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Archive for the ‘news’ Category

The Golden Rock - April 23, 2012 Edition

Note: Edited on April 25th with additional information and new English titles. 

The Beijing International Film Festival kicks off this week, which may be why the big Chinese film studios are rushing to announce their slate this week. Just a day after Huayi Brother announced their 2012-2013 lineup, Enlight Pictures (MURAL, LEGEND OF THE FIST, AN INACCURATE MEMOIR) announced their own 2012-2013 slate - and they’re looking to impress.

enlightpic.JPG
Photo from Sina Entertainment

(more…)

The Golden Rock - April 22, 2012 Edition

Note: Entry edited on April 23 to add additional information, as well as clear up information about Doze Niu’s film. 

In March 2011, major Chinese independent studio Huayi Brothers (DETECTIVE DEE, SHAOLIN, ASSEMBLY) announced a large slate of films dubbed “Plan H”. Surprisingly, Huayi managed to complete most of the projects on that slate, having released Doze Niu’s LOVE, Tom Lin’s STARRY STARRY NIGHT, and Tony Chan/Wing Shya’s HOT SUMMER DAYS. Wuershan’s PAINTED SKIN II, Stephen Fung’s TAI CHI 0, Ronny Yu’s SAVING GENERAL YANG, Feng Xiaogang’s 1942, and Jackie Chan’s CHINESE ZODIACS have all finished shooting and getting prepped for release.

Which means it’s time for round 2. On April 22, Huayi Brothers announced their latest Plan H line-up, as well as the release dates for their 2012 slate:

(more…)

The Golden Rock - September 2, 2011 Edition

(Note: This entry was edited on September 4th to fix a link. Also added one small paragraph about SEEDIQ BALE and an additional line about Zhao Baohua and the rating system)

- In the entertainment industry, you should always watch what you say publicly, especially when it might offend the powers that be. Of course, when you become one of those people, you can say whatever the hell you want, as long as it doesn’t offend the people above you.

Feng Xiaogang is one of those people. China’s most commercially successful director and a Huayi Brothers shareholder, Feng Xiaogang has always been an outspoken man, and this time, he is taking on China’s State Administration of Radio, Film, and Television

(Note: The following report is sourced and translated from multiple articles, which you will be able to find at the bottom of the entry. Yes, you will have to read Chinese to know which is which)

Remember when I blogged before about how many people get a share of total box office gross in China? I wrote that it is split (never evenly) amongst cinemas, distributors, and investors. However, what I didn’t know was that the SARFT takes 5% from the theatrical gross of any film that is publicly exhibited in China, in addition to the 3.3% revenue tax. The 5%, which goes to a government film fund that aims to help build film screening infrastructure in rural areas, fund children’s films, and fund “Main Melody Films” (I’m gonna have to start a glossary for these terms soon).

At least that’s what they say the fund does. Anyway, Feng, who is a member of the Chinese People’s Political Consultative Conference, recently attended a conference on the Chinese cultural industry and spoke about problems in the Chinese film industry. One of the problems, he said, is the way the film fund makes money.

He used the example of Huayi Brothers. The box office revenue for their films in 2010 was 1.7 billion yuan. After taking away the cinema’s share, money spent on promotion, production, taxes and various fees, the company made a profit of 80 million yuan. On the other hand, the film fund collected 40 million yuan from Huayi, which is already half their profit. Huayi is one of the most profitable film companies in China, so imagine how much this 5% hurts the smaller companies.

To help production companies and investors find an easier way to profitability, Feng suggests that the government should be paying for the work of the film fund, and SARFT should abolish the 5% tax. Yes, he went there.

And he didn’t just stop there, either.

Feng then went on to criticize the SARFT’s censorship process.  Essentially, what he says is that the censroship process has come under heavy scrutiny by the audience, to the point where “SARFT examines films, while the people examines SARFT”. He also points out that the pressure from SARFT’s censorship ends up on the filmmakers, as the suggestions for cuts have reached the point of becoming laughable. Also, the audiences ends up blaming the flaws caused by these censorship cuts on the filmmakers.

Feng said even his AFTERSHOCK, which underwent changes from censorship, was heavily criticized for things that were ordered to be there due to SARFT censorship. In such an environment, directors have all flocked to historical films in order to avoid censorship troubles. As a result, Feng noted that there has only been a few “game changer” films in the Chinese film industry. As a result, he requested that the SARFT examines the negative effects of film censorship.

And then came the responses.

A representative for the film fund defends its tax, saying that 1) The film fund is designed to improve the Chinese film industry, and 2) This is a practice that has been done around the world, including France and Korea. In fact, according to the rep, some countries take even more than 5%! In other words,we do what we’re supposed to do, and it’s OK for us to do it because foreigners do it, too!

Still, the most useful thing this spokesman said was the five main functions of the film fund: 1) To renovate old cinemas, 2) Assist in the construction of cinemas, 3) Install digital projection in cinemas across the country, 4) Screen films in rural areas, and 5) “prepare for new technology in cinemas”.

Meanwhile, industry people like Huayi’s head Wang Zhonglei and Starlight’s Song Guangchang are naturally for abolishing the tax. Meanwhile, others have included alternatives like waiving the tax for films that cost less than 10 million yuan, or waiving the tax for Chinese made films and collect only from imported films. Good luck making that latter one work for co-productions.

As for the censorship comment, the head of LeTV suggests being more lenient on cuts for mid-to-low-budget films to “encourage creativity and explore unique topics”. On the other hand, director Fei Xing (of THE MAN BEHIND THE COURTYARD HOUSE) recounted the four months he dealt with censorship and ended up hearing audience criticized him for awkward SARFT cuts. He suggests that the censors should skew younger and take part in more communication with filmmakers.

Film critic/scriptwriter/SARFT censor Zhao Baohua defended SARFT’s work (though he insisted he does not speak for SARFT, but only for himself), saying that films are only undergoing “bottom-line examination”, meaning that as long as the film’s content don’t violate any laws, it will pass. As for films with sensitive topics and violence, SARFT will give their “suggestions” as a responsibility to film fans and the Chinese film industry.

Zhao said that the media is currently demonizing SARFT and the censorship committee for their work, because the films SARFT has halted productions on are bad films anyway. “When a film deviates from mainstream societal values and the market, the fault should not go to the censorship process. Instead, they [the filmmakers] should examine what went wrong with the film,” said the censor. He also felt that China is not ready for a rating system because it would mean that deviant category III films filled with violence and sex would make its way into Chinese cinemas. He even compared category III films to opium, saying “How can opium enter the market? That is absolutely unacceptable.”

Of course, being the SARFT, that fund is not likely to go anywhere, and censorship will be just as heavy, even if there’s a rating system. The government is intent of maintaining its authority over people, and it’s not about to lose the film industry’s influence over people for petty things like artistic integrity. Then again, maybe I’m just pessimistic like that.

-  In other news of directors speaking out, Gordon Chan recently expressed his own concerns about the Chinese film industry at a recent event for his latest film MURAL. Chan was asked whether his film is truly worth watching, or is it just another bad film trying to force its way into cinemas to cash in on the emerging industry. He admits that there are many films with a higher budget for promotion than production to hype the film to death, only to disappoint audiences in the end. This is why he vows not to play that kind of game for MURAL. Yes, it’s quite obvious that Chan never played that game, especially since the production budget for KING OF FIGHTERS couldn’t possibly go any lower.

