DOCSLIB.ORG

HKTDC Organised The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
HKTDC Organised The 16 Feb 2017 Film Entertainment Industry in Hong Kong Overview Hong Kong has one of the largest and most dynamic film entertainment industries in the world. As one of the world's largest film and television content exporters, Hong Kong has captured a fair share of the regional market, in particular the market on the Chinese mainland. An increasing number of movies have been co-produced by Hong Kong and mainland film production companies in recent years, which accounted for 54 out of a total of 89 that were granted co-production shooting permits in 2016. Hong Kong acts as the hub of buying and selling Chinese mainland films and TV dramas through FILMART and it is increasingly seen as a remarkable platform to explore co-production in Asia. In 2016, there were over 200 Chinese exhibitors at FILMART. Hong Kong's audio-visual services industry has gained preferential access under CEPA to the huge media entertainment market on the Chinese mainland. The latest CEPA agreement concerning the Mainland’s Specific Commitments on Liberalisation of Trade in Services for Hong Kong was signed in December 2015 for implementation in mid-2016, providing further enhancement in market access for Hong Kong service suppliers to the mainland market. Hong Kong acts as the hub of buying and selling Chinese mainland films and TV dramas through FILMART and it is increasingly seen as a remarkable platform to explore co-production in Asia. In 2016, there were over 200 Chinese exhibitors at FILMART. Industry Data 1 Film Entertainment Industry in Hong Kong Service Providers Most local film companies deal directly with cinema chains for local screening on a revenue-sharing basis. Rights will then be sold to distribution companies for other forms of release, including video rental and sales, and television broadcasting. There are also companies which specialise in distributing foreign films in Hong Kong. The film industry is represented by several industry associations, including the Movie Producers and Distributors Association of Hong Kong Ltd (MPDA), the Motion Picture Industry Association (MPIA), the Hong Kong Film Directors’ Guild (HKFDG), and the Hong Kong Screenwriters’ Guild (HKSWG). Industry Development and Market Outlook Film distribution As of January 2017, there were 55 cinemas in Hong Kong. Films are mainly released through channels such as United Artists, Broadway Circuit, the MCL Circuit, the AMC Circuit, Golden Harvest and Newport Circuit. Other movie distribution channels include selling of film DVDs and CDs, broadcasting by local free televisions, pay televisions, subscription satellite services and online platforms such as Amazon, iTunes and Google Play. Hong Kong is among the world's largest film exporters. In 2016, 61 locally produced films were released. In 2014, Hong Kong’s audio-visual production-related services exports amounted to HK$675 million. Hong Kong's film industry as a whole is reliant on overseas revenues, given the limited size of the domestic market. Asia accounts for the majority of the foreign sales income. The box office on the Chinese mainland has become a vital market for Hong Kong movies. In 2016 China’s box office had surpassed North America for the first time. 2016 Box office income reached RMB45.5 billion in the same year, though growth remarkably slowed down to 3.3%. Nowadays, an increasing number of movies have been co-produced by Hong Kong and mainland film production companies. A record total of 89 films obtained co-production 2 Film Entertainment Industry in Hong Kong permits in 2016, up 11% from 2015 – with 54 of the co-productions involving mainland and Hong Kong producers. Co-productions have fared well in the Chinese film market in recent years. Chinese mainland-Hong Kong Co-productions always occupy spots among the top 10 box office films in the Chinese mainland. Thanks to such co-operation, many good-quality films with critical acclaims have been produced. For example, The Grandmaster won the Best Costume Designer in the 8th Asian Film Awards (AFA) and the Best Cinematography of the 56th Asian Pacific Film Festival (APFF). Also, The Journey to the West: The Demons Strike Back (西遊伏妖篇), directed by Tsui Hark (徐克) and produced by Stephen Chow, achieved a new box office record of RMB355 million on its premier day in January 2017. Hong Kong's films have gained increasing recognition from the international film industry over the years, with young talents on the rise. In 2016, Wong Chun (黃進) won the Best New Director Award at the 53th Golden Horse Awards with his debut feature Mad World (一念無明). Crime thriller Trivisa (樹大招風), directed by new talents Frank Hui (許學文), Jevons Au (歐文傑) and Vicky Wong (黃偉傑) and produced by Johnny To (杜琪峯), won the Best Original Screenplay (by Loong Man Hong (龍文康), Thomas Ng (伍奇偉), Mak Tin- shu (麥天樞) ). The movie also won Best Film Editing (by