[2023.02.07] A GUILTY CONSCIENCE PASSES HK$ 80 MILLION AND CELEBRATES WITH VIEWERS

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Dee Ho fulfills his promise and drops his pants to celebrate the film's HK$ 80 million box office
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A GUILTY CONSCIENCE held an 100 table, 1000 people banquet to celebrate the film passing the HK$ 80 million mark

Dayo Wong jokes that if A GUILTY CONSCIENCE would reach HK$ 100 million, he would like to grow a pair of wings and shake his feathers everyday

Louise Wong and Renci Yeung give hearts to celebrate

Dee Ho pulls up his shirt, then takes off his pants and bends down, showing a little thigh before quickly pulling it back up again.
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The Lunar New Year film A GUILTY CONSCIENCE (DUK SIT DAI JONG) since opening at the Lunar New Year has set records in Hong Kong. Since its release to now it has already passed HK$ 80 million. The film team in appreciation of the audience support last night held a 100 table banquet at a Mongkok restaurant for a celebration of 1,000 people.

At the celebration banquet A GUILTY CONSCIENCE team including director Jack Ng Wai Lun, stars Dayo Wong Tze Wa, Gardner Tse Kwan Ho, Louise Wong Dan Nei, Dee Ho Kai Wa, Renci Yeung Si Wing, Adam Pak Tin Nam, Bowie Lam Bo Yi, Vincent Kok Tak Chiu and Sheldon Lo (Law Hau Yung) took advantage of the loosened pandemic prevention measures and gathered with lucky viewers. A thousand people celebrated together, which truly was unprecedented. Since this movie opened during the Lunar New Year, it has set Hong Kong box office records, broke the Hong Kong Lunar New Year film single day opening and total box office record, as well as the opening and singing day box office record holder of the past 5 years. It reached second place in Hong Kong history and headed toward the highest grossing Hong Kong film box office record, as it had hope to break WARRIORS OF FUTURE (MING YUT JIN GEI)'s record. Wong Tze Wa even with A GUILTY CONSCIENCE and TABLE FOR SIX (FAN HEI GUNG SUM) had over HK$ 150 million box office record in half a box. In addition, the overseas box office climbed as well, in the U.S. and Canada it also became the Hong Kong film box office champion of the past 5 years, the admission champion and the highest screen number. In Malaysia it also became the Lunar New Year film champion.

The actors and director Ng Wai Lun raised a toast to the thousand guests and spoke. They also held a lucky drawing to give away gifts. Tze Wa presented a personally autographed art card, which represented if you watch the movie more you would naturally have God's blessing. Kwan Ho gave away a tea set. Wong Dan Nei gave away angel crystal accessory. Ah Dee gave away sunglasses, Yeung Si Wing a water bottle, Pak Tin Nam a skincare gift box, Lam Bo Yi a coffee maker, Kok Tak Chiu as foot bath, Lo Hau Yung a translator pen and director Ng Wai Lung gave away movie gift certificates in hopes of everyone would continue to go to the movies.

Speaking of the film breaking HK$ 80 million mark and would have a chance to break Louis Koo Tin Lok's WARRIORS OF FUTURE (MING YUT JIN GEI) record, Tze Wa happily said, "Earlier we actors bet all night. I guessed HK$ 50 million, since I already lost so I would have to pick up the dinner tab. Now it continues to climb, everyday I am a little dazed." At the current box office trend it might break HK$ 100 million. Tze Wa said, "I can only chuckle in response, I don't dare to say it's impossible. When the time comes I would grow a pair of wings and would shake my feathers!" Reaching HK$ 150 million at the box office in half a year, Tze Wa admitted the feeling was very strange. Earlier when he brought it up at dinner with Mommy she wouldn't believe that he would be more popular than Betty Loh Tih and Linda Lin Dai.