Anyway, the rest of is promotional fodder, so we’ll just skip all that.

- The 150-minute international version of Wei Te-Sheng’s SEEDIQ BALE (referred to as a “Chinese language film” in most mainstream Mainland Chinese media, by the way, without any regional label, despite what some western media say) had its world premiere at the Venice Film Festival, and review has been fairly mixed. Two Chinese-language review pretty agree that while its budget is clearly on the screen, the film in its current form lacks something to earn its “epic” label. One review even call it a live-action attempt at AVATAR (though Wei began developing the project long before anyone knew what AVATAR was).

Meanwhile, reviews on Variety, Hollywood Reporter, and Film Business Asia are also mixed, pointing the film’s violent and bombastic nature.

So SEEDIQ BALE may not be very good, at least in the form of a 150-minute film. But how is the media in Taiwan, where the film may become a game changer for its commercial film industry, reacting to all of this?

The Liberty Times and Yahoo News are focusing on the positive, reporting that the film was well-received at the festival screening with a 10-minute standing ovation, and that the producer proclaimed the price for North American rights immediately went up after the screening. They also reported the full, 4.5 hour version has been screened for the Taiwanese media, and that version was also very well-received, with applause heard at the very end of part two.

Meanwhile, Christian alternative media Awakening News Network and NOWNews reported that the film wasn’t well-received at the festival screening, and that applause was very scattered, as opposed to the 10-minute standing ovation many Taiwanese media reported.

It would appear that SEEDIQ BALE is being used as Taiwan’s own propaganda tool, promoted as the pride of the nation with a film industry trying to pick itself up from its previous failures. Is it great that SEEDIQ BALE can revive the Taiwanese film industry? Of course. It’d just be great if those news were true.

While one news report point out that 140,000 pre-sale tickets (amounting to a NT$40 million gross) has already been sold, film producer Lorna Tee told me on Twitter that the film is being opened on less screens than YOU ARE THE APPLE OF MY EYE and MONGA opened with. Meanwhile, a blog of someone who works in the Taiwanese film industry reports that the women seem to have no interest in the film. Considering Taiwanese blockbusters in recent years (APPLE, CAPE NO. 7, NIGHT MARKET HERO, and even the pretty boys-filled MONGA) all had to appeal to mainstream Taiwanese culture, and in a way, the female audience, a film about aborigines in what is essentially a foreign language filled with war, death, and destruction may not have the wide appeal it needs to become a hit.

Of course, with somewhat lowered expectations, the positive (and possibly inaccurate) news reports can simply be a last-ditch effort by producers to drum up hype for the film ahead of its opening. China does this all the time, to the point of planting stories in the media via underpaid journalists.

Part one of SEEDIQ BALE opens in Taiwan on September 9th. We’ll know what happens then.

- The excellent Hong Kong Film blog paid a set visit to the Patrick Kong-Wong Jing horror double feature HONG KONG GHOST STORIES recently, and the report revealed that the film will feature Chrissie Chau, Him Law, Bau Hei Jing, Juno Leung, and pretty much everyone else who was in Kong’s MARRIAGE WITH A LIAR. The film will feature two 45-minute horror films - one by Wong Jing and one by Kong - and it’ll be opening in Hong Kong around Halloween. I don’t imagine it’ll play in China, though. And if it does…well, we know what films about ghosts made for China are like.

-  It’s not over yet. China is still rolling out some more propaganda films to celebrate the Chinese Communist Party’s 90th anniversary, and the latest one is TONG DAO ZHUAN BING. This one has attracted some attention because there have been reports that pointed out part of the cast is made of real-life government officials, which means the attention on the internet is mostly negative.

The film finally opened on August 30th, and a report on Sina Entertainment found that no one is watching the film. The reporter found that the film is being placed in early morning or late night shows in cinemas, and that some shows are even being cancelled due to low admissions. This means it’ll probably beat THE SMURFS this weekend at the box office.

When asked about how the film will make its 8 million yuan budget back, director Zhao Qi insisted that the film will ultimately succeed on word-of-mouth, and that the film essentially needs only 1000-2000 admissions per city to break even. He has also denied that the film features any government officials as actors, insisting that everyone in the film are professional actors.

- Under I read Weibo so you don’t have to news, legendary actress Brigitte Lin has joined both Tencent and Sina Weibo (I only use Sina). In one day, Lin has already attracted over 320,000 followers on her Sina Weibo. You can follow her here

Next time: The Golden Rock at the 2011 Hong Kong Summer International Film Festival.

Sources

Awakening News Network
Cinephilia 1
Cinephilia 2
Hong Kong Film blog
The Liberty Times
Mtime 1
Mtime 2
Mtime 3
Mtime 4
Mtime 5
Mtime 6
Now News
Radio Taiwan International
Sina 1
Sina 2
Yahoo Taiwan

The Golden Rock - August 31, 2011 Edition

Back at the Chinese box office. Not many surprises, but still worth looking at:

- Last week, OVERHEARD 2 failed to beat the SMURFS in the 7-day chart (it opened on a Thursday), but now it gets its revenge as it held strong in the second week and overtook those pesky blue creatures on the chart. After 11 days, the white-collar crime thriller has already made 161 million yuan. With 82 million yuan made over its first full week, it looks it will break through the 200 million mark, and it’s probably aiming straight at beating SHAOLIN’s 212 million yuan gross to become the second highest-grossing Chinese-language film of the year, if not the 250 million mark.

Excluding ensemble guest star roles in films like BEGINNING OF THE GREAT REVIVAL, OVERHEARD 2 will also likely be the highest-grossing film for all three stars in Mainland China - Louis Koo (beating ALL’S WELL ENDS WELL 2011’s 167 million), Daniel Wu (beating HOT SUMMER DAYS’ 131 million yuan), and Lau Ching Wan (beating, well, OVERHEARD 1). This is excellent news for Polybona, who served as sole distributor of the film and now has the biggest hit of the company’s history. This is also another victory for producer Derek Yee, who has been adjusting his crime film formula for the Mainland as director/producer since PROTEGE, to increasingly higher box office gross on each outing. Guess who lost? Those who had to sit through TRIPLE TAP.

OVERHEARD 2 has also done extremely well in Hong Kong, passing the HK$15 million mark in two weekends, and it should have no problem hitting the HK$20 million mark.

However, one should look closer at OVERHEARD 2’s numbers in China. Even in its opening weekend, the film averaged only about 45 admissions per show from a total of 50000+ showings. In its first full week, it only scored an average of 33 admissions per show. This suggests that the only reason OVERHEARD 2 is doing so well is that it’s taking up all the screens, which is in turn caused by a lack of major competition for male audiences after MY KINGDOM moved out of the way to September 9th. With the weibo buzz on SOURCE CODE pointing to it having a chance at scoring moderate numbers this coming weekend, we’ll see how OVERHEARD 2 does in its second full week.  Either way, it won’t have any major competition for another week, so that 200 million mark won’t be so hard to reach.

