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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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