Ah Dee once declared that when the box office would reach HK$ 30 million he would take off his pants. Last night when he arrived, all his fans already screamed "Pants off". In the end he paid the bill on the stage. He danced as he pulled down his pants to his knees then pulled it back up. He was praised as being a real man. He also joked that if the box office would pass HK$ 100 million he would take off other actors' pants.

Louise Wong Dan Nei and Renci Yeung Si Wing hopeed that the box office would continue its charge. They both have said that the better the box office performance would be the more they would show, but they would add Fish Liew Chi Yu and show inch by inch. Now with the good performance, they wished the most for Tze Wa to be able to give them a big half a minute long hug as if they received God's protection and blessing. In addition they also hoped to be able to perform again with the original team.

[2023.02.06] MABEL CHEUNG'S DOCUMENTARY SUSPENDS ITS RELEASE

TO MY NINETEEN-YEAR-OLD SELF director Mabel Cheung met the press last night.  As for the controversy the film has caused, Cheung described it as a "piece of forever" and said that the original intent was to share a story about growing up.  As the past 10 years have been Hong Kong's most turbulent, she wanted to share the film with everyone.  She apologized to the team, the students, the alumni and others.

One of the protagonists in TO MY NINETEEN-YEAR-OLD SELF, Ah Ling, showed Ming Pao Weekly Culture the documentary consent her parents signed in 2012.  (The photo has been redacted for names, signatures, and for privacy)  Ah Ling in her writing claimed that after the school, the director and the producer failed to persuade her for the film to participate in a film festival, the official copy of the notice was shown to her for the first time.  "What I thought for years was a simple notice 
turned out to be an agreement that stated the terms in detail."  Ah Ling in her writing claimed that the school, the director and the producer said, if she continued to hinder the release she might bear the legal responsibilities

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Director Mabel Cheung Yuen Ting's documentary film TO MY NINETEEN-YEAR-OLD SELF (CUP SUP GAU SHUI DIK NGOR) recently got into trouble. Two of the students in the film "Ah Sheh" Sheh Lai Mei and "Ah Ling" Wong Cheuk Ling both have expressed displeasure at the film, the production team and the school. Ah Ling accused the film and the school of ignoring her wishes and insisted on releasing the film. Ah Sheh was upset with the film's production method. However because they felt that objecting would be useless, they both signed the agreement and attended the promotional events.

In addition, the Hong Kong women cycling athlete Sarah Lee Wai Sze blasted Cheung Yuen Ting for putting her interview into the movie without her knowledge. She only found out from fans and said that the interview was conducted after the January 2016 Asian Women's Track Cycling Championship in Japan. At the time she thought it was a general media post race interview. The interviewer never mentioned the purpose of the interview. She only thought that the content of the questions was odd as it was unrelated to the race. She also has asked for assistance in the matter; but because Hong Kong has no image rights and since the video belonged to Cheung Yuen Ting, it being in the film did not violate any law. Lee Wai Sze said, "Since it hasn't violated any law, does that mean it's right? Since it hasn't broken any law, do you not need to ask for consent?" She also said, "I believe everyone would have an idea on why I would 'exist' in the film. I wouldn't watch this movie, and I wouldn't encourage you to either."

Cheung Yuen Ting yesterday during an audience appreciation event said that the film starting today (the 6th) would suspense its run, as she hoped to clear all issues before making further arrangements.

[2023.02.06] A GUILTY CONSCIENCE PASSES HK$ 75 MILLION

Jack Ng says that when he makes a movie he has to be responsible to the audience.  He is not begging for ticket sales.  It would be great if the movie would break the record, if it would not he would try gain next time.

