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the FILMART IN ASSOCIATION WITH

Tuesday, March 23, 2010 da THiR-ASlIA.com y 2 AFA’s celebrate ‘Mother’’s Day Cimarron Korean pic gets 3 nods; China’s Lu putsspin best director onAsiabiz By Jonathan Landreth he spotlight shone bright on By Jonathan Landreth South Korea at the 4th Asian Film Awards in Hong Kong eading Hollywood entertainment on Monday night, when marketing company the Cimarron director Bong Joon-ho led his LGroup is expanding its presence in cTountrymen in six wins with the best Asia to help elevate the region’s boom - film award for his thriller “Mother.” ing film business to the next level. The story of a mother who struggles The company, founded by CEO to save her son from a murder accusa - Robert Farina, has for the last 30 years tion, also garnered Kim Hye-ja the produced much of the major media — award for best actress, and Bong and from movie trailers to web marketing Park Eun-kyo the award for best campaigns — for many of the Holly - screenwriter. wood studios’ biggest titles, includ - The star-studded event saw 14 awards ing, recently, “Avatar” and “Twilight.” handed out at the Hong Kong Conven - Now that China’s boxoffice can tion and Exhibition Center where veejay deliver for Hollywood (”Avatar” did Green with envy and model Lisa S. emceed the broadcast better in China than in Wai Ying –Hung, who was named best supporting actress for her preformance in “At the End of for ATV, FOX and Phoenix. any other market out - Daybreak,” arrives Monday for the Asian Film Awards at the Hong Kong Convention Center. Lu Chuan of China was named best side the U.S.), and Chi - director for his Nanjing massacre nese movies themselves drama “City of Life and Death,” and are selling more tickets the best actor award went to China’s than ever before, Cim - Wang Xueqi for his performance in maron Group Asia Sunny Side up “Bodyguards and Assassins.” Managing Director Senn Moses continued on page 20 Moses says it’s time to marry Western marketing expertise DocumentaryforumlandsinHKwithlivelydebate with Asian storytelling. WHAT’S INSIDE “The quality of Asian filmmaking is By Jonathan Landreth production meeting at the Hong Kong > there, but as the competition steps up FILMART on Monday. Q&A: and more titles release at the same time lively session of non-fiction film The first Eastern hemisphere edition Greg Frazier to an eager public, what’s still missing pitching to public broadcasters of the Sunny Side of the Doc franchise PAGE 4 is the marketing that will deliver an Afrom around the world kicked off founded by Yves Jeanneau 20 years ago >Reviews: continued on page 20 the inaugural Asian Side of the Doc co- in France, the session attracted about PAGES 16-18 100 participants to the Hong Kong Convention and Exhibition Center. Trailers for proposed films by Euro - WORLD REPORT S E

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news Tuesday, March 23, 2010 Quantity not quality THR’sNextGenset By Gavin J. Blair Television Fund CEO, agreed. “Though ented mode of distribution, where Digitaltechnology the lowered price for equipment is “people just watch what they want The 20 best and brightest turning filmmaking more democratic, when they want,” would threaten the young executives and talent makeslifeeasierfor it’s going to produce more film but not traditional mode of theatrical distri - from across the region will be better films,” he said. “The barrier of bution, Teale argued. “Stereoscopic honored at tonight’s Next Gen - entry drops down, and there are more distribution is in its infancy. Digital eration Asia 2010 event pre - filmmakers crap films, crap music, crap novels, but video-on-demand and video stream - few people are saying how many more ing will bring about the demise of the sented by The Hollywood By Karen Chu fabulous films were made. You lose cinema as we know it.” Reporter at the W Hotel. sight of the human talents that create The compressed window between Following the launch of Next igital technology makes it easier lasting artistic impressions.” theatrical and DVD release will also Generation Asia at FILMART for beginning filmmaking, but As for the cost and time saved using push the film industry to be more hit 2009, this year’s honorees are that only drives up the number of digital technology in commercial film driven. Moreover, since a Hollywood D once again tipped to be the films, not quality, panelist noted at productions, “the money and time movie’s success or failure is known Monday’s discussion on the future of sucked out by using digital technology across the world instantly, film owners leading lights who will guide the international film organized by Salon are used up in postproduction,” would strive to generate big opening fast-growing Asian entertain - Films in association with the U.S. Beitcher said. numbers in order to buoy the film’s ment business into its future. Consulate General. But digital technology will prove performance in foreign markets. The list of bright young Digital technology is forcing changes conducive to distribution in countries As for Asia to compete with the in the modes of distribution, but changes like China, said Fred Wang, Salon Film mammoth budget of Hollywood things includes producers, might come in the form of increased spe - chairman. “For a film like ‘Harry Pot - stereoscopic 3D productions, Salon directors, writers, screenwrit - cialization, or, as have often been said ter and the Half-blood Prince’ to be chairman Fred Wang used the VCD ers, agents, actors, entrepre - contrarily, bring about the end of tradi - distributed in China, the prints alone player prevalent in Asia but rejected neurs and managers from all tion theatrical distribution. cost US$45 million. Therefore to save elsewhere in the 1990s as example to across the region, hailing from “Filmmaking nowadays is compro - costs, conversion to digital exhibition postulate how Chinese filmmakers will mised by a lowered standard of expec - systems will be faster in China.” experiment with stereoscopic 3D and Australia, China, Hong Kong, tation of the audience under 18 that’s Beitcher believed that the lower cost test its technology. “China is a testing India, Japan, Korea, Taiwan, used to watching videos online, where for digital distribution would bring market to see if something works, Thailand and the Philippines. you see talents and material squandered about more specialization in foreign whereas Western manufacturers want The Hollywood Reporter and murdered,” said Warwick Teale, cinema. “World cinema will be like to maintain profits and therefore are congratulates all of the class of Hewlett-Packard principal media and world music, become a more tangible more reluctant to change. Now is a entertainment solution architect. thing in the U.S.,” he said. good time for China to catch up and to Next Generation Asia 2010. Robert Beitcher, Motion Picture and However, the more audience-ori - lead the economy for change.” ∂

Filmkoonaquestto Panel touts TV, film cooperation

By Gavin J. Blair dedicated to productions of any improve,” before furiously backpedal - make3D‘Quixote’ nationality that are made in the ing, “Though the government is not The first morning of Filmart fea - region,” Veillon said. considering changes to that. It’s not By Karen Chu tured a TV Europe/Asia: A New Era for Tiedong Zhou, the president of for me to answer.” TV & Film Cooperation panel which China Film Production International, Nick Fraser from the BBC’s Storyline Filmko launches the first Chi - took a broad look at topics from the predictably lauded the fast growth and international documentary outfit nese stereoscopic 3D period growth of the Chinese market to inter - huge potential of the mainland market, lamented the lack of cultural diversity drama with “Don Quixote,” a national public service broadcasting. describing how the number of screens on both European TV and, “even more US$11 million fantasy adaptation Olivier-Rene Veillon from the Ile de had grown last year to 1,687 — while so on Chinese TV.” of the Spanish literary classic. France Film Commission explained boxoffice was up 42%. “It’s very difficult to do programs Helmed by Chinese director how they had attracted productions The importance of co-pros was with people speaking to each other in Agan, starring Karena Lam from Korea, Japan, India, and China to emphasized by Zhou, who pointed out their own languages, but it’s something (“Claustrophobia”) and Liu Ye shoot in the Paris area, including that of the 49 Chinese films sold over - we have to try and do,” Fraser said. (“City of Life and Death”), the arranging collaborations with muse - seas last year, 38 of them were collabo - Fraser spoke passionately about the film was produced with the Chi - ums such as the Louvre, before rations with other countries. Zhou importance of producing documen - nese Academy of Sciences, utiliz - launching into an energetic pitch claimed that the “very strict restric - taries without undue regard to their ing the academy’s stereoscopic aimed squarely at the Chinese market. tions” surrounding co-pros with commercial possibilities, a position 3D camera, the first in China. The He went on to detail a new 20% tax China have been greatly relaxed, that is of course easier to take from the film also hired a group of 3D credit rebate available for any film though he acknowledged that a third standpoint of a pubcaster. experts from Germany as con - made in the region, citing Fuji TV’s of lead roles still have to be filled with He went on to explain how the diffi - sultants during the shoots. “Nodame Cantabile” as the first fea - by Chinese nationals. culties in working with some Asian Filmko chose to base the film ture to have taken advantage of the Asked about the annual 20 foreign pubcasters due to their close ties to on the 17th century Spanish arrangement. film quota for China, Zhou replied governments – while praising Japan’s continued on page 20 “There is also a 14 million Euro fund that, “This is what we have to NHK as a model partner. ∂

