Stanley Tong has been involved in film and TV productions for more than 20 years now. He started as stuntman, has been the stunt director, producer and director. He was awarded the "Excellent Chinese in Contribution to the World Award" by the China Federation of Youth Groups to commemorate his contribution in the movie industry. He collaborated with Jackie Chan before on titles including Police Story III : Super Cop, Rumble in the Bronx and First Strike, this year, the pair partner again on the big budget production The Myth that costs US$ 20 millions. Stanley Tong candidly admits that the hardest part in the preparation of this movie is to find Jackie Chan, who loves innovative and fresh ideas, a new role that he had never played before. "Jackie has a righteous screen image all along and there is no exception this time, no matter it is Meng Yi the General in the Qin Dynasty or the modern archaeologist that he plays dual, Jackie upkeeps the high moral image. The positioning is very clear." Stanley Tong states.
According to the director, Stanley, no matter what genre or theme the movie is about, one important success factor is to have a wide vision. "When I was shooting Rumble in the Bronx, I included a scene where a hover ferry buzzed across the crowded downtown area of Vancouver; in First Strike, I took in the beautiful scenery of Gold Coast and snow capped mountain. This time in The Myth, I merge drama with natural environment and historical background. To me, audience always likes to see stunning sceneries in a movie." In the eyes of Stanley Tong, a good movie should have an international market and commercial sense on top of the enjoyable pleasant visual esthetics. "A good product should have the capability to transcend territorial and cultural differences. It is an art to make a movie comprehensible to audiences of various nationalities. I can't agree to those narcissistic films because I believe that movie should satisfy the taste and needs of the mass audience."
The two pieces, Mr. Magoo the movie and Martial Law the popular CBS police series got Stanley the entry ticket to Hollywood. Six years ago, he started to return and develop his career in Mainland China though. "Actually, I learnt as early as ten years ago that China will be the biggest market for Hong Kong movies in the future. For the Hong Kong local market, "It is a pond that breed limited species", it will only get smaller and smaller. Years back, my titles Rumble in the Bronx took 54 millions in Hong Kong dollars, First Strike took 57 millions and Stephen Chow's Kung Fu Hustle recently took 60 millions, these movies have already hit the max in the local market box office, it is impossible to get more out of it. However, although the movies had an over 50 millions' gross revenue, the investment parties merely got a bit more than 10 millions' profit in return at the end. For a Hong Kong movie to succeed, it must be able to take itself aboard. Therefore, I went to Hollywood in 94, to learn others' publicity means and production technology and bring those lessons back."
Hong Kong movies used to rely on the overseas market of Taiwan, Singapore and Malaysia. Stanley, however, thinks that Hong Kong film makers should not look to these markets any more nowadays as they have all become colonized by Hollywood movies. Besides, the movie screening habit of today's audience has changed over time. "Audience will only go to see a big budget Hollywood movie loaded with heavy special effects in a theatre, for other titles, they simply watch them on DVD at home; this is the lifestyle trend. In order to attract audience, Hong Kong films have to have the most advance special effects and at the same time be cost conscious. For The Myth this time, I turn to a mainland computer company "Ta Si" for our special effects; if we hire an America company instead, the computer generated special effects only would consume the production budget for the entire movie." Stanley points out that the film industry in China is improving its standard now, however, training for movie talents is still not very much behind. "Why do we not see any other great martial stars after Jackie Chan, Jet Li and Michelle Yeoh? One of the reasons is that we do not pay attention to training talents. I am now preparing in full force, the opening of a film school in Shanghai and expect to recruit students starting from next year. I'll put in the experiences I gained from Hong Kong, the United States and mainland in the courses and coach students about practical on-site movie-making techniques."
For Stanley Tong who sees mainland as his base now, he had produced a few mainland TV series besides preparing the launch of the film school. To him, the most difficult aspect of working in China is, to understand the mentality of the locals and at the same time, not to be assimilated by their thinking or attitudes. To accommodate your own concept and the mentality of the mainland workers is the biggest challenge for Hong Kong filmmakers working in Mainland China.
(hkfilmart September 27, 2005)
