In just 8 days, Pang Ho-Cheung’s VULGARIA has already grossed HK$11.9 million at the Hong Kong box office, which means both of Pang’s films in 2012 - LOVE IN THE BUFF and VULGARIA - will surely be two of the top ten highest-grossing Hong Kong films of 2012. BUFF has already made HK$27 million and currently holds the top spot at this year’s Hong Kong box office, and if VULGARIA makes more than HK$23 million, it would officially make Pang the first director since Stephen Chow whose film(s) managed to gross over HK$50 million in a single year. However, the difference will be that Chow did it with one film (CJ7), while Pang will be doing it with two.
How did a foul-mouthed category III film about making movies manage to become one of the highest-grossing local films of the year? My own opinion of the film aside (my audio review on East Screen West Screen), let’s first acknowledge that VULGARIA being a good film is not enough. Anyone who thinks that good movies make money and bad movies don’t make money is just being naive.
If the movie being good is not the reason, then why else would VULGARIA be such a hit?
Warning: The following includes many Cantonese profanities and possible spoilers for VULGARIA
1) Thank EXODUS
There are several specific Cantonese curse words that are considered no-no for Hong Kong censors. Traditionally, use of those words would automatically warrant a category III (no one under 18 admitted) for the film, which is why commercial Hong Kong films typically stay away from them. However, in 2007, Pang Ho-Cheung’s EXODUS became one of the first Hong Kong films to use these Cantonese cuss words liberally (you can see on the clip above) and still managed to avoid a category III rating. Reportedly, Pang pointed out to the censors that films with English profanity are often passed with IIB (not an age-restricted rating) and that the use of profanity actually reflects everyday reality. The censors agreed and allowed EXODUS to pass with a IIB.
This actually became a game changer of sorts, as other filmmakers began to follow suit. Wong Jing’s MR. AND MRS GAMBLER features several jokes involving Cantonese cuss words, Heiward Mak had his idol stars mouth them in EX, and Pang Ho-Cheung continued to include them in his films until LOVE IN THE PUFF got the category III because TELA had a problem with the characters using profanity too casually (according to Pang). However, PUFF then became immensely popular among young audience, and Pang knew that it was partly because young people find Cantonese profanity amusing.
After making LOVE IN THE BUFF, his first China co-production, Pang returned to Hong Kong and managed to get HK$7 million from Paco Wong’s Sun Entertainment to make what was called at the time WHAT WE TALK ABOUT WHEN WE TALK ABOUT HONG KONG MOVIE. It was going to be packed with Cantonese profanity, raunchy humor, a load of star cameos (many of whom worked for free), and most importantly, it would have the label “Hong Kong movie” taped tightly to it.
2) Using China’s Weibo
Pang Ho-Cheung currently has 1.9 million followers of Weibo. He knows he’s a popular man on Sina Weibo and other Chinese social media, which is why he has been using it as a tool for the last year and a half. He used it to get extras for LOVE IN THE BUFF, and he had been counting on those same fans to mobilize and enter the cinema for BUFF. Before that turned out to be a disappointing venture, he used Weibo to report the progress of WHAT WE TALK ABOUT WHEN WE TALK ABOUT HONG KONG MOVIE. Pang and producer/star Chapman To had been uploading photos from their meetings and the set of the film for a month before the local press even got to visit the set. On the surface, they seemed like a celebrity’s everyday post, but every single post included the film’s Chinese name (which translates to “A Vulgar Comedy”) and teased the various star cameos. That’s where hype starts.
3) Picking the right handlers
In 2010, local independent distributor Golden Scene premiered LA COMEDIE HUMAINE at the Hong Kong International Film Festival - a full four months before its theatrical release. The film was a tough sell - a buddy comedy about a professional killer and a scriptwriter that was about the magic of movies - but the distributor has proven to be able to sell summer comedies with surprise hit SIMPLY ACTORS. Not only would the HKIFF launch give the film a quality label, but by having only one screening to 1,000 enthusiastic audience members in the Hong Kong cultural center, the amplified response became a good word-of-mouth starter.
When opening weekend arrived in August, Golden Scene also sent the film’s stars on a series of meet-and-greets in Hong Kong cinemas, meeting enthusiastic audiences with what is essentially a stand-up routine. It brought the film festival experience to general movie-going, and it kept the film in the media spotlight.