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& THR-ASIA.com q a Tuesday, March 23, 2010

Greg Frazierischief policyofficeroftheMotionPictureAssn.AshislongtimeWash - China the second largest boxoffice terri - and keep the quota in place? Or do you ingtonmentorDanGlickmanpreparestostepdownasCEOafternearlysixyearsattheheadof tory after the U.S. for the MPA films let in more ‘Avatars’ and grow that theHollywoodstudios’globaladvocacygroup,FrazierissteppingupvisitstoBeijing,thesite “Transformers 2,” “2012” and “Avatar.” market? If you can set up a way where ofmanyofthebiggestbattlestheyfoughttogetherintheworld’sfastestgrowingmoviemar - Could indie distributors have handled more people have more interest in ket.IntherunuptoFILMART,FrazierspokewithTHR’sSeniorChinacorrespondent those titles as well as China Film? more ‘Avatars’ then at some point, Frazier: The logic of the premise of people are going to say, this makes no JonathanLandrethabouttheWTO,flatfeesandmoviequotas. your question says, ‘Yes, of course, sense to allow just 20 films in. If you because there’s a critical mass in the let 21 films in, more Chinese will bene - Why are you here? into the sector a break in the monopoly? audience.’ fit, from the Chinese distributors to Gregg Frazier: The WTO just Frazier: I’m not sure what the entry of the Chinese popcorn sellers. The rea - announced its decision and, frankly, the these two particular films says. One Let me put a finer point on the question son for the WTO case is that only in hard work starts now, as to how it’s thing that’s frustrating about the Chi - — do you believe the new indie distribu - China does the government decide all going to be implemented and how China nese system is that there are all these tors can work around China Film? these little items with respect to what is going to bring itself into compliance. I rules and sometimes they’re implement - Frazier: In the near term, I don’t know. is normally done business-to-busi - thought it would be useful to get here to ed and sometimes they’re not. One could In the long term, I don’t know. What I ness. It’s arbitrary, it’s not transparent, talk to people in government and indus - say China was foreshadowing what’s to know is that in the conditions that have it’s punitive at times. Do you want to try and observers to get the lay of the come by letting somebody else distribute existed for the last 20 years you’ve had live in a market and a system where the land about what happens next. those films. I’m not afraid of that. That’s no ability for this growth or experi - government is deciding every single exactly what I want to happen. mentation, for smart people to take little thing or do you want to see how THR: What does the WTO ruling mean? advantage of potential inefficiencies in it’s done elsewhere? For us, the answer Frazier: If you go to the letter of the Do upstart distributors aiming to bring in the market. What we’re trying to do is is the latter, so what do you do about decision, for the audio-visual sector, more films for a one-off “flat fee,” rather to clear out some of those inefficien - it? You start picking away at those there are three elements. One, is the than a share of the boxoffice, hurt Holly - cies. Is it going to happen immediately? things that you can. You either sit back decision that the import monopoly is wood studios’ negotiations with state No. Will it happen over time? I hope so. and take, and you get what you are illegal. Before, only China Film could distributors? handed, or you can think that the gov - import. With the decision, you could Frazier: The more films that you get in Ten years on from China’s accession to ernment is going to do it out of the do it. I could do it. Anybody can do it. the door, the more people there are the WTO — when Hollywood movies goodness of their heart, and they’re Second, the decision struck down a inside China with an interest in grow - were a major sticking point in the talks — not. There’s got to be a reason for them number of the import and distribution ing the market. This sets up a dynamic that sounds like very cautious optimism. to do it. It’s human nature. It’s like all restrictions on home entertainment where you have more than just the What’s the strategy now? governments. What’s the reason for products that previously had to be Motion Picture Assn. arguing for mar - Frazier: Yes, movies were a major them to do it? Losing a lawsuit is as imported either by the state or a whol - ket liberalization. Do you go into battle sticking point, and as to our next good a reason as any. ∂ ly-owned Chinese entity. Third, the with one army or 20 armies? What strategy, the strategy is to make it United States government said that the does it take for us to go out and recruit work. It’s still early. We’re trying to system of distribution was illegal those 20 armies? The flat fee terms understand where the possibilities are. because U.S. films were treated one have historically been uninteresting to Our two governments have a lot of way, whereas a Chinese film could the MPA member companies because work to do. avail itself of any number of distribu - the terms aren’t favorable. tors. When China defended itself it What about the lack of optimism in the said, “Our system may be peculiar, and Do you see the MPA member companies industry that the WTO decision could that may be how it operates today, but, beefing up their offices here for a move erode the annual 20-title cap on rev - in fact, any entity that’s licensed, may toward a distribution model? enue sharing film imports. distribute a film,” the WTO said in Frazier: I really don’t know. Frazier: If they expect it to happen reply, “O.K., if you say that’s the way tomorrow, they’re foolhardy. But if the system operates, then there is that How do the studios feel about small dis - they think it’s never going to happen, possibility for U.S. films to be treated tributors trying to handle their films on a I think they’re equally foolhardy. the same.” The Chinese defense was flat fee basis? This is the first time you’ve got any many things. It was that all of these Frazier: That would be great. There are chink in the armor, the first dent market barriers exist not to impede a whole number of problems in this that the U.S. has made in the Chi - access to the market per se, but to market, one of which is the master con - nese defense of its market. We’re manage the censorship of the content tract. Pleading, begging with China Film trying to set up a reason that the Chi - coming to market. The Chinese have to change it has gone nowhere. If these nese government wants to take this the right to censor. The MPAA would other players can and are willing to be step. Why is it in their interest? prefer they do something different, distributors that sets up a scenario Because more Chinese can profit off but it’s within their rights and we did - where I can go to China Film and say, of a growing film n’t challenge it. What we challenged ‘This person over here is willing to put market. How? You was the notion that there is no other out my film on this basis. I’m willing to grow your domes - way to manage censorship. Given the have you continue to distribute my tic market, but you existence of ratings systems elsewhere films, but you’re going to have to match also put movies on in the world and other methods of this person.’ Right now, competition your screens that control the argument the Chinese doesn’t exist here at all. are going to make made is very difficult to defend and money. Over the I’m not surprised that they failed. Why Do you think that some of these new play - long haul, the do certain titles get in while other ers will have the muscle to distribute Holly - question is do don’t? I don’t know. The lesson is that wood films as well as a China Film? you either S

the censorship system is less than Frazier: Your question presupposes that continue to I R R

transparent and it can be manipulated China Film has been able to promote and play ‘Con - O M S for political purposes. distribute Hollywood films in an effec - fucius’ for I R H C

tive way. another : N O I

Was the late-2009 distribution of “Twi - 20 T A R T

light” and “District 9” by new entrants The sheer size of the audience made years S U L L I

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reviews Tuesday, March 23, 2010

