 HKCinemagic: We met Carol Lai, director of Floating Landscape. Her second directorial effort was based in the Chinese mainland. Why did you accept to take part to the production? |
| Arthur Wong: Actually I had a very good opportunity offered by Filmko [Pictures], whose boss is the youngest boss I’ve ever met. He’s only 30 or 32 this year. He gave me two opportunities, to be the producer and the DP in one single film. A DP who is also a producer is a strange situation -- it doesn’t happen often. He said he wanted the photography to be good and he wanted somebody to look after young directors. So I worked in such capacities for Barbara Wong’s Truth or Dare: 6th Floor Rear Flatand Carol Lai’s Floating Landscape. |
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| HKCinemagic: So you are like the big brother who watches over new directors and makes sure everything is running smoothly. |
| Arthur Wong: Right. And check all expenditures! |
Floating Landscape
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| HKCinemagic: Yes, the most important. |
| Arthur Wong: Yes, make sure it is under control. Since I had the worst experience before, I watch all the amounts in the budget very carefully. Barbara’s movie was a very commercial one, while Carol’s film was a very artistic one, so it was a very good chance for me to let people in the field see how Arthur Wong can do both kinds of movies within budget. So I took up the challenge. Luckily, I got two awards for the pictures. |
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| HKCinemagic: But Floating Landscape was a big budget also even if you consider it an artistic movie, wasn’t it? [Ed.: here Wong considers the difference between a commercial and an artistic film not on the basis of the budget] |
| Arthur Wong:I can say it was very small, only 6 millions HK Dollars, same as Barbara’s movie, 6th Floor Rear Flat. Actually the name should be Truth or Dare. |
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| HKCinemagic: Yes, that was the film’s first title I gathered. |
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