Allen Leung Chin-lun (梁展綸) and David Richardson) in the same year. In 2015, Port of Call received the best film award at the 19th Bucheon International Fantastic Film Festival, and Aaron Kwok also won the Star Asia award at the 13th New York Asian Film Festival for his performance in the film. In 2014, Ann Hui won the Best Director award at the Taipei Golden Horse Film Festival with her film The Golden Era. Apart from buying rights for theatrical distribution, Hollywood is also interested in acquiring rights to remake Hong Kong movies. For example, The Eye released by Hollywood in 2008 was a remake based on a 2002 film Gin Gwai directed by Hong Kong's Pang Brothers. Infernal Affairs was remade by Martin Scorsese to the Oscar-winning movie The Departed, which was released in 2006. Further, Korean film Mujeogja was a remake of Hong Kong gangster film A Better Tomorrow in 2010. Hong Kong has a unique advantage in bridging the Chinese mainland with the Western audiences and opening a window on the world for Chinese audience. In 2015, Warner Bros. Entertainment and China Media Capital (CMC) formed a joint venture of US$1 billion, headquartered in Hong Kong, to develop and produce films for global distribution. Hong Kong film talents and professionals have managed to make their names known in both Eastern and Western movie market. For example, Ann Hui also won the Lifetime Achievement Award of the 6th AFA. In Hollywood, Yuen Woo Ping is one of the best known and Chinese martial arts movie choreographers because of his involvement in Matrix. John Woo, Chow Yun-fat, Michelle Yeoh, Cory Yuen, Sammo Hung and Ronny Yu are just some of the Hong Kong names that have managed to successfully straddle both Eastern and Western markets. For instance, Ip Man 3 fetched a box office of US$1.6 million during the first ten days of its premiere in the North America market. While major film companies have their own distribution departments, smaller independent filmmakers usually rely on distribution companies to sell their films in overseas markets. Key channels for international distribution are the three main film markets in Los Angeles, Cannes and Berlin, where producers, distributors and buyers meet to initiate deals for the distribution of films. In 2016, the HKTDC organised the 3 Film Entertainment Industry in Hong Kong Hong Kong Pavilion showcasing the latest Hong Kong film productions at the Marché du Film in Cannes. Hong Kong has hosted an annual film market since 1997 to promote Hong Kong as a film distribution centre in the region. In 2016, FILMART attracted 800 exhibitors from 30 countries and regions, and 7,300 visitors from 60 countries and regions. FILMART (Hong Kong), Marché Du Film (Cannes) and American Film Market (the US) have been chosen by film industry players as the top three most important global film events. FILMART is now the largest film and TV market event in Asia. Hong Kong acts as the hub of buying and selling Chinese mainland films and TV dramas through FILMART and it is increasingly seen as a remarkable platform to explore co- production in Asia. In 2016, there were over 200 Chinese exhibitors at FILMART. Hong Kong is also a popular place for overseas crews shooting commercial films, TV programmes and advertisements. In recent years, feature films from various countries that have made Hong Kong their filming locations included Transformer: Age of Extinction (US) and The Suspect (Korea). For TV programmes, Cesar to the Rescue (US) and Asia’s Got Talent (Singapore) were filmed in Hong Kong as well. Television programmes Hong Kong TV companies derive a substantial portion of their revenue from overseas markets, targeting primarily Chinese-speaking populations. In addition, some programmes are dubbed into other languages to target the non-Chinese-speaking audience. Hong Kong's television broadcasters sell their products using the following methods: programme licensing, pre-packaged programme content and subscription fees, with satellite distribution and landing rights now becoming an increasingly important source of revenue. Recently, over-the-top (OTT) services through digital TV and mobile platforms have emerged to be an important distribution channel of TV programmes in Hong Kong. For example, most of the latest programmes produced by Television Broadcasts Limited (TVB) are available on their mobile application platform “myTV SUPER”. In November 2014, Hong Kong Television Network Limited (HKTV) started distributing their programmes through the internet, which can be accessed by various devices including mobile phones and tablets. ViuTV, the channel run by HKTVE and launched in April 2016, offers both free-to-air broadcast and media-on-demand streaming services on mobile devices. In January 2016, global streaming giant Netflix rolled out its OTT service in Hong Kong. Netflix users can enjoy unlimited movies and TV programmes on TV, laptops and mobile devices on a paid subscription basis.
