Started by Rudie Obias, March 01, 2003, 11:37:52 PM
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QuoteHong Kong director Wong Kar Wai (Chungking Express, Fallen Angels, In the Mood for Love, 2046, etc.,) wants to make a film on the human tragedy that transpired in the aftermath of Hurricane Katrina last August. Filming will take place mostly in New York City due to the heavy damage still in New Orleans and will have a budget of $50 million. Wong Kar Wai is eyeing Adrien Brody for the lead role.
Quote from: kotte on February 19, 2006, 05:24:51 PMmy friend met WKWs producer in China and he tried set up a meeting with him. His producer told him he was busy closing a deal...a real estate deal. Apparently real estate is his main source of income and is where he spends most of his time: Buying and selling houses.
Quote from: Pubrick on February 19, 2006, 10:00:41 PMQuote from: kotte on February 19, 2006, 05:24:51 PMmy friend met WKWs producer in China and he tried set up a meeting with him. His producer told him he was busy closing a deal...a real estate deal. Apparently real estate is his main source of income and is where he spends most of his time: Buying and selling houses.did you think all directors live off the movies they make? WKW would be W.I.P.
Quote from: kotte on February 19, 2006, 05:24:51 PMI never knew this but...my friend met WKWs producer in China and he tried set up a meeting with him. His producer told him he was busy closing a deal...a real estate deal. Apparently real estate is his main source of income and is where he spends most of his time: Buying and selling houses.
Quote from: kotte on February 20, 2006, 02:31:55 PMI certainly don't see WKW working in a cubicle on weekdays, shooting film in weekends and yearly vacations...
Quote from: Pubrick on February 21, 2006, 01:14:12 AMQuote from: kotte on February 20, 2006, 02:31:55 PMI certainly don't see WKW working in a cubicle on weekdays, shooting film in weekends and yearly vacations...you don't need a cubicle or a 9-5 weekday schedule to sell houses. he's not a real estate agent, he just sells and buys his own property. i think all smart investors do this, i'm pretty sure GZA does this.
Quote from: MacGuffin on May 11, 2006, 09:19:04 PMHong Kong auteur Wong Kar-wai finds success easier abroad HONG KONG (AFP) - Chinese director Wong Kar-wai has proved a revelation in the Hong Kong cinema world known for its bloody gangster and martial arts flicks, yet his unique style has won him more fans overseas than at home. The 48-year-old auteur, who this month becomes the first Chinese filmmaker to head the jury at the Cannes film festival, has won praise for his stunning visual style and sensual art films as well as a clutch of international awards.He was the first Chinese to win the best director award at Cannes in 1997 for "Happy Together", the tale of a strained relationship between two Chinese gay lovers living in Buenos Aires.But it was his later film "In The Mood For Love" released in 2000 which earned him wider international plaudits, nominated for a Golden Palm at Cannes and going on to earn some 2.7 million dollars at the US box office.Despite the global recognition, Wong's films are hardly box-office hits back home, where the local media prefers to dwell on his reputation for being eccentric and laborious, working without a script or even sometimes a plot outline."His films don't do so well in the local box office. Most of them watch Wong Kar-wai's film and don't understand what he's trying to say," said local critic Shum Longtin.Wong, who is always seen in his trademark dark glasses, has in turn criticised local audiences for a lack of curiosity."It's not about whether a film is fast-paced or not ... They just say 'I don't get it'. They are not hungry," he once said.Born in Shanghai, Wong moved to Hong Kong when he was five. Despite no formal training, he enrolled in a television drama training program after graduating from a local college in graphic design in 1980.He later worked as a production assistant before becoming a TV scriptwriter.Wong made his directorial debut in 1988 with "As Tears Go By" which was shown in Cannes. His 1990 follow-up "Days of Being Wild" regularly tops local critics' polls of the best films ever made despite being a financial failure.International praise was heaped on the 1994 "Chungking Express", a quirky romantic comedy that Quentin Tarantino liked so much that he selected it as the first product of his Rolling Thunder distribution company."Personally, I think he is the best director in Hong Kong's history because of the technical skills and artistic achievements in his films," critic Shum said.Wong is highly regarded for his ability to bring out the best in his actors, making international stars out of Tony Leung Chiu-wai and Maggie Cheung, while his partnership with cinematographer Christopher Doyle has been another key to his success."You can see Maggie Cheung's acting was totally transformed after 'As Tears Go By'. He knows how to turn mediocre actors into international stars," Shum said.Former beauty queen Cheung won best actress at Cannes in 2004 for her role as a junkie rock star in ex-husband Olivier Assayas's "Clean".Actors, however, temper their praise of Wong with frustration over his methods. After it took five years to complete the futuristic love epic "2046", which was shown at Cannes in 2004, star Leung described the process as torture.Still, that has not put off Hollywood heavyweight Nicole Kidman and multiple Grammy-award winner Norah Jones who are to star in his upcoming and first English-speaking films: "The Lady from Shanghai" and "My Blueberry Nights".
Quote from: pete on May 12, 2006, 10:13:01 AMbut do tell, which films of his are "allegorical of hong kong's history"?
QuoteThe issue of nationalism is introduced in the very first shot: a close-up shows anonymous fingers (presumably those of an Argentine immigration officer) flipping through Yiu-Fai's and Po-Wing's passports. The photographs of their distinctly Asian faces are glimpsed inside. The fingers then point to the lines that read "British national (overseas)" before stamping them with an immigration seal bearing a prominent date (12 May 1995). Afterwards comes the film's main title, "Happy Together," followed by a shot of Po-Wing next to a night table. On the table (among some garbage) are a lamp of Iguazu Falls and some pictures of Po-Wing and Yiu-Fai together. From the outset, Wong stresses the issue and problem of nationality. The passport is a supreme signifier of both nationalism and personal identity. Wong literally underlines these issues by having the officer's finger point out the document's claim that these two Asian men are "British national." And the date on the stamp (like the expiry dates on Chungking Express' pineapple tins) indirectly hints at the countdown to the hand-over. In the context of 1997, the year of Happy Together's release, the question is implicit: To what extent are Yiu-Fai and Po-Wing "British nationals"? In the next scene, the problem of nationalism segues into the problem of relationships. The juxtaposition of the painted Iguazu Falls lamp and the photos of the two lovers link their relationship to the waterfalls—or at least to a mediated image of the actual geographic location. Lying in a shabby bed in a shabby room, Po-Wing tells Yiu-Fai that they could "start over." Until now, all the images have been in color. But the film cuts to black & white when Yiu-Fai gets into bed with Po-Wing and the two men renew their relationship with vigorous lovemaking. We hear Yiu-Fai's voice-over say that he and Po-Wing have broken up many times but get back together every time Po-Wing wants to "start over." As the two men "start over," the film itself seems to "start over" by going back to the monochromatic origins of the moving image. The sex between the two men plays as an alternate act of conception—a renewal of the relationship, of the film, of cinema itself.