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| Chan Hing Ka believes a good script would be able to motivate excellent actors to work with him |
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Producer Peter Yam, directors Cheung Wai Yu and Guo Yutian
courtesy of mingpao.com |
The Hong Kong Asian Film Financing Forum (HAF) is one of the important
project under the HKIFF Industry Project Market, and is committed to providing
investment matching and collaboration opportunities for Asian film creation.
HAF announced that the "In-Developing Project" this year received a total of
414 applications from 38 countries and regions. In the end 17 nominated
projects were selected, showcasing the diverse facets and international
potential of Asia's new generation of film creation. Two of the films
nominated for "In-Developing Project", FORGETTING SHE IS SHE (MONG GEI TA SI
TA)'s director Guo Yutian and producer Chan Hing Ka, and MAMA MIA LET ME GO!
(WAN GAU NGOR LO MO)'s director Cheung Wai Yu and producer Peter Yam Yin
Chung were interviewed to talk about their creative feelings and how new
directors are facing the current downturn in the film market.
FORGETTING SHE IS SHE director Guo Yutian revealed that the movie
tells the story of a pair of inseparable friends, until it is revealed that
the two are half-sisters. The older sister leaves in a rage, but the younger
sister who values this blood bond makes a decision. The director wanted to
express that when the ultimate love cannot be possessed forever, it must be
possessed absolutely in death; which was also in line with her own view of
love. "My love accompanies fear, I am very afraid of things I deeply love
would suddenly disappear. I would be willing to use 'death' to hold on to
it." Producer Chan Hing Ka said that he has been leading the director to
write the script better to impress outstanding actors to perform; he finally
successfully made the director cry several times, and honestly expressed her
feelings for love in her heart in the script. "I too have spent almost two
years to assist the script changes to the fifth draft. The most recent time
I even made Guo Yutian cry for her to face the feeling for love in the bottom
of her heart, and sincerely displaying it in the script." In addition the story
is suspenseful, and the feelings are also written quite boldly yet precisely.
The three women's states of minds changed drastically, conceivably many actors
would want to play them.
MAMA MIA LET ME GO! director Cheung Wai Yu revealed
that the movie tells the story of a rebellious only daughter who wants to be
free from her control freak mother who has lived with her for 30 years. She
comes with the idea of arranging a Korean Oppa to seduce her numb Ma to
destroy the family. The movie seemed like an absurd comedy, but its core
remained a severe tragedy. She said that comedy comes from tragedy, and she
could relate to superstar Stephen Chow Sing Chi's ideas. "The market lacks
comedy. I know the audience has a desire to watch it. I hope my work would
be able to give everyone's mind a release." Cheung Wai Yu was happy that
after the script was nominated for IDP, she received many congratulations;
she felt like being seen in a beauty pageant, with many opportunities on the
way. The film's producer Yam Yin Chung said that this film is a collaboration
between Hong Kong and a Korean company and will even shoot on location in
South Korea. Aside from looking for a handsome actor to satisfy the
audience's desires, he would like to find an usually mild mannered
actress for the lead role for a contrasting performance. Yam Yin Chung
laughed and said that he has upset the director many times while discussing
the cast, because for the Korean male character in the film he considered
using an up and coming star; but he understood that the director had her own
ideas, wanting to work with the top Korean handsome Oppa to satisfy the
audience's desires. He would not kill any possibility as he agreed with what
Chan Hing Ka said, many big stars would put good scripts first. "Recently a
famous Indian actors after completing the Netflix ALIENS series broke into the
international market. He was still willing to have lunch boxes and take
independent film roles, which touched me a lot."
Guo Yutian felt very luck to be nominated for HAF this time. To be
able to be nominated as a new director, she can have access to different
positions in Asia and even around the world; including creators, producers,
investors and distributors. She believed that even if the market has money to
invest, it may not fall on new directors; so the market, good or bad, is just
as difficult for new directors, with difficulties to change the general
environment with her identity, she could only do her part well. "This project
of mine hasn't been to too much venture capital event, HAF really connects
the world. We have received a lot of congratulations after we were nominated,
which is a good start for our project. There are many opportunities to
obtain, as a newcomer I want to be seen by others!"
