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Everyone always asks me if Danny and I ever clash. The answer to that is no.
When it comes to creativity, it’s normal to have your differences. It has nothing to do with us being brothers.
Stuff about how Danny and I work together—I’ve answered these questions countless times in the past 10 years. I don’t think people want to read about it anymore.
I wanted to do a disaster film because there hasn’t been one about fire in a long time.
I think fire really scares the audience. We wanted to recreate that in a movie—for the audience to be able to feel what it’s like, but in a safe setting.
“Out of Inferno” is the most difficult film I’ve ever directed. It involves fire and suspense, and getting the audience to feel that involves a lot of calculation on our part.
Our dilemma in filming was that we wanted the visuals to be exciting, but we also had to care for the cast and crew’s safety.
The audience doesn’t care about the trouble you have while filming. They are paying to go and see a film and expect to be satisfied.
I’ve learned a lot. After shooting this film, I feel like I’ve been studying for four years.
The biggest difference in the film industry here and abroad is the financial backing you have. On a certain level, western films might be better because of that.
Production development in Hollywood will always beat us. Script wise, you can’t really say one is better than the other.
If directors from abroad come to film here, the Hong Kong government will always help them. But the government won’t do anything to support the local film industry. This is not something that we can change. That’s why we don’t film here.
Everybody in Hong Kong knows that. Why? I don’t know, go ask the legislators.
If I could choose, my next film would definitely be shot here. Hong Kong is our base and there’s so much of our own culture. We might choose to avoid stuff that the government isn’t going to collaborate with us on, though.
Nothing is really that memorable except my first day as a director. Only once I started filming did I realize I was truly a director. There’s a fulfillment to it. It was like realizing my own dream and making it come true.
What would I choose to do other than be a director? Well, is being a director still an option?
If I could choose to be a director, obviously I would carry on being one. Otherwise I’d be an art director or go into film photography.
If I had to quit the industry completely, I can’t really think of anything I would do. Perhaps you could recommend a few jobs?
Everybody is demanding. When you ask me if I have high standards, do you really think I would tell you I don’t?
I’m not as demanding as Wong Kar-wai, though.
It’s not up to us to say if our own standards are high. That’s for the audience to decide. Would you believe me if I said I was better than Wong Kar-wai?
These days, it’s not hard for anyone to become a director. The most important part is whether or not you actually want to be one.
It’s so easy to talk about it, but do you have the heart and the skills? I’ve seen so many people who constantly talk about wanting to do it, but then they don’t do anything.
Talent is more important than resources. Opportunity, too—back in the day you had to wait for one to come up, nowadays you can seek them out yourself. You can start filming with your phone, or type up a script, unlike those of us who had to write it by hand.
I stopped reading film reviews. The critics who slate me on the internet, I have no idea who they are.
There are just too many film critics online. Anyone can become one.
There are good movies and bad movies, but that applies to reviews too.
I don’t really spend a lot of time in Hong Kong, but I wouldn’t ever leave for good.
If I did, it probably means something has gone down—there’s a good chance I’ll have killed someone.
I don’t have regrets now, but you should ask me the moment I die.
What would I have done differently? I wouldn’t have done this interview.

	Find out where "Out of Inferno" is playing in Hong Kong.


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Oxide Pang

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With his twin Danny, Oxide Pang is one half of film directing duo The Pang Brothers. The pair has worked together for over a decade. As their disaster flick “Out of Inferno” hits cinemas, he tells Andrea Lo about the dangers of shooting with fire, his advice for wannabe directors, and why he’s fed up with talking about his younger sibling.
