[2012.11.11] HONG KONG SCREEN WRITERS HAS ADVANTAGES AND FLAWS UP NORTH

Teddy Robin Kwan, Manfred Wong
courtesy of takungpao.com

The 2012 China, Taiwan, Hong Kong film screen writer exchange event began its three day run two days ago, with 20 Mainland and 4 Taiwan screen writers on hand. Attending Hong Kong screen writers included Manfred Wong (Man Jun), Teddy Robin Kwan, Alfred Cheung Kin Ting, Lau Tin Chi and Joe Cheung Tung Cho. The event yesterday held two exchange events then a press conference and a group photo opportunity. Today they will visit the Hong Kong film production base in Kwun Tong then wrap up the exchange.

The Hong Kong film development fund covered the event expenses.

Man Jun revealed that this time attending Mainland screen writers included Wong Kar Wai's new film THE GRANDMASTERS (YUT DOI JUNG SI) screen writer Zou Jingzhi, FAREWELL MY CONCUBINE (BA WONG BIT GEI) screen writer Lu Wei. He pointed out that in recent years Mainland film and television industry development has been thriving. Hong Kong screen writers might have an advantage when working in the north but they also have flaws. They are unable to closely include local life cultures. Thus many mainly write costume films. In Taiwan, in the past 102 scripts are needed, but over 70 had writers who were also directors. Only 28 were from pure screen writers. Thus screen writers could only be part time and could not make a living that way alone.

As for screen writer salary, Man Jun said that Mainland is the best. An experienced screen writer could make 100,000 yuan RMB per episode, in comparison Hong Kong screen writers only make several tens of thousands. The difference is truly drastic. Thus Hong Kong screen writers mostly have to work as directors as well to receive higher compensations. He continued, although Mainland salary is attractive, the restrictions are numerous. It does not have as much creative space as Hong Kong does.