The result? A film that usually would not have made more than HK$4 million ended up with more than double that. With HUMAINE and the HK$10 million-plus gross for BREAK-UP CLUB, Golden Scene became THE distributor for hip and alternative Hong Kong commercial films.
Golden Scene knew that WHAT WE TALK ABOUT WHEN WE TALK ABOUT HONG KONG MOVIE - now re-titled VULGARIA - would once again be a tough sell to local audiences. It’s category III, it doesn’t have a star that guarantees a huge gross, and it was from a filmmaker who’s only made one commercial hit in his career. As they had done with HUMAINE, they started with one exclusive screening at the HKIFF:
Knowing that Pang is a darling in film festivals, Golden Scene also used Filmart (happening at the same time as HKIFF) to aggressively push to the film to overseas visitors - buyers, programmers, and critics - at the film’s market screening. Ironic for a film selling itself as a pure Hong Kong film, yes, but that’s when one can see Pang and his company had picked the right people.
4) Your audience - and Youtube - are your friends
After a run around the world at film festivals like the Udine Far East Film Festival and the New York Asian Film Festival, Golden Scene kicked off the local advertising campaign for the film. Thanks to LOVE IN THE BUFF becoming the highest-grossing Hong Kong film of the year (eat your heart out, Deanie Ip!), Pang suddenly became a marketable name. This is the guy who once made dark, alternative films (at least considered so in Hong Kong) like YOU SHOOT I SHOOT and DREAM HOME, and now he’s made a super vulgar movie that’s category III? Let’s push him out there:
The above is one of the five making of videos that Golden Scene uploaded, and it contains many of the Cantonese curse words featured in the film. Thanks to the censor-free world that is free internet, this video now has over 200,000 hits on Youtube. In comparison, the cleaner making of videos have only attracted 20,000-70,000 views.
And then there were the audience meet-and-greets. Three weeks before the movie’s official release date, Golden Scene held midnight previews around town and had Pang Ho-Cheung and Chapman To do post-movie talks. Since this was a category III film anyway, Pang, To, and Dada Chan let it all loose with curse words left and right to full-house audiences around town. In the age of smartphones, everyone promptly pulled out their cameras and started filming.
At the first of these talks, To and Pang talk about the importance of making films for Hong Kong audiences, the absurdity of Mainland censorship, the beauty of Cantonese profanity, and sometimes Bosco Wong. Of course, with Ms. Popping Candy herself, there were also a bit of sexual harassment:
Multiple videos of these talks hit Youtube and received thousands of views, which then helped boost sales for the next week of preview screenings. In the second weekend, Pang and To took it further. Not only did they bring a fake mule on their press tour (You’ll get it after you’ve seen the film), they also started revealing the real people behind some of the film’s biggest gags. Here, Pang Ho-Cheung reveals that Chapman To was the real star behind the mule story.
Here, they then reveal that the real Ms. Popping Candy is the girlfriend of Pang’s stills photographer and that Billy Chung is the director who ran gambling dens:
By now, you probably realize you may not want to reveal your most intimate secrets to Pang Ho-Cheung
By the way, it’s clear that Pang and To didn’t count on these videos going online, which is why they repeated many of the same jokes.
5) Pop culture domination
The above is a newspaper column from last week. The subject is a certain Cantonese word in the film that was the subject of several jokes in the film (According to the subtitles, it’s supposed to be “nose diving”, but sounds like something very vulgar). This is only one way that VULGARIA references have dominated local pop culture. While the film’s response ranges from mixed-to-good, several jokes have become talking points among Hong Kongers. And unlike SEX AND ZEN 3D, the references are even about how much the movie sucks.
Over the past year, Hong Kong people has also grown increasingly dissatisfied with Mainland China - from the rudeness of tourists to their rumored influence over the Chief Executive election to the new National Education program. Suddenly, Hong Kongers feel like their superior Hong Konger identities are being threatened, and they will take anything they can get to enforce that identity.
Thanks to that, the idea of watching VULGARIA not only became the hip thing to do as a Hong Konger; it also became a way to show Hong Kongers’ love for Hong Kong.