Jack Ng threw a tantrum when the background actors' minor movements ruined a great take of Dayo Wong's legal scene performance

Sunny Chan and Jack Ng are the Academy of Performing Arts classmates and are very close
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Started as a screenwriter, Jack Ng Wai Lun in his 23 years in the business has written many critically and commercially successful screenplays, including THE BEAST STALKER (JING YUN), THE STOOL PIGEON (SIN YUN), SPL (SAT POR LONG), COLD WAR 2 (HONG JIN 2) and ANITA. His directing debut, the Lunar New Year film A GUILTY CONSCIENCE (DUK SIT DAI JONG) was a overnight sensation. After 16 days in release it has made over HK$ 75 million. As it maintained its momentum, the film would have hope in passing the Louis Koo Tin Lok produced and starred WARRIORS OF FUTURE (MING YUT JIN GEI)'s HK$ 83 million to become the highest grossing Hong Kong Chinese film. Ng Wai Lun felt that whether the box office would reach HK$ 100 million, the key would be whether even more viewers who normally would not go to the movies would attend. If only viewers and fan groups who supported A GUILTY CONSCIENCE repeatedly to pump up the box office, even going over HK$ 100 million would not mean much.

Ng Wai Lun said about A GUILTY CONSCIENCE's box office continuing to climb and passing HK$ 100 million would not be a dream, "Actually whether it would be able to pass HK$ 100 million, the key lies in whether even more viewers who normally wouldn't go to the movies would put aside their differences and go. If we just rely on viewers or fan groups who have watched A GUILTY CONSCIENCE repeatedly buy tickets to pump up the box office, even if we would pass HK$ 100 million it wouldn't mean much. After seeing the movie, if you feel it is good, sincerely recommend it to friends who haven't seen it to go. Only this way would be the greatest power of promoting Hong Kong films. Nowadays, if you love it you do, if you don't you don't. If you like it then recommend it, if you don't then don't stop others from liking it. Those of us who make movies have to be responsible to the audience, not come out and beg for tickets. If we can break the record, we would break the record. If not then we would wait for next time. It's just that simple."

Would he consider releasing a director's cut or an extended version? He said that he would not. "Editor Mr. Chan Kei Hap and I sat together and edited the current street version. Actually it could be counted as a director's cut. The cut scenes would have the best chance to see the light of day again as DVD 'Deleted Scenes'. As for whether these Deleted Scenes would appear, I would have to have another talk with the company."

The Wong Tze Wa starred TABLE FOR SIX (FAN HEI GUNG SUM) and A GUILTY CONSCIENCE are currently in second and third place at the highest grossing Hong Kong Chinese film box office. Earlier when he talked about working with Ng Wai Lun, he revealed that although Ng was mild tempered he has thrown a tantrum on the set and yelled at people. Ng Wai Lun explained that because he felt bad for Wong Tze Wa giving a great courtroom scene performance, but due a minor gesture of a background actor the take was ruined. He joked, "Throwing a tantrum is only a filmmaking tool, appropriate tantrum throwing would make everyone alert. However when used too much it would become ineffective, like I was singing. Thus I didn't like to use this method too much, because throwing a tantrum makes people tired." He revealed that he chose Wong Tze Wa to play the role of Lam Leung Shui, because his stand up comedy image was mean enough. However Wong Tze Wa in person actually was very easy going. The "poison tongue" was purely for getting people in the mood.

Ng Wai Lun thanked Wong Tze Wa for giving him a lot of useful suggestions, like speaking Hokkienese in one scene. Also for his soccer field chat with Bowie Lam Bo Yi, Wong Tze Wa felt that it could go even farther so he lent a hand. Ng Wai Lun said, "Wong Tze Wa said that I was lucky, as he drove the story from behind. If he unfortunately caught the novel coronavirus and was in less than great shape, the entire film would have gone down with him. I felt that Heaven was helping the whole thing, reinforced myself to say: when I do something that I can answer for with aa conscience, Heaven would help me with resolving the problems."

Ng Wai Lun hoped to make a mob film with the original team. "A BETTER TOMORROW (YING HUNG BOON SIK) affected me. When I watched this movie at age 11 it already made me cry." However he never thought about working with his good friend Chan Wing Sun again, because when they worked together on MONSTER HUNT 2 (JOOK YIU GEI 2) they argued many times. He was afraid of hurting their relationship. In addition their genres were different. Chan loves to make light comedy while he excels in heavy subject action films. "When I saw his TABLE FOR SIX succeed, I was happy for him."