The two films coincidentally hope to raise 10 million (Hong Kong
dollars, the same below) to 13 million for production, Chan Hing Ka admitted
that financing a film production in an adverse market has been a strange
phenomenon, "When it's there, it's there; when it's not, it's not at all."
He said that it is difficult to find financing, but this time the script of
FORGETTING SHE IS SHE is a complex and extreme subject of women's states of
minds that has been rare in Hong Kong in the past twenty to thirty years;
so he was confident that it will attract investors. As for the producer of
MAMA MIA LET ME GO, Yam Yin Chung said that he has been to Busan, South Korea
to meet local filmmakers before. He felt that the appearance of Busan and
Hong Kong were very similar, which was in line with the script this time
and also made both Hong Kong and Korean companies interested. In particular
the two markets are also facing box office and production start problems,
this understanding is also quite important. In addition a Hong Kong story
takes place in South Korea facilitates collaboration opportunities. The
film will be easier to release in South Korea, which will also become an
advantage. "Can a single box office market support a movie today? I believe
it is quite difficult, and being able to make both sides the main market will
definitely help the film."
The Hong Kong film market is sluggish, how should a new director face
the future? Guo Yutian said that she wants to make her works unique, make her
works more like herself and show his dark side to the audience more honestly
and nakedly. She thanked Chan Hing Ka for sharing his creative experience.
She described herself like a hiker, starting at the foot of the mountain and
never seen the scenery at the peak before. She could only keep her feet on
the ground with every step. Cheung Wai Yu said that even when the market is
bad, she will have to continue unless she quits, so she has never given up on
this business. She will always find opportunities. The audience now likes
truth from creators and performers alike. She too hoped to be able to give an
answer to the audience, so she would continue to improve her scripts. She
suggested that young people should know how to manage money and be responsible
for their own livelihood when pursuing their dreams. Started as a
screenwriter, Cheung Wai Yu once participated in the Dayo Wong Tze Wah starred
TVB drama BOUNTY LADY. In pursuit of her directing dream, she jumped out of
her comfort zone, switched to work in distribution marketing and cinema
circuit operation for over a decade. She got an understanding of the film
industry operation and made a living. "The market is very poor, but I have
never giving up on the film industry. On one hand I am saving and living a
thrifty life, then continue to write scripts. I believe that in sincerely
facing myself I would be able to answer to the audience. The audience now
like to watch real content and creators. I suggests for young people to
manage their money well and set a stop loss position. While chasing your
dream you still have to make a living. Now the trend is no longer starving
yourself and living off eating draft papers." When asked if the financing was
insufficient, would she learn from director Philip Yung Tsz Kwong and take a
mortgage to make a movie? She joked, "I don't have a house to sell, I sell
talent! I hope to be able to attract investors with talent, my savings is
only enough to keep myself alive."
Chan Hing Ka also said that if selected by the "First Feature Film
Initiative" and the project will receive funding from the Hong Kong SAR
government, the producer will have to advance the money. "Because the
government will hold 10%, it may take a few years to give the final amount
after the film is released. For example, if the subsidy is 8 million, the
producer will have to put up 800,000 first. I have been lucky to have two
movies win at the same time, so I have to put up 1.6 million all at once."
Would he have to mortgage his home to start production, or have a lot of
savings he could take out? He joked, "I don't have a home, and my savings are
about to run out!" Yung Tsz Kwong used to have Mr. K to help him in filming,
and it is rumored that it was Louis Koo Tin Lok. Many people in the industry
have asked him to help start their productions. Chan Hing Ka joked that he
knew everyone would ask Koo Tin Lok, so he did not do so. He could only
continue to hold out himself.
The reporter asked whether the caliber of actors selected is
determined by the amount of funding for the current production? Chan Hing Ka
said that this time most of the funds will be used for production. Actually
today's actors do not mind too much about the pay, they will be happy to
perform when they meet good roles; they may even participate in investment.
He has met many actors who are willing to adjust their salaries for their
scripts and roles they like. "I once ran into (Sandra) Ng Kwan Yu, who didn't
take a salary when filming. She only calculated the dividends afterward!" He
also knew that Sammi Cheng Sau Man did not accept any money when filming
LOST LOVE (LAU SHUI LOK FA), nor did she ask for dividends. She purely wanted
to support the new director.
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