I had to add a disclaimer that OVERHEARD 2 had no major competition for male audiences because CARS 2 was actually supposed to be its major competition this past weekend. However, the Disney 3D film made only 42.95 million yuan over 5 days (WITH 3D premium prices) for a 27.37 admissions per show average. This is very much a flop-like gross for a Pixar film in China.

Speaking of flops, congratulations to the production company of Wong Jing’s TREASURE HUNT, who probably still hasn’t been able to cover Cecilia Cheung and probably Ronald Cheng’s salaries with its 10-day gross of 18.25 million yuan (remember, half goes to the cinemas). PERFECT BABY, starring Deng Chao, Jane March (Yes, THAT Jane March), and some cute French baby, made a nice, round 10 million yuan over its first 4 days, which is not bad until you see its average admissions per show: 17.95.

Holdovers: SMURFS now at 225.1 million yuan after 19 days, HARRY POTTER 7.2 now at 396 million yuan after 25 days,and TRANSFORMERS 3 now at 1.08 billion yuan.

Oh, remember those “excellent, recommended films” dictated by the SARFT? YANG SHAN ZHOU has now grossed a total of 65.55 million yuan (that’s higher than Andy Lau’s WHAT WOMEN WANT), while WENTIAN is now at 55.1 million yuan. Sorry, POTTER, SMURFS, TRANSFORMERS, and probably even OVERHEARD 2.

Trailer park time:

- Today we have three new trailers: First up, it’s the latest 1-minute trailer for Gordon Chan’s fantasy romance MURAL (to open in China for National Day, but no HK release date planned), the 5-minute trailer for SEEDIQ BALE, and a trailer for the “Main Melody Film” 72 HEROES, starring Eric Tsang, Alan Tam, Tse Kwan Ho, and Liu Kai Chi. I know.  72 HEROES opens in China in mid-September. Don’t even try and shove that stuff down here to Hong Kong, kthx.

- Speaking of SEEDIQ BALE, actress Chie Tanaka revealed that her role in teh film is actually quite small. More importantly, she revealed that SPEED ANGEL, which she co-stars in with Rene Liu, Tang Wei, and Cecilia Cheung, will be released in December.

- And speaking of Japanese cinema, the Montreal World Film Film Festival has once again given two major prizes to Japanese films - Masato Harada’s CHRONICLE OF MY MOTHER for Grand Prix and Takahisa Zeze’s LIFE BACK THEN for the “Innovation Prize”. This is such an important award because the winners at the Montreal World Film Festival usually return to Japan and gain major critical acclaim. DEPARTURES was one of those films.

- Then, we move our focus to Korean cinema. CHRISTMAS IN AUGUST director Hur Jin-Ho is in currently prepping for the China-invested remake of DANGEROUS LIAISONS, and now there’s word that Korean superstar Jang Dong Gun is in talks to join the cast. Nothing’s set in stone yet, but this might signal at a pretty major Panasian cast for Hur’s film.

And on a short version of I read Weibo so you don’t have to:

- Vicki Zhao wrote on her Weibo that the shoot for PAINTED SKIN 2 has finished, and she posted this picture:

zwpaintedskin.jpg]

This is obviously supposed to be an attempt to disprove reports that Zhao and co-star Zhou Xun have been feuding on set, especially the Apple Daily story about the two throwing chairs on the set at one point. I know at least one guy who isn’t convinced by these pictures and think that they need to be more intimate to make their point clear. I am not that person.

Next time: Chinese/Hong Kong directors speak out, and more news!

I put sources down here so you’d know I didn’t invent my own news:

Entgroup
Filmbiz Asia
m1905
Sina
Sina Weibo

The Golden Rock - August 14, 2011 Edition

Today, we’re focusing on a story in China’s Time Weekly about the emergence of the horror genre in Chinese cinema.

First, I will paraphrase the article, then add in my own thoughts in italics

- Between the releases of BEGINNING OF GREAT REVIVAL and TRANSFORMERS was a little horror film called MYSTERIOUS ISLAND. How was this film, which cost only five million yuan to make (compared to REVIVAL’s 70 million yuan and WU XIA’s reported 110 million yuan), managed to make an astonishing 90 million yuan at the box office?

In the last two years, the horror genre has been finding success at the Chinese box office. However, the article also points out that horror films tend to gross only around 10-20 million yuan at the box office. Even the most successful example before ISLAND was MIDNIGHT BEATING, which surprised many by grossing 32 million yuan.

Despite these seemingly low grosses, horror films have actually been very profitable for Chinese investors.  The articles points out several recent examples: THE DESERTED INN cost three million yuan and grossed 23.6 million yuan, LOST IN PANIC ROOM cost 4.5 million yuan and grossed 24.5 million yuan, and the PARANORMAL ACTIVITY-style horror film NO.32, B DISTRICT cost a total of 4 million yuan (including advertising) for a total gross of 17 million yuan. In fact, insiders put the actual production budget of NO. 32 B, B DISTRICT (which takes place almost entirely in one house and shot on digital cameras) at just around 100,000 yuan.

That’s why ISLAND producer Liu Jing said that he would’ve actually been perfectly satisfied with a 40 million yuan gross. Instead, Liu is now seeing a mega hit on his hands, and his efforts here is definitely something that other producers should learn from. Specifically, what set Liu’s film apart from the other recent Chinese horror films is the amount of calculations in put into the film.

Specifically, he examined Hollywood’s low-cost horror model and the elements that made those films so profitable in the United States, particularly its clear target at the teen audience and their low-risk budgets.

For MYSTERIOUS ISLAND, the production company first looked for a Hong Kong director (”they have more experience with horror than China [directors]”) that wasn’t necessarily a big name, but is experienced in genre (that’s where Rico Chung Kai-Cheong came in). Then, the filmmakers and production met and agreed on using several clear selling point for the film: a mid-summer release date, pretty people, girls in bikinis, and an isolated island.

 mysterious.jpg
The horror….the horror…

 

This is where Mini Yang came in. However, Yang wasn’t to be the sole selling point of the film. After all, television drama PALACE, Yang’s breakout success, had not yet been aired, and she was actually cast early on in the process because she was a talent signed under investor Mei Ah. Instead, Yang was just part of the “girls in bikini” selling point that also include Anya, Maggie Lee, and other hotties.

However, in a stroke of incredible luck and good timing, PALACE was released, and Yang’s Weibo popularity shot from 1.2 million followers when she was cast to 7 million at the time of release. In fact, many of those fans actually successfully organized mass ticket buying campaigns on the internet, which likely helped its opening weekend gross by quite a bit.

Even though the beginning of the new Chinese horror trend can be traced back to 2007 with MIDNIGHT TAXI (a 2 million yuan budget for a 13 million yuan gross), the article also pointed out that horror films actually had hit a period of popularity in 1999 with a series of films by Agan (TWO STUPID EGGS, DON QUIXOTE). However, after a string of horror hits, the director left the genre in 2004 and began making comedies instead.

