A news article about Tang Wei’s acting career and Mabel Cheung’s latest film A Tale of Three Cities.
LOSING SIGHT OF A LONGED PLACE Director Interview
About five months ago, I received a short animated Hong Kong film via email as a submission for the Hong Kong Lesbian and Gay Film Festival. Combined with a very poetic story about a gay man in Hong Kong, it was one of the most gorgeously animated films I have seen in a long time. Four months later, that film, LOSING SIGHT OF A LONGED PLACE, and its three filmmakers, Jess Wong, Ricky Wong and Shek Ka Chun, went from having their very first film have its world premiere at HKLGFF to winning the Golden Horse Award for Best Animated Short. We got the chance to ask one of the directors, Jess, about the film and winning the award.
Dim Sum: What was your Golden Horse Award experience like?
Jess: It was our first time nominated for such scale of Film Arts Award. Golden Horse Award is being described as ‘Asia Oscar’, it has developed its authority and reputation by running over fifty years. From the perspective of watching it through livestream at home, to sitting in front of the stage that night, we were absolutely overwhelmed (with gratitude) by this once in a lifetime experience.
We never expect what we did for the past year could lead us to this stage. Meeting a lot of seniors and new friends, who are fully devoted to Film Industry and Arts. Most importantly gathering a group of people who enjoy the process of production and creation. By appreciating their works and exchanging our thoughts and ideas on issues that we care about, are something that helped us to clear up our mind, further determined our spirit on working in what we love, and promised to make a good use of it.
It was like a dream since nomination to standing on that stage. Getting recognition for this animation short film — Losing Sight of a Longed Place, we believed that not just us, but the value of many of the others are being seen. Again we were really lucky and blessed to have received so many help and support by people around, so that we came over to this stage.
Dim Sum: Did you miss anything you wanted to say on the stage at Golden Horse?
Jess: Yes, definitely. We were worried about overrunning the show. And also feeling completely blank in mind at that moment! There are lots of people that we have missed to acknowledge.
We would like to share the honor with our 9014 fellows — all the days and nights of hard working in 0413 are being paid off, I believed insistency is something that has deeply implanted in us. After all, things we have been through, let’s achieve our goals together and create animations that we enjoy!
To all our LGBT friends — thank you! Thank you for the trust in us. We have been receiving so much love from all of our friends. Without your support we could have never completed this task. Sometimes it’s not about our sexuality, but the common feelings that we all shared when we are living in the same society, facing same obstacles every day. No one should feel lonely as we are all equal, after all everyone shares same emotions as a human being. Thanks for teaching us to appreciate little things in life, feeling delightful is just as simple and direct!In the coming years, Tai Wan will be facing lots of challenges on constitution amendment for same-sex marriage. While each steps forward are crucial as it sets first example in Asia. Policy and supporting scheme are utmost important in this issue. We will need more attention worldwide, on-going discussions in our societies. Only if more people get involved and care about it, we then can make things better and sort out for solutions. Good things are always worth to wait.
Dim Sum: How did the three of you share the director duties?
Jess: Animation production are time and manpower consuming. As we are a relatively small scale of crew, basically three of us needs to be involved in all duties. Ideas development and script writing for voice over in this animation were the most challenging part. We have been working on 4 different versions before locking on the current last version. There are lots of interesting stories from Adam and our friends. But because of the consistency of our story within a short duration of time, we have to abandon many side stories and packed up with the current version.
Dim Sum: The screenplay is based on whose story and what made you decide to tell it?
Jess: The screenplay is based on the actual life experiences of Adam Wan — Former Chairman of ActionQ, project executive of Midnight Blue. We decided to document Adam’s story as we shares similar thoughts towards our society, his multiple identities act as a presentative of many locals, including the three of us, to express our we feelings about our current societal situation, and struggles of coming-of-age. We hope that by illustrating Adam’s story, the audience could feel and think in the shoes of our generation.
Dim Sum: Who is your favourite animation artist?
Jess: No any specific favourite. There are many excellent artists with their own personalized work. Akira by Katsuhiro Otomo, Perfect Blue by Kon Satoshi etc are incredible classic animations that gave great influences to many of the famous films, animations and artworks nowadays. With more online sharing platform commonly being used, works by many amazing animators around the world could be seen easily. We could share thoughts and ideas instantly and directly, which benefits a lot of creators.
