How did you start your directing?

What I really liked to do was to dream about my favourite things and compose them into a story in my imagination. When I studied in the United Kingdom I was an intern at the BBC and took part in documentary shooting and assistant director work. I did my Master's at New York University of Film Studies.

When Mona Fong Yat-wah visited America and looked for help from some students to help her find equipment in the city, she told us if we had a script we wanted to make into a movie, just bring it to her.

I took her seriously and once back in Hong Kong I sent her my script - An Autumn's Tale - and she gave me a chance.

What attracts you to directing.

There is a magic power in movies. If you are into the story, the scene can really take your breath away. I remember when I shot An Autumn's Tale in Chinatown, New York, where Chow Yun-fat had to weep after saying goodbye to Cherrie Chung Chor-hung.

Many people stopped to watch. The whole street was so quiet that everyone could feel his grief. Five seconds after the take, all the bystanders clapped.

Through every scene you can follow the change in sentiment of a good film, which is the magic of film.

What are the major challenges of directing?

Directing is tough work. Every time I start I expect to have a hard time, but the difficulty is always far beyond my expectation. Everyone on the set is seeking solutions and guidelines from you, and only you can solve the problems during shooting.

What satisfaction do you find in directing?

I always aim for perfection. I know it is a never-ending process to pursue the best, but I feel gratified when I achieve the goal that I have set for myself.

Making a film is like doing an honours degree; it takes time and effort.

Your film The Soong Sisters is a huge success. How long did you work on it?

That film was a challenge. I spent five years, including two years to raise the $50 million budget.

Finally I gained the support of Golden Harvest and Japanese investors, an excellent crew and a dream cast including Jiang Wen, Maggie Cheung Man-yuk, Michelle Yeoh, Vivian Wu, and Wu Hsing-kuo.

However, when the film was signed, sealed and delivered, another problem came up with the Chinese censors at the Propaganda Department. As my story was based on historical details, it became a political landmine.

What was the biggest difficulty in making it?

Scriptwriter Alex Law Kai-yui and I read more than 200 books offering differing viewpoints. Mainland Chinese versions seldom mentioned Soong Meiling and most Taiwanese versions did not reveal her connection with Soong Chingling.

But I believed nothing was the absolute truth. Each version depended on who wrote it and who was in power. So I wrote my own account.

How did you feel at that time?

I think I was a little naive to face the problem because I had insufficient understanding of the complexity of the subject matter. I thought I was only writing a simple human story but the women were not simple women.

The sisters intertwined with recent Chinese history, not only because of who they married but because of their own contribution as well. But I was glad I could finally make it, and it was welcomed in Japan too.

What is your latest film Beijing Rocks about?

It is a story about Beijing's underground rock and rebel juveniles. I had a band named Jumping Bean when I was in school and this film is like the continuance of my music dream.

How do you see the film industry of Hong Kong?

I used to think our film industry was fine, yet my impression changed after I started shooting Beijing Rock in Beijing. Those film workers are so professional and hardworking. They do their best for your film.

They do not ask for high salaries, but you can see their passion and outstanding performance, which is more competent compared with their Hong Kong counterparts.

Some people say Hong Kong directors are too commercial, what do you think?

Maybe some are. But what I see is that there are still many passionate directors who really want to make good films.

What we need is new blood in the industry to provide diversity and new ideas to gain the confidence of movie viewers.

How would you categorise yourself - artistic or commercial?

I never categorise myself as to whether I am shooting artistic or commercial movies. I just shoot my favourite topics.

Many people suggest a film is artistic when it doesn't make much money, but I think time is the best indicator of whether a film is good or bad.

Have you ever thought of working in Hollywood?

My goal is to shoot international films which could be seen anywhere in the world, not solely in Hollywood. I don't bother much about location.

What is your advice for young people who want to enter the film industry?

I think everyone has a story to tell. Start with something you know, which would be easier for you to handle. You have to do the preparation by research. You can get into trouble if you're too familiar with your story and think there's nothing to be careful about.

Stay awake to everything that happens to you and your friends and family, as these events will inspire your work.

The popular film An Autumn's Tale created a host of notable roles for its characters, and likewise introduced director Mabel Cheung Yuen-ting to the Hong Kong film industry.

During the 17 years of her directing career, Cheung has made only seven films. While perhaps not subscribing to everyone's idea of a popular movie, each of her films shows unmistakeable evidence of quality and devotion.

From An Autumn's Tale to City of Glass and Beijing Rocks which Cheung is now shooting, each film is a major creative effort.

Every production involves considerable research, planning and consultation. She puts all she can give into all of her creative efforts. Cheung explained that each film she worked on brought her surprises and a deep sense of personal satisfaction.

Name: Mabel Cheung Yuen-ting

Birthday: November 17

Birthplace: Hong Kong

Occupation: Director