Ng Wai Lun and Longman Leung wrote the film ANITA, which made almost HK$ 63 million at the box office. He caught the eye of the film company's boss Bill Kong Chi Keung and finally got to taste his director dream. Ng Wai Lun said, "Kong Chi Keung knew that I excel in writing action film, but in 2020 the pandemic erupted. The future wasn't clear yet. The boss said that an action film would be harder to make, hinting that I should write a drama. What drama would be shot with a sense of action? I thought immediately of a courtroom movie. The rhythm of a war of words was like punches and kicks, as some would say shooting a drama like an action film. In addition I just finished watching foreign film IN THE NAME OF THE FATHER and thought a miscarriage of justice would be a very attractive subject. At the time he already thought, if in the future I would have the chance to direct, I definitely would want to make a courtroom movie."

The 47 year old Ng Wai Lun looked back at his humble days as a screenwriter and once thought about switching jobs. "Early on screenwriting didn't make much and was unstable. It was hard to make a living. At the most difficult I only had several hundred in my bank account. I also have thought about giving up and switching jobs, but I didn't have another industry I wanted to work in. So I could continue to write my expertise of crime films and action films. Yet due to cyclical unemployment and I didn't take enough initiative, my opportunities drastically reduced. I wasn't as lucky as the modern new generation, with so many opportunities like the First Feature Film Initiative, financing and greenlight projects. I also thought about whether to take this journey of screenwriting. In the end I still grind my teeth and worked freelance for a living. My Academy of Performing Arts classmate (Sunny) Chan Wing Sun and I wrote a soccer animation, but we knew nothing about soccer. We needed soccer fan friends' help to provide the information."

A film major at the Academy of Performing Arts, Ng Wai Lun before graduation already received instructor recommendations to be Gordon Chan Ka Seung's "page": responsible for handling the film 2000 AD's screenplay text. During that time he met director Dante Lam Chiu Yin, who gave him the opportunity to be a production assistant on JIANG HU: THE TRIAD ZONE (GONG WU GO GUP). Started from the bottom, he was responsible for some of the screenplay of HIT TEAM (CHUNG ONG GAING CHAK). "Lam Chiu Yin once asked me whether I wanted to be a screenwriter or a director, I chose to start with screenwriter because when I would become a director later I still would need to know how to write a script. At that time I finally understood that to be in this business, I had to learn to save money because I constantly faced unemployment. Also because of accumulating years of experience, this time for my directing debut I found many crew members I trust to help." He felt that the biggest difficulty of being a director was answering questions from different positions. As the screenwriter as well, he could not give himself too much free rein. "I had to write something that I could shoot, I couldn't be too fantastical."

[2023.02.06] AARON KWOK LEARNS TO PAY THE BUS FARE FOR HIS NEW FILM

Aaron Kwon is frowning during the shoot but off camera he keeps the mood light with Natalie Hsu 

Usually driving hot cars, Sing Sing seems curious about the electronic bus fare collector

Natalie Hsu gets into her character and once in the wheelchair she shows no sign of life
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Best Actor Aaron Kwok Fu Sing and Ann Bridgewater's daughter Natalie Hsu (Hui Yan Yi) earlier worked on their film on the streets. With his excellent acting Sing Sing was able to get into character for his bus catching scene in a second, but used to driving hot cars and rarely taking public transportation in recent years he was stumped by the electronic fare collector on the bus. Before taking his mark he studied it for awhile so he would be able to accurately play the character.

Kwok Fu Sing and Natalie Hsu (Hui Yan Yi) in their new film MY FIRST OF MAY (MO MING JI) played father and daughter. The film wrapped up production earlier. That day around 2 PM they shot on location at a Kowloon City bus station. Sing Sing's character looked down and out as he began work with a scruffy look. Due to the heavy story, he was in character and frowning throughout.