Yes, a little comedy about people swearing a lot is now patriotic duty.
Will the success of VULGARIA bring on a new slew of real, China-less local movies? There will surely be copycats, but the success of VULGARIA was dependent on so many wild card factors (current events, box office success) that could not be foreseen that lightning is not likely to strike again. As a result, it’s like that everything else that follow will surely be dismissed as copycats. Besides, Pang and To are probably not very well-liked right now in certain circles of the Hong Kong film industry, especially those Hong Kong directors living up north that have been dubbed as traitors of Hong Kong for making movies for China (Hi, Gordon Chan, Peter Chan, Derek Yee, Andrew Lau, and Johnnie To!). Hell, even Pang’s next film is a Huayi Brothers production that will be shot in Beijing! Believe it or not, the Hong Kong film industry isn’t always a united place.
If anything, VULGARIA goes to show that to make money in the movies, it’s not always about making a good movie - it’s about making the right movie.
Apologies for the long break, as various obligations have tied this writer down the past two months.
However, as Edison Chen once said, we are coming back harder than ever with some new content. And one of those is the first-ever guest blogger entry on The Golden Rock. Recently, we were kindly offered an opportunity to watch a new film called SUPERCAPITALIST, written by actor Derek Ting and directed by Simon Yin. Due to scheduling conflicts, we sent Marco Sparmberg, founder of Haexagon Concepts and Hong Kong-based director of HAEXAGON and web series SQUATTERTOWN. As he will mention in the review, Mr. Sparmberg also worked in development at Salon Films for a year, so he definitely knows a thing or two about developing a film here in Hong Kong.
And now, without further ado, Mr. Sparmberg’s unfiltered, uncensored, but edited for grammar review of SUPERCAPITALIST:
Just to further throw Marco under that bus, Marco’s views about the film are his own, and they do not represent LoveHKFilm.com nor this blogger.
$uper-capitalization of clichés
A rare English-language indie film from Hong Kong that tries to remake WALL STREET the Central way. Featuring common expat clichés, SUPERCAPITALIST offers a TV thriller without the thrills.
Before I start selling my shares, I need to put this disclaimer up front: In the summer of 2010, SUPERCAPITALIST was one of the projects that passed my desk seeking financial investment. I had actually recommended this project to my boss for further consideration at the time.
Now that the production is completed and has been screened in a theater, would I still recommend it? Unfortunately, I would not. A financial thriller set in Hong Kong, Macau and New York set up as a sophisticated international co-production by a group of young expat talents that might bring Hong Kong film back to the world map of cinema, the film’s premise is indeed intriguing and promising. So, what happened?
“You wouldn’t like me when I’m angry.”
Conner Lee (Derek Ting) works at a New York-based hedge fund firm. When he starts to become a troublemaker for his boss, he is sent to Hong Kong as an expendable asset to “shake things up” in the local market. Arriving in the fragrant harbor, he takes the tourist bus and LKF bar tour. The message “we are in Hong Kong and spend money at random” is repeated, as we see Connor gets sucked into the generic urban life of decadence, which includes junk boat trips with two bikini models for each of his fingers.
Then, a plot suddenly emerges when Conner gets the order to rip off a local tycoon (Richard Ng). In the process of taking over his company, Connor falls for the tycoon’s attractive assistant (Katy Uyen). When he also finds out that he is being double crossed by his own boss (Linus Roache) and the tycoon’s brother (Kenneth Tsang), Conner joins forces with the locals to save the company.
The way local Hong Kong people are portrayed here should be a cause of concern. The filmmakers navigate into dangerous waters by implying everyone can be bribed with red pockets in this city. At the same time, Richard Ng’s multi-billion dollar tycoon stubbornly holds on to his family traditions and old-school business models, effectively weakening him as his brother gets established as the greedy villain. Meanwhile, every other local character, including Katy Uyen’s, is mere accessory to the Asian-American hero who saves the day.
“Trust me, you gotta bribe that 7-eleven clerk if you don’t want her to spit on your fish balls!”