The article explains that Agan left because of the multiple obstacles facing the horror genre right now: Even though they made money, recent horror hits are often lambasted by both critics and audiences. On Douban, MIDNIGHT TAXI is averaging only 3.5 out of 10, DESERTED INN averages a 4.2, MIDNIGHT BEATING has a 3.3, and NO. 32, B DISTRICT is the stinker of the year with just a 2.4 average. Even MYSTERIOUS ISLAND, with its mobilized Mini Yang fans, could only earn a 3.3 average so far.

While the audiences blame the film’s scripts, the article says that the scriptwriters blame the censorship authority. While there is no official law that films in China cannot feature ghosts, it has become an unwritten law that all filmmakers understand. Even though a producer says that this “rule” isn’t the kiss of death for the genre (”You can still tell a good story while following the law for horror films. The problem with many horror film scriptwriters is that they lack imagination,” says the producer), Agan says, “Chinese horror films are all scams. The censorship rules are obvious, so can you actually make a horror that’s suitable for all audiences?”

The article ends with several points about the dangers of the genre. While a producer points out that there are actually cases of financial failures in horror, the genre has become the least risky risk for new film investors that want to dabble in filmmaking. Agan gets the last word in the article, saying “In a time when big films are bad in various spectacular ways, the sudden rise of Chinese horror films is not all that surprising, nor is it much of a miracle.”

And now, my own thoughts:

Like Liu Jing said, the success of MYSTERIOUS ISLAND is from producers having a very clear idea about who its target audience is. With selling points that are clearly aimed at attracting the young audience (especially the summer vacation release date), it got exactly the people it wanted to show up. Meanwhile, other horror films like DEVIL INSIDE ME and LOST IN PANIC ROOM simply used stars with names and no box office appeal (Kelly Lin, Tony Leung Ka-Fai, Simon Yam) or advertising campaigns that tried to sell things that audiences who know China’s censorship rules realize they will never see. 

Despite the actual quality of these films, this new genre does help bring more variety into the Chinese film industry. Tentpoles will always stay roughly the same (period epics, period epics, and martial arts period epics), but audiences will quickly abandon Chinese films for better-produced Hollywood counterparts if they’re not offered any variety. Not only do producers get to turn a profit with a low-risk investment, Chinese audiences get a bit of trashy thrills in their local language when Hollywood horror films are not allowed in. This will help the industry to mature, and hence protecting itself from becoming that bursting bubble. 

However, the issue with consistent low quality will hurt the genre in the long run. Soon, audiences will finally learn to avoid these products (especially when those MYSTERIOUS ISLAND copycats start popping up), and the horror bubble will quickly burst.  The only ways this situation will improve is either 1) find better scriptwriters (though they’re not safe from bad producers and investors), 2) Have China loosen their ideological censorship standards AND create a rating system that allows edgier films. But of course, neither of these will happen, so as of right now, we should only chalk MYSTERIOUS ISLAND up as a miracle rather than the beginning of anything.

- YING XIONG DUE XUE (No English title), about the Huang Hua Gang Uprising, is the latest “mainstream” film (nationalistic) from China to celebrate the 100th anniversary of the Xinhai Revolution. The film, directed by Derek Chiu (THE ROAD LESS TRAVELED), stars Eric Tsang as the villain. However, after joining the cast, Tsang decided to sign on a producer because he wants to help make it a commercial “mainstream” film. Yes, Eric Tsang - now in the Chinese propaganda business.

- Mtime presents a collection of the best Chinese movie posters of the new millennium. Check them out and see what you think.

- Toei, one of the three major film companies in Japan (Toho and Shochiku are the other two), is returning to the business of foreign film acquisition for the first time in 30 years. This is especially important news in light of the trouble among smaller independent distributors in recent years. The first film to open under this revival is THE MAN FROM NOWHERE from Korea.

- Toei’s next acquisition will be Jackie Chan’s 1911, the action star’s 100th film. It has been announced that it will also join THE THREE MUSKETEERS as the other opening film in the 2011 Tokyo International Film Festival. These are not particularly odd choices, as TIFF has always premiered high-profile commercial films to attract attention. Attending the Asian premiere of KUNG FU HUSTLE in its 2004 edition (with Stephen Chow in attendance) is likely one of my fondest experiences as a film buff.

A side “I read Weibo so you don’t have to” note: Weibo industry insider says that 1911 has been shred to pieces in the editing room (may or may not be related to the authority’s reported ideological censorship). Jackie Chan’s role has now been relegated to 2nd lead, and the director is furious. Considering the film is a month and a half away from release, not much footage has made its way anywhere (except for the Japanese teaser). What’s going on here?

EDIT:  My bad. The Chinese teaser for 1911 is now up. It’s different from the new Japanese trailer, with more footage, and a completely different structure. It also looks real purty.

- MURDERER director Roy Chow is currently shooting NIGHTFALL, starring Nick Cheung and Simon Yam, and the film now features a cameo by Chinese Fifth Generation director Tian Zhuangzhuang (BLUE KITE). For those who’s wondering what Tian is doing in the film, both NIGHTFALL and Tian’s previous film THE WARRIOR AND THE WOLF are both co-invested by Edko. Of course, considering the media reports quoting Tian talking about the importance of Hong Kong cops and robbers film as a genre that needs to be preserved, it’s obvious that it’s an Edko PR move.

- Jeff Lau has finished his three-month shoot for (unofficial titled)  EAGLE SHOOTING HEROES 2011. Like JUST ANOTHER PANDORA’S BOX, it will have a huge cast of recognizable HK/China actors (Eason Chan, Karen Mok and Ekin Cheng as leads), except that it’s a modern comedy. The film is aiming for a November release.

- Jason Gray write a bit about the upcoming Japanese youth crime flick THE HARD ROMANTICKER, starring Shohei Matsuda.

- A recent Hong Kong newspaper wrote that Daniel Wu and Stephen Fung have been feuding because Wu didn’t want to produce TAI CHI. Daniel Wu has taken to his Alivenotdead blog to deny the comment and even pointed out how the sensationalist Hong Kong press has now gotten him in trouble. I always say that Hong Kong entertainment news is strictly for entertainment, and this is again the case.

Next time: Whatever we can find time for.

Sources:

Film Business Asia 1
Film Business Asia 2
Sina 1
Sina 2
Sina 3
Time Weekly (via Entgroup)

The Golden Rock - August 9, 2011 Edition

I was going to write a little bit about YOU ARE THE APPLE OF MY EYE, but I’ll save it for the next entry. Instead, let’s go straight into Chinese box office:

- Like the gift that keeps on giving, the Chinese weekly box office chart is out.

 

As expected, HARRY POTTER 7.2 topped the box office, with 188.15 million yuan over four days. The film saw 4.66 million admissions from 73,000 shows for an not-bad 63.1 admissions per show. This ends the multiplex dominance of TRANFORMERS 3, which made another 168 million yuan over the past seven days for a 18-day total of 939.5 million yuan and a per-show average of 42.64 admissions. While it is the highest-grossing film of the year so far and expected to pass the billion yuan mark, it’s not likely to beat AVATAR’s record of 1.35 billion yuan.