“Like a Dream”

works on an unreal level, however when the same behavior is applied to the film’s real world the performances ‘Like a Dream’ creak under the weight of the narra - tive’s nonsense and the tendency for By Elizabeth Kerr and a mysterious woman (Yolanda and reality? The answer is all of the the characters to grate on the nerves. It Yuan) attempt to recreate the events of above, but never enough of any one to doesn’t take long for Yuan to slip into t one point in Clara Law’s lat - her boyfriend’s suicide. In the waking form a cohesive whole. overwrought territory, while Wu stands est film, one of the characters world, Max becomes convinced she By jumping between New York, around looking perplexed and as if he’s says to another, “Perhaps this actually exists when, on a business trip Taipei and Shanghai in various planes trying to have a hard time communi - world is not meant to be com - to Shanghai, he accidentally picks up of reality, Law does manage to convey cating. The less said about the lone prehended.” That could be some phototomat pictures whose sub - the characters’ disbelief, frustration supporting characters — Max’s New sAaid of “Like a Dream,” a globe-trotting ject is his dream girl’s doppelganger. He and uncertainty. But the film goes off York colleagues — the better. When romantic drama that tries to be several enlists the help of yet another look- track by muddling the roots of Max’s “Dream” finally winds down with its things at once, never quite makes a alike, a “country bumpkin” (also Yuan) obsession and the woman’s motiva - closing dance, any dreamlike qualities concrete decision as to where to focus, to find her and before you know it he’s tions for helping him. Enigmatic char - have been overwhelmed by questions and so ends up a disjointed and ill- on his way back to continue the hunt. acters are one thing; foolish or baffling of logic, which is the kiss of death for a defined curiosity more than a film. As it turns out there’s a kernel of truth ones are quite another. Max simply film reliant on anything but. Law is a film festival favorite, but as in his dreams, and after a great deal of sounds weird when he explains his a filmmaker she runs hot — “Floating running through alleys and cryptic goals and he behaves like a stalker. No Life” — and cold — “The Goddess of quasi-wooing by the woman, every - amount of whimsy will take the taint BOTTOM LINE 1967.” “Dream” is a troublesome offer - one’s skeletons come out of the prover - off his actions. The “bumpkin” fum - Little thematic and less narrative sense ing that teeters on the precipice of bial closets. bles around like a village idiot and less make for difficult viewing that often tests the patience. mainstream cinema: it’s bilingual and “Dream” is by no means inept film - country girl in the big city. When the SECTION: Hong Kong International Film Festival stars one of Hong Kong’s more audi - making. It is impeccably composed revelations finally unfold — after a gla - Opening Night ence-friendly actors but the overall and elegantly photographed. But the cial buildup — they come across as SALES: Distribution Workshop (HK) Ltd. tone borders on aggressively arty. tangle of themes that are raised and more soap opera contrived than clari - Production company: Lunar Films, Arc Lights “Dream” is likely to stir up festival dropped make it a bit of a headscratch - fying. Films CAST: Daniel Wu, Yolanda Yuan. attention and it could see limited er. Is the film an exploration of identi - As a film that relies on empathizing DIRECTOR: Clara Law. SCREENWRITER: Eddie release on the art house circuit in both ty, of Chinese-ness? The film begins with its characters, its central per - Fong, Clara Law. PRODUCER: Eddie Fong, Peggy Asia and abroad based on Law’s repu - with Max burying his dead cat, the formances lack the emotional heft Chiao. DIRECTOR OF PHOTOGRAPHY: Sion tation. Broader exposure than that, only tangible connection he has to his demanded for that connection. The Michel. PRODUCTION DESIGNER: Yee Chung- however, is a long shot. family. So is it an examination of how histrionics of the dream couple, wan - man, Penny Tsai. MUSIC : Paul Grabowsky. COSTUME DESIGNER: Dora Ng. EDITOR: Steve Surly computer geek Max (Daniel we deal with trauma? A deconstruc - dering as they do through a chillingly Doyle, Jill Holt. No rating, 113 minutes Wu) has a recurring dream in which he tion of the fuzzy line between fantasy blue and fantastically barren Taipei

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SPECIAL REPORT: world Japan THR-ASIA.com Tuesday, March 23, 2010

“Confessions”

While Japan’s previously world-beating auto and elec - tronics’ powerhouses may recently be suffering crises of confi - dence, in the nation’s entertainment world, quite the opposite is true. Japanese film and music has regained its swagger as it has beaten out the overseas competition, rediscovered its own YoungGuns voice, and felt less of a need to imitate Western styles and trends. Helping to drive forward this sense of cultural self-assured - Japanesefilmsoarstorecord ness are young producers behind some of the most successful and innovative domestic movies. They have grown up with heightsbehindanewwave truly global influences and have come of age in the digital era. Despite the recent worldwide slowdown that hit Japan’s offresh-facedproducers export-driven economy particularly hard, last year’s total box - office was the second-highest on record, with ¥206 billion ($2.3 billion). This was driven by domestic films, which record - ed their best ever year, pulling in ¥117.3 billion ($1.3 billion). By Gavin J. Blair Leading the line for the home team was high school baseball movie “Rookies,” which took in more than ¥8.5 billion ($95 million). The producer behind this hit was 35-year-old Akihiko Ishimaru, who had also produced the hugely successful TV drama series that preceded it. Ishimaru has been winning major awards since 2004’s “Crying out Love, in the Centre of the World,” though 2009 was the year when he really found his Midas touch. As if producing the biggest grossing film of the year, and coming up with a series of highly successful tie-up marketing cam - paigns for it weren’t enough, Ishimaru also produced the number one (“Jin”) and two (“Mr. Brain”) rated dramas on commercial television.

The Hollywood Reporter | Tuesday, March 23, 2010 special world report | Japan

Like most Japanese producers, Ishi - link up with one of them for almost caption maru is in-house, working at TBS, every film. A film that becomes a hit ChangingfaceofJapan which has become a major movie without the powerful backing of a TV player in recent years. Despite being net, is now rare enough to be news - part of a big corporation, he says he worthy. In 2008, the Kawamura-pro - “My Darling is a Foreigner” has always been determined to choose duced “Detroit Metal City” was the his own path and stick to it. only film in the year’s top 30, not to “I set myself objectives and goals – have a network on board. always ones I know I can reach – and Kawamura plays down the signifi - work at them steadily until I achieve cance of this, though concedes he has them,” he says. He describes himself no interest in producing the ready- as a cautions type; a “tap a stone for-TV-broadcast material that the bridge before crossing it” personality, networks are inevitably looking for. as they say in Japan. “There was a lot of bad language in “I’ve been like that since grade “Detroit Metal City” because it was school,” he says. “I was very sure of the story of a death metal band, so what I was good at and not good at. I very unsuitable for TV,” says Kawa - didn’t bother with things I knew I mura, “though I don’t want to make couldn’t do, even if it meant teachers films that are suitable.” getting angry with me, which happened Of the diminishing popularity in all the way through to university days.” Japan of western entertainment, Although Ishimaru’s determination Kawamura believes this is partly to stick to his guns has served him well explained by growing cultural confi - recently, he’s aware that tastes change dence, and should lead to further and his style may not always be in flourishing of a unique domestic voice fashion. – which will itself then find more of “You can’t try to change to meet the an overseas audience. flavor of the moment though,” he Asmik Ace’s 35-year-old Mitsuru insists. Uda is also focused on the domestic Meanwhile, over at Toho, another market, but professes more of an inter - young producer, 31-year-old Genki est in collaborating within Asia. He has Kawamura, has been busy trying to built a reputation for himself for bring - bring a cutting edge to the most cor - ing through new young talent. Three of porate Japanese studio. While still in the first four films he produced were his mid-20s, Kawamura was respon - with debutante directors, while the sible for the planning of “Densha fourth was with Michael Arias, who Otoko” (“Train Man,”) which he says was making his first live-action – was the world’s first film focused “Heaven’s Door” - after his success as around an internet message board. the first Westerner to direct an anime. The apparently true story of an His latest work — “Watashi no SOMETHING THAT FASCINATES many about Japan is how, in spite of decades as a internet geek who turns to posters on Yasashikunai Sempai” (literal transla - global economic power, it has managed to hold on to much of its unique homogenous Japan’s massive 2channel message tion — my unkind senior) – is helmed cultural identity. This has, however, recently begun to slowly change as other cultures boards for advice on how to approach a by Yutaka Yamamoto, also taking his make their presence felt in both Japanese society and its popular culture. woman he encounters on a train, cer - first step from anime to live feature. While the presence of overseas films and music is of course nothing new, portraying tainly struck a chord with the net gen - Uda is a big fan of the new digital subjects like immigrants, international marriages and mixed heritage children in Japan - eration. The domestic success of the technology transforming cinema, and ese entertainment, is a more recent challenge. Film industries around the world have faced criticism for lazy ethnic and cultural movie, and the setting of the film in the believes its real potential has yet to be stereotypes when portraying “outsiders” and minority groups. Over the years the Japan - online social space, has drawn atten - exploited. ese entertainments business has been as guilty as most, perhaps more than some; tion globally, leading to, “about 20 “It’s moving forward all the time though there are signs things are improving. remake offers, including from Holly - and so now every time we want to be Although there have been notable exceptions, such as 2001’s award-winning “Go” by wood studios, one of which is moving producing something that hasn’t been Isao Yukisada, which dealt with discrimination against Korean-Japanese, such issues ahead now,” according to Kawamura. seen yet,” Uda says. “3D certainly has - have rarely been tackled on the big or small screen. The commercial TV networks have n’t really been used properly yet.” Last year saw though saw an 11-part drama “Smile” — produced by Next Gen Asia become such a force on the production Uda’s “Watashi no Yasashikunai 2009 honoree Katsuaki Setoguchi — about a half-Japanese, half-Filipino youth, the committees that plan, fund, create and Sempai” and Kawmura’s “Confes - prejudice he faced, and his sense of confusion about his own identity. The part was how - ever, played by Jun Matsumoto – “Hana Yori Dango” (“Boys over Flowers”) – who is full- market movies, that even a major ver - sions” are slated for summer releases blooded Japanese. tically integrated studio like Toho will in Japan. ∂ Still, many of the “gaijin” appearing in films, TV programs and commercials are there for some kind of novelty or even clown role. The hugely successful “White Family” series of commercials for the Softbank mobile carrier definitely contains an element of the “My Unkind Senior” “foreigner for novelty value” approach, though the character is far from a clown. Featuring a mysteriously untypical Japanese family, with the mother and daughter played by well-known local actresses, the father being a small white dog, and the older brother played by a black American. The role has actor Dante Carver speaking Japanese well, and there is no particular emphasis on his “foreignness” beyond his unexplained presence in a Japanese family. The commercials — which even recently featured a guest appearance from Quentin Tarantino, hamming it up as “Uncle Taro” — have propelled Carver into stardom, and landed him a part in an upcoming film, “My Darling is a Foreigner.” The movie is based on the real experiences of a Japanese manga artist (the story was originally a manga comic), played by Mao Inoue, and her relationship with an Amer - ican journalist, played by Jonathan Sherr. “The American character in the film speaks Japanese very well, and understands more about Japanese culture and history than many Japanese people,” says producer and deputy president of TBS Pictures Kazuya Hamana. “We went and spoke to a lot of international couples to find out the kind of small cultural differences that appear in these situations, and then tried to present them in an interesting way for the film,” he says. “The percentage of international marriages in Japan is actually much higher than you’d think, I was really quite surprised.” Actually, one in 20 marriages in Japan now involves one non-Japanese partner, a high percentage for a nation that still sees itself as separate and homogenous in many ways. “My Darling is a Foreigner” opens in Japan in April. — Gavin J. Blair

