Stanley Kwan is a name that is associated with some of the most iconic images of Hong Kong cinema. His back catalogue of films – among
them Women, Rouge, Actress, Hold You
Tight, Lanyu, Everlasting Regret, Red Rose White Rose – are highly celebrated by both critics and fans.
Known in equal measure for the star power of the actors that he has worked with
– Anita Mui, Joan Chen, Maggie Cheung Sammi
Cheng, Leslie Cheung, Chow Yun-Fatt - as well as for biopic and emotional themes,
his films have not only withstood the test of time but have picked up multiple accolades
for himself, his creative team and actors.
With a career that has spanned decades, the debut of First Night Nerves 八个女人一台戏 in 2018, his first film after a long hiatus,
still has the ability to immediately garner attention – would the film be
relevant in today’s society? Is the power of Hong Kong cinema still present and
applicable today? Does the Stanley Kwan magic still hold strong?
Stanley was recently in Singapore as part of the recently
concluded Singapore International Film Festival, SGIFF (December 2018) to promote
the film’s Southeast Asian Premiere with leading actress superstar Sammi Cheng and the love from the audience
was palpable going by the response and interest in the Q&A and In Conversation sessions. SINdie had the opportunity to witness
first hand Stanley sharing his thoughts and experiences both in a Masterclass session as well as at press
interviews.
Immediate and first impressions of Stanley are of approachability.
He is ever obliging to fan’s requests for autographs and photos that SGIFF
organizing staff would constantly need to maintain order. He is extremely open
as well – answering questions from both press and the public honestly and
openly. It was almost easy to forget his many accomplishments and influence. However,
it was in these conversations and exchanges that his true artistry shone brightest
- his point of view, his truthfulness to his position.
Perhaps then it should not be surprising that even his
actors have been known to remark that Stanley likes to have conversations – at times
preferably over a steam boat dinner! Conversations where he could and would
cover a variety of topics. It is in these conversations that Stanley observes
his actor – for casting suitability, for the creation of trust. He shared how
trust is an essential component in his film making – and at times indirectly or
directly, these conversations enabled him to speak to and connect with his
actor to inspire the performance that he is after. He shared how actors are
intelligent and do realise this – at times recognizing their own personal
stories reflected perhaps indirectly in their characters.
He even references that perhaps this difference in director-actor
relationship is what has enabled an audience’s observation of how actors, even
well-known superstars, display unique performances in his films. He does hold
on, both in theory and practice, to the belief that nothing cannot be unsaid
between him and his actors.
Three particular superstar actresses that Stanley has been
associated with through the years are Anita Mui (pictured above with Leslie Cheung), Maggie Cheung and most recently
Sammi Cheng. Hence it seemed almost cinematic serendipity that one of the most
poignant moment in the public forum occurred post screening of the original
trailer for Rouge which starred the late
Anita Mui and Leslie Cheung. Post the trailer, Stanley’s immediate reaction was
to jokingly remark how he felt the trailer could have been edited better but in
answer to being questioned on how he felt – he was left almost speechless,
fixated on the images of Anita. Even with the prompting of the audience that
there were indeed many now famous actors in the trailer, he repeats – I only
saw Anita. After a moment’s silence, the audience clapped in appreciation,
acknowledging the director’s honest connection and fondness for the legendary
star now no longer with us.
Rouge was also a quoted
example by Stanley of how societal change can be sad but is natural. In the
film, it features the transformation of brothels into new neighbourhoods with
schools and this similar concept of transformation was also touched upon in his
latest film First Night Nerves 八个女人一台戏. In
addition to being a rare women-genre film, and eight in this film, Stanley
referenced City Hall as the other ‘actor’ in the film. He shared that it was
the news that the City Hall was to be demolished that inspired Stanley. To his
generation, this was the place of memories – of concerts, films and theatre
shows. While others may have raised objections to its demolishment, for
Stanley, his reaction to the news was to not wait but to actually use this time
left to write a film.
While the film had eight women characters, Stanley shared
about how to him it was actually one woman (Sammi Cheng, pictured below) in focus with seven women
in supporting roles – these characters surround and enhance the leading
character’s depth. Multiple relationships are explored, with side stories that
are mirrors or accessories to the lead character’s story. It was no surprise
when Stanley revealed how characters are very important to him in a script. And
his advice to young directors and scriptwriters was to start with the
characters, both large or small, and their motivations.
Stanley also spoke about the importance of collaboration –
in scriptwriting, in filming, in editing, in design. Referring to a legacy of
learning from established directors like Patrick Tam, Yim Ho, Ann Hui, all of
whom were very capable of writing their own scripts but preferred instead to work
in collaboration. Similarly, he himself prefers a collaborative approach even
though the originating idea may be his. To him it was a journey and selecting
the right collaborators enhances this process. He felt it important to re-assure
new directors that it was not obligatory to write to be a director – this may
instead be a matter of the ego.
In response to a question from an aspiring director in the audience
about readiness to film, Stanley had eight words
企遠且近，企近且遠 (in cantonese)
Translated to
站远则进，站近则远
(in mandarin)
The further away you stand, the closer you are
The closer your stand, the more distant you are
The closer your stand, the more distant you are
That when directing, there needs to be a constant change
between being close and being distant from the subject matter and character. To
look closely and in detail at creating the character’s perspective but to also
step back and observe from a distance to avoid self-indulgence. Wise advice from
Taiwanese master director Hou Hsiao Hsien that he wished to pass on. Words that
the master director shared with Stanley when he was making a documentary for
the British Film Institute in 1996 for an initiative titled ‘A Century of
Chinese cinema’.
It was a joy listening to Stanley share but too soon the time together
had to end. In closing he provided a little insight into the changing promise
and perhaps evolution of Hong Kong and Chinese cinema. How in the last few
years, Chinese movies and big budgets had indeed dwarfed the Hong Kong film
scene but he also felt a growing maturity of both audiences and sponsors not
just for big names and pretty faces but also for interesting stories. He felt
that perhaps that is the future for Hong Kong cinema – boldness to explore and
innovate. To do different things. That it may be time to let go.
Trailer of First Night Nerves 八个女人一台戏
Leading a cast of eight women, Sammi Cheng plays Yuan
Xiuling, a theatre star past her prime, who takes the opportunity for a return
to the spotlight following the death of her philandering husband. Behind the
scenes drama takes centre stage as the role of her co-lead is given to her biggest
rival, He Yuwen played by Gigi Leung. The film also starts Bai Baihe, Qi Xi,
Catherine Chau and Angie Chiu
At the Busan International Film Festival screening of First Night Nerves 八个女人一台戏 (From left: Sammi Cheng, Bai Baihe, Stanley Kwan, Gigi Leung, Angie Chiu) Photo credit: VCG
Plans look to be in
place for First Night Nerves 八个女人一台戏 to be on general public release in Singapore in
April 2019
Written by Ivan Choong