 

Like the past two weeks, the most interesting part of the chart is seeing how the Communist Party’s “excellent, recommended films” are doing. YANG SHAN ZHOU, about a rural Communist Party committee secretary, saw a 251% jump in box office gross this past weekend, making 17.1 million yuan from 6,700 showings for a 20-day total of 26.3 million yuan. WENTIAN, produced by the People’s Liberation Army’s August 1st Studio, finally saw a decline with 10.5 million yuan for a 38-day total of 31.95 million yuan.

 

If these numbers don’t mean much, look at the admissions per show for these two films: YANG SHAN ZHOU has an 84 admissions per show, and WENTIAN still has a 74.1 admissions per show. Even BEGINNING OF THE GREAT REVIVAL, now in its 8th week, managed a 286% jump for a 6.3 million yuan gross and a 77.1 admissions per-show average, despite already being on DVD and legal online streaming. GUO MING YI, despite outside the top ten, still managed 73 admissions per show in the past seven days.

 

Know why no local distributor is saying anything about it? Because both Huaxia and China Film Group, both distributors of HARRY POTTER and TRANSFORMERS, happen to be co-distributors of YANG SHAN ZHOU, WEN TIAN, and BEGINNING OF THE GREAT REVIVAL, which mean whatever these five films make goes to these two companies anyway. “Whether you believe it or not, I believe it” indeed.

 

Elsewhere on the chart: SEER now at 40.1 million yuan after 11 days, MYSTERIOUS ISLAND at 89.35 million yuan after 31 days (and expected to pass 90), Taiwan’s L-O-V-E opens with 7.45 million yuan over three days, and WAGES OF SIN makes 2.25 million yuan over three days.

 

Opening this weekend in China are THE SMURFS, documentary OCEANS, youth action flick NO LIMIT, TVB/Shaw Brothers’s FORTUNE BUDDIES, and the animated flick LEGEND OF THE MOLE - FROZEN HORROR. Guess which ones will stay and which one will go?

Just some small news tidbits before we go:

- Yes, the Venice Film Festival competition has added Johnnie To’s LIFE WITHOUT PRINCIPLE. He finished reshoots a couple weeks ago, and my inside source told me that they were working very hard on post-production for it, so looks like it will make it for the fest after all.

The Hollywood Reporter story says that there will still be one more surprise film in the competition, and now I’m betting that there’s a pretty good chance it’ll be Zheng Yimou’s NANJING HEROES.  It has reportedly passed censorship in Mainland China already, so it’s likely it’ll use Venice as its launching pad for a major international release.

- At a promotional event for OVERHEARD 2 in China, Daniel Wu talked about Clara Law’s LIKE A DREAM, his first effort as a producer/investor. He was quite honest, as he pointed out that he lost money on that film after its disappointing box office run. However, he said that he didn’t mind that it lost money, as it was more an artistic effort than a commercial effort.

He’s currently following the production of TAI CHI, which is the first film of his new production company. He said that his role as producer is to help director Stephen Fung find investments and actor, while Fung will do the same for Daniel when he directs a film. Sounds like a true collaborative effort.

When asked whether he likes being a boss, he said that he likes being an actor, but he doesn’t like being a star. Now, he’s also liking the feeling of being a boss, so look forward to Daniel as he takes on more films behind the scenes.

- Shang Jing, the director of hit comedy MY OWN SWORDSMAN, is working on a new film. The farce, which stars Huang Bo, Fan Wei, and other comedy stars, takes place in a 12-hour period in a group dinner. In China, dinners, especially business-related ones, are more about the social interactions (and drinking) than the food itself. I liked MY OWN SWORDSMAN a lot, so it’ll be interesting to see what Shang Jing does without an established source material like MY OWN SWORDSMAN

- Fox International has announced that it will stop distributing 35mm film prints to cinemas in Hong Kong and Macau starting January 2012. This is an expected step, as most western film distributors (and some local ones) have turned to distributing digital prints rather than film ones. There are not many theaters left in the area (a few in Macau and at least two in Hong Kong) that are not yet equipped with digital projection, so the pressure’s on them to make the change.

- Edit: NEW LINK

Over in Japan, friend Jason Gray started a project that brings free film screenings over to areas devastated by the earthquakes/tsunami earlier in the year. The project has been going well, but he needs help to make these screenings even better by providing more food for the people. If you believe at all in the magic of movies and the joy it brings people, please visit his blog to see how you can help. I know i will.

Next time: Seriously, finally doing the horror in China story. If we can find time.

Sources:

Entgroup
Filmbiz Asia
Hollywood Reporter
Mtime
Sina

 

The Golden Rock - August 6, 2011 Edition

Today is what is known as Chinese Valentine’s Day. So what better way to spend the night than to write a blog entry?

Like many other places in the world, summer is when Hollywood shines in Hong Kong cinemas. With films like TRANSFORMERS and HARRY POTTER dominating literally more than half of the city’s multiplex screens, it’s hard to imagine any big local/Chinese-language films having the guts to compete.

However, there have always been a few tentpoles that is able to attract audiences over the years - INITIAL D, STORM RIDERS, INVISIBLE TARGET, and RED CLIFF. Even in 2010, we saw a good share of Chinese-language (co-production) blockbusters (regardless of their quality) like STOOL PIGEON, TRIPLE TAP, CITY UNDER SIEGE, AFTERSHOCK. Even BREAK-UP CLUB made a nice chunk of change for a film in its genre.

And now, here we are in 2011. Between June 1 and September 1, Hong Kong cinemas only have these Chinese-language films getting wide releases: MICROSEX OFFICE, TREASURE INN, BEGINNING OF THE GREAT REVIVAL, BEACH SPIKE, LOVE IS THE ONLY ANSWER, WU XIA, FORTUNE BUDDIES, OVERHEARD 2, SUMMER LOVE, and THE WOMAN KNIGHT OF MIRROR LAKE. By this week last year, AFTERSHOCK and BREAK-UP CLUB already managed to break the HK$10 million mark at the box office.

On the other hand, from June 1 to August 6, 2011, none of the Chinese-language films listed above managed to reach that mark yet. Even WU XIA, the most likely candidate, will likely only gross HK$8 million when its theatrical run is over.

So, what the hell happened? Not to undermine GREAT REVIVAL and TREASURE INN, but there has been a clear lack of tentpole this year here in Hong Kong, with audiences all flocking to Hollywood films for their fix of spectacle, dimmed 3D projection, and pretty foreigners. Instead, we get low-budget Hong Kong productions made for audiences under the age of 25. While we saw LA COMEDIE HUMANIE do moderately well last year, the only adult-skewing comedy Hong Kong has to offer this summer is MICROSEX OFFICE.

It’s China’s fault.

Opening mid-June, BEGINNING OF GREAT REVIVAL essentially cleared the path for most Chinese blockbusters in Chinese cinemas, including Hong Kong-China co-productions. Granted, Lunar New Year and December are actually Chinese cinema industries’ strongest periods, but at least we got Benny Chan’s big-budget mutant movie and Derek Yee’s “I’m selling out to China” action films in 2010.

Instead, China opened smaller, local-oriented productions like LOVE FINALLY, THE DEVIL INSIDE ME, PRETENDING LOVERS, and MYSTERIOUS ISLAND, with WU XIA being the big tentpole in July. There was also the big-budget, China-oriented fantasy REST ON YOUR SHOULDER, which flopped due to it being distributed with little promotion and it sucking.

