Renowned Hong Kong filmmaker Johnnie To recently shared his unique perspective on a career that has spanned nearly four decades at the Tokyo International Film Festival (TIFF). Engaging in a conversation with Japanese director Yu Irie, To reflected on his innovative methods of filmmaking, emphasizing both the creative freedom he once enjoyed and the emerging restrictions facing filmmakers today. The dialogue illuminated the evolving landscape of cinema in Hong Kong, and To’s responses revealed the deeper philosophies that guide his artistic vision.
To’s filmmaking process is as free-spirited as it is rigorous; he frequently departs from traditional models that rely heavily on detailed screenplays. His assertion that a complete screenplay can inhibit creativity underscores his belief that the act of filming should be an organic exploration rather than a prescribed journey. To explained, “Creating a proper screenplay means that the movie is already completed,” indicating his preference for spontaneity and intuition during production. This methodology has allowed him to tap into the emotional essence of a scene, resulting in films that resonate deeply with audiences.
One interesting aspect of To’s method is its impact on actors. He highlighted how actors gradually grasp the film’s intended spirit as production unfolds. “Around one third of the way in, the actors will know what the director is looking for,” he stated, revealing a collaborative dynamic that fosters intuition and adaptability on set. However, his candid admission that this might not be the best approach serves as a reminder of the delicate balancing act involved in directing. To’s self-awareness adds depth to his narrative, encouraging young filmmakers to learn from his unorthodox style while simultaneously urging them to seek methods that enhance, rather than complicate, the artistic process.
Throughout his illustrious career, To has demonstrated a remarkable ability to juggle multiple projects concurrently. He shared insights into his practice of shooting two or even three films at once, often fluctuating between commercial ventures and more personal works based on his inspiration at the moment. This adaptability not only exemplifies To’s artistic commitment but also reflects the diverse landscape of contemporary cinema. His film, “Sparrow,” is a testament to this approach, as it was developed over several years due to funding challenges that necessitated the production of additional projects. This resourcefulness showcases the resilience required in the film industry, particularly within the unique context of Hong Kong.
Challenges Facing Hong Kong’s Cinema
Shifting the discourse toward the current climate of Hong Kong’s film industry, To expressed concern over the increasing censorship and regulation introduced in recent years. He referenced troubling instances where films were forced to screen with edits due to local censors, highlighting the challenges filmmakers face in preserving their artistic integrity amid political pressures. To’s establishment of the Fresh Wave International Short Film Festival demonstrates his commitment to creating a platform for budding talent, underscoring the importance of nurturing future generations of filmmakers amidst a complex landscape.
In acknowledging the hurdles posed by censorship, To offered practical advice to emerging filmmakers: “If you have something to say, you have to think about how to say it clearly.” This emphasis on adapting creative expression to ensure its viability in a restrictive setting serves as both a warning and a source of inspiration for younger storytellers. He firmly believes that talent can transcend borders, encouraging filmmakers to pursue opportunities beyond Hong Kong if necessary. Whether in Singapore, Malaysia, or Japan, the essence of filmmaking lies in one’s ability to convey stories, and To reinforced the idea that talent, combined with resourcefulness, can lead to impactful narratives regardless of the environment.
As To approaches retirement, he advocates for more robust investment in the Hong Kong film industry, underscoring the urgent need for both government and private financial support to invigorate the creative community. His awareness of the time-sensitive nature of this call to action adds an urgent dimension, inspiring dialogue about the future of cinema in Hong Kong. He expressed a desire for an infrastructure that allows younger filmmakers to thrive and explore their creativity fully, arguing that such support is vital for the continuity of Hong Kong’s cinematic legacy.
Johnnie To’s conversation with Yu Irie at TIFF encapsulates the juxtaposition of artistic freedom and censorship within the Hong Kong film industry. His willingness to challenge conventional filmmaking norms, coupled with his commitment to nurturing the next generation of filmmakers, paints a picture of a rich yet complicated cinematic landscape. As the film industry continues to navigate these challenges, To’s insights and experiences will undoubtedly influence aspiring filmmakers for years to come, encouraging them to embrace creativity while navigating the realities of their environments.