In order to make this same-sex film, he also directed and supervised the Food Guide, and he also suffered from stomach trouble.

Ronjie Hong's debut "Silent Wind chimes" (2009).

Screenwriter: Ronjie Hong

Director: Ronjie Hong

Starring: Lv Yulai/Bernhard Bulling

Q: Cantrat.

H: Ronjie Hong.

Q: Why did you choose this story as your directorial debut?

H: In the past 10 years, I have always wanted to make a movie. I found that I might have some talent for movies.

I studied for a bachelor's degree in design at the Hong Kong Polytechnic University and made a 35-minute short film. Unexpectedly, this short film was shortlisted for a film festival in Berlin. Later, my graduation work was a one-hour short film, which was shown in Hong Kong. After that, I got a scholarship and went to the Art Institute in Chicago, USA to study for a Master of Arts. At that time, I made a 35-minute short film "Buffer" and then began to write the script of "Silent Wind Bells".

Q: What do you want to express?

H: This is a story of transnational love. I think the advantage of being a Hong Kong person is that I have lived in Chinese and foreign cultures since I was a child. Later, it was also greatly impacted in the United States, and gradually formed its present style.

When I was studying in Hong Kong, I met a teacher who came back from America. He has a strong cultural background and shares cultural ideas with us. I incorporate the cultural theories and differences I have learned into my films. Therefore, my films not only show the technology, but also contain a strong cultural awareness.

Q: Where does the money come from?

H: When I was in Switzerland, I asked a local producer to find money for me. The first batch of funds for the play came from the Hong Kong Arts Development Council. After I got the money, I took a scene in Switzerland first.

After shooting the scene in Switzerland, I edited a provocative clip and found other funds. Basically, after filming in Hong Kong, all the funds were used up. It took me three months to cut the film, and after it was finished, I went to Switzerland with rough scissors to apply for funds, which was successfully approved. Therefore, most of the funds for this drama come from Switzerland, mainly in the later stage. In addition, the Frameline Film Festival in San Francisco also has a post-production fund. The investment of the whole drama is 500,000 US dollars (about 4 million Hong Kong dollars).

Q: Do you want to write the script yourself or find someone to write it?

H: I started writing scripts for this film when I was studying in Chicago five years ago. At that time, the story was divided into two parts, male and female, but after I graduated, all the students who wrote the script together quit, leaving the hero part of the story to continue to develop. Looking back on the original script now, it is really beautiful and can be said to be a masterpiece. I hope to accumulate more experience before shooting this script. But then again, the script now is very different from that of that year. At first it was co-produced by Hongkong and new york, but later I moved to Switzerland, so I changed the location of the story.

Q: What is the biggest difficulty in directing movies?

Hong: The biggest difficulty in making this film is that no one paid attention to me at first. A film about homosexuality, a new director, no fame, a short film made in the past, no commercial value, only a bunch of film festivals support. It is almost impossible for such a combination to obtain commercial investment.

I did a lot of stupid things that year, that is, I spent a lot of time looking for business investment and asked them if they were interested. In fact, when I was looking for investment and distributing scripts everywhere, I found that the story was copied by many people. Besides, no one believes in this shooting plan. People will tell me that you are a new director and there are no stars in front of the screen. I really don't know what to do for you. Later, I believed that I wanted to impress others, not stars.

So in the final analysis, you must get close to those who are willing to support the new director. In Hong Kong, there were several such people in those years. In addition, there are some funds dedicated to supporting artistic activities, such as funds from Switzerland, most of which are used to support artistic activities.

The biggest difficulty before shooting is funding, and the difficulty in formal shooting is to find a shooting team. It is easier to organize classes than to find funds. Because I had prepared all the resources at that time, I honestly told you that I didn't have the money to pay attention. Fortunately, my photographer heard my call and agreed to cooperate after reading the script. There are really some people in this world who don't care about money, but the shooting technology is very good.

On the way to filming, the biggest difficulty is to wear several hats. I remember the first day I opened a computer in Switzerland. I was a producer, director, assistant director, gourmet and tour guide. I had to help and do everything. My stomach trouble now was boiled in Switzerland that year.