Dim Sum: What do you think about the LGBT rights movement right now?
Jess: I think the LGBT rights movement in Hong Kong is still falling behind than many other developing countries. In fact, sometimes I feel like less people care about such kind of issues when it is not something that connected to them. Many of us care about things only when we are part of the stakeholders. To push one movement further, it is important to have as many people involved in policymaking. It is hoped that nothing is being too late when we only deal with issues after incidents or any lawsuit. We should bring up better proposals to continue to improve our current state, before people leaving things behind and never come back facing it. We should look for a better society by building it all together.
Dim Sum: What is next for you guys?
Jess: Not sure yet. Right now we are still buffering from Tai Wan and would like to have more time to think about our future plans. We all hoped to keep working on what we love, but we surely need a working place, time and ideas on what to do next. I guess it is not something rush so we can give some time to each other. Please stay tuned and also feel free to brainstorm us!
Interview by Russell Boaz
時間：7:00pm – 9:30pm
地點：香港中文大學 康本國際學術園 LT5
查詢：3943-8763 / 3943-7382
1955年5月，一場“肅清胡風反革命集團”運動席捲全中國，運動的中心人物胡風先生，曾在三、四十年代創辦了左翼雜誌《七月》和《希望》，是著名的文學理論家和詩人。 2003年起，彭小蓮和魏時煜開始走訪全部健在的胡風分子和他們的親屬，用了五年多的時間拍攝了二十多位案件的倖存者。 《紅日風暴》是第一部記錄“胡風案件”的影片，也是較早以個人視點拍攝、以獨立製作模式發行的歷史題材紀錄片。
YP1967 – Hong Kong Ciné Club
The Department of History invites you to a series of movie screenings related to the history of Hong Kong.
The first screening, YP1967, is a documentary film of six ex-young prisoners who face harsh realities of alienation, rejection and being forgotten, but have a few words to say after half a century of silence. Five decades later, in spite of the city’s 20th handover anniversary celebrations, six ex-young prisoners speak out for the first time about their personal and unmentionable experience. This documentary film is about their love and hate towards their country, their honour and dishonour as a convicted criminal, their condonation and condemnation of the parties involved, and their truthseeking and reconciliation with the past.
Can To (the director of YP1967) is an award-winning documentary film director and producer with twenty years’ experience working in the television and media industry. Before founding CANTO WORKS, she was a senior TV producer at RTHK where she produced over 20 episodes of the acclaimed documentary series Hong Kong Connection.
Can’s production has won great international acclaims for the last two decades. In 1998, Where Women Ruled, a documentary film on Moso Tribes in Yunnan Province in China won the New York International Film Festival Finalist Award. A War Without Guns, a documentary film about AIDS orphans in China, won the Silver Award of United Nations Department of Public Information (UNDPI) in 2005. In 2010, Little Photographer, an independent documentary film on children photographers in Sichuan province in China after 512 Earthquake, won the New York International TV and Film Festival GOLD Award.
Screening in Cantonese with English subtitles.
All are welcome. No registration is required.
Date/Time: 7/12/2017 19:00-21:30
Venue: Room 4.34, Run Run Shaw Tower, Centennial Campus
For further information, please visit: http://www.history.hku.hk/news_s17event_cinehk.html
Screening of short film directed by Sharon Yeung
【deTour 2017 設計講座｜Design Dialogue】🎞🎥影片放映及分享 Screening and Sharing 🎞🎥
What is Creativity? Are you Creative? These are the two questions the film explores through a group of students and six individuals – a psychologist, a designer, a startup entrepreneur, an activist, an inventor and a yoga teacher.
The 25-minute film launches into a whirl through numerous ideas on creativity from how our mind works, to our obsessions and fears. It then explores the possibilities of what we can do to rediscover the creativity within ourselves. Followed by an open discussion lead by Cesar Harada.
日期 Date ：7/12（四/ Thu）
時間 Time： 6:30-8:00PM
放映作品 Screening Video：《原來我》
講者 Speaker： 原田 実（MakerBay 營運總裁）/ Cesar Jung-Harada（Director, MakerBay)
👉🏼講座及報名Design dialogue and registration: http://www.detour.hk/2017/programmes/?type=design-dialogues
Q&A with Betty Ho and Roger Lee on Hong Kong Film Industry
BY PANOS KOTZATHANASISNOV 20, 2017
Hong Kong youngsters win Golden Horse award for short film about gay rights activist
Three Hong Kong youngsters have won the Best Animated Short Film prize at the 2017 Golden Horse Awards for a 465-second story voicing the struggles suffered by sexual minorities.
