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Interview with Stanley Kwan in Paris
A Man's words 1/1 - Page 5
Info
Author(s) : David Vivier
Van-Thuan LY
Date : 2/7/2005
Type(s) : Interview
 
 Intext Links  
People :
Chang Cheh
Tony Leung Chiu Wai
Movies :
Rouge
Companies :
Golden Harvest
 
< Previous
Page 4 : Coming Out
 
 Notes  
Interview by David Vivier and Ly Van-thuan, tranlated by Tamara Sanchez and VTL.

Thanks to the Rencontres Internationales de Cinéma à Paris team and Dian-Odile Lestage, Tamara Sanchez and Sandra Couet.


HKCinemagic : Quels sont les cinéastes contemporains que vous admirez ?
S K : To be honest, I don't have a boundless admiration for one filmmaker. I react each time differently. I can love some films, and not others, in a great filmmaker. I love Ozu because I found in him constancy in themes and in style witch both speak to me. I love Jia Zhangke's movies, up to Platform (2000) : there was a very fresh look, a way of conducting the story, very touching characters. I admit that I hung very less to his last films. It's a bit the same feeling I can have against Wang Xiaoshuai [its Shanghai Dreams / Hong Qing won the Jury Prize in Cannes this year] For example, I liked The City of Pain of Hou Hsiao Hsien, for all sorts of reasons. But I don't have a favorite current filmmakers, "a priori". Those for whom I have great respect, as Ozu or Truffaut, had already died.
 
HKCinemagic : What are your plans?
S K : I have several projects on hold. They will probably be co-productions with China . Because there are now much more financial sources in China than in Hong Kong . The one in which I really put my heart is a filmed biography of Mei Lang Fang, a legend of the Beijing Opera in the last century. I want Tony Leung Chiu Wai to embody him on screen. The achievement of the project will also depend on the agreement of the actors, their planning. I hope to launch the project next year.
 
HKCinemagic : Do you want to make an action film or a wu xia pian?
S K : I hear this question very often. I'd like actually to make such a film. I want to shoot a remake of an old film of Chang Cheh. When I was a child, I loved to see Chang Cheh's movies, these stories of friendship between two men, in which one is ready to give his life to save another. This manly friendship is not necessarily motivated by homosexuality. For authors such as Chang Cheh, the values of chivalry come from the novel tradition, as in The Three Kingdoms. If I had to make a wu xia pian, I would insist on these aspects, not necessarily from an homosexual point of vue. But of course, people would say, however, that I made a gay movie!
 
HKCinemagic : Do you want to make a film with western actors, American or European?
S K : I had no such idea at this time to be honest, if I had the choice, I would still make films in China . I would nevertheless try to deal with more universal topics .
 

Stanley Kwan
 
HKCinemagic : How do you perceive the tribute made to you this year by the International Encounters of Cinema in Paris ?

S K : J I don't know how to answer you! (Laughs)

Compared to the 1980s, its "golden age", the film industry in Hong Kong is much less flourishing today. It's very difficult for a filmmaker to continue to deal with topics of interest without worrying about box office results.

Take my case. At the time of Rouge, I was under contract, as a director, with Golden Harvest. My work was to shoot the best films I could. I didn't had to take care of the marketing, the distribution. I didn't think about foreign public either. Young people today are "managing directors", probably much more from their first film : they must think about the international potential of their movie, the marketing, they must invest more in the distribution ... The filmmakers from Hong Kong, Taiwan or mainland China are increasingly aware of foreign market for their works. They try to make films less locally rooted, more opened to the world. All filmmakers could do this kind of movies, the question is who will be the best to do that.

To me, to be recognized honoured, at home or abroad, opens of course new perspectives. The potential market of my films will be expanded. I'll have more freedom to choose the stories I like. My projects will be completed with fewer problems ... I am very pleased and touched by the tribute that I received in France .

 
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