Load more

Recommended publications
  • AACTA AWARD for BEST ASIAN FILM Process and Eligibility Criteria
    AACTA AWARD FOR BEST ASIAN FILM Process and Eligibility Criteria PART 1: PROCESS 1. Entry into competition 1.1. Films from Tier One or Tier Two Asian countries (see definition under Part 2, 3.1), that meet one or more of the Eligibility Criteria (see Eligibility Criteria in Part 2) will be considered for entry into competition. 1.2. Invitations to enter into Formal Competition will be sent to select eligible films at AACTA’s discretion. All invitations will be extended in June via email. 1.3. All films that are invited and agree to pay the Entry Fee will then enter Formal Competition. 1.4. The Formal Competition List will comprise a total of 27 films that meet Regional Quotas (outlined below) based on the average number of films from each eligible country distributed in Australia for paid admission. Regional Quotas: (a) China: nine Chinese films may be included in Formal Competition. (b) India: nine Indian films may be included in Formal Competition. (c) Japan: three Japanese films may be included in Formal Competition. (d) South Korea: three South Korean films may be included in Formal Competition. (e) Tier Two countries: three films in total from Tier Two countries may be included in Formal Competition. 2. Preliminary Selection Committee 2.1. Three Preliminary Selection Committees will be appointed at AACTA’s discretion to determine the Nominees that progress from Formal Competition: (a) The Chinese Preliminary Selection Committee will determine three Nominees from the nine Chinese films in Formal Competition. (b) The Indian Preliminary Selection Committee will determine three Nominees from the nine Indian films in Formal Competition.
    [Show full text]
  • The Studies of HKIFF: an Overview of a Burgeoning Field of Its Establishment in the Current Years
    The studies of Hong Kong International Film Festival (HKIFF) : Title an overview of a burgeoning field of its establishment in the current years Author(s) Law, Pik-yu Law, P. E.. (2015). The studies of Hong Kong International Film Festival (HKIFF) : an overview of a burgeoning field of its Citation establishment in the current years. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2015 URL http://hdl.handle.net/10722/223429 The author retains all proprietary rights, (such as patent rights) and the right to use in future works.; This work is licensed under Rights a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The Studies of HKIFF: An Overview of a Burgeoning Field of its establishment in the current years The University of Hong Kong Department of Sociology Assignment / Essay Cover Sheet1 Programme Title: Master of Social Sciences in Media, Culture and Creative Cities – MSocSc(MCCC) Title of Course: SOCI8030 Capstone Project Course Code: SOCI8030 Title of Assignment / Essay: The Studies of Hong Kong International Film Festival (HKIFF): An overview of a Burgeoning Field of its establishment in the current years Student Name: LAW, Pik Yu Eugenia Student Number: 2013932305 Year of Study: Year 2 Date of Resubmission2: Plagiarism Plagiarism is the presentation of work which has been copied in whole or in part from another person’s work, or from any other source such as the Internet, published books or periodicals without due acknowledgement given in the text. Where there are reasonable grounds for believing that cheating has occurred, the action that may be taken when plagiarism is detected is for the staff member not to mark the item of work and to report or refer the matter to the Department.