Instead, MYSTERIOUS ISLAND scored big, making 80 million yuan all thanks to young audiences not interested in WU XIA and a young starlet named Mini Yang. Even the PRETENDING LOVERS made a decent amount of change at 31 million yuan, which is not bad for a film starring Huang Bo and a director who got so fired that he was literally just credited as the “pre-production director”.

miniyang.jpg
Yes, this immense talent(s) put more asses in Chinese cinema seats than Jordan Chan and Hiro Hayama combined. Really.

However, what appeal do films like MYSTERIOUS ISLAND, PRETENDING LOVERS, and REST ON YOUR SHOULDERS have for us Hong Kongers? None - as PRETENDING and REST have yet to have any Hong Kong release date, while MYSTERIOUS ISLAND only got a small, seven-screen release (Mei Ah probably wasn’t even interested in booking more cinemas than seven). As a result, cinemas needed low-budget comedies like SUMMER OF LOVE, BEACH SPIKE, LOVE IS THE ONLY ANSWER, and MICROSEX OFFICE to fill the gap. I suspect that the combined budget for these films don’t even pay Donnie Yen’s salary on WU XIA.

It’s Hong Kong’s fault. 

As mentioned earlier, Barbara Wong’s BREAK UP CLUB was the surprise hit in summer 2010, and even MARRIAGE WITH A LIAR managed to turn a profit in  Christmas 2010. What’s a film investor to do but to invest in films that attract vapid, young consumers who have to leave the house, but need an air-conditioned venue to pass the time? That’s where BEACH SPIKE, LOVE IS THE ONLY ANSWER, and even SUMMER LOVE (which ironically opens 6 days before the school year starts) all come in.

However, what the producers didn’t anticipate was that many films avoided the double-whammy of TRANSFORMERS and HARRY POTTER, allowing the two to take up so many screens that it could fit in all the audiences that wanted to flock to them. Also, producers didn’t realize that the demographic they were trying to appeal to was also the most likely demographic that would download these low-budget films on their computer/iphones/MP4 players because, well, they look like they deserve to be played on those platforms. In fact, these films were made at such a low budget that LOVE IS THE ONLY ANSWER is already considered successful at its currently HK$5 million gross.

While people like to blame China and its money for the lack of Hong Kong-oriented productions worth watching, it was also Hong Kong audiences who marginalized themselves with their viewing behaviors and tendency to turn to the cheapest way to get anything. When BODYGUARDS AND ASSASSINS made 320 million yuan in China, it only made HK$15 million in Hong Kong. When OVERHEARD made 86 million yuan in China, it also made just HK$15 million. Where were Hong Kong audiences for films like ISABELLA, WRITTEN BY, GALLANTS, ONCE A GANGSTERS, and ACCIDENT? When Chinese audiences became so much more receptive to films by Hong Kong filmmakers than audiences of their own home, can you blame these Hong Kong filmmakers for having to look up north? Hong Kong filmmakers are trying to make a living, too, and they will go where they can survive, because seriously, when will Andrew Lau and Gordon Chan ever make a film for its artistic merits?

Before you get ashamed of having Patrick Kong using labels like “support Hong Kong cinema” as a selling point for his next crappy idol-driven romantic comedy, ask yourself, what have you done to prevent that from happening by supporting the good films that ought to be representing Hong Kong cinema?

It’s Hollywood’s fault. 

Comic-book heroes, magical wizards, and fightin’ robots are all that we’ve seen here in Hong Kong this summer, and it’s not only because the audiences asked for them - it’s because the distributors demanded it. Distributors of major Hollywood blockbusters here in Hong Kong, knowing their clout over multiplexes, reportedly force cinema chains to follow terms like not cutting shows in the first week and demanding them to carry 3D versions in order to cash in on the higher ticket prices. Instead of lowering the number of 3D screens for a more balanced ratio between 2D and 3D versions, these films simply took up even more screens to fit in limited showings of 2D versions.

In fact, the reason that WU XIA had to open three weeks late in Hong Kong was because it simply wouldn’t be able to withstand TRANFORMERS and HARRY POTTER, and We Pictures felt it needed a two-week gap to even make a dent. That’s how afraid we are these days.

No matter whose fault it is, I think it’s pretty accurate to say that Hong Kong cinema in the summer of 2011 has sucked. It’s a vicious cycle - you make movies that no one wants to see, then no money comes back to you. You have no money to make the next movie, so you go to another place that’ll have money for you. Perhaps this may also shed some light on why the blog has such a heavy China focus now - While Apple Daily puts up daily reports of scandals from Miss Hong Kong, Chinese reporters are busy going to one press conference after another, actually reporting news about THE FILMS. Regardless of how many shady practices are going on behind the scenes of those press conferences, at least people are actually informing people about the movies, not the gossip.

Of course, there’s also the idea of scheduling to deal with, but that’ll be a focus story some other time.

- Speaking of press conferences, CRAZY RACER/STONE director Ning Hao has finally unveiled his latest film to the press. His most expensive film to date at 50 million yuan, HUANG JIN DA JIE AN is another heist film, this time taking place in 1930s Manchuria. That means expect double-crosses, nice period set designs, and of course, evil Japanese people. While the cast is mostly new actors with little experience, Huang Bo also will have a small role in the film.

As for NO MAN’S LAND, his desert heist film that is still stuck in distribution limbo, Ning Hao only said that production on the film has finished a long time ago, and that the production company is responsible for its distribution. This is why he felt he was free to move on to another film.

Meanwhile, insiders tell me that those who saw it said NO MAN’S ZONE is great, but it’s likely that it’ll be stuck in censorship limbo for a while.

- Here in Hong Kong, director Herman Yau also unveiled his latest film, produced by prolific local producer Ng Kin Hung (GIRL$, HI, FIDELITY). It’s a romantic comedy starring Chapman To, Elanne Kwong, and Tien Niu. Chapman and Elanne will be playing husband and wife, so you already know it’s a comedy. The film just began shooting, and knowing Yau’s efficiency, it’s probably in the editing room already.

Seriously, though, it’ll probably be out by the end of the year.

- Both Zhang Hanyu and John Woo’s representative have pretty much confirmed that John Woo will be shooting a film based on the sinking of the Taiping instead of FLYING TIGERS at the end of the year. In addition to Zhang, Korean actress Song Hye-Kyo will be co-starring as Zhang’s wife. With a real-life ship sinking and a love triangle as its core, it’s no surprise that this is being dubbed as the “Chinese TITANIC”.

- In more production news, I reported earlier about Chen Kaige’s next neorealism project will start shooting in September. More details have emerged, revealing that it’ll be a drama about internet bullying that’s based on an internet novel. The film will be shot while sets are being built for his big-budget fantasy project, and insiders say that the small-scale film will star Ge You and Yao Chen.

- I also reported earlier that director Wang Quan’An’s latest will not be making it to Toronto and Venice. At a retrospective of his films in Beijing, Wang revealed that he has completed editing a rough cut of his latest film WHITE DEER PLAIN. Initially five hours long, Wang managed to cut another hour out of the film after his honeymoon with wife/the film’s star Kitty Zhang, and the current four-hour cut is being submitted to censors. After it’s approved, Wang will likely take another crack at cutting it to a manageable length. The film will be released in October at the earliest.

