August 23rd to find out.
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PostPosted: Mon Jul 22, 2013 11:13 pm    Post subject: Reply with quote

Wong Kar-Wai promotes The Grandmaster at Comic-Con in San Diego.

Weinstein Co., Wong Kar Wai Taking ‘The Grandmaster’ To Comic-Con
By THE DEADLINE TEAM | Friday July 12, 2013 @ 4:56pm PDT

If Metallica can rock Comic-Con, why not Wong Kar Wai? The Weinstein Co. is bringing the director to the annual San Diego pop culture confab for promo duties and to host the first US screening of the pic about martial arts legend Ip Man, which TWC snapped up hours before it opened the Berlin International Film Festival. Tony Leung stars in The Grandmaster as the man whose exploits include famously training a young Bruce Lee. Wong co-wrote the actioner, whose exec producers include Megan Ellison of Annapurra Pictures. Your fight coordinator is Yuen Woo-ping (Crouching Tiger, Hidden Dragon, The Matrix, Drunken Master), which means plenty of high-speed and slo-mo action. Zhang Ziyi, Chang Chen and Zhao Benshaw co-star in the pic, which smashes its way into theaters August 23. TWC’s Comic-Con premiere is set for Saturday July 20th at midnight at the Reading Gaslamp 15. Here’s the new trailer:

《一代宗師》亮相聖迭戈漫展 王家衛重剪
北京新浪網 (2013-07-22 17:56)






  文/記者 張婷婷

詳全文 《一代宗師》亮相聖迭戈漫展 王家衛重剪-娛樂新聞-新浪新聞中心



中評社香港7月18日電(記者 廖梓達)有人說,籌備和拍攝一部電影《一代宗師》,王家衛前後花足10年。“世間所有的相遇,都是久別重逢。”電影中的這句話像是王家衛說給自己聽,也像是說給觀眾聽。這部王氏美學滿溢的作品是如何誕生,拍攝背後都有哪些故事,由王家衛本人來說,最是精彩。17日,王家衛聯同有份參與《一代宗師》劇本創作的台灣作家張大春,現身第24屆香港書展,與大家分享“尋找一代宗師”之路。

  功夫就是時間 電影記錄時代




Pictures of Wong Kar-Wai at 24th Chinese Book Fair in Hong Kong.

故事有留白 “等待”被填充





電影帶回傳統 武術精神猶在






Last edited by Sandy on Sun Jun 22, 2014 10:34 pm; edited 6 times in total
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PostPosted: Mon Jul 22, 2013 11:15 pm    Post subject: Reply with quote

Just so folks might be busy. Try these online translators (which comes in multiple languages).

Both of these links will work. For those who had trouble understanding, try to use these links.

On Google translate, either type text or a website address or translate a document. Follow the instruction...
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PostPosted: Mon Jul 22, 2013 11:33 pm    Post subject: Reply with quote


Annual Hong Kong Book Fair - opening for one week, from 7/17-23. It attracted lots of people as seen in the pictures.






  一是多元,百花齊放; 二是熱鬧,氣氛張揚; 三是效率,人流旺順。這都是兩岸書展所欠缺的香港特色。



  香港書展則像茶餐廳,多元包容,高低並蓄,由專業的展覽策劃者包辦 logistics,這是港人強項,用最少的成本發揮最大的效益,再交由不同的文化和傳媒組織,例如《亞洲週刊》,策劃包羅萬有的演講活動。加上有自由精神打底,那麼,像茶餐廳有鵝肝也有牛腩河,香港書展亦有王安憶也有某某某,七天盛事,只要進場,總能如你所願有你所喜。



  今年是第24屆香港書展,估計將有八、九十萬人次觀眾參與,而江湖一直傳說,其實早就超過一百萬了,只不過主辦單位故意把數字壓低,以免觸犯消防安全條例; 一百萬是一條分界線,在此以上和以下的防火安全措施極不相同,主辦單位精明,棄高取低,節省成本。



  真的嗎? 真的只是這樣?


  別忘了香港書展每年售書數百萬册,雅俗兼容,而且每年例必有一兩百場的演講論壇,從出版專業的內部研討到文學名家的議論縱橫,以至明星出書和嫩模簽名,多元混雜,總不應該被視而不見或存而不論。從莫言到李敖,從張大春到朱天心,從詹宏志到王安憶,從韓寒到九把刀,皆曾在香港書展登台說藝,每場聽眾皆有兩三百人甚至逾千之多,難道這些活動都不算數? 都不被計入香港書展的活動成績單之內? 



  (文章來源:騰訊網 作者:馬家輝)

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PostPosted: Mon Jul 22, 2013 11:35 pm    Post subject: Reply with quote

Take a look at the crowds of people who visited the Hong Kong Book Fair.


2013年07月21日 09:03:20 來源: 人民網










2013年07月19日 08:27:50












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