    [Show full text]
  • The 2Nd International Film Festival & Awards • Macao Unveils Festival
    The 2nd International Film Festival & Awards • Macao unveils festival programme, announces Laurent Cantet as head of jury Macao, 3 November, 2017 The 2nd International Film Festival & Awards • Macao (IFFAM) today announced its programme at a press conference in Macao. The Hong Kong/Macao premiere of Paul King’s Paddington 2 will open the IFFAM on Friday 8 December with the festival running until Thursday 14. The programme includes 10 competition films including the Asian premieres of Venice Film Festival prize winners Foxtrot by Samuel Maoz, and Custody, by Xavier Legrand, as well as Toronto Film Festival breakout Beast, by Michael Pearce and the London Film Festival hit Wrath of Silence, directed by Xin Yukun. For its second edition the IFFAM has exclusively dedicated the feature film competition to films by first and second time film makers with a $60,000 USD prize being awarded to the best feature. The prestigious competition jury comprises of: Laurent Cantet – Director (Jury President) Jessica Hausner - Director Lawrence Osborne - Novelist Joan Chen – Actress / Director Royston Tan – Director Representing the latest style of genre cinema to Asian audiences, highlights from the Flying Daggers strand features Cannes Film Festival smash A Prayer Before Dawn by Jean-Stéphane Sauvaire and Brian Taylor’s Toronto sensation Mom and Dad. The Asian premiere of Saul Dibb’s Journey’s End is screening as an Out-Of-Competition gala alongside Bong Joon-ho’s Okja, showing on the big screen for the first time in the region, and Pen-ek Ratanaruang’s latest movie Samui Song which will be screened with director and cast in attendance.
    [Show full text]
  • Un Affare Di Famiglia Di Kore-Eda Hirokazu
    Un affare di famiglia di Kore-eda Hirokazu uscita: 13 settembre 2018 durata: 121 minuti I materiali stampa sono scaricabili dall’area press del sito www.bimfilm.com UN AFFARE DI FAMIGLIA CAST ARTISTICO Shibata Osamu Lily Franky Shibata Nobuyo ANDO Sakura Shibata Aki MATSUOKA Mayu Shibata Hatsue KIKI Kilin Shibata Shota JYO Kairi Hojo Juri SASAKI Miyu CAST TECNICO Regia / Sceneggiatura / Montaggio KORE-EDA Hirokazu Musica Originale HOSONO Haruomi (Victor Entertainment) Direttore della Fotografia KONDO Ryuto Luci FUJII Isamu Suono TOMITA Kazuhiko Scenografia MITSUMATSU Keiko Aoi Pro. Inc. Produzione Aoi Pro. Inc. Produttori Esecutivi ISHIHARA Takashi Tom YODA NAKAE Yasuhito Produttori Associati OSAWA Megumi ODAKE Satomi Produttori MATSUZAKI Kaoru YOSE Akihiko TAGUCHI Hijiri 2 UN AFFARE DI FAMIGLIA Sinossi Dopo uno dei loro furti, Osamu e suo figlio si imbattono in una ragazzina in mezzo ad un freddo glaciale. Dapprima riluttante ad accoglierla, la moglie di Osamu acconsente ad occuparsi di lei dopo aver appreso le difficoltà che la aspettano. Benché la famiglia sia così povera da riuscire a malapena a sopravvivere commettendo piccoli reati, sembrano vivere felici insieme finché un incidente imprevisto porta alla luce segreti nascosti che mettono alla prova i legami che li uniscono... 3 UN AFFARE DI FAMIGLIA Intervista a Kore-eda Hirokazu Ha deciso di realizzare questo film dopo aver appreso di casi di famiglie che continuano a percepire illegalmente le pensioni dei genitori deceduti da anni. Il suo intento era quello di rappresentare una famiglia da un punto di vista diverso rispetto ai suoi precedenti film? La prima cosa che mi è venuta in mente è stata la frase: “Solo i crimini ci tenevano uniti”.