Meanwhile, Wang’s award-winning APART TOGETHER still hasn’t been distributed in China in cinemas nor video (though it was screened at the retrospective). What’s the hold up??!!

- Those who still care about box office: HARRY POTTER 7.2 finally opened in China, and unofficial figures put it at a 48 million yuan opening day. That means it’ll beat 7.1’s first weekend gross of 81 million yuan in two days. It won’t beat TRANSFORMERS at this rate, but it’ll probably make around 400 million yuan, which means it will also beat BEGINNING OF THE GREAT REVIVAL at the box office. Meanwhile, a Weibo insider also noticed a huge surge in the box office for YANG SHAN ZHOU (one of the propaganda films) on the day of HARRY POTTER’s opening. Make what you will out of that on your own.

- The head of Xiangtan City’s Bureau of Radio, Film, and Television in Hunan Province wants to make a big-budget outdoor production of a Mao Zedong biopic, and he wants some western production values for his play. To achieve his goal, he took to his Weibo (he has a verified account), and literally wrote this:

“Can anyone help provide the contact information for Canadian director James Cameron? His films TITANIC and AVATAR set new records at the box office records. The recently-established Shaoshan Red Culture Tourism Group is currently looking for collaborators to produce a big-budget outdoor production of ZHONG GUO CHU LE GE MAO ZEDONG (Literally “China Made a Mao Zedong”), and I want to hire him as a creative consultant. Please provide, please repost. Thanks!”

Within a day, the message was reposted 37,000 times, with 15,000 comments, most of those ridiculing the poor government official of trying to be funny.  Finally, a netizen posted a phone number for what he claims to be James Cameron’s production company.  However, Lightstorm Entertainment said they haven’t heard anything about this possible collaboration.

In case you don’t know, Xiangtan is the hometown of several Chinese Communist Party founders, including Mao himself.

Next time: THE HORROR, oh, THE HORROR in China, and more.

Sources:

M1905 1
M1905 2
Mtime
Sina 1
Sina 2
Sina 3
Sina 4

The Golden Rock - July 11, 2011 Edition

- Before getting into the focus story today, Sina News just posted a story about WU XIA’s box office in China:

According to the story, the film only made RMB 92 million in the seven days, which co-investor Stellar Megamedia’s CEO admits to being disappointed by. However, he also points out that the film already took up 50% of total box office gross in China this past week, which means that people just aren’t going to movies. He also believes that the recent box office gouging scandal has only minimal impact (more on that later), and that there are bigger factors at play here.

We Pictures marketing head Mr. Lu also admits to being disappointed with the gross, especially its weekend gross. He says total box office in July so far is “outrageously low” compared to the same time last year. However, Lu also says that with overseas sale, the film will eventually find its way to profitability. More analysis of WU XIA’s box office when figures come out in a day or two.

- Today’s focus story is on internet distribution for films in China. In January 2011, LET THE BULLETS FLY premiered on Chinese video sites such as Youku, Tudou, and others, on an on-demand basis. Essentially, the idea is that you pay RMB 5, and you can watch the film as many times as you’d like within 48 hours. The film was viewed over 200,000 times in 20 days, grossing over RMB 1 million.

With legitimate DVD cost continuing to rise and piracy still rampant, this is the new way of film distribution in China. Basically, a film typically lands on these video sites about a month after their theatrical release. After a paid VIP Zone window, which allows members to watch the film in HD for a small premium, the film becomes free for all members. As of today, A BEAUTIFUL LIFE, NO. 32  B DISTRICT, and LOVE FOR LIFE can all be seen for free already, some with subtitles and some without. These sites also include a large arsenal of television dramas, including all 30 episodes of NAKED WEDDING (trust me, they’re not naked like the way you think they are), which just premiered on one major Chinese regional network tonight.

Only a year or so ago, films were being uploaded illegally by users mainly on sites like Tudou and Youku. These sites pulled off a major cleanup and began acquiring licenses from content owners, which would make sense considering the amount of advertising these deals can generate. LeTV (the site I frequent the most) is one of the leading video sites in China. Not only has it built up an archive of over 4,000 films, it is also the first company of its kind to be traded on the stock market. In addition to a free iPad app, LeTV also sells an Apple TV-like device that streams its archive of films via the internet to television in HD, and they’re planning to sell 100,000 of these things this year. I saw an ad for it when I was in the cinema this past weekend:

004716533.jpg

Tudou, Youku, and now even CCTV’s movie channel have made mobile apps for easier access to their films.

This is a very similar model to what Apple is doing in the states and Japan with iTunes, opening up more platforms and choices for audiences to watch films legitimately. However, these Chinese film industry is relying on this platform to work more so than the studios in the United States. Due to high ticket prices, cinema going is still considered a luxury for workers who only make about an average of US$500 a month. By making films available at a lower price than pirated DVDs, content owners are taking back any revenue they can in any possible way. As I had predicted earlier, the Chinese film industry is definitely heading towards a bubble situation, but there are things being done to delay that day, and internet distribution is one of them.

However, there are problems that come with this model:

1) There’s no report on the true impact of these technology has on cinema revenue yet, but once there is, cinema owners will not be happy (the previous report about July box office being low may be one of the first signs). Like it or not, cinema revenue is still the best way for films to make money, and on a personal note, I believe that films are made to be seen in cinema. If the cinemas go down, the industry will also be severely impacted in a negative way. The same goes for legitimate video sales. Video publisher already had to resort to releasing inferior DVD-5 versions of Chinese films to make them more affordable, but internet distribution is offering these films at a better video quality for a lower price. With Blu-rays being sold at astronomical prices and DVD sales likely to go way down, the Chinese video market may eventually disappear. As far as I know, there is no legit video rental industry in China at the moment.

2) Rising licensing cost. While smaller films will appreciate that video sites will buy their content, production companies are likely charging more and more for bigger films. One day, these licenses may become so expensive that video sites don’t see the point in shelling out the money for them anymore. The rising cost situation is already happening on the TV drama end, where prices are per episode, not per series.

3) Copyright infringement. LeTV recently filed suit against a manufacturer of a home media center (similar to LeTV’s television box) for allegedly providing access to films that LeTV claims to hold exclusive rights for. The media scene in China is very fragmented right now, with more video sites, television stations, and news outlets than I care to count, which means many different companies sharing content that they might not be permitted of having. This may discourage video sites to pay the big bucks for exclusive rights, or encourage video sites to clamp down harder on enforcing their exclusive rights, as well as extending pay windows. This will have a negative effect on consumers, who may just go back to illegal downloads or buying pirated DVDs.

There are a million directions which internet film distribution in China can go, but I say the more legit ways people have to watch films, the healthier the film industry will be. Sure, a film should be watched in the cinema, but it seems like for now, the masses have spoken, and they say otherwise.

- Following up on the box office gouging story from last week, netizens are still reporting that they’re not getting tickets to films they paid to see. To refresh your memory, audience buys ticket to WU XIA, theater prints a ticket to BEGINNING OF GREAT REVIVAL. Audience watches WU XIA, but money go towards BEGINNING OF GREAT REVIVAL.