In the scene Sing Sing and the wheelchair bound Natalie tried to catch and board a bus. Serious at work, Sing Sing left no detail to chance. Before the shoot, he and the director boarded the bus and studied the two electronic fare meters in detail. Seemingly the Heavenly King was used to getting around in a private vehicle and not taken a bus in years, he inevitably was curious about the electronic device. In order to play the civilian role well, he and the director repeatedly confirmed every step.

During the shoot, Sing Sing walked quickly to catch the bus while Natalie sat in the wheelchair and looked dazed. Although Natalie was a new comer, her body language and eyes were able to meet the demands and fully delivered. After each take they immediately watched the playback, then they would evaluate and return to the shoot again. After three times or so they finished the scene and were very fast. After the shoot Sing Sing seemed to have breathed a sigh of relief. Turning from serious to warm in seconds, behind the camera he chatted and laughed with "daughter" Natalie and the crew in a friendly manner.

Later, Sing Sing and the production team moved to outside a computer store on the streets of Sham Shui Po. He changed into another look with a headband and a fanny pack, looking exactly like a neighborhood uncle. He traversed the streets for the shoot and attracted many onlookers. Although Sing Sing looked weathered, he was no less handsome as people frequently praised how handsome and cool he was in person. Sing Sing went back and forth several times like a professional and the director soon accepted the takes. At this time some of the crew called an end to the shoot. Everyone applauded. Natalie who already finished her scenes earlier appeared again to open bottles of champagne with Sing Sing and the team to celebrate the production wrap.

Sing Sing was in great spirits, thanked the on and off cameras workers and the bosses and raised a toast to wish for box office success. After the ceremony, Sing Sing without any sign of exhaustion continued to chat with the director and others. After half a hour he finally embraced the workers and bid farewell. He also took photos with Natalie and finally reluctantly boarded his vehicle and left.

[2023.02.05] SYLVIA CHANG'S NEW FILM JOINS ROTTERDAM FILM FESTIVAL SLATE

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Simon Yam and Sylvia Chang in A LIGHT NEVER GOES OUT

Director Anastasia Tsang attends the Rotterdam International Film Festival in Holland
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The Sylvia Chang starred film A LIGHT NEVER GOES OUT (DUN FOR LAN SHAN) after being selected for the Tokyo International Film Festival, the Golden Horse Film Festival, the Hong Kong Asian Film Festival, the Bangkok ASEAN Film Festival; it recently received more good news as it was selected for the Rotterdam International Film Festival Harbor program and nominated for the Hong Kong Screenwriters' Association 2022 Best Film Character Award. Playing the character at different ages, Sylvia Chang and Alma Kwok Yi Kwan were both nominated and both felt greatly honored. Sylvia Chang said, "The job of an actor is to bring the character in the screenplay to life, from one dimensional to multi-dimensional." Playing the younger version Kwok Yi Kwan also thanked the Association for the nomination. She also thanked the director and the screenwriters for creating such a touching movie, and Sister Chang for bringing the role to life. Yesterday the movie released an all new teaser to welcome today's Lantern Festival and Valentine's Day this month.

Director Anastasia Tsang Hin Ning recently appeared at the Rotterdam International Film Festival and had exchanges with filmmakers there. This was also the first time that she participated in the festival. The film festival's energy and its audience's passion moved her. "Viewers during the screening reacted with laughter and tears, which made me understand my work even more. I knew that it was able to successfully close the gaps of language and culture and moved the international audience, which undoubtedly was very encouraging." After the screening, viewers actively asked questions and shared their experience. They stayed at the cinema and discussed for a very long time. Director Tsang also tirelessly talked with everyone and discovered that everyone found Hong Kong's neon light scenery memorable. Director Tsang added, "The audience felt regret and didn't understand about the loss of the Hong Kong neon light scenery. They were very interested in the new and old street photo comparisons. One was the film prop master there, very curious a about the neon light prop production and mesmerized with the details within." The film festival also provided many exchanges and talks for filmmakers, and arranged for instructors to provide suggestions to new directors' development. Director Tsang admitted that this trip was very beneficial.