    [Show full text]
  • Industry Guide Focus Asia & Ttb / April 29Th - May 3Rd Ideazione E Realizzazione Organization
    INDUSTRY GUIDE FOCUS ASIA & TTB / APRIL 29TH - MAY 3RD IDEAZIONE E REALIZZAZIONE ORGANIZATION CON / WITH CON IL CONTRIBUTO DI / WITH THE SUPPORT OF IN COLLABORAZIONE CON / IN COLLABORATION WITH CON LA PARTECIPAZIONE DI / WITH THE PARTICIPATION OF CON IL PATROCINIO DI / UNDER THE PATRONAGE OF FOCUS ASIA CON IL SUPPORTO DI/WITH THE SUPPORT OF IN COLLABORAZIONE CON/WITH COLLABORATION WITH INTERNATIONAL PARTNERS PROJECT MARKET PARTNERS TIES THAT BIND CON IL SUPPORTO DI/WITH THE SUPPORT OF CAMPUS CON LA PARTECIPAZIONE DI/WITH THE PARTICIPATION OF MAIN SPONSORS OFFICIAL SPONSORS FESTIVAL PARTNERS TECHNICAL PARTNERS ® MAIN MEDIA PARTNERS MEDIA PARTNERS CON / WITH FOCUS ASIA April 30/May 2, 2019 – Udine After the big success of the last edition, the Far East Film Festival is thrilled to welcome to Udine more than 200 international industry professionals taking part in FOCUS ASIA 2019! This year again, the programme will include a large number of events meant to foster professional and artistic exchanges between Asia and Europe. The All Genres Project Market will present 15 exciting projects in development coming from 10 different countries. The final line up will feature a large variety of genres and a great diversity of profiles of directors and producers, proving one of the main goals of the platform: to explore both the present and future generation of filmmakers from both continents. For the first time the market will include a Chinese focus, exposing 6 titles coming from China, Hong Kong and Taiwan. Thanks to the partnership with Trieste Science+Fiction Festival and European Film Promotion, Focus Asia 2019 will host the section Get Ready for Cannes offering to 12 international sales agents the chance to introduce their most recent line up to more than 40 buyers from Asia, Europe and North America.
    [Show full text]
  • Fourth Southeast Asian Film Festival Returns with 20 Singapore Premieres – the Freshest and Most Compelling Cinematic Work Emerging from the Region
    MEDIA RELEASE For Immediate Release Fourth Southeast Asian Film Festival returns with 20 Singapore premieres – the freshest and most compelling cinematic work emerging from the region 11 April (Friday) to 4 May (Sunday) 2014, Moving Image Gallery, SAM at 8Q 19 March 2014, Singapore – Featuring the region’s best contemporary art expressed via the moving image, the Singapore Art Museum (SAM) is proud to present the fourth Southeast Asian Film Festival (SEAFF). Organised by SAM, along with prominent film critic Philip Cheah, veteran arts administrator Teo Swee Leng and SAM curator Sam I-shan, this annual Festival puts the spotlight on Southeast Asia through the compelling contemporary visual art genre of film. This year’s festival will highlight 20 films created by both established and up-and-coming directors from across the region including Cambodia, Indonesia, Malaysia, Myanmar, Philippines, Singapore and Thailand. All the films will be making their Singapore premieres at the Festival, including four Asian premieres and one world premiere. Festival-goers from the region will explore some of the most urgent contemporary challenges facing this diverse and rapidly developing region through the lenses of the directors, from the religious sectarian conflict in Mindanao to cross-border migration between Myanmar and China, to the hardship of ordinary families and more. Visitors will also get a glimpse of life in turbulent regions across Asia through War is a Tender Thing by Adjani Arumpac, The Journey of the Stars into the Dark Night by Arnel Mardquio, Letters of Solitude by Gutierrez ‘Teng’ Mangansakan II and Ice Poison by Midi Z, that tell the stories of communities that live through adversity.
