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Interview Clara Law, Eddie Fong: Chinese Diaspora & Global Dream
Chinese Diaspora 2/4 - Page 2
Author(s) : Gina Marchetti
Date : 26/8/2010
Type(s) : Interview
 Intext Links  
People :
Eddie Fong Ling Ching
Clara Law Cheuk Yu
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Page 1 : Farewell China, 1990
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Page 3 : Autumn Moon, 1992

Staci Ford: I wanted to ask you about your partnership. I think your collaboration is interesting and important for a number of reasons, but mostly because I think you take gender issues very seriously without being overtly dramatic or stereotypical in any way. I am just curious to know about the Law/Fong partnership and how have you two bonded in previous years? How does your partnership matter for this type of film that puts diaspora and relationships and history center stage?

Clara Law

Clara Law: First of all, I never feel that, being female, I’m a female director. That has never come up. Because I always feel that in every person, there is always the femaleness and maleness. It just depends on the make up. Sometimes in a male, the femaleness may be more than the maleness, and vice versa. I think our collaboration is always about the story, the issue, the theme, and the characters. Those are the things that we’ve talked about and discussed. Probably we’ve also moved on now to something else. But the way we work…I suppose you know I’m a very intuitive person; Eddiehas intuition but at the same time he is also more analytical. Somehow we complement each other. I suppose that’s the only way to describe it. Of course you know we have arguments. But the most interesting thing is that whenever we argue, the strongest argument we had (when I say strongest, we felt we wanted to kill each other) is when we found a way out. It’s a certain thing that happens in the script, you need a changing gear, a turning point, finding a new way to continue to play that script. So it had all been very positive. If we have arguments, it is in a way to improve the script. And it’s never personal. When we have arguments, we don’t carry it into our dinner or whatever. We are very aware that we have different roles and different hats. When we take that hat off, that’s set.
Eddie Fong: Split personalities!

Clara Law and Eddie Fong at the 2010 Hong Kong International Film Festival.
Photo courtesy of Tungstar and Sina.

Staci Ford: I want to know how it feels to be a sensitive new age guy in a Hong Kong film sector where so much is made of patriarchy, not that it’s limited to Chinese culture. I do think you make some very extraordinary films. I think there is a lot of pressure for men and women to make certain types of films. Are there any pressures to perform certain types of masculinities as a filmmaker in Hong Kong?
Eddie Fong: No. I don’t think so. I think maybe it’s true in other countries in Asia, like in Korea, or in Japan. But I think in Hong Kong… I always try to describe Hong Kong as a place like a boxing match. As long as you can beat the other person, no matter whether you are a woman or man, it doesn’t matter. As long as you can beat the other person in the boxing ring, you are the winner. As simple as that. Nobody cares who you are or where you come from. I think that’s Hong Kong.
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