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Interview with Stanley Kwan in Paris
Cinema from China 1/1 - Page 3
Info
Author(s) : David Vivier
Van-Thuan LY
Date : 2/7/2005
Type(s) : Interview
 
 Intext Links  
People :
Sammi Cheng Sau Man
Chiu Kang Chien
Chu Yuan
Ann Hui On Wah
Tony Leung Ka Fai
Daniel Wu Yin Cho
Movies :
Boat People
Center Stage
Intimate Confessions Of A Chinese Courtesan
Lan Yu
 
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Page 2 : Cinema from Hong Kong
 
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Page 4 : Coming Out


HKCinemagic : Can you describe the working relationship you have with the actors and the people in the movie industry of mainland China - on Lan Yu (2001), for example?
Ruan LingyuS K : The Chinese actors are all very good, very professional. The first film I shoot in China was Center Stage (The Actress / Ruan Ling Yu, 1991). It was indeed a "Hong Kong film shot in China ," and not a co-production : all the funding came from Hong Kong . At that time, China was still not very opened in terms of co-productions. The administrative procedures were lengthy and difficult. We had to obtain the agreement of the authorities by submitting the script. Then we were allowed by Shangai Studios to shoot in their premises and with their equipment. As for Lan Yu, it was from the beginning an "underground" project, both by its subject (homosexuality) and its mode of production (our moneylenders knew nothing about cinema). It was clear that the Chinese authorities would not have allowed us to shoot such a film openly.


In recent years, China is much more opened to co-productions with foreign countries. There are many explanations to that. One can say that the Chinese authorities want to attract foreign investment also in the field of cinema. One can also say that the potential of the Chinese market isn't indifferent. Chinese people also want to learn and make progress in film production through collaboration with foreigners. Today, it's longer rare to see films jointly produced by Chinese and Hong Kong, and even productions shared between China , Taiwan and Hong Kong . In this type of associations, each part brings its knowledge and its resources: China brings the studios and the natural settings, Hong Kong brings the funds and the stars of the island, and so on. Today, thanks to this economic opening in the movies field , Chinese or Hong Kong filmmakers find more financial sources for their projects, which can be produced by the China, but also by France, Japon... Overall, there's a greater dynamic in terms of openness and co-production in China .

Take for example the film I just shot, The Everlasting Regrets, with Sammi Cheng, Tony Leung Ka Fai, Daniel Wu. Initially, it was the Chinese producers who contacted me: they had just bought the rights to adapt the novel [written by Wang Anyi edition's note.] and wanted me to make the movie. They expected me to attract the biggest names on the project and to find financial partners in Hong Kong . On the arrival, it's a film financed by both Shanghai and Hong Kong people, with actors from both the island and the mainland [Hu Jun, Su Yan, etc.-edition's note.], very representative of the actual co-productions.
 

Lan Yu
 
HKCinemagic : Is the film finished?
S K : It is currently in post-production. It should go to Venice at the reopening.
 
HKCinemagic : Your first films were written by Dai Yau Ping An. He and Yau Kong Kin[author among others works of Ai Nu / Intimate Confessions of a Chinese Courtesan, Chu Yuan, 1972– note editor. ] are the same person, right?
S K : Exactly. Yau Kin Kong has worked with many directors of the New Wave of Hong Kong, under the name of Yau Dai Ping An. He wrote, for example,Ann Hui's Boat People (1982). He is a great film writer in Hong Kong .
 
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