    [Show full text]
  • Song Kang-Ho and the Uncanny Face of the Korean Cinema
    ACTA KOR ANA VOL. 14, NO. 1, JUNE 2011: 33–71 SOMEWHERE BETWEEN ANTI-HEROISM AND PANTOMIME: SONG KANG-HO AND THE UNCANNY FACE OF THE KOREAN CINEMA By BRIAN YECIES This article explores the trajectory of Song Kang-ho’s on-screen performances from the release of his fourth film, Number 3 (1997), to one of his most recent films, Thirst (2009). As a case study, it reveals new insights about this popular and representative actor’s numerous screen personae and how they have enabled audiences to peer into a cine- matic surface that reflects back a mixture of anti-heroism and pantomime. Beneath the many costumes and performance styles he adopts, audiences have come to see a human being with everyday problems and concerns. In a way reminiscent of the French panto- mime clown Pierrot, Song’s characters reflect a depth of human feeling and compassion modulated by a comic undercurrent—the tension between these overlapping layers is precisely what holds his various personae together. Key words: Song Kang-ho, Korean Cinema, stardom, Park Chan-wook, Kim Jee-woon INTRODUCTION Every actor and actress constructs a persona over the course of his or her career, but few become stars. A star is an actor whose persona transcends the sum total of his or her performances (Belton 1994: 89). Song Kang-ho is a classic movie star whose acting ability is well known to the film industry and whose performances are appreciated by audiences in South Korea (hereafter Korea) and abroad. He has acted in some of the contemporary Korean cinema’s most profitable and critically acclaimed feature films, productions which have contributed to the national film industry’s current global notoriety.
    [Show full text]
  • SHOPLIFTERS a FILM by KORE-EDA HIROKAZU FUJI TELEVISION NETWORK, GAGA CORPORATION Et AOI PRO INC
    SHOPLIFTERS A FILM BY KORE-EDA HIROKAZU FUJI TELEVISION NETWORK, GAGA CORPORATION et AOI PRO INC. present LILY FRANKY • ANDO SAKURA • MATSUOKA MAYU • KIKI KILIN SHOPLIFTERS A FILM BY KORE-EDA HIROKAZU 121 MIN. – JAPAN – 2018 – 1.85 – 5.1 INTERNATIONAL PRESS Manlin STERNER Cell : +33 6 63 76 31 13 [email protected] JAPANESE PRESS Naeko YODA Cell: +81 50 3537 6138 (main) – +81 70 3330 2912 (sub) [email protected] Chieko NEMOTO Cell: +81 50 3537 6268 (main) – +81 70 3330 2920 (sub) [email protected] Kenji SASAKI Cell: +81 50 3537 6503 (main) – +81 70 3330 2927 (sub) [email protected] Presskit and stills downloadable from www.wildbunch.biz SYNOPSIS After one of their shoplifting sessions, Osamu and his son come across a little girl in the freezing cold. At first reluctant to shelter the girl, Osamu’s wife agrees to take care of her after learning of the hardships she faces. Although the family is poor, barely making enough money to survive through petty crime, they seem to live happily together until an unforeseen incident reveals hidden secrets, testing the bonds that unite them… INTERVIEW WITH KORE-EDA HIROKAZU Director You decided to make this film after learning about incidents of families illegally receiving the pensions of parents who had already died years ago. Was your inten- tion to depict a family from a different angle compared to your previous films? The first thing that came to my mind was the tagline: “Only the crimes tied us together”. In Japan, crimes like pension frauds and parents making their children The later scenes showing the family being split up are heartbreaking.