SUPERCAPITALIST is an extremely rare independent Hong Kong feature film effort by expat filmmakers, fueled by the online artist community Alive Not Dead. It is Simon Yin’s first feature film as well as the first lead role for writer-producer Derek Ting. The film and its team clearly aimed for too much, all the while ignoring critical issues like the financial crisis or Hong Kong’s increasing rich-poor gap for the convenience of repeating an old story pattern. Even when Oliver Stone is struggling to pull off a decent financial thriller these days, why should Yin be able to bring anything new to this conference call? The team could have instead achieved much more by taking a cue from MARGIN CALL, which took a minimalistic approach and could’ve been produced easily in Hong Kong for instance.
Notable, however, was the short Q&A session with Richard Ng after the Hong Kong press screening (at IFC, of all places). Ng spoke about how he first rejected the young team and dismissed them as not serious but eventually agreed to take the role. However, he later changed his mind and says that he truly believes in the talent and the potential in his team of up-and-coming filmmakers - a statement that comes off more sincere than the usual promotion talk (”We are really pioneering!”) by some of the other speakers on stage.
Yin and Ting may have wanted to play like big brokers on the surface, but they end up coming off like they’re collecting leftovers from some company party. Production value is below average even for a Hong Kong film, with everything looking like TV. The film has technical issues that are so apparent on the big screen that I was constantly kicked out of the story, finding myself wondering what and who was responsible for such sloppy camera work.
“Look, we found the only street restaurant that puts blankets on their tables.”
Following what has become the current go-to distribution strategy for independent films in the States, the producers has struck a deal with All Rights Entertainment and will release SUPERCAPITALIST simultaneously in theaters, Cable VoD and on iTunes. In my opinion, the theatrical run is more or less a face-saving act by the traditionalists in the team, as the VoD downloads will bring the real numbers. Solid, but not profitable enough, returns from the Asian American community can be expected, especially since the film is acting as the Centerpiece Presentation at the 2012 Asian American International Film Festival in New York City. However, the film will probably only attract expats during its August release In Hong Kong.
Ultimately, SUPERCAPITALIST could have been so much more. As an expat filmmaker in Hong Kong, I would have liked to see it setting a precedence as a case of people wanting to do something outside of the usual RomCom and Martial Arts genres. However, it’s sad that I can see every single attempt and compromise that was made along the way while watching the film. From personal and professional experiences, I understand a production has its limits and constraint, as well as the effort and hard work that go into making such a product. However, there were simply too much sacrificed or approached with the wrong attitude. I would be delighted to see this underdog succeed as it had so much potential, but this is not the film we had hoped for, and it will probably vanish in the sea of insignificant investments soon.
So, let me close with a note to all the expat filmmakers out there: Hong Kong is not just that glittery thingy between Causeway Bay and Central. That place you call The Dark Side, most of us call the city. There are so much more relevant topics and amazing locations to explore. It really is worth a try!
Regardless of the film’s quality, we thank Marco Sparmberg for his review and the organizers of the special screening for this special opportunity.
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.
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:
According to Entgroup figures, TITANIC 3D made RMB 467 million in its first six days in Mainland Chinese cinemas (another chart puts it at 468, but let’s not nitpick, alright?). If the other box office chart I’ve read is accurate, that means it’ll overtake MISSION: IMPOSSIBLE - GHOST PROTOCOL’s RMB 678.9 million take to become the highest-grossing film of 2012. Considering that it also beat the 438 million record set by TRANSFORMERS 3 (which ended up making RMB 1.11 billion), we’d looking at it breaking AVATAR’s RMB 1.39 billion record if Fox didn’t already announce that they’re pulling the film by May 20th.
And Hollywood’s not done yet. BATTLESHIP and the second GHOST RIDER movie are opening this weekend, and THE AVENGERS will replace those screens on May 5th. With the May Golden Week holiday, it’s guaranteed that these three films (plus TITANIC) will be rolling in the dough.
Considering that last year’s Golden Week brought THE LOST BLADESMAN and CHINESE GHOST STORY - both of which made over RMB 100 million - The Chinese film industry must have something powerful to counter the Hollywood invasion, right?
Note: Edited April 14th to include award predictions
We haven’t blogged for over a month due to work and film festival commitments, but when we come back, we come back harder than ever!
That’s also a quote from Scud’s next film.