Q: What is the fate of the work?

H: I attended the Berlin Film Festival. We showed four shows and all the tickets were sold out. In the film festivals I have been to, the smartest audience asking questions is in Berlin, followed by San Francisco and Turin. The situation in Hong Kong is different, and there are not many viewers asking questions. This may be because the story is more personal. I remember a producer at Warner Hong Kong said after reading my script that it was like reading a private diary.

Now it has been shown in many countries, some in cinemas and some on DVD.

Q: Who helped you the most?

Hong: As a new director, I'm a little afraid to cooperate with some experienced Hong Kong filmmakers for fear that they will look down on the new director. If they really look down on the new director, they won't talk to you at work, so I specially found a Beijing photographer who is similar to me but has more experience than me. We are in perfect harmony, both in our way of thinking and attitude. Of course, money is also important, but even if you have money, you need a group of people who are willing to work together.

Q: Who is the movie or filmmaker who has the greatest influence on you and why?

H: Cai Mingliang, Almodova, Derek Jarman, etc. So are French movies. I also watched all the movies in Cai Mingliang. I met Cai Mingliang himself and thought he was very nice. It is widely rumored that he is not an easy person to deal with, but I remember that when he showed "The wayward cloud" in Hong Kong, he told the audience that he didn't mind how the media packaged the film, and even described it as pornography. Most importantly, such packaging can really bring the audience into the cinema. I think hearing such words from such an experienced director has a great influence on me. It is very important to bring the audience back to the theater.

Although Cai Mingliang's focus plane is very long, after watching it for a long time, you will find that he is very courageous and his editing is also very powerful. After many silent scenes, someone suddenly sang, and he knew how to play with the audience. The contrast in the film is very good. Almodovar and the female characters in the film are also very beautiful, and Derek Jarman is my idol. I think the directors in Taiwan Province Province have a greater influence on me than those in Hong Kong.

Cai Mingliang's wayward cloud (2005)

Q: What advice do you have for young directors who are filming for the first time?

H: Don't give up! I have been to several rookie training programs under the Berlin Film Festival, the first time in my personal capacity, and the second time in the silent wind chime program, and I have made many new friends. Many times, you never know when someone you know will really help you.

In addition, the most important thing is sincerity and sincerity. When you meet people with the same aspirations, everyone will combine.

Third, don't climb high, don't want to find a star as soon as the show starts. Don't push yourself, what should happen will happen.

After all, don't give up. When I was planning at the Berlin Art Institute, people told me that I would work very, very hard to shoot. I told them later that I would work hard because I am a hard worker. But after filming "Silent Wind chimes", I feel that the degree of hard work is much harder than I thought. Maybe the idea at that time was that if you can spend 10 hours to do it, then I will work hard and spend 100 hours, but the fact is that this kind of effort will take thousands of hours. But if you don't give up, it will definitely pay off.

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Introduction of director Ronjie Hong:

Born in 1977, Hong Kong director, studied design at the Hong Kong Polytechnic University in his early years, and then went to the Department of Film, Video and New Media in art institute of chicago, USA, where he obtained a master's degree in arts.

In 2000, when he was still at school, he mainly filmed short films about the same sex. The first short film "Invisible Man" won the special prize of Hong Kong IFVA Independent Short Film Competition and was shortlisted for the Berlin Short Film Festival. 200 1 The work "I am not what you want" won the jury award of Belgium International Film Festival. In 2003, he filmed the short film Buffer … and was commended by the Gay and Lesbian Film Festival in Turin, Italy.

Ronjie Hong's first feature film was Silent Wind chimes, which was jointly produced by China and Sweden and was shortlisted for the Berlin Film Festival in 2009. Later, it was shown at film festivals in Hong Kong and San Francisco and in Hong Kong.

20 16 filmed the new film "stoma man".

Introduction to Cantrat:

It has been 14 years since 1997, the editor-in-chief and film critic of Hong Kong comprehensive film website M-Zone.