    [Show full text]
  • “China Factor” in Contemporary Hong Kong Genre Cinema
    Concentric: Literary and Cultural Studies 46.1 March 2020: 11-37 DOI: 10.6240/concentric.lit.202003_46(1).0002 Re-Negotiations of the “China Factor” in Contemporary Hong Kong Genre Cinema Ting-Ying Lin Department of Information and Communication Tamkang University, Taiwan Abstract Given the long-existing and multifaceted negotiations of the “China factor” in Hong Kong film history, this article centers on the political function of genre films by exploring how contemporary Hong Kong filmmakers utilize filmmaking as a flexible strategy to re-negotiate and reflect on the China factor concerning current post-handover political dynamics. By focusing on several recent Hong Kong genre films as case studies, it examines how the China factor is negotiated in Vulgaria (低俗喜劇 Disu xiju, 2012) and The Midnight After (那夜凌晨，我坐上了旺角開往大埔的紅 VAN Naye lingchen, wo zuoshang le Wangjiao kaiwang Dapu de hong van, 2014), considering the politics of languages alongside the imaginary of the disappearance of Hong Kong’s local cultures in the post-handover era. It also highlights two post-Umbrella- Revolution films, Trivisa ( 樹大招風 Shuda zhaofeng, 2016) and The Mobfathers (選老頂 Xuan lao ding, 2016), to explore how the China factor is negotiated in light of the collective anxieties of Hongkongers regarding the handover and controversies in the current electoral system of Hong Kong. By doing so, this article argues that the re-negotiations of the China factor in contemporary Hong Kong genre cinema have become more and more politically reflexive given the increasingly severe political interference of the Beijing sovereignty that has violated the autonomy of Hong Kong, while forming a discourse of resistance of Hongkongers against possible neo- colonialism from the Chinese authorities in the postcolonial city.
    [Show full text]
  • Nathaniel Méchaly
    NATHANIEL MÉCHALY AWARDS ASIAN FILM AWARDS 2014 THE GRANDMASTER Best Composer *shared ASIA-PACIFIC FILM FESTIVAL THE GRANDMASTER NOMINATION 2013 Best Music *shared BMI FILM & TV AWARD 2013 TAKEN 2 Film Music BMI FILM & TV AWARD 2009 TAKEN Film Music FEATURE FILM THE O.G. Nick Gordon, Boyd Holbrook, Trevor HBO / Maven Pictures Matthews, Celine Rattray, Trudie Styler, prods. Composer Madeleine Sackler, dir. PERSONAE NON GRATA Emmanuel Agneray, prods. Studio Canal France Roschdy Zem, dir. Composer SWOON Esther Turan, Kristina Aberg, prods. Atmo Productions Mans Marlind, Bjorn Stein, dirs. Composer SEE YOU TOMORROW Jacky Yee Wah Pang, Kar-Wai Wong, Qiang Jet Tone Films Zhang, prods. Composer Jiajia Zhang, dir. STRATTON Guy Collins, Matthew Jenkins, prods. Atomic Arts Simon West, dir. Composer TAKEN 3 Luc Besson, prod. Canal+ / 20th Century Fox Olivier Megaton, dir. Composer LA VIE PURE Jeremy Banster, Olicier Compere, prods. Cantina Studio Jeremy Banster, dir. Composer The Gorfaine/Schwartz Agency, Inc. (818) 260-8500 1 NATHANIEL MÉCHALY GET WELL SOON Louis Becker, prod. Canal+ Jean Becker, dir. Composer ANGELIQUE Ariel Zeitoun, dir. Europa Corp. Composer THE GRANDMASTER Jacky Pang Yee Wah, Kar Wai Wong, prods. Block 2 Pictures / Annapurna Pictures Kar Wai Wong, dir. Composer / Cello / Orchestrator LE NOIR VOUS VA SI BIEN Jacques Bral, dir. Thunder Films International Composer / Music Editor TAKEN 2 Luc Besson, prod. EuropaCorp / 20th Century Fox Olivier Megaton, dir. Composer LES PAPAS DU DIMANCHE Louis Becker, dir. Canal+ Composer COLOMBIANA Luc Besson, Pierre-Ange Le Pogam, prods. EuropaCorp / Tri Star Pictures Olivier Megaton, dir. Composer FINAL BALANCE Alain Benguigui, Jean-Jacques Neira, Hubert Sombrero Films Toint, prods.
