Chinese - Director | July 17, 1956 -
Somehow, we fall in love with the films and don't want to let go, but financially and physically, we cannot afford it.
Wong Kar-wai
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Ip Man was an extraordinary man who lived during extraordinary times. He was born to a rich family when the country was still a monarchy and lived through various civil wars, revolutions, the Japanese invasion, and the establishment of the Republic.
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In most kung fu films, they want to create a hero who's always fighting a bad guy. In the story of Ip Man, he's not fighting physical opponents. He's fighting the ups and downs of his life.
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When you look at martial arts films, the later ones became more and more exaggerated. It's like, wow, is martial arts only a show?
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What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.
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This is what the difference is between Hong Kong and Chinese cinema - Chinese cinema was made for their own communities. It was for propaganda. But Hong Kong made films to entertain, and they know how to communicate with international audiences.
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The laboratory where we stored all our negatives went bankrupt overnight following the Asian economic crisis in 1997. So, on short notice, we had to retrieve all the materials in the middle of the night before the debtor-receiver took over the laboratory the next morning.
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I think, to be a director, sometimes you need to have certain hunches - you have to believe in some gut feeling.
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In much the same way Ip Man embodied the struggles of the Chinese people, I wanted Gong Er to represent the changing role of women.
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I started out my career as a screenwriter and quickly discovered that adhering to a script isn't always the best way to make a film. You have to take into consideration the nuances of the characters and what the actors bring to their roles.
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To make a film like 'The Grandmaster,' I know I'm not going to make just a standard kung-fu film; it's not going to be just tricks or like wire works. So I spent seven years on the road interviewing different schools and a lot of real grandmasters from Chinese martial arts.
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I've always wanted to make a film about the Tong Wars, the rioting and the crime factions in San Francisco's Chinatown in the early part of the last century.
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