Anyway, it’s that time of the year again. No, not Lunar New Year, it’s the Hong Kong Film Awards! And that means it’s time again for The Golden Rock Hong Kong Film Awards Live Blog!
We don’t know how many times we’ve done this already (3rd? 4th?), but at least we can tell you it’ll be the most star-studded one:
None of these people will join us on this year’s live-blog
The picture alone makes it star-studded, right?
So join us again as we (and by we, we mean one dude in his living room) battle technology, bad red carpet commentary, crappy cuts to commercials, useless musical performances, and, of course, Hong Kong film industry congratulating themselves for another successful year of making movies in Mainland China!
As we had done previous years, the live-blog will be housed in one single entry that will be updated every minute or so, which means readers only have to go to the dedicated entry and press refresh for the latest updates. The show starts at 20:00 Hong Kong time on Sunday, April 15th, and we will start at 19:30 Hong Kong Time (GMT +8). We may even open the comments section by then, so get ready to join us in the fun-making.
As someone who has seen almost all the nominated films (and unfortunately, a few more) and regularly follows the awards, I think I can make an educated guess about what will win.
This entry covers two major messes going on in the Chinese film industry, and a Golden Broom to sweep it all up.
Photo from Sina Entertainment Weibo account
- The attention for action film SPECIAL IDENTITY meant to go to Donnie Yen, who is starring and producing under the direction of Clarence Fok. However, the attention has now shifted elsewhere before shooting has even wrapped.
This started when Apple Daily reported on February 24th that co-star Vincent Zhao essentially left the set due to complaints about the new script by Hong Kong writer James Yuen, which undermines his role and favors Donnie’s. The new script had been changed without Zhao’s approval, though Zhao’s contract said that he had the right to do so. There were also complaints about Zhao’s prima donna attitude on set (which includes an entourage of seven).
On February 27th, the SECRET IDENTITY production opened its own official Weibo account (verified as the real deal by Sina), followed by an official statement from the production on the night of February 29th announcing that Vincent Zhao has officially left the production, and that it was an amicable split. James Yuen (he’ll show up again later, by the way) also wrote his Weibo that he did not write one word of the film.
Two hours later, Vincent Zhao posted a e-mail from the IDENTITY production on his own Weibo:
“As of noon on March 1, 2012, the SECRET IDENTITY production will no longer provide accommodation for Mr. Vincent Zhao. I hope you can understand; the production is seriously over-budget!”
At 6 am, Zhao also posted a statement on his Weibo discrediting the points in the Apple Daily report one by one, and that the statement from the production was released without his knowledge, which means Zhao has essentially been fired.
Zhao’s wife also joined in on the fun, defending her husband and accusing the production of using him as a scapegoat for the mismanagement of the film’s finances. Zhao calls himself the victim and left Shenzhen (where the film was being shot) for Beijing on the same day. Meanwhile, public support from Zhao’s past co-stars like Laung Ka Yan, Timmy Hung, Xu Jiao, and Wudang director Patrick Leung came Weibo-ing in.
Thing were quiet until today, March 4th, when Zhao held a press conference in Beijing essentially repeating his Weibo statement. He accused the production of changing the script that he’d signed up for without his approval, and that he was unilaterally dismissed by the production.
Several hours later, the production put out its own statements to counter Zhao’s points. They are as follows:
1) Zhao caused the start of production to be delayed by a day because he not only demanded to be upgraded to an executive suite, he also demanded that the production pay for the expenses for his wife, his two kids, the nanny, an English teacher, his agent, and his assistant, as well as a driver and bodyguards (a martial arts actor needing a bodyguard. Imagine that).
2) The script changes were done for the benefit of the film. As producer and action director, Donnie had approached Zhao to discuss the changes, only to be turned away. In fact, the production only agreed to take on Zhao based on Donnie’s recommendation.
3) Andy On is to replace Zhao on the production.
Zhao says he retains his right to take legal action, but with On joining the production and Zhao simply crying shenanigans, it looks like this will remain only a battle of words. Zhao has little more to say (unless he wishes to counter the production’s counter-argument), but it’s likely that SPECIAL IDENTITY will be remembered more for this scandal than anything else for the time being.
