{"id":2582,"date":"2010-06-22T23:57:00","date_gmt":"2010-06-22T22:57:00","guid":{"rendered":"https:\/\/www.artfilmfest.sk\/en\/blog\/uncategorized\/2010\/06\/the-hongkong-new-wave-wasnt-a-conscious-movement\/"},"modified":"2016-02-08T12:38:03","modified_gmt":"2016-02-08T11:38:03","slug":"the-hongkong-new-wave-wasnt-a-conscious-movement","status":"publish","type":"post","link":"https:\/\/iffartfilm.com\/en\/blog\/highlights\/2010\/06\/the-hongkong-new-wave-wasnt-a-conscious-movement\/","title":{"rendered":"THE HONGKONG NEW WAVE WASN\u00b4T A CONSCIOUS MOVEMENT"},"content":{"rendered":"<p><b><span lang=\"EN-GB\">You are a&nbsp;filmmaker. At this year\u2019s film festival in Tren\u010dianske Teplice you hold the&nbsp;position of jury chair. What do you think is harder: to judge movies or to be judged yourself?<\/span><\/b><span lang=\"EN-GB\"><\/span> <span lang=\"EN-GB\">That\u2019s very tricky. I think making films is harder, because to say something or think something like theory is easier. But then if you have to make a film you have something you have time to do, and it changes all the time because you are dealing with feelings and actors, and sometimes what you think you might get, you don\u2019t get. <b><\/p>\n<p> <\/b><\/span> <b><span lang=\"EN-GB\">You started as an assistant to filmmaker King Hu, a master director of kung fu films.<\/span><\/b><span lang=\"EN-GB\"><\/span> <span lang=\"EN-GB\">Actually I have never followed him at the job, I was only at his office and I left after a few months for work in TV, so I didn\u2019t help him with any location at all. <b><\/p>\n<p> <\/b><\/span> <b><span lang=\"EN-GB\">You made some of your own movies \u2013 ghost stories, thrillers, but your best works blends a certain documentary realism with family melodrama \u2013 we can call it humanist cinema.<\/span><\/b><span lang=\"EN-GB\"><\/span> <span lang=\"EN-GB\">I started work in TV and we had to do the job that was assigned to us, and we were assigned to do a job on policemen; we were working on real cases and we had to do research. &nbsp;I worked on that assignment with several other directors, and it was very successful. But it wasn\u2019t my intention to do social dramas, because I like working on kung fu and other more romantic things. And in fact after that when I got into movies first, I was also making crime movies, and then I did kung fu. After thirty more years I found that actually, now I really intentionally try to make these realistic dramas, but before it was assigned to me.<\/span> <b><span lang=\"EN-GB\">You are also a part of the Hong Kong New Wave. How would you characterize this cinematic movement?<\/span><\/b><span lang=\"EN-GB\"><\/span> <span lang=\"EN-GB\">I came back to Hong Kong in 1975 after film school. At that time several people from film schools all over the world came back to Hong Kong and we all went to television. We did television dramas and at that time the old film studios were crumbling. After TV we were actually out to shoot movies. We shot realistic movies, costume dramas and kung fu and they said it was a \u201cnew wave\u201d. But it\u2019s not really a conscious movement.&nbsp; It somehow happened that there were up to ten different directors working in TV and making different types of movies like police, crime stories, and they seemed realistic; they seemed to be a new trend apart from the old costume dramas and kung fu. <b><\/p>\n<p> <\/b><\/span> <b><span lang=\"EN-GB\">What about young filmmakers in Hong Kong? Do they have the proper conditions (finance, talents) to make movies?<\/span><\/b><span lang=\"EN-GB\"><\/span> <span lang=\"EN-GB\">I think Hong Kong movies arose around 1994 because of the crumbling crises of the markets in Taiwan and even in Korea and Singapore. Malaysia used to constitute the mainstay of the foreign market of kung fu [film] in Hong Kong, but ever since 1993 the market was feted by so many of these, and because of their own development of independent national films of these regions, they started being successful. Korea has been very successful since 1996; they are making better films than Hong Kong. They have their own market and they don\u2019t need to import Hong  Kong films. So it is very difficult now to finance films for the Hong Kong market, because even at the box offices Hong Kong is at a standstill now, and the new trend is to have co-productions with China. But I think the new filmmakers coming up from film schools have lots of chances, because now they can make their own films very cheaply on DVD and get noticed at the festivals, and they will be after making a film.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>You are a&nbsp;filmmaker. 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