Wong Kar-wai

Wong Kar-wai
Wong Kar-wai
  • Born: July 17, 1958
  • Nationality: Chinese
  • Profession: Director

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Wong Kar-wai, BBS is a Hong Kong filmmaker. Internationally renowned as an auteur of the Hong Kong Second Wave, his visually unique and highly stylized work includes As Tears Go By (1988), Days of Being Wild (1990), Ashes of Time (1994), Chungking Express (1994), Fallen Angels (1995), Happy Together (1997), 2046 (2004), and The Grandmaster (2013). His film In the Mood for Love (2000), starring Maggie Cheung and Tony Leung, notably garnered widespread critical acclaim.

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1936 is a very important year: a golden time for martial arts, right before the Japanese invasion. Time
'Ashes of Time' was my third film, and as a young director at that point, it's not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity. Time
During shooting, you have the idea, like, of this certain dress on this actress, but it's not to fit, so you have to make all of these alterations and modifications. So in a way, I build the characters with the cast, and it's sort of custom-made, the whole process, and then you have to make all of these adjustments.
Each production has certain circumstances that will bring you to a certain way of making it. It is not intentional, it is not an artistic decision, the way we make films, it is the way we address to our problems.
Heritage is something martial-arts films don't often talk about.
I came to Hong Kong when I was five, but we didn't have any relatives in Hong Kong. My mom is a big movie fan, and she watched all kinds of movies, so when I was a kid, basically, we went to watch a movie every day. Arts, Culture, Entertainment & Lifestyle
I didn't know anything about martial arts. I'm a big fan, but I never practiced martial arts.
I never had a problem with genre because a genre actually is like a uniform - you put yourself into a certain uniform. But if you dress up in a police officer's uniform, it doesn't mean that you are an officer; it can mean something else.
I never studied film formally at school, but as a kid, I spent most of my time in cinemas. Time
I think one day I can make a book about coffee shops in Hong Kong. I spent almost most of my time in coffee shops, in different coffee shops. Time
I was born in Shanghai and moved to Hong Kong the year I was five.
I'm a big fan of martial arts films, novels and radio programs.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
I'm not very aware of styles. We never talk about styles before we start shooting, or even during shooting, because I think the film will bring you there.
In my first film, we always tried to have a script and work in a normal way, but I was constantly changing things during shooting. Because I worked as a scriptwriter for 10 years, I understood that directors always wanted to change what was originally written, to improve on it. Work, Workers & The Labor Force
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My mother has a very big family in Shanghai, so I have, like, almost 40 cousins, so we stayed together all the time. So by the time I get to Hong Kong, I become the only child and the only one surrounded by adults, you know. Time ;Families, Children & Parenting
Some actors like encouragement. Some actors prefer to have pressure. And sometimes, for some actors, its better to give your comment by silence, because they are so skillful, so gifted, that they understand without talking too much.
Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually. Music, Chants & Rapps

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