- Another person calling foul is writer James Yuen. The respected Hong Kong scriptwriter of films like LOST IN TIME, several Peter Chan films, and oh, HERE COMES FORTUNE, is crying foul because he claims that his script for SHADOWS OF LOVE, the latest Cecilia Cheung film, was stolen by the film’s investor.
This all began on February 19th when Oriental Daily reported Yuen’s claims that he has written the original script for SHADOWS OF LOVE, and that its investor Allen Tan (a former talent agent) took it without giving proper credit or proper compensation. After a strong denial Tan himself, who says director Calvin Poon and his writer essentially rewrote the script, which means there’s not much traces of Yuen’s work. Tan also accused Yuen of demanding too much money. Angered, Yuen took it further by writing a complete account of his side on Weibo.
Here are the basic explanation of Yuen’s claims:
Yuen was asked by Tan in March 2010 if he had any scripts that Tan could produce. Yuen then turned in a 6000-word outline that he wrote with two assistants back in 2009. However, he never heard from Tan again.
In June 2011, Yuen heard that a film with the same story and characters starring Cecilia Cheung had just wrapped shooting. The film’s producer: Allan Tan
Yuen then called producer Stanley Kwan, who said that he knew they were Yuen’s material and even asked Tan to settle any copyright and payment issues. That was never done
The following month, Yuen and Tan had a meeting, and Tan asks Yuen to sell off the rights to him and his company. Yuen agreed and even signed a contract.
However, Yuen claims he never got his payment, and when he inquired Tan about it, Tan said that financiers China Film Group and DMG were unwillingly to pay.
On February 22nd, Yuen writes that this mess has entered legal proceedings, which means there won’t be any more public comments from either side. However, this may also block the film’s release until the case is settled and turn this into another case of bad luck/bad career choice for Cecilia Cheung.
- On Saturday, March 3rd, the 3rd Annual Golden Broom Awards was held in China. Much like the Razzies in America, the award (dis)honors the worst in Chinese cinema. After nominations from the public, the awards are decided by a jury of 27, which includes scholars, film critics, authors, editors, and members of the media. The award ceremony also included a respectable guest list that included director Wang Shaoshuai, Li Yu (BUDDHA MOUNTAIN), Manfred Wong, Lou Ye (SUMMER PALACE), Gu Changwei (LOVE FOR LIFE), Zhang Meng (PIANO IN A FACTORY), Yu Dong (head of Bona Group), and actress Qin Hailin. By the way, none of them won any of the dishonors.
Here is a list of (lose-)winners:
Most Disappointing Films: WARRING STATES, LEGENDARY AMAZONS, THE LOST BLADESMAN
Most Disappointing Mid-Low-Budget Films: NO. 32, B DISTRICT and LOVE NEVER DIES
Special Jury Prize for Most Disappointing Film: FLOWERS OF WAR (for using the Nanjing Massacre to sell sex)
The biggest story in Hong Kong entertainment these last several days is not any movie or celebrity gossip, but rather the image breakdown of a man named Henry Tang.
For more about who Henry Tang is, you can read his wikipedia page. The simple explanation is that he is one of the several people running for Hong Kong’s Chief Executive position. He’s been behind in the polls, but his unpopularity goes all the way back before he quit his job as the Chief Secretary to run for his boss’ job, including an antagonistic attitude towards young critics of the government and other public speaking gaffes (all detailed in Wikipedia). He was also involved in an infidelity scandal that broke out (and almost forgotten) just several months ago. However, he is still a heavy favorite due to backing from Hong Kong’s tycoons.
But now, his campaign seemed to have been dealt the ultimate blow due to a 2,400 square feet basement in his luxury home.
How, you ask? Let us go back to half a year ago, when the government decided to crack down on illegal structures built in/on Hong Kong houses.
What constitutes as illegal structures, you ask? When you build a house in Hong Kong, you’re supposed to submit plans to the relevant authority, who would then go by its criteria to decide whether you’re following building codes or not. However, many house owners tend to build extra structures on their home - like a balcony or a shack on the roof - without obtaining government approval, thus running the risk of violating building codes.
When the government had its crackdown, the media discovered that several high-ranking officials also have such illegal structures in their homes, which prompted a whole lot of wrist-slapping and promises to take down the illegal structures. Tang was not one of the people who admitted to having built an illegal structure in his home at the time.
