[2023.03.12] NEW DIRECTORS STICKS TO THEIR MOVIE DREAMS

Chan Hing Ka, Chan Si Ieong, Fan Ka Chun and Debbie Lam
courtesy of mingpao.com

The 23rd Hong Kong-Asia Film Financing Forum (HKIFF) will be held from the 17th to the 19th this month, with 15 finalists in the WIP category and 25 finalists in the IDP category; among which the SP Fan Ka Chun directed, Debbie Lam Suk Yin produced film project SOMETHING IN THE WAY (BUT MING SI GEIN), and the Chan Si Ieong directed, Chan Hing Ka and Robin Yung Tsz Ho produced film project WAVES UNDER THE SEA (HOI BUT YEUNG BOR) have all been selectd as the finalists of this year's HAF In Development Projects. Fan Ka Chun and Chan Si Ieong stuck to their movie dreams because of their passion, striving to achieve 150 points, face adversity optimistically, and actively look for opportunities.

The Hong Kong-Asia Film Financing Forum (HAF) is one of the key projects in the HKIFF Industry Project Market. The selected films under the HAF Film Project would meet with international investors, producers and distributors during the Hong Kong International Film and Television Market (FILMART) to seek financing and collaboration. Directors and producers of selected works in progress would even participate in open pitch conferences. In addition, HAF also has a number of awards to further support the development of the project, help the film start filming smoothly, and even have the opportunity to be exposed at international film festivals such as Cannes.

The director of the film SOMETHING IN THE WAY, Fan Ka Chun graduated from the 2018 Hong Kong Film Directors' Guild Master Class in Film Directing and the Professional Certificate in Screenwriting for Film class of Hong Kong Metropolitan University. He said that he liked suspense thrillers, so he thought about whether he could make such a movie. "The word 'unknown' in the Chinese title is to interpret as you can't see it, but what couldn't you see in you can't see it? Therefore in the film a police detective who suffers from facial blindness does not see the appearance of people, but sees the dark side in people. I want to use this story to tell how one person faces himself as he observes the evil in others." Fan Ka Chun revealed that the production budget investment would be about HK$ 10 million, which would not be a low-cost production. Based on the action scenes and some surreal situations on the screen, the CG requirement would naturally be more expensive. He met a friend who worked on STRANGER THINGS overseas, and hoped to use the price of C Grade to make B Grade production. He was also interested in Best Actor Wu Kang-ren for the lead role, and was currently also trying to make contact.

Starting a production is already difficult in the current film market downturn, would it even more difficult for the two new directors who are making a film (feature film) for the first time? Fan Ka Chun said, "You have to be optimistic, otherwise you will die! You have to keep working and keep trying. This is my first film, and I've done film work before; so I have to keep doing it, work when there is work. When there isn't I have to start writing scripts and look for the opportunities." He pointed out that this financing forum was one of the best channels for them to tell film companies and producers about the story of the film. Of course they would also try other platforms, as he has tried the Federation of Hong Kong Filmmakers' film projects before.

Producer Lam Suk Yin said that HK$ 10 million or more 10 years ago was nothing, but it would already be a big production today. She pointed out that government financing could be a way to find investors. This time at the financing forum they would see what investors they could come into contact with, and then see how to keep going. Fan Ka Chun said that in 2020 he has tried unsuccessfully to apply for the First Feature Film Initiative. Did government's support of the film industry still have big restrictions? Lam Suk Yin said, "Actually the government has been very relaxed, aside from the six First Feature Films that included the open group and the higher education institutions group every year, films could be financed all year round, and there are no restrictions on the subject matter."

As for the film WAVES UNDER THE SEA's director Chan Si Ieong graduated from the Hong Kong Baptist University Film School with a master's degree. She explained that "The Sea Doesn't Raise Waves" is a plaque on the Mazu Temple, representing the blessing of the seaside fishing boats running into less wind and waves. The story was inspired by the Chaoshan culture of her hometown. The younger generation went out to study and received open education, but their parents were still traditional and had an ambivalent attitude towards the concept of hometown. In terms of casting, Chan Si Ieong pointed out that because understanding the Hokkien dialect was a requirement, she was considering finding an inexperienced actor to perform. Producer Chan Hing Ka said that he has no experience with this subject either, but this time he was also a script instructor. He hoped that he could help Chan Si Ieong in the creative side. He pointed out that the production cost of this film was estimated between HK$ 6 million yuan and 10 million. He was currently waiting for the director to write a new script before looking for an investor, and he was confident about getting financing.

Chan Hing Ka joined the film industry in the 80s of the last century and has experienced the most glamorous and lowest ebb of films. He said, "I thought that 2000 was the most difficult time, but now it is the most difficult. In the 90s of the last century, there were counterfeits and the overseas market shrank, but I didn't expect it to be even worse now. In the past small productions could still be kept open, ultimately the market always had a demand; but now it is no longer possible." As for the prospects of the film industry, Chan Hing Ka pointed out that he is pessimistic on the whole but not necessarily individually. "In the past during the most difficult times, (Gordon) Chan Ka Seung confided in me, telling me not to worry. Usually under the best conditions a film would be made every two years; but now it is also a film every two years. Actually few are being made, I can only try to do my best." The entire film industry condition has been poor, so new directors would have even more difficulties starting production. Chan Hing Ka said, "Actually the government has done a good job now. With government funding, there are at least 10 movies every year, including financing, funding, and the first feature film initiative." How could the industry improve itself, and what could be done to turn it around? Chan Hing Ka said that he saw that there are some investors who have not invested in movies in the past, such as THE WAY WE TALK (HONG NGOR GUM TIN JUM MOR SUET) was also invested by the Lee family. Believing that the subject would be an interesting movie, there would be non-professional investors to support it. Speaking of the current phenomenon, TWILIGHT OF THE WARRIORS: WALLED IN (GAU LUNG SING JAI JI WAI SING) and THE LAST DANCE (POR. DEI YUK) were a big successes but generally other movies had a dismal box office to form a very big gap? Chan Hing Ka pointed out that this situation was currently occurring in the mainland and even the world. "As the saying goes, winner takes it all. NE ZHA 2 has taken everything, the rest have all lost because it is too strong. Only when the average could be pulled back a little would the market be healthy!"

When the industry, such as the nine major film affiliated organizations, would talk about what countermeasures they had, would they would allow everyone to participate? Lam Suk Yin said that she was also one of the representatives of the Federation of Hong Kong Filmmakers, and everyone has actually had a meeting. "Some of the industry stakeholders may be mainly on-site workers, when everyone would participate there would be some differences in communication; but everyone had had the discussions. For example, the recent salary increase and salary freeze issues, the government has also discussed these topics. We have too, but is the only way to reduce salaries? Not necessarily. We understand that casual workers, when productions are at a low ebb, have their poor living conditions. So we need to make the boss to want to invest in film production and maintain it!"

As for the salary freeze or salary reduction on the behind-the- scenes personnel, would actors need to do it as well? Lam Suk Yin said that actually of the new actors being talked about aren't really new actors. Most have room for negotiation. As long as there is a good script and the role has potential, many actors have room for discussion. Would the two new directors be frustrated or devastated by the current market conditions? Fan Ka Chun admitted that there must be frustration, so he had to persevere. Because he liked movies, he still had to be optimistic. "Although the road is so difficult, the only way to do it is to continue to do a good job. If the perfect score of 100, you have to achieve 150 points and push yourself to persevere!" Chan Si Ieong said that she should be optimistic as well. Speaking of ideals but she still needed to eat? She joked, "I can only eat less, but I really like film. In addition I just graduated, I already feel I am very lucky!"