MCN Blogs
Ray Pride

By Ray Pride Pride@moviecitynews.com

To and fro: HK's Johnnie To on staying put

For AFP, via Malaysia Star, Stephanie Wong talks to director Johnnie To as Election 2 opens in Hong Kong. Predictably, she writes, “for someone so closely linked to Hong Kong’s ultra-violent action-drama movie genre, internationally-acclaimed director Johnnie To cuts a remarkably sedate figure. In scholarly rimless glasses, a blue V-neck jumper and with a clean-cut hairstyle, To gives away little of the tough, deprived upbringing that informs films so stark and brutal they have been called the Chinese Godfather series.” jt-e2-4058745.jpg To grew up in Kowloon’s Walled City, and he says “The most memorable thing about the place was the darkness everywhere… During heavy rain, the water would reach our beds and all the dead rats would float to the surface in the flat… There were a lot of little interesting details inside. We always saw the druggies lying dead on the narrow cobbled streets. Their bodies were often left there for one or two days until someone came and collected them… No one cared about them. Human lives did not matter in there, perhaps because the people were poor. “No matter where we moved to, there [were always] a lot of triad members around. I was probably influenced by this while I was growing up,” he says while puffing on a cigar. “There are so many different types of characters in the triads. That’s why I choose to make films about them. They are like heroes; they have their regrets, there is life and death, brotherhood and friendship.” [More bio and philosophizing at the link.]

Be Sociable, Share!

Comments are closed.

Movie City Indie

Quote Unquotesee all »

It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon