Cinespot : An Interview with Hong Kong Director and Actor Daniel Wu

An Interview
with Daniel Wu
(Part II)

As a Director

Cinespot: As a director, have you thought of coming back to the States to direct?

Wu: I have thought about that. In fact, a lot of people have asked me this question before. If you asked me the same thing two or three years ago, I probably wouldn't want to do it, since the image of Asian American was not diverse enough, and I didn't want to be a "white rat". I prefer people looking for me based on my talent, but not my ethnicity. For instance, when I was making films in Hong Kong, I didn't have to think about the issue of race, people hired me merely because of my talent or popularity, it's rather simple. But if you include race, things can get complicated. You quickly become a representative of an ethnic group, if you fail to live up to the expectation, you'll be severely criticized. In the past, we didn't shape up our image well, take Sixteen Candles, a 80s Hollywood film, as an example, there is an Asian role called Long Duk Dong, and he is definitely a nerd. Movies like this tended to define Asian male either as nerd or martial artist, or gangster, and it greatly limited our opportunity.
Moreover, I didn't enjoy the subject matters of Asian American cinema in the past, they were always about identity crisis. Racial identity wasn't really an issue for me, instead I had a harder time looking for opportunity. I clearly understood who I am. To some older generation, like my sister, perhaps identity was a bigger question, since our family was new immigrant, there might be some kind of confusion. It was interesting to see this kind of film many years ago, like Wayne Wang's films, but if the subsequent films all went through the same topic over and over again, it quickly turned very boring, and it gradually became a burden.
But then, the situation has been changing these few years, look at the program of this year's San Francisco International Asian American Film Festival, the film selection is very broad, there are some traditional views on immigrants, and also some alternative perspectives, it really excites me. If there is a good script and opportunity, I sure want to give it a try. This is the time to present the culture of Asian American.

Cinespot: So if you're really here, do you want to be an actor or director?

Wu: I guess I will be an actor first, and then I'll think about how to direct. In Hong Kong, it is easy to be a director, after I made Heavenly Kings, many people wanted me to direct another film, but I wasn't desperate to make one. There's a script I was writing, but somehow I didn't quite like the ending and couldn't think of any good idea, so I just left it aside and started writing another story. As an actor who doesn't really rely on directing to make a living, I would rather focus my energy on acting at the moment. If I really have some inspiration or a good plan, I will direct again. Directing is more like an interest, and it is satisfying.

Cinespot: Did anyone bring you any script to direct?

Wu: I like to direct my own script. Through Heavenly Kings, I realized it was really great to express your own views. However, as an actor you are more passive, you simply help a director to tell his/her story, the experience is quite different. It makes you feel really wonderful when you actually have a story or message to convey. Also, if you write your own story, it is more interesting to do it, and mostly importantly you can retain your creative freedom. But if someone has a script and I enjoy it very much, providing that I am also given the total creative authority, I'll think about it. I think filmmaking in Hong Kong and the US is very different In US, every position is assigned clearly, you don't see a lot of auteur, that is, those who write, direct and edit their own films, while in Hong Kong, it is just the opposite, like Johnnie To, he has his own crew, and directors like Wong Kar Wai, Derek Yee also write their own scripts, direct and even act. That's the difference.

Cinespot: So are you afraid of the rigid system??

Wu: It all depends on the subject matter, and also you have to be decisive. Reading the script helps you realize the creative boundary of the project. For instance, if you are to direct X-Men, you know there is not much you as a director can achieve, while for films like Little Miss Sunshine, there are a lot more you can do. So to answer your question now, I can only say we'll wait and see.

Future plans and new direction

Cinespot: Heavenly Kings shows a lot of resentment at the music business. Is your next film going to be the same?

Wu: After I made Heavenly Kings, I felt that I was quite an angry young man. It's not like I was complaining every day, but the wrath was more like accumulated throughout the years. The reason I made that film was because I felt that the music business in Hong Kong was unhealthy. Many friends like Karen Mok and Eason Chan were complaining. Eason is a really good singer, and he wanted to do a jazz album, but his company just wouldn't approve it. It's really strange since he has the ability and taste but couldn't do it. It's because the business was controlled by people who don't understand music and only care about making profit. I felt it's not right and so I tried to wait for them to be unhappy and impatient, and then I suggested making a film about the business.
Talking about future plans, I am quite interested to make one about the identity issue of Hong Kong people. I feel that people in Hong Kong don't really know how to define their own identity. In the past, we knew that Hong Kong was a colony, but after 1997, we began to wonder if we're Chinese. Traditional culture is also fading out, like the demolition of Star Ferry Harbor was rather awkward, nobody knew what happened, and then someone went to protest but it was already too late. It was annoying and why did the government treat us that way? Nobody actually realize that this kind of action is having quite an impact on the culture and history. When I make a movie about identity, I may not directly mention such incident, but I will certainly touch upon this kind of issues. We need to face the reality, and if we continue to destroy it, there will be no future.

Cinespot: Perhaps they wanted to remove the British influence?

Wu: Yes, but it is still different. Compared to mainlaind China, perhaps the government has also replaced a lot of old buildings with skyscrappers, the boundary of history is always very clear. For instance, in Beijing there are many intellectuals who value traditinal culture, while in Hong Kong, fewer and fewer people care about tradition, they only know shopping, eating and drinking. Young people don't speak English or Putonghua, and the standard of education is deteriorating, there are not too many choices for college education, the entire system is problematic. If we were forced to give up due to the malfunctioning of the system, it's really a pity.

Cinespot: Referring back to your future plans, tell us more about your script.

Wu: I have a story set in the near future, and now I am thinking how to produce the special effects we want. It is similar to the low-tech future in Shinji Iwai's Swallowtail Butterfly, about twenty years ahead of our time. The story aims at exploring the change of our society. Certainly it is just a background, and we need more elements to fill in. This is more like a dream project for me, and it requires big investnment and directing experience. Since the subject matter is quite deep, it is probably not going to be my second film.
Another story I am thinking is a about gangster. In films like Election, they always talk about the gang boss, but what about the lower-ranked gangster? They are the victims of the group, if you're the boss, you could go back to legitimate business to make money, but for those lower-ranked guys, how would they make a living? When I first came to Hong Kong, the gangster culture was very popular, and then all of a sudden, it cooled down. Where did those people go? I am very interested to explore this topic.

Cinespot: The topics you mentioned are all very down to earth and realistic. How are you going to research?

Wu: I would do some case studies, it is similar to what I do as an actor. When I did The Protege, I really got in touch with some undercover cops, I talked to them and studied their life, their pain and their pressure, this is necessary homework for an actor. I didn't want to exaggerate their life or make it highly theatrical, film is more about re-enacting reality. That's why I don't like watching romantic comedy, because they are just not real, it is impossible to have romance like those you see in films. This kind of story has been told countless times and it is very boring. I am not the kind of daydreaming person and I tend to be more practical.

Cinespot: But you used to do films like Love Undercover before.

Wu: Yes, and I learned a lot from making this kind of film, like how to act in certain scenarios. Love Undercover is a typical Hong Kong style comedy and the acting has to be more bombastic. Others like Stephen Chow's films combine the comedy of Hong Kong and America. I didn't mean I don't like making this kind of film, but I simply just don't like watching them. Honestly, I felt very happy working with Miriam Yeung in Love Undercover, she was easy to get along with. I have done quite some dark thrillers these few years, and I guess it is time for me to do some light-hearted things.

Cinespot: Since the market for social realist film is small, is it difficult to find investor?

Wu: After I made Heavenly Kings, many producers who loved the concept looked for me. They told me if there is any new subject, I should definitely contact them. It is not that difficult to find investment now, many investors from mainland China are very courageous and are willing to listen to new ideas. Perhaps their primary busines is steel or coal mining, they have strong capital and want to invest on entertainment business. For instance, Stanley Kwan is preparing a new plan, and he found an investor who is interested to join in, spending money to make movies and tv serials. That investor admitted that he doesn't know much about filmmaking, but still he is interested to invest.

Cinespot: The censorship system in China is quite strict. Does it limit the development of filmmaking?

Wu: It depends on the distributor. Even if the film couldn't find a theatrical release in mainland, they could still find a way to enter through the video market. I think a lot of boss don't really care about instant profit, that's why our pressure isn't that big. The issue of censorship is actually not as serious as people think. Censorship exists in Western countries too. When you make a film, you should first find your target audience, say for Heavenly Kings, we knew the market was Hong Kong, we understood it was not going to make huge profit, as long as people got the message it would be fine, and if people from other regions understood it, it's extra bonus.
But then, I agree that banned movies tend to attract more discourse, like Lost in Beijing, everyone just went to see it after it was banned. Another example would be Edison Chen's incident, if the media didn't magnify it, it probably wouldn't cause such a big fuss. The problem of the media in Hong Kong was that, they focused too much on the topic of sex. They ignored the important point that, after the pictures were stolen, those in the pictures were actually the victims. I'm not defending for themseles, but the truth is Edison and the girls were all victims. You can criticize him for being careless and irresponsible, but you shouldn't ignore that aforementioned point.

Cinespot: Thank you very much for talking to us.

Wu: Thank you very much.

Conclusion

Again, we would like to appreciate director Daniel Wu for taking his valuable time and sharing his insight with us. Please give a round applause to director Wu!

Thank you!

Written, compiled and photographed: Cinespot
4/2008

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