Shek Ka-chun, Wong Chun-long and Wong Tsz-ying received the honour at a prize ceremony in Taipei on Saturday night, hours after 10,000 people joined the ninth annual Pride Parade in Hong Kong for sexual equality.
On stage, Wong Tsz-ying said: “Changing a man is difficult. Changing a society is more difficult. Taiwan made us see hope today. I would like to say thank you on behalf of the minorities.”
Shek said: “We are students from Hong Kong. It felt so surreal because we have always watched the Golden Horse Awards ceremonies.”
They all expressed gratitude for their families and friends.
The award-winning film, Losing Sight of a Longed Place, was the trio’s final year project production. At a congregation held next month, they will become the first batch of graduates from the Department of Animation and Visual Effects of the Open University.
The animated documentary was about the fight, frustration and reflection of a Hong Kong gay rights activist, Adam Wan, who was chosen from 10 homosexual people interviewed by the trio.
Shortlisted as a finalist for the award in October, the film beat four competitors from Taiwan and mainland China who explored themes of religions, memories, families and pollution with their productions.
Mona Fong, widow of Hong Kong movie mogul Sir Run Run Shaw, dies aged 83
She died peacefully at 5.28pm at Hong Kong Sanatorium and Hospital with family by her side, according to a statement from broadcaster TVB, which Fong used to manage.
It did not specify a cause of death.
Fong had been a TVB director since 1988, assisting Shaw with the operation of the company and the Shaw Brothers studio. She continued to be part of the management until her retirement at the end of March 2012, and was a non-executive director until her death.
Born Lee Mong-lan in Shanghai in 1934, she owed her singing career to her mother, surnamed Fong and a nightclub performer on the Bund. Having settled in Hong Kong in the late 1940s with her mother, the younger Fong turned professional as a stage singer without finishing high school.
She performed on stages as far-flung as Malaysia and Singapore during 1950s, and joined the record label EMI, producing several popular albums in Chinese and English, including the big hit The Wedding.
“I remember her well as a very caring person, and admired her deep and soulful voice,” veteran RTHK DJ “Uncle Ray” Cordeiro, who worked with Fong at the cable radio station Rediffusion in the 1950s, said.
Anders Nelsson, a pop singer in the 1960s, recalled Fong was at the height of her singing career before she quit for the movie industry in 1969, a switch that Cordeiro called “a plan of God”.
“She was one of the few who could sing Chinese and English songs in the old Shanghai style,” Nelsson said.
He said Fong’s death signified “a step closer to the end of an era of those bygone Shanghainese songs sung in full-range jazzy sophistication”.
Rebecca Pan Di-hua, another singer who arrived in Hong Kong from Shanghai in the 1950s, recalled the popularity of Fong’s English songs, sung both in nightclubs and theatres.
“We both sang at the Empire Theatre in North Point in 1957, then the top venue in town, and she made HK$1,000 per song and mine was just HK$400,” the 87-year-old diva said.
It was Fong’s Shanghai-style singing that drew Shaw’s attention during a performance in Singapore in 1952. But it was not until 1997 that they tied the knot in Las Vegas, when Fong became Shaw’s second wife. His first wife Lily Wong Mee-chun died in 1987.
In 1969, Fong joined the film production company founded by Shaw and his brother. She became Shaw Brothers’ managing director in 1996 and oversaw its day-to-day operations.
She was instrumental in setting up the Shaw Prize, an annual award her husband founded in 2002 to honour researchers in astronomy, life sciences and medicine, and maths.
Shaw died in 2014, aged 106.
It was at the prize’s 14th annual ceremony last September that Fong was last seen in public.
“Ms Mona Fong-Shaw will be sadly missed by all at TVB and Shaw Brothers who offer their heartfelt condolences to her family,” the statement read.
Details of the funeral service would be released later, the statement added.
This article appeared in the South China Morning Post print edition as: A Shanghai diva who soared in business world
Wong Chun interview: “I’m the director and she writes – simply because she writes better than me!”
An interview with the director of MAD WORLD – Wong Chun. Wong briefly talked about his working relationship with hie girlfriend Florence Chan wrote the scripts of the award-winning film.