Achieving a balance between realism with imagination and trade with art and creative freedom with censorship – the legendary Hong Kong director did not make Hongs only. It negotiates the complex facts of the manufacture of contemporary films.
Talk to diverse From Odin, Italy, after receiving the honor of accomplishing his golden life at the recently completed Festival Festival, the mastermind of the “legends” of the heroes of the heroes: The Gallants “present an explicit glimpse into his creative process and forces that reshape Asian cinema today.
Tsui, who is considered the leading character in the new Hong Kong wave in the 1980s, is called “Asia” in Asia, as the movie “Once in China” and the movie “Detective de”, among other titles. His latest latest films – before “Condor” heroes ” -” The Demons Back “and” The Battle at Lake Changjin “.
“Legends of the Condor Heroes: The Gallants” is an epic of martial arts based on the classic Jin Yong novel that was placed during the South Hong Song in China (1127-1279). The film focuses on the Guo Jing story that, after she became a master of martial arts, protects the borders of the southern Song family and becomes a national hero. The recognition of the life achievement, which was presented to him by the repeated collaborator Tony Lyong Ka Fei, comes at a time when the film made the first show of the International Festival in this event.
Returning to the Wuxia type, which has identified a lot of his brilliant career, he explains his approach to this last adaptation of the story of classic fighting arts. “I was intended to make it more realistic.” “Whenever you make a movie, you already have the intention, and then you are doing it … suddenly you absorb your thinking.”
The director says that the end result should be surprising. “I still want to do this type of attempts I use in (Condor Heroes), but then I think we are trying to design the procedure in a completely different work that I have done before,” explains, describing his treatment of the topic as “half a fantasy and a half realistic.”
In thinking about the development of Hong Kong dramatic cinema from his early days with the city of cinema and the “Chinese Ghost Story”, Tsui maintains that film makers are inevitably working within different systems. “We cannot get out of the (system). The system does not mean that it is similar to censorship. The system can be the market and the commercial system,” indicates financial pressure and investor expectations as constants in the creative process.
Besides commercial considerations, TSUI addresses the reality of censorship and other restrictions faced by modern movie makers. He says: “Of course, censorship is another system that we always face, which is something that cannot be touched on, which is something you cannot exaggerate,” referring to sensitive elements such as sexual content and moral standards that must be moved.
The effect of the Internet is another challenge, according to TSUI. “I don’t think it is my problem. I think there is a problem with every movie director in the world, confronting everyone … influence from the Internet,” he said.
When asked about the future path of Hong Kong Cinema and its role in its formation, Tsui says that the leading filmmakers like himself “did not start intentionally change anything.” Instead, his focus was always on sincerity and personal creative standards.
“Sometimes when we start making a movie from the text program, the text program in the words, in the text. But movies have everything,” explains how the film industry itself opens new views that go beyond the initial intentions.
Despite the current challenges in the Hong Kong industry, Tsui expresses cautious optimism about overcoming the current difficulties, especially with regard to market restrictions and contradictions between the regional public. “I would like to believe that we can get out of the difficulty we face now … We hope that we can cross the borders and we can communicate with more audiences.”