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SPECIAL REPORT: world China THR-ASIA.com “IP Man” Tuesday, March 23, 2010

“IP Man” Asia’s Dynamic Duo

HongKong,Chinese In the seven years since Hong Kong and China signed their Closer Eco - nomic Partnership Agreement, filmmakers from both territories have filmmakersscorebigwith laughed all the way to the bank. Since 2003, a raft of films made as Hong Kong-China co-productions co-productions,takehold have helped China’s boxoffice gross grow an average of 25% a year. In 2009, a dozen films made jointly by Hong Kong- and China-based companies ofthedomesticboxoffice helped a few Hollywood blockbusters push China’s boxoffice gross up a record 43% to 6.2 billion yuan ($908 million). Veteran Hong Kong producer Raymond Wong’s hit comedy “All’s Well Ends Well, Too 2010” — the debut from Pegasus, which he founded with his screenwriter son, Edmond — grossed more than 60 million yuan ($8.8 mil - By Karen Chu and Jonathan Landreth lion) during the Lunar New Year moviegoing season. Its co-production partner was Enlight Pictures in Beijing. At the Hong Kong Filmart (Mar. 21-24), the Wongs — father and son — will unveil a $10 million sequel to the martial arts epic “Ip Man,” about Bruce Lee’s trainer. “Co-production prospects are getting better and better,” papa Wong says. The highest-grossing Chinese-language films in Hong Kong and China are co-productions. More than half of China’s 2009 boxoffice gross (56.6%, to be precise) was earned by homegrown Chinese films and China-Hong Kong co-productions, according to the State Administration Radio Film and Television in Beijing. Six hundred films showed in China last year and while the Hollywood import “Transformers: Revenge of the Fallen” topped the boxoffice at 450 million yuan ($66 million), the 12 Chinese-lan - guage films that grossed 100 million yuan ($14.7 million) or more all were co-productions. “Co-productions are the driving force in the Chinese as well as Hong Kong market for Chinese- language films,” Wong says. Boosting China’s sales potential is the moviegoing public’s sheer size. “As more cinemas are built, the audience is more inclined to watch films in cinemas instead of on pirated DVDs,” Wong says. China added 626 new screens in 2009 — that’s 1.7 new screens every day, bringing the nation - al total to 4,723 screens by Jan. 1.

