John Chong on the Past, Present and Future of Hong Kong Cinema

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Discussing Chinese-language cinema wouldn’t be complete without bringing up Hong Kong, a fact that was highlighted yet again during this year’s 27th Shanghai International Film Festival (SIFF).

As a movie enthusiast, this year’s program takes me on an intriguing journey through the city’s cinematic history, immersing me in timeless classics such as Jackie Chan’s entire Police Story series. In addition to revisiting the past, it also offers a glimpse into the future: a Hong Kong New Power Projects Showcase, which has unveiled five productions seeking mainland Chinese collaborators. This unique blend has ignited a discussion about how this small city of 7.5 million people has created such an impactful film legacy, and what the upcoming wave of Hong Kong cinema may hold.

It’s clear that the decline in Hong Kong cinema isn’t escaping anyone’s notice. The box office has sunk to levels not seen since 13 years ago, and production numbers are also plummeting. In response, many filmmakers from the city have shifted their attention towards the Chinese mainland market. Recently, the China Film Administration has provided opportunities for cross-border collaboration, but like other movie industries worldwide, Hong Kong – once known as the “Hollywood of the East” – is currently grappling with an uncertain future.

John Chong is one of Hong Kong’s most accomplished filmmakers, being instrumental in establishing Media Asia in 1994 and supporting blockbuster films such as the Infernal Affairs trilogy (2002-03), which served as inspiration for Martin Scorsese’s Academy Award-winning The Departed (2006), and more recently, Twilight of the Warriors: Walled In, directed by Soi Cheang, a gritty, nostalgic portrayal of life within the Kowloon Walled City slums, which were razed by the government in 1994.

With over three decades under his belt in the industry, Chong continues to stay hopeful. In September, he’ll assume the position of primary mentor at the International Film Camp, a program initiated by the Asian Film Awards Academy in Macau, designed to foster the upcoming talent of Asian filmmakers.

Stepping back into the familiar streets of my hometown, I recently had a heart-to-heart chat with The Hollywood Reporter about the current state of our beloved film industry. We talked about future projects, reflections on my path to cinema, and how it all started for me.

At SIFF, there seems to be a lot of focus on the current status of Hong Kong cinema. What are your thoughts regarding this issue?

It seems like you’re pointing out that the decline in theater revenues is due, in part, to an abundance of entertainment options for consumers, such as AI, video games, and streaming platforms. This has led to a decrease in demand for movies in theaters, as people have more activities vying for their attention. You also suggest that there’s a lack of high-quality commercial films, creating a cycle where poor films are produced because there’s not enough audience interest, and vice versa. Your proposed solution is to educate young filmmakers about the importance of making movies for the audience, rather than solely for personal satisfaction.

What about the operation of the cinemas themselves?

In Hong Kong, affordability of rent is a significant concern. The prices are exorbitant and perhaps restructuring the corporate setup could be an option. For instance, shopping malls, currently operating in this manner, might consider increasing synergy by integrating cinemas. This would draw more people, creating an opportunity for a more immersive experience. Additionally, innovative initiatives such as the “dine-in cinema” concept, which offers quality dining options while watching movies, are gaining popularity. To attract more cinema-goers and provide a broader experience, we should continue to investigate similar ideas.

Are you witnessing any positives coming out of Hong Kong?

Compared to a decade ago, our current advantage lies in the abundance of fresh talent we’ve acquired. However, it appears that these talents excel predominantly in specific genres, rather than a broader spectrum. We find ourselves lacking variety, as we could benefit