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Statistics :
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Interview Patrick Tam: the exiled filmmaker
New projects 1/1 - Page 8
Author(s) : Gina Marchetti
David Vivier
Thomas Podvin
Date : 28/6/2007
Type(s) : Interview
 Intext Links  
People :
Aaron Kwok Fu Sing
Eric Tsang Chi Wai
Movies :
After This, Our Exile
< Previous
Page 7 : Modern HK Cinema and Johnnie To
Interview with Patrick Tam, conducted by Gina Marchetti and David Vivier (with questions from Thomas Podvin), in Kowloon Tong, Hong Kong.

Special thanks to Belle Chen.

HKCinemagic : Tell us a little bit about your future projects.
Patrick Tam : There may be chances for me to work on another film again. I have in mind another script from Malaysia, but we have to wait for everything to come together before we can say whether that can be realized. The script I have in mind is even more interesting than AFTER THIS OUR EXILE. It will again star Aaron Kwok, if we do it. He could play the main character well.

Actually, I had sent the script for AFTER THIS OUR EXILE to Tony Leung (after Andy Lau pulled out) recommended by Eric Tsang. Eric Tsang liked the script very much, but Tony Leung said it was “too heavy.” He is not psychologically prepared to play the father’s role. With his method of working, he was afraid it might be difficult to pull up from the psychology of the character after working on the film. I think this is an excuse. What he has in mind is to continue to play these Bryan Ferry playboy characters. It’s really pitiful for an actor not to grow.

HKCinemagic : Do you have a message for our readers?
Patrick Tam : When you’re seeing a Hong Kong film, ask yourself why. Why are you seeing one? Why do you like Hong Kong cinema? Western audiences express this passion and enthusiasm for Hong Kong cinema. I would like them to rethink this passion for Hong Kong cinema. Is it really that worthwhile? Hong Kong audiences like Hollywood cinema because of the special effects and computer graphics. Hollywood cinema, in recent years, is going way down. I am not that optimistic or enthusiastic about the future of cinema. The golden days are gone forever. The great maestros of world cinema like Alfred Hitchcock, Howard Hawks, and Max Ophuls, were working in Hollywood. There was variety.

The decline of Hong Kong cinema has occurred because it is without variety. You have all these silly comedies --not the good ones, I mean the mindless ones-- and you have this triad society stuff as if Hong Kong is about gangsters and police. How many triad society members do you encounter in your daily life? It is a narrow and distorted view of Hong Kong society. It is detestable. It reflects fear and insecurity. This action-oriented genre might sell and excite audiences, but cinema is not about excitement it is about touching hearts. That is what is ultimately important --emotional impact rather than action.

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Page 7 : Modern HK Cinema and Johnnie To

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