The Hollywood Reporter | Tuesday, March 23, 2010 special world report | China

to the Chinese audience,” Bee says. A rise in Hong Kong-China and trans- Pacific cinematic cross-fertilization has meant an overall rise in China’s film industry skills, Bee says. Of the eight films Huayi has announced for 2010, two are co-productions: Dis - ney’s and, with Emperor of Hong Kong, “Stool Pigeon,” with actors Nicholas Tse and Nicky Cheung.” “The Hollywood studios and the Hong Kong realize they have to do local language Mandarin films, so there are now fewer people blowing hot air,” Bee says. “There’s a general increase in knowledge about the way things work in China.” Trying to show she’s a part of that sharpening of China’s industry, Cindy Lin of Beijing-based Infotainment recently helped Rosem Films and TF1 of France produce award-winning “Crossing Hennessy” Chinese director Wang Chao’s “Mem - ory of Love.” Lin says she is working with U.S. law firm Loeb & Loeb with own writer-director team: Alan Mak the hope of drawing more Hollywood “China’smarketistoohugeforusto miss.Forevery and Felix Chong. Their 2002 hit filmmakers to China on the promise of “Infernal Affairs” was remade in trustworthiness. “It’s hard to find a filmwith abudgetover 30millionyuan,Chinais 2006 as “The Departed,” which won Chinese company that will not manip - Martin Scorsese his first Oscar. ulate production costs,” Lin admits. definitely part oftheequation.” Riding on the “Overheard” success, For Hong Kong filmmakers who’ve Bona is now involved in several co-pro - worked seven years under favorable —Filmko’sGMofDistribution DominicYip ductions, including director Derek Yee’s trade terms (no Chinese import “Triple Tap; the martial arts mega-pro - quota), co-productions were borne of duction “Shaolin,” with Hong Kong- necessity, says award-winning Though China’s ticket sales soared, Huayi, after all, is the first publicly based Emperor Motion Pictures; and writer-director Ivy Ho: “Historically, they were only 8.4% of the United listed (read, relatively transparent) Wong Kar Wai’s “The Grand Master,” industries in Hong Kong were export- States’ gross of $10.8 billion last year. mainland Chinese film studio. now shooting in China with the Hong oriented. Now Hong Kong is a post- But when boxoffice growth in China is Fox and Disney, which already has a Kong director’s outfit, Jet Tone. industrial city which has seen most of nearly five times as fast as growth in pair of China co-productions under Chan says the second reason Hong the industries shifted to China. The the U.S., people notice, particularly its belt (“Secret of the Magic Gourd,” Kong-China co-productions thrive is only homegrown industry left is the today’s shaky recovery. 2007; “Trail of the Panda,” 2009) are the operational efficiency of Hong film industry, and it’s a creative “People are looking at China now in the lead in among Hollywood Kong film industry pros. “Hong Kong industry at that.” regardless of where they are in the studios co-producing films expressly provides better legal support for con - “Crossing Hennessy,” Ho’s second media and entertainment world and for Chinese, Yang says. tracts, payment, and various opera - film as a director, was one of the films seeing the last frontier,” says Janet “Disney saw that they had a success - tional procedures, especially on proj - to open the Hong Kong International Yang, producer of Disney’s forthcom - ful franchise and thought it was time ects that involve personnel from Film Festival on Sunday. It stars Chi - ing Chinese-language version of that it be tailor-made for the Chinese. outside China,” Chan says. nese actress Tang Wei (“Lust, Cau - “High School Musical” with Beijing- But that’s just one model,” Yang adds. Third, Chan says, Hong Kong-China tion”) and Hong Kong leading man based Huayi Brothers Pictures and the Another is the “Kung Fu Kid” model, co-productions simplify sales into Jacky Cheung (“July Rhapsody”). Shanghai Media Group. which forgoes official co-production buzzworthy Taiwan which caps “Hong Kong co-productions with “China is going against the trend status and its guaranteed China release imports of China-only productions. China are only a natural develop - around the world that news is bleak. for being an “assisted production.” “Hong Kong-China co-pros don’t have ment,” Ho says. “They are exports for Rather, news in China’s film business Sony intends it for the Western audi - to apply for a quota in Taiwan, which the Chinese market as much as films is very, very good,” Yang says. ence, where derivative-weary movie - makes it easier for us,” says Chan. in previous decades were exports for To Yang, who came to her parent’s goers may get a thrill from unfamiliar Among the big co-productions Southeast Asia and beyond.” homeland in the mid-1980s to help Chinese stories and themes. coming this summer is a 75 million Following a period of Chiu-chow Universal and Paramount promote Accountants may like it too, as this yuan ($11 million) 3D Chinese fantasy dialect films made for export to the 1960s Hollywood movies such as route takes advantage of cheap local adaptation of “Don Quixote,” from the Chinese Diaspora in Asia and the “Roman Holiday” and “Spartacus,” it locations and labor. Chinese Academy of Sciences and West, Hong Kong’s film industry wasn’t a question of whether Holly - “Down the road, there might be the Hong Kong-based Filmko, whose GM went through a period in the 1960s wood studios would learn to work in same migration to China as there was of Distribution, Dominic Yip, puts it and 1970s — while China’s doors were China but when. to Canada, since it can be so econom - succinctly: “China’s market is too closed — when local studios made Thirty years, and several noble ical to make movies here,” Yang says. huge for us to miss. For every film with Cantonese movies for local filmgoers attempts later — first by Columbia No matter what city they call home, a budget over 30 million yuan, China is and Southeast Asians, and Mandarin Pictures Film Production Asia under studios targeting the Chinese-lan - definitely part of the equation.” films for Taiwan. In the early 1980s, Barbara Robinson in Hong Kong and guage audience go for co-productions Also due out this summer is “High there were even action films made for then by Warner China Film Hengdian for three reasons, says Jeffrey Chan, a School Musical: China,” (called Ge Wu South America. under Ellen Eliasoph in Beijing — a Hong Kong film veteran who is now Qing Chun or “Musical Youth” in “Hong Kong’s film industry has Hollywood studio has co-produced a COO of Beijing-based Bona Interna - Mandarin), with Huayi’s role in the gone through a very difficult period,” Chinese-language boxoffice hit in tional Film Group. Disney co-pro coming in the form Ho says. “It has always been trans - “Hot Summer Days” that it planned First, Chan says, co-productions script development, by bringing in forming. If co-production is the way carefully at every stage. are market-driven: “We can tap into writer Zhang Jialu (“The Message”), forward, why not?” In a nation filled with media com - the talent resources of directors and through to Huayi’s role as a licensed For Ho and others, the priority is to panies mired in bureaucracy, some say actors in both China and Hong Kong distributor. maintain Hong Kong’s filmmaking it was a “third-mover advantage” that which prove more attractive to the Felice Bee, Huayi’s head of co-pro - infrastructure. “If Hong Kong film - allowed Fox International Pictures Chinese market as well as Hong Kong, ductions, says the company’s rapidly makers can make a living in China under Sanford Panitch to avoid mis - Taiwan and Southeast Asia.” growing bilingual staff is in a good shooting co-productions, at least takes made by his predecessors. Bona’s 2009 hit thriller, “Over - position to help Hollywood. they can come back to work on Hong There’s little doubt that co-produc - heard,” about cops using a wire to “A lot of outsiders still view China Kong projects, too,” she says. “It’s a tion with sister company Star TV and, bust inside traders, followed a strong as tourists. But it’s Huayi business to matter of human resources as much as again, with Huayi Bros., helped, too. example in plot and pacing set by its care most about what’s going to play it is a matter of investment.” ∂

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The Hollywood Reporter | Tuesday, March 23, 2010 | reviews

“My Darling is a Foreigner”

‘My Darling is a Foreigner’ By Maggie Lee vignettes of daily life, the screenplay ask for directions in perfect Japanese, cuteness. y Darling is a Foreigner,” is sticks to more standard storytelling the man recoils in terror, insisting that Short animated excerpts of Oguri’s based on Sayuri Oguri’s without pausing on much detail. It he cannot understand English. When manga and interviews with mixed “M autobiographical manga opens with aspiring manga artist Saori Tony rephrases his question in Kansai marriage couples (that look like series about her life with an American (Inoue) and Kanji (Chinese character) dialect, the man at once enthusiasti - UNESCO publicity stunts) add some husband in Japan. It is breezy and fanatic Tony (Jonathan Sherr) going on cally points out the way. Less inten - color to the straight-faced drama. makes international matches look like their third date and fast forwards to tional but equally ludicrous, Saori’s a piece of cake, but at least director them moving into a fairytale home. parents cannot tell Tony and the priest Kazuaki Ue tactfully avoids those naff Without further ado, Saori intro - apart at Mika’s wedding. BOTTOM LINE “I say tomato, you say to-mah-to” duces Tony to her parents at her sister Compared to the self-possessed A beginner’s guide to inter-racial love. comparisons. Mika (Ryoko Kuninaka)’s wedding. Saori, contemplative, considerate SECTION: Hong Kong Filmart Industry Although the film’s priority target is Tony makes a faux pas but disarms Tony comes across as positively angel - Screenings. PRODUCTION: TBS Pictures, Toho Company, “My Darling is a Foreigner” Film the Japanese female demographic, Saori’s mother (Shinobu Ohtake). ic. Examples of their culture clashes: Partners. SALES: TBS Pictures. CAST: Mao Inoue, cross-cultural liaisons generate inter - Feeling snubbed by the informal way Tony washing dishes without rinsing Jonathan Sherr, Ryoko Kuninaka, Shinobu est anywhere in the world. The film in which Saori breaks the news, her them or not putting delicates into Ohtake, Jun Kunimura. DIRECTOR: Kazuaki Ue. provides some insight into how for - father (Jun Kunimura) quietly express - laundry nets turn out to be mountains SCREENWRITER: Satomi Oshima. Based on the eigners are perceived in Japan. Sales es his disapproval. Misunderstandings made out of mole hills. manga by Saori Oguri. PRODUCERS: Osamu could trickle into Asian markets that also start to shake Saori’s and Tony’s Sherr, who is the spitting image of Kubota, Tamako Tsujimoto. EXECUTIVE recognize lead actress Mao Inoue for convictions about their love. Ohshima’s husband, is still green in PRODUCER: Kazuo Hamana. DIRECTOR OF starring in the wildly popular “Boys “My Darling” makes spot-on obser - his crossover from comedy to acting, PHOTOGRAPHY: Hitoshi Kato. PRODUCTION over Flowers” TV series and film. vations of how illogical xenophobia but he could melt girls with his wet DESIGNER: Kunio Iwasaki, Hidefumi Hanatani No rating, 100 minutes. While the manga is a collection of can be: When Tony stops a passerby to puppy look. Inoue over estimates her

“One Day” ‘OneDay’

By Maggie Lee

Flitting back and forth in time and traversing mindscapes, “One Day” is difficult to grasp and easy to feel. The story of two people falling in love in meta-dreams is layered like Russian M dolls. Director Hou Chi-jan’s artistry lies not in the overwrought narrative structure but in evoking a rhapsodic sensation of youth and a lingering air of mystery. To tune into the frequency of the

The Hollywood Reporter | Tuesday, March 23, 2010 | reviews

“Ant City”