Netizens reported last week that this practice is still happening in some cities. The distributor lamented that cinemas are simply saying that their employees made mistakes at the box office and that they can do little more than that. China Film Group continues to deny and decry the practice, while Stellar Media continues its campaign of offering RMB 1000 to each report of box office gouging for WU XIA. Stellar Media says they have already given out RMB 5000, and they have no idea how many more thousands they’ll have to give out.

Weibo reports of gouging have slowed down over the weekend, and I will say that this past weekend, I was given printed tickets for films that I actually bought tickets for, so no RMB 1000 for me.

- TVB/Shaw Brothers’ FORTUNE BUDDIES, spun off from the TVB variety show FUN WITH LIZA AND GODS, completed its 20-day shoot. Star/producer Eric Tsang said the film will only have three days of post-production because it has to go through Mainland censorship before its opening date of August 11th (simultaneous with Hong Kong). This is not the shortest shoot for a Hong Kong film - Johnnie To/Wai Ka Fai’s HELP!! only took 30 days from shooting to hitting cinemas, and director Pang Ho-Cheung shot EXODUS in reportedly 18 days. Go, Hong Kong cinema!

Trailer for FORTUNE BUDDIES here.

And now, today’s edition of WHAT I LEARNED FROM SINA WEIBO:

- Derek “son of Eric” Tsang posted the cover of the script for Pang Ho-Cheung’s reportedly Beijing-set sequel to LOVE IN A PUFF. It revealed two things: the script is co-written by Pang and Hong Kong novelist Lu Yi Xin, and its current English title is LOVE IN A BUFF. No kidding. Tsang wrote that he was heading back to Hong Kong to do a cameo for the film, but the weibo post has since been deleted.

- William Chan (HI, FIDELITY) has signed on for a 3D film called WU XING GONG LUE, a drama about Mongolian wrestlers in the 1960s directed by Casey Chan. According to its Baidu entry, the film is supposed to star Siqin Gaowa, Betty Sun, and Josie Ho, and it was presented at Hong Kong’s Filmart in 2010.

- Donnie Yen says that he personally prefers the Cantonese version of WU XIA, though it may have something to do with the fact that he spoke Cantonese in the film (He was dubbed in the Mandarin version).

- MURDERER director Roy Chow will soon shoot a film starring a buffed up Nick Cheung and (after some research) Simon Yam. Could this be the MURDERER 2 that Simon Yam was referring to? According to this story, Janice Man will also co-star.

Next time, Chinese box office analysis, a busy, low-budget summer in Hong Kong and whatever else we can get our hands on.

The Golden Rock - January 5, 2011 Edition

- Today on the front of Oriental Daily’s entertainment page is a story about two filmmakers trying to get the Hegemon-King of Western Chu story made at the same time. On one hand is CITY OF LIFE AND DEATH director Lu Chuan’s version, starring Daniel Wu, Liu Ye, and Chang Chen. The word of Apple Daily is that Lu quit/was removed from the project after he disagreed with his production company about the film. Lu then found other investors and resurrected the project, leaving his previous production company very mad.

So, Lu’s first production company then hired director Daniel Lee (of DRAGON SQUAD and THREE KINGDOMS), got a cast that’s rumored of Louis Koo, Fan Bing Bing, Huang Xiaoming, and Andy Lau. Lee said in an interview that the film hasn’t confirmed its cast yet, but will be ready to shoot in March.

I know Daniel Lee has the bigger cast and all, but my money’s still on Lu Chuan.

Story from Apple Daily, in Chinese, for access from Hong Kong only.  Also take Apple Daily news with a grain of salt.

- Hollywood studio Warner Bros. is finding a new way to penetrate the Chinese market - internet video on demand. The studio signed a deal with video site Youku to let Chinese users watch the film for a few yuan. Compared to the already low price of a DVD, there’s no excuse for Chinese netizens to illegally download the movie other than….well, who knows?

- More in video-on-demand news, FUNimation in the United States has signed a video-on-demand deal with Asia Media Rights, who has been active in buying Asian films for such type of distribution model. FUNimation holds films such as EVANGELION 2.0 and SUMMER WARS.

- Korean pop has officially invaded Japanese music with popular girls group Girls’ Generation winning Best New Artist at the Japan Gold Disc Award.

- Derek Elley at Filmbiz Asia reviews the hit Chinese comedy JUST CALL ME NOBODY and COLOR ME LOVE, the latest film from BLOOD BROTHERS director Alexi Tan.

The Golden Rock - September 15th, 2009 Edition

- Lovehkfilm has updated with reviews from Boss Kozo. In this update, Kozo writes about the trashy, but entertaining Kung Fu Chef, the teen flop Trick or Cheat, Sion Sono’s epic masterpiece Love Exposure, and Miki Satoshi’s Turtles Are Surprisingly Fast Swimmers.

- Hitoshi Matsumoto’s Symbol opened in Japan this past weekend on 242 screens (roughly the same amount of screens Dai Nipponjin opened on) and made 133 million yen, which is only 45.6% of Dai Nipponjin’s opening weekend. With an even more mysterious promotional campign than his first film, Matsumoto’s film doesn’t seem to be aiming for a large commercial audience anyway.

- In Korea, the Hindi-language film Black has become quite a hit, despite it being a four-year old film. After three weekends, it already has 700,000 admissions, and may get to the million mark in two weeks. I’ll keep keeping track of it.

- The Chinese TV/film authority SARFT has released new guidelines banning commercials for certain products and limiting the amount of ads during a program. No big deal for me, since such regulations is quite normal everywhere, especially for things like tobacco products.

I read a report that implies these regulations were made in time for the PRC’s 60th anniversary, but with these regulations not coming into effect until January, it doesn’t seem likely that this is the case.

- Korean female Park Chan-Ok, who worked under Hang Sang-Soo as his assistant director, finally sees her second film Peju coming out in theaters, despite the fact that it was announced 4 years ago.

- The Seoul International Drama Awards were given out last week, with the Grand Prize going to Chinese drama Memoirs in China. Dramas from Europe also took home multiple awards.

- It’s reviews time! Variety’s Derek Elley reviews the Venice closing film Chengdu, I Love You, which features a short film from Fruit Chan and one from Chinese rockster Cui Jian. Then Ronnie Schieb reviews the Montreal World Film Festival Best Director winner Villon’s Wife.

And lastly, Screen International’s Tim Grierson reviews the American cut of Ong Bak 2, and strangely doesn’t make mention of its open ending. Did they get a different version in the States?

- The American producers who were accused of bribing Thai government officials to run the Bangkok International Film Festival have been convicted for conspiracy and money laundering. They plan to appeal the ruling.

- And under “Film festivals in Japan” news, a 16-minute set of footage from James Cameron’s Avatar will be shown at the Tokyo International Film Festival. No word whether this is the same footage shown on “Avatar Day” around the world last month, despite the report writing that it will include unseen footage, though it runs roughly the same length.

Japanese film distributor Only Hearts has bought Mexico’s representative at the Academy Awards and it’ll be shown at the Latin Beats Festival in Tokyo this week.

 
 
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