A longtime target of ridicule by netizens, Tang has finally given netizens the ultimate target, and over the last 24 hours, they have been having a field day filling the internet with memes that ridicule the situation.
This is where this blog comes in. Since many of the memes are photoshopped version of Hong Kong movie posters, I’m going to share several posters I found on the “Tang Earthquake” Facebook page (The Chinese title for AFTERSHOCK is “Tangshan Da Di Zhen”, and “Tang Shen” in Cantonese means “Mr. Tang”). This not only reflects Hong Kong cinema in pop culture; it also proves that creativity (especially in satire) is still alive and well here in Hong Kong:
(By the way, any woman you see that isn’t an actress would be Tang’s wife, who is shouldering the blame for this mess)
Mr. Tang’s Earthquake
Tang’s home is at 7 York Rd., hence the CAPE NO.7 reference.
Henry Tang as Tony Leung
The Tang Palace, in 3D
No longer Laughing Gor
You are the Basement of My Eye
Ip Man—>葉問—>別問—–>Don’t Ask
Produced by “Pig Dragon” - Tang was once asked how he felt about netizens saying that he looks like a pig. His answer: “I was born in the year of the dragon”
I’d rather see this than the Jay Chou movie
Stephen Chow is actually a Tang supporter, which adds extra comedic value to this poster.
And while this one has nothing to do with films, here’s one to take us out:
Who says Hong Kong cinema is dead? I’d say the art of satire is alive and well!
Hate to have my first post of the Year of the Dragon to not be “real content”, but this is something that’s more timely and worth posting.
SQUATTERTOWN creator Marco Sparmberg is back, and he is making an ambitious sci-fi film called HAEXAGON. Along with that, he has formed his own production company for future trans-media projects. Since HAEXAGON is now in production, this is definitely something to post here.
I am posting this not only because I believe in the work Marco “Squattertown” Sparmberg is doing, but also because I am actually one of the co-founders of this company. So of course, I would be using this platform to promote it.
What is HAEXAGON and what is Haexagon Concepts? Read below:
Hong Kong’s first trans-media production company starts with a haexagonal SciFi ride
Hong Kong; February 8, 2012 - Five Academy of Film and Academy of Visual Arts graduates are creating the city’s first one-stop production company solely focusing on trans-media projects.
Named Haexagon Concepts, the company will execute high concept narrative ideas by combining video, advertising, internet, social media, press, and interactive gaming via a vast network of partnering artists and companies. The company’s first project recently entered the production stage and will prove that Hong Kong can also create and execute sophisticated science fiction ideas.
Haexagon Concept’s founding team comprises of three film school and two visual arts master graduates from the United States, Germany, Austria, Portugal, and Hong Kong, respectively. They will bring their diversified expertise and cultural backgrounds together to create unique, tailor-made media campaigns for clients. Co-founder Marco Sparmberg says, “Each team member comes carrying professional working experience in areas like film production, project development, press, visual arts and mobile/internet technology. It’s going to be very exciting when we see all that come together”.
For its inaugural project, Haexagon Concepts is currently producing the short film “Haexagon”, and it will be the most unique video endeavor to be created within Hong Kong in recent years. With an estimated budget of HK$ 300,000, this project centers around a post-apocalyptic short film that treads the grounds of science fiction, a genre that traditionally holds a large fanbase in Hong Kong but rarely explored by local filmmakers and artists.
Cinematographer and Haexagon Concepts co-founder Diogo Martins says, “The project will target a long vacant niche within Hong Kong’s media landscape while trying to augment its appeal to the busy lives of Hong Kongers. Haexagon will bring science fiction elements into a jungle environment mixed with ingredients of 1970s doomsday exploitation.”
And the short film is just the beginning. Its high concept narration will be later taken and turned into an extended trans-media campaign which will use the means of mobile and augmented technology for the benefits of the project sponsors’ promotions. Additionally, Haexagon Concepts plans to develop “Haexagon” into a feature film that will hit international film markets beginning of 2013.
“Haexagon” is currently in production. Principal photography will wrap in Hong Kong at the end of February 2012. However, the project is still in need for further financial support, as well as experienced crew members.