bodyType

customContents

entityId

entityUuid

articlePageQuery

filter

article

articleBaseAdvertisingInfoArticle

articleListArticle

articleSeoArticle

hooksArticleAcknowledgementGateOverlayArticle

hooksTrackPageViewArticle

hooksContentInterestArticle

articleLinkingDataContent

hooksAmpRedirectArticle

articleSchemaContent

liveArticle

advertZone

sentiment

contentLock

topics

types

sections

paywallTypes

createdDate

publishedDate

sponsorType

urlAlias

moreOnThisArticles

commentCount

authorLocations

authors

corrections

displaySlideShow

multimediaEmbed

printHeadline

seriesContainer

articleSpeeches

socialHeadline

headline

images

flag

firstTopic

glossary

flattenTypeIds

image

relatedLinks

relatedNewsletters

__typename

sponsor

pdfFiles

seriesReverseOrder

series

disableOffPlatformContent

published

updatedDate

summary

subHeadline

body

keywords

readingTime

customTimezone

liveContents

Jacqueline Tsang

International
When an announcer  at the 2007 Academy Awards incorrectly referred to Infernal Affairs as a Japanese film, Chinese viewers across the globe were enraged. John Chong, co-founder of the company that produced the film, said the publicity and outrage  from the incident might have strengthened Hong Kong's standing in the global mindset.
'There are some people who attribute any Asian success to the Japanese,' said Mr Chong, deputy chairman and chief executive of the Media Asia Entertainment Group, and chairman of the Hong Kong Screenwriters' Guild. 'They seem unaware of the potential ramifications of their mistake.'
Luckily for Hong Kong, the widespread indignation only served to reinforce its reputation as the birthplace of great films.
Mr Chong, winner of the International Award at this year's DHL/SCMP Hong Kong Business Awards, said that Hong Kong's international standing will continue to improve, particularly in the film industry.
'We used to think that in order to break into the international market, we would have to do things their way, using their system,' said Mr Chong, referring to the 'Hollywood formula' that many believe is a sure-fire way to success. 'The problem is, we can't possibly compete on their grounds and expect to come out on top.'
Mr Chong believes that local filmmakers should stay true to their culture and their style instead, and find their niche in the  industry. While he admits that, unlike English, Chinese isn't the lingua franca of the film-going public, he insists that it is essential for filmmakers to find a way to appeal to the international audience without compromising their creativity.
'This creativity is the very reason Quentin Tarantino likes our films,' he said, referring to the renowned director and screenwriter of Pulp Fiction and Kill Bill Vol I and II.
Mr Chong's personal success is  due to his innovation and vision. He started off as a research writer for Television Broadcasts (TVB), covering fashion shows, openings and events, while writing lyrics for Cantonese pop songs on the side. He aspired to be a movie scriptwriter, never  realising that he would find the  creative opportunities he craved on the producing side.
Teaming up with six partners in 1994, Mr Chong became one of 'The Seven Samurai', a group determined to revive the  local film business. Founding the Media Asia Entertainment Group, their goal was to restore the integrity of local films through quality productions, and their debut film, I Have a Date with Spring, won Best Screenplay, Best Supporting Actress, and Best New Artist  at the 14th Hong Kong Film Awards.
Media Asia has progressed  further since then and enjoys  a reputation as one of Asia's  most successful Chinese-language film studios. It is no wonder that Mr Chong isn't worried about Hong Kong's  standing, when the company has interested parties requesting remaking rights even before filming had started.
'There have been times when people  wanted to claim the remaking rights to a movie that didn't even have a full script,' said Mr Chong. 'All we had to offer was the name of the movie and its synopsis.'
Mr Chong used the company's success as an example of why a small budget should never limit creativity. 'If anything it gives rise to occasions where the filmmaker must be resourceful, in order to present his ideas,' he said.
He said that Hong Kong directors enjoyed incredible creativity and operational flexibility, and were able to adjust their work accordingly when budget issues arose. 'I have seen some extraordinary decisions be made in the name of cutting costs, but never in the sacrifice of art.'
Mr Chong believes that this  creativity  can only benefit the local film industry. 'We need to move beyond the martial arts and action films that we're known for,' he said, explaining that the industry should realise its potential for mass audience approval, focusing on cinematic quality, rather than  kung fu choreography and fighting scenes.
Mr Chong illustrated his point with Infernal Affairs, saying that it was Brad Pitt who first saw the film and recommended it to Warner Bros.  His  view was  backed up by acclaimed director Martin Scorsese, and with these big names endorsing the movie, The Departed was born.  Mr Chong said  the language barrier didn't affect Pitt's and Scorsese's appreciation of the film. Infernal Affairs won seven awards at the 22nd Hong Kong Film Awards, and 11  at the Golden Horse Awards and Golden Bauhinia Awards.
'There is no reason why this success should not be repeated in Hong Kong's future,' Mr Chong said.



Academy blunder strengthens city's cause