    [Show full text]
  • A Different Brilliance—The D & B Story
    1. Yes, Madam (1985): Michelle Yeoh 2. Love Unto Wastes (1986): (left) Elaine Jin; (right) Tony Leung Chiu-wai 3. An Autumn’s Tale (1987): (left) Chow Yun-fat; (right) Cherie Chung 4. Where’s Officer Tuba? (1986): Sammo Hung 5. Hong Kong 1941 (1984): (from left) Alex Man, Cecilia Yip, Chow Yun-fat 6. It’s a Mad, Mad, Mad World (1987): (front row from left) Loletta Lee, Elsie Chan, Pauline Kwan, Lydia Sum, Bill Tung; (back row) John Chiang 7. The Return of Pom Pom (1984): (left) John Sham; (right) Richard Ng 8. Heart to Hearts (1988): (from left) Dodo Cheng, George Lam, Vivian Chow Pic. 1-8 © 2010 Fortune Star Media Limited All Rights Reserved Contents 4 Foreword Kwok Ching-ling, Wong Ha-pak 〈Chapter I〉 Production • Cinema Circuits 10 D & B’s Development: From Production Company to Theatrical Distribution Po Fung Circuit 19 Retrospective on the Big Three: Dickson Poon and the Rise-and-Fall Story of the Wong Ha-pak D & B Cinema Circuit 29 An Unconventional Filmmaker—John Sham Eric Tsang Siu-wang 36 My Days at D & B Shu Kei In-Depth Portraits 46 John Sham Diversification Strategies of a Resolute Producer 54 Stephen Shin Targeting the Middle-Class Audience Demographic 61 Linda Kuk An Administrative Producer Who Embodies Both Strength and Gentleness 67 Norman Chan A Production Controller Who Changes the Game 73 Terence Chang Bringing Hong Kong Films to the International Stage 78 Otto Leong Cinema Circuit Management: Flexibility Is the Way to Go 〈Chapter II〉 Creative Minds 86 D & B: The Creative Trajectory of a Trailblazer Thomas Shin 92 From
    [Show full text]
  • Josie Ho Ho Chiu Yee Hong Kong Name Actor Artiste Name Committee of Hong Kong Performing Artistes Guild
    Josie Ho Ho Chiu Yee Hong Kong Name Actor Artiste Name Committee of Hong Kong Performing Artistes Guild Height: 5’ 3” Weight: 100 lb. Hair: Black Eyes: Brown Nationalities: Canadian / Hong Kong / Portugues 1 of 34 FILM AWARDS 2019 The 5th World Grandmaster Award World Most Outstanding Grandmaster Excellence Award 2018 The 51st Sitges Film Festival The Time Machine Award 2017 The 1st Profima International Film Fest & Award The PIFFA Supreme Best Supporting Actress for film “In The Room” 2015 The Hong Kong Society of Cinematographers The Best Charm Actress Award 2014 The TVB Anniversary Awards The Best Supporting Actress for the TV program “Tomorrow is another day” 2011 The 30th Hong Kong Film Awards The Best Actress Nominee for the film “Dream Home” 2010 The 43rd The Sitges Film Festival The Best Actress for the film “Dream Home” 2005 Hong Kong Film Critics Golden Bauhinia Awards The Best Actress Nominee for the film “Butterfly / Hu Die” 2004 Hong Kong Film Awards The Best Supporting Actress Winner for the film “Naked Ambition” 2004 Hong Kong Film Awards The Best Supporting Actress Nominee for the film “Twin Effects” 2004 Hong Kong Film Critics Golden Bauhinia Awards The Best Supporting Actress Nominee for the film “Naked Ambition” 2002 Hong Kong Film Critics Golden Bauhinia Awards The Best Supporting Actress Winner for the film “Forever and Ever” 2002 Hong Kong Film Awards The Best Supporting Actress Nominee for the film “Forever and Ever” 2000 Hong Kong Film Awards Best Supporting Actress Nominee for the film “Purple Storm” 2000 Hong
    [Show full text]