[2023.02.05] LI KUI MING PREDICTS LOVE FOR ELENA KONG

Sammi Cheung, Li Kui Ming, Elena Kong, Wu Lok Yi
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Li Kui Ming has been helping Elena Kong with her luck in love

Sammi Cheung plans to have two or more children
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Master Li Kui Mng said that I CHING MASTER would be the 10th movie in the SUPERNORMAL series. Many of his films PSYCHICS, SHAVE TO REBORN, and PHANTOM OF THE OPERA have repeatedly received international documentary prizes. He believed that the overseas audience would also like to watch the subject of I Ching. The film invited a group of TVB artist friends like Elena Kong Mei Yee, Sammi Cheung Sau Man, Wu Lok Yi and Ng Lai Chu to participate. Elena Kong Mei Yee has already worked with Li Kui Ming on 3 movies and radio programs.

[2023.02.05] MABEL CHEUNG REMEMBERS HER OWN COMPANION LIKE HE NEVER PASSED

Mabel Cheung says after the loss of her companion Alex Law she is left broken and with a lot to do
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The 72 year old Mabel Cheung Yuen Ting spent 10 times 3 to make the documentary film TO MY NINETEEN-YEAR-OLD SELF (CUP SUP GAU SHUI DIK NGOR) for her alma mater Ying Wa Girls' School. Before the film was even officially released it has already made over HK$ 7 million from the previews and won the Hong Kong Film Critic Society Award for Best Film.

Cheung Yuen Ting on a Commercial Radio program talked about her original intent for the film. She admitted that she never expected the movie would be able to be distributed. "My original intent was only to document the new and old school changes and their influence on 6 students' growth." She thanked the alma mater for cultivating her. During secondary school Papa suddenly passed away and her family was in dire straits. The school after understanding her situation waived her tuition, gave her a scholarship and even free lunches to her and her younger sister. Foreign teachers also hired her to teach them Chinese and give her jobs to make money. When she chose her subject, she chose the sciences for the money. On the first day of school her homeroom teacher ordered her to switch to the arts, later she realized that she liked literature. Her alma mater changed her life, whenever it needed help she would lend a hand.

Cheung Yuen Ting and Alex Law Kai Yui, who passed away last year, were known as the film industry "Bonnie and Clyde of Directors". When she looked back at when Law Kai Yui passed away she was very broken. Before they did not registered their marriage, she had no legal position to handle her companion's affairs. "At that moment I really waned to die. First I had to find his will, which was already a lot of trouble. He used to be responsible for the legal, financial and the purchasing departments. I didn't care about them at all, as I was only responsible for the catering department. After his death the accounts were frozen, but I knew nothing at all about when the banks, legal representatives, automatic payments were due. Everyday when I opened the mail box I would be very afraid. The water bill, the electric bill, the management fee, the taxes, car registrations all broke me down. I had to handle them step by step, to make the home to have water and electricity like before was already troublesome enough. I am still dealing with them now. Heavens! They really got me worse than whatever." Has she adjusted to them now? She chuckled, "I pretend he hasn't left! However with so much to deal with, when I have time I would look at his photo and yell at him! Ha! Actually in my heart there is still a huge black hole."

Speaking of being in love with Law Kai Yui for 40 years, have they never reached the step of registering their marriage? Cheung Yuen Ting said, "I never thought about it. First we didn't have any children, secondly because we were busy nonstop, I never thought about this and didn't feel it was necessary. Over the years many friends have asked me this question, but seeing them getting married and divorced, divorced and remarried then divorced again, I said it felt like a lot of trouble. The no one would ask me again! A relationship with someone comes from the heart, I really don't feel this was necessary."