‘Ant City’ By Elizabeth Kerr ing noodles or smoking on the bal - cony, as if director Gao was convey - In the tradition of digital features ing directionless malaise via prosaic (though this is BetaSP) about the trials chores. That would be fine if he had and tribulations of the newly urban - anything truly new to say, or if this ized and middle classed in China were the first time a film dealt with comes “Ant City,” an interminable the young and overwhelmed in drama about a loosely connected China. He doesn’t, it’s not, and nei - group of Dalian denizens and their ther Gao’s characters nor his actors personal dilemmas and aspirations. are compelling enough to maintain As long as China and all things interest in them or their problems. Chinese remain hot properties on Technical glitches can be expected the international festival circuit, from indies and, if there’s enough “Ant City” may stand a chance at creativity to the rest of the film, usu - festival play — particularly given its ally forgiven. Because “Ant City” is intensely independent nature. How - afflicted with same navel-gazing ever, with poor (or no) color correc - tendencies as so many other Main - tion, a weak sound mix and bracingly land films they’re hard to overlook familiar subject matter, “Ant City” is here. The unshakeable belief that nearly unsellable on any other front. uninteresting people are somehow An An is a young woman with an more fascinating in long, still, poorly uncommunicative boyfriend, Xiang, lit shots drives every scene. The murk and a wealthy lover, Lin, that makes doesn’t do anything to bridge the her semi-affluent lifestyle possible. gaping chasm between viewer and When both Xiang and Lin wind up in the sketchy characters either, and the hospital with nearly identical ultimately that’s what pushes “Ant injuries, An An’s life gets complicat - City” into disposability. ed; both men are relying on her to help them in their convalescence. On top of that it seems, rather inexplica - BOTTOM LINE bly, she’s suddenly the star of a reality Evidence that the digital revolution show (but only for a few hours). More isn’t necessarily a good thing pressure is heaped on her when she SECTION: Hong Kong International Film discovers she’s pregnant. Festival Filmart SALES: Gao Wendong Cast with local actors and directed PRODUCTION COMPANY: Time Story Culture Media CAST: Wuman Bachu, Zhuang Linlin, with an eye toward naturalism, the Huang Jingbo. DIRECTOR: Gao Wendong. film is more of an expositional slice SCREENWRITER: Gao Wendong. of Dalian life than a linear narrative PRODUCER: Li Qiudong. DIRECTOR OF with a traditional beginning and end. PHOTOGRAPHY: Shi Xiaowei. PRODUCTION There is more than one extended DESIGNER: Xin Bu. MUSIC: Daniella. Tsai Ming-liang-esque sequence of EDITOR: Gao Wendong. characters lying around in bed, eat - No rating, 83 minutes

languid narrative, its mesmeric rep - His face gives her a sense of déja vu. etitions and tangled time sequences She wakes up at night to find the requires attentive and patient ferry empty, except for an Indian cinephiles. This dampens commer - man who runs after her with an axe. cial hopes, even with Hou Hsiao Hiding inside a storeroom, she re- Hsien attached as Executive Pro - encounters the cadet, who tells her ducer. Festivals would be more they are in a dream. In another responsive. dimension, Singing has moved to Singing (Nikki Hsin-Ying Hsieh), Taipei. She meets and dates the a young woman raised by her mother cadet in a study center where stu - in the southern port city of Kaohsi - dents rent cubicles to revise, to ung, works on the ferry that trans - sleep, perchance to dream … ports cadets to Taiwan’s island mili - Shot extensively on the ferry and tary bases. On the deck, she sees a around watery locations like the cadet (Bryan Shu-Hao Chang) with a beach, the pier and the swimming compass just like the one her father pool, the film is a poetic cruise into left before he went missing at sea. continued on page 18

The Hollywood Reporter | Tuesday, March 23, 2010 | reviews

“Kyoto Story” S E G A M I Y T T E G / P F A / L E D R T O T O H P

‘Kyoto Story’

By Elizabeth Kerr his former protégé Abe Tsutomu on a was among the films shot there). the melancholy reflection on a bygone traditional love story with a triangle at Yamada’s name above the title alone time and place. yoto Story” is something of an the center. The only element that sets should spark festival interest and pos - That old fashioned sweet touch experiment. Part of a program the film apart from a legion of films sibly an art house release in urban comes courtesy of Yamada, and it pro - “K designed to foster young tal - like it is its location: the Uzumasa markets outside of Japan. The film is vides the basis of a demonstrable con - ent, veteran director Yamada Yoji Daiei street arcade, once home to the too low key, however, to travel much trast between past and present. Pop (“The Hidden Blade”) co-directs with defunct Daiei Studio (“Rashomon” beyond that limited scope, though it’s star USA is the untalented comedian unlikely it was intended to. “Kyoto symbolic of the reasons the old Daiei Story” is an intensely intimate love days are quickly being forgotten. He letter to the city. has desires on getting out of Uzumasa Kyoko (Ebise Hana) is a librarian where Kyoko, who actually gets an ‘OneDay’ that finds herself torn between two opportunity to do so, isn’t so sure. continued from page 17 men: the local tofu-maker’s son who Neither USA nor Ebise turn in award- harbors aspirations of stand up com - winning performances, but they do the subconscious. The ‘dream’ spawns ground, which symbolizes their edy greatness and a visiting academic pull off the kind of humility the story more dreams, opening up parallel worlds uncertain future. The piano score is that frequents the university library demands. “Kyoto Story” has moments where memory crosses over with pres - redolent of the melancholy of Satie. she works in. While Kyoko struggles where the characters test one’s ent and future, where thoughts and To emphasize the dream-like con - to make some life decisions, she patience and it’s a touch creaky tech - actions became indistinguishable. dition, some scenes are repeated till reflects on her place, her heritage and nically, but the glimpse into a bit of The final twist recalls the narrative they start to grate, particularly those her duty to community around Daiei Japan’s living history goes a fair way to structures of “The Girl Who Leaped involving the Indian shouting in his that has all but defined her. making up for whatever minor flaws Through Time” and “Ditto.” But Hou (unsubtitled) dialect. There’s not much going on in the film may have. captures not only the ephemeral quali - “Kyoto Story,” and its romantic ty of first love but an experience entanglements are far from innova - unique to Taiwan’s men. The ferry, BOTTOM LINE tive. That said, Yamada and Abe’s BOTTOM LINE army camp, the study center are A poetic love rhapsody that both modest picture doesn’t have ambi - An teasingly original idea from a new mystifies and moves. filmmaker wrapped up in the familiar ciphers of their collective memory of tions of making bold statements SECTION: Hong Kong International Film Festival SECTION: Hong Kong International Film Festival youth, spent in military service and PRODUCTION: Strawberry Time Films. about the nature of love and the Filmart/Master Class cramming for college exams. CAST: Nikki Hsin-Ying Hsieh, Bryan Shu-Hao meaning of life. The strongest parts SALES: Shochiku Co., Ltd. More of a mood piece than a dra - Chang, Gwen Yao. of “Kyoto Story” are its quiet PRODUCTION COMPANY: Shochiku Co., Ltd. matic feature, “One Day” owes much DIRECTOR-SCREENWRITER: Hou Chi-Jan. moments with the neighborhood CAST: Ebise Hana, USA, Tanaka Sotaro. to D.O.P. Mahua Feng’s compositions, PRODUCERS: Zoe C.J. Chen, Liao Shih-Han. going about its daily business and the DIRECTOR: Abe Tsutomu, Yamada Yoji. which are by turns meticulously sym - EXECUTIVE PRODUCER: Hou Hsiao Hsien. subtle references to a much grander SCREENWRITER: Yamada Yoji, Sasae Tomoaki. metrical and sensuously impressionis - DIRECTOR OF PHOTOGRAPHY: Mahua Hsin- past. Interviews with actual area resi - PRODUCER: Yamamoto Ichiro. tic, lit with a soft, twilight haze. Par - Hua Feng. ART DIRECTOR: Chen Yong-Jhih. dents lend a palpable nostalgic tone DIRECTOR OF PHOTOGRAPHY: Chikamori COSTUME DESIGNER: Sung Han-Hui. Masashi. PRODUCTION DESIGNER: Nishimura ticularly evocative are shots of the — and veracity — that bleeds through MUSIC: Han Cheng-Ye. EDITOR: Liao Ching- Takashi. MUSIC: Fuuki Harumi. EDITOR: Ishijima couple gazing into a blurry back - sung. No rating, 95 minutes. every frame. You don’t have to be Kazuhide. No rating, 89 minutes familiar with Kyoto to get swept up in

The Hollywood Reporter | Tuesday, March 23, 2010 | news Honoree Bachchan has opened doors

By Nyay Bhushan From his 1969 debut in “Saat Hin - be hailed as the “one man industry.” turn as the show’s host was an instant dustani” (Seven Indians) for which he Notoriously media-shy, Bachchan hard - hit and changed the fortunes of not just t’s probably safe to say that there is won the National Film Award for best ly granted any interview for many years. Star but Bachchan himself as he was hardly any comparision to the iconic newcomer, Bachchan’s 180-plus When Bachchan was injured while back in demand, both in films and as a Istatus of Amitabh Bachchan in any strong film career has been showered shooting a fight sequence for 1983’s lucrative brand ambassador for various film culture in the world considering with numerous awards while reflect - “Coolie” and rushed to hospital where products that he endorsed. how his gigantic persona has towered ing the essence of Hindi cinema in the he had a near-death experience, India Over the last decade, Bachchan has S

E over the world’s biggest decades that followed. was almost at a standstill with hordes stretched his film and TV commitments G A

M film industry for more And for Bachchan, the accolades of his fans praying for his recovery. which included a stint as the “pop psy - I Y T

T than four decades. And continue as he received a Lifetime As the ‘80s ended, Bachchan’s chologist” on the Indian “Big Brother”. E G /

P it’s also understand - Achievement Award at Monday night’s career seemed to be waning off which Working with a new breed of film - F A /

L able why one-sixth of Asian Film Awards. was compounded by financial troubles makers, Bachchan has defied expecta - E D

R humanity follows He exploded in the ‘70s as the “angry in the ‘90s when his plans to establish tion, portraying roles such as an old T : O

T every move of the 68- young man,” his legendary baritone a multimedia conglomerate, Amitabh man obsessed with a teenage girl in O H

P year-old legend whose giving voice to the frustrated youth Bachchan Corp. Ltd., turned into a 2007’s controversial “Nishabd,” or name in Hindi means battling against the corrupt establish - financial and managerial mess. sharing the screen in his latest, “Teen “limitless ment in epics like 1973’s “Zanjeer” With looming debts and possible Patti,” with Ben Kingsley. luster”. (Chain). He displayed his range as a bankruptcy, Bachchan ended up like his “We are slowly and surely moving romantic star in some of filmdoms’ many on-screen avatars, battling away from that formatted escapist biggest hits such as 1976’s “Kabhi Kab - against all odds. But he fought hard and commercial fare to make films that are hie” (Love is Life) and 1981’s “Silsila” evolved into his newfound role as the more exciting, technically, in content (The Affair) which also introduced him mature statesman of Hindi cinema. and presentation,” Bachchan told THR as a singer. As his career hurtled on, However, his biggest success came in an interview in 2007 when he was Bachchan invented the very nature of courtesy the burgeoning world of satel - conferred one of France’s highest civil - what constitutes a superstar: action, lite television. News Corp.-owned Star ian honors. “The fact that you sit here to drama, comedy, dance, romance and network’s Hindi channel Star Plus was interview me for a magazine from the just about any acting genre were all desperate for a breakthrough hit and West, the fact that the West is interest - rolled into his six foot plus frame. took the gamble of approaching ed in us, bodes well for our cinema. We Beyond just his creative impact, Bachchan — who had never done tele - look forward to this huge profile expan - Bachchan single-handedly controlled vision before — to host the Indian ver - sion that is taking place and I hope this Bachchan the fate of the boxoffice thanks to his sion of “Who Wants To Be A Million - continues because this can only bring a string of runaway hits which led him to aire” in 1999. Bachchan’s enigmatic lot of benefit to the industry.” ∂

The Hollywood Reporter | Tuesday, March 23, 2010 | news

AFA Winners tor Adrian Ng, the owner and creative AFAAwards Cimarron director of Liquid Advertising, see film Best Film: MOTHER (South Korea) continued from page 1 continued from page 1 marketing as a $1 billion business across Asia. When Yun and Ng worked No prizes went to Japan this year, a opening weekend advantage,” said together previously at Media Corp Best Director: LU CHUAN, CITY OF let down after Japanese films took Moses, who opened Cimmaron’s Asia Raintree their film trailers cost about LIFE AND DEATH (China) home five AFA prizes in 2009. office in Singapore in 2008. $45,000, Yun said. The 2010 AFA best newcomer award Working with the new media division Director Peter Chan admired the went to Ng Meng-hui for an appear - of Daniel Yun’s Homerun Asia — among marketing work Yun and Ng did on the Best Actor: WANG XUEQI, ance in “At the End of Daybreak,” a other major Asia-based partners yet to Singapore release of “The Eye 2” BODYGUARDS AND ASSASSINS South Korean co-production with be announced — Moses said Cimarron (2005) and opted to use elements of it (Hong Kong/China) Malaysia and Hong Kong that also gar - would create pan-Asian in releases elsewhere around Asia. nered Wai Ying-hung the best sup - marketing campaigns “Homerun can bring consistency to porting actress prize. relying on local expert - a campaign’s key art, to its one-sheet Best Actress: KIM HYE-JA, South Korean Yi Zeon-hyoung won ise to tweak them for and we can add the guerilla marketing MOTHER (South Korea) the best visual effects award for work each market. strategy necessary to reach Asia’s on “Thirst.” At first, Cimarron will web-savvy audience,” Yun said. The inaugural best costume design - focus on China, India It its first year of operations, Home - Best Newcomer: NG MENG HUI, AT er award — presented by Donatella and South Korea, where run’s marketing division hopes to land THE END OF DAYBREAK Versace — went to the team of Chris - Moses said he hopes to Yun accounts for one major Asian company tian Lacroix, Anne Dunnsford and open local shops as demand grows. and one Hollywood studio. ∂ S

(Malaysia/Hong Kong/South Korea) E G

Wang Chia-Hui for “Face.” “We don’t yet know how Hollywood A M I

The Lifetime Achievement Award marketing costs will be received in each Y T T E

Best Supporting Actor: NICHOLAS was given to Indian acting and pro - Asian territory, but by bringing local G / S S

ducing giant Amitabh Bachchan, and staff back to Los Angeles for training we E TSE, BODYGUARDS AND ASSAS - R P

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tion to Asian Cinema went to Chinese the learning process,” Moses said. A N I

Daily Edition H

directing legend Zhang Yimou. Yun, whose Singapore-based C : S O

Best Supporting Actress : WAI Bachchan has appeared in more than Homerun Asia is helping to produce T O

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100 movies in a career spanning four upcoming titles from Peter Chan P N

YING-HUNG, AT THE END OF DAY - Hall 1, Hong Kong I decades. His recent credits include (“1965”), Terence Chang and John X Convention and Exhibition N A I BREAK (Malaysia/Hong “The Last Lear,” “Sarkar Raj” and “Paa.” Woo (”Stranglehold”) and Shinho Lee Centre, 1 Expo Drive, Wanchai, Hong X U O

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haps the best known of the Fifth Gen - “international shine.” A Publisher E R

Best Screenwriter: PARL EUN-KYO, eration of Chinese film directors. ∂ Yun and Homerun new media direc - D A E

ELIZABETH GUIDER K BONG JOON-HO, MOTHER I L Editor , O (South Korea) H Y V EDITORIAL I Kong, he was concerned the buyers Best Cinematographer : CAO YU, Market DAVID MORGAN would eventually only go to Cannes, Deputy Editor CITY OF LIFE AND DEATH (China) continued from page 1 and not return to Filmart. 3D was looming large on the market JONATHAN LANDRETH vp Intl Sales & Distribution Eric Kim, floor, with Universe Film’s “Child’s Sr. China Correspondent Best Production Designer: ALAIN- who is responsible for European and Eye” drawing the eyeballs of even GAVIN BLAIR PASCAL HOUSIAUX, PATRICK American territories. casual passers-by crowding the aisles Japan Correspondent “Everyone who should be here – around the booth. The film has already DECHESNE/LEE TIAN-JUE, FACE KAREN CHU those who have the money to buy and been sold to Singapore, Malaysia, Tai - Hong Kong Correspondent (Taiwan) can be trusted – is here,” said another wan and Indonesia, but buyers from Asian sales representative. Australia and other Asian regions had REVIEWS Best Composer: LO TA-YU, Others were less enthused, “The expressed interest. Filmko’s 3D period MAGGIE LEE TDC invited a lot less buyers from fantasy “Don Quixote” and Mega- Reviewer VENGEANCE (Hong Kong) North America and Europe this year. Vision’s 3D comedy “The King of ELIZABETH KERR They’ve invited producers for the Jesters” were also attracting attention. Reviewer Best Editor : LEE CHATAMETIKOOL, seminars, other sales agents, but only “Space Battleship Yamato,” a live- ART + DESIGN KARAOKE (Malaysia) very few buyers,” said one irate sales action reworking of a classic anime representative from a major studio. series, and starring Takuya “Kimu - EMILY JOHNSON “There are none from Britain, one taku” Kimura, was attracting a lot of Senior Designer from Scandinavia, and not enough interest and offers for TBS. Best Visual Effects: YI ZEON- ADVERTISING HYOUNG, THIRST (South Korea) from the rest of Europe and America.” Media Asia’s mega production “The The sales rep noted that in previous Legend of Chen Zhen” starring Donnie ALISON SMITH years their company usually made one Yen was another title gathering buzz, as International Sales Manager Best Costume Designer: CHRIS - lot of sales at Filmart, then another in was the company’s crime thriller “Pun - IVY LAM TIAN LACROIX, ANNE Cannes; but with less buyers from ished” produced by Johnnie To and Asia Sales & Marketing Manager Europe and North America in Hong directed by Law Wing Cheong ∂ DUNSFORD, WANG CHIA-HUI, TOMMASO CAMPIONE International Executive Director FACE (Taiwan) The company is now developing OPERATIONS its next 3D epic, “The Monkey GREGG EDWARDS SPECIAL AWARDS Production Manager, Features ‘Quixote’ King,” a 180 million yuan retelling of Outstanding Contribution to Asian continued from page 2 the Chinese mythical literature e5 Global Media LLC Cinema: ZHANG YIMOU “Journey to the West” with a script novel for its fantasy elements. “Not written by “Ip Man” writer Edmond JAMES A. FINKELSTEIN Chairman all genres are good for the 3D treat - Wong. Filming is scheduled for The Asian Film Award for Lifetime RICHARD D. BECKMAN ment, we had to pick the suitable October with a 2011 release date. Chief Executive Officer Achievement: AMITABH stories to film in 3D. Fantasy and Besides continuing the collabo - HOWARD APPELBAUM BACHCHAN myths are the best for us,” said ration with the Chinese Academy of Chief Operating Officer Dominic Yip, Distribution GM of Sciences, Filmko is now in negotia - MARSHALL MORRIS Filmko, which has bases in Hong tion with investors from China and Chief Financial Officer The Asian Film Award for 2009’s Kong and Beijing. “Don Quixote” is Japan to co-produce, to capitalize Top-Grossing Film Director : JOHN scheduled for August in China, and on the popularity of the original WOO late 2010 for Hong Kong. story in the latter country. ∂

The Hollywood Reporter | Tuesday, March 23, 2010 | news

about town S E G A M I Y T T E G / S S E R P O T O F A N I H C : S O T O H P N I

X OPENING NIGHT FESTIVITIES N A I X Glitz and glamor were all around as the Hong Kong U O H

Z International Film Festival kicked off on Sunday night. D N

A Above, from left, Ivy Ho, Terence Yin, Daniel Wu, Yon M A E Fan and Stephen Fung attend the “Like a Dream” gala. R D A

E Teddy Robin, top right, on the red carpet for “Crossing K I L , Hennessy. Tang Wei hams it up at a photocall and Zhou O H Y

V Xianxin, far right, brightens up the red carpet. I

by the Straight Exchange Foundation Asiandocs and the PBS Foundation of Taiwan, Wong tackles 3D comedy and the Jan Vrijman Fund of the continued from page 1 Netherlands. at Venice in 2009, “The Other Side” Over three days, Asian Side of the By Karen Chu slate. The film starred comedian San - will use the stories of common fisher - Docs seminars and one-on-one meet - dra Ng and featured the comeback of men, among other characters, in an ings will introduce the European and 1990s Hong Kong hitmaker Wong 1990s pop idol Vivian Chow. The two attempt to offer answers to the ques - Asian producers of 24 selected projects Jing is trying his hand at comedy with starred as a lesbian ex-couple who tion “What happens next in the 60- to 60 distributors and decision makers the first Chinese comedy in stereo - reunited after finding out about their year stand- off,” said Ben Tsiang, the from both continents, including 15 scopic 3D. The film will feature kung respective pregnancies. Beijing-based CEO of CNEX. European broadcasters such as Schrein - fu, animals, and Hong Kong comedian “Hong Kong people’s morality stan - Co-directed by Zhou Hao from er Claudia of ARD of Germany, Jean Jim Chim. dard remains in the 1960s, but their China and Tsai Tsung-lung from Tai - Rozat of ARTE of France and Truyen In the 20 million yuan (US$3 million) actions are much more advanced than wan, CNEX “will each shoot in their Barbara of VPRO of the Netherlands. “The King of Jesters” produced by their thinking,” Hui said. countries and then swap footage and A 3D documentaries conference will Wong’s Mega-Vision, Chim will dis - Wong also returns to familiar edit different versions,” Tsiang said. be held on Wednesday, led by National play his knack for physical come - grounds with “Naked Soldiers”, the Nicholas Fraser, producer of award Film Board of Canada President Tom dy playing an animal tamer who US$4 million three-quel to his sex winning Storyville documentary series Perlmutter and Samantha Woods of was raised in a Shaolin-style and crime series “Naked at the British Broadcasting Corp. Orange/3D. temple. “It is the first Chinese Weapon” and “Naked Killer,” called the CNEX pitch “brilliant,” but Others in attendance included Kenny comedy shot in 3D and features which raised to cult status in wondered aloud how the producers Bae Kihyung of the Korean Broadcasting animals, a comedy for the whole Europe with their main draw of could maintain independence making System, Leland Ling of Beijing-based family, especially for kids, so it T&A and guns. Next, Mega- such a politically sensitive film. LIC, Mok Choy Lin of the National Geo - can sustain for a long time,” Vision will also begin produc - Tsiang answered that CNEX gets all graphic Channel Asia, Ying Qiming of Wong told the Hollywood tion of the 30 million yuan its funding from private sources and the Shanghai Media Group, and John Reporter. (US$4.4 million) action adven - takes no government money. Godfrey of SBS Australia. The 3D comedy is directed ture “Aladdina,” starring Louis Other pubcaster buyers also Though Bae of SBS said the subject by Chinese helmer Wang Koo and the Hong Kong pop responded positively and offered con - of nuclear disaster addressed in the Guang-li, who, having group Twins. structive criticism. Hamish Mykura, pitch for “17 Days of Chernobyl” by made the first Chinese The US$10 million Andy head of documentaries for Channel 4 Zero One Film of Germany, he said 3D film “Nutcracker,” Lau scifi starrer “Future X- in the U.K. said, “The film should let there was a problem. “Atomic catas - was one of the few Cops,” which had been the characters’ stories develop the trophe can happen anywhere, but Chinese directors with delayed because of a lengthy underlying issues.” Chernobyl is not particularly relevant experience in shooting postproduction process in The filmmaker-broadcaster to Asian countries,” Bae said. in stereoscopic 3D. Korea to boost the films exchange afforded event organizer Mok of NatGeo said a growing audi - “All About Love,” the visual effects amidst rumors Yves Jeanneau the chance to hammer ence allowed her increasingly to com - urban romantic comedy of financial woes of one of home the point of the exercise: “This mission projects specifically for Asia from award-winning the film’s investors. Wong meeting is about learning how to but that their budgets were signifi - Hong Kong director Ann refuted those claims and the develop a film’s point of view.” cantly smaller than the $180,000 typi - Hui (“The Way We Are,” film is expected to be CNEX is looking for $120,000 to cally offered for projects geared toward “Summer Snow”), is also released on April 15 in China finish the project already partly funded the West. ∂ among the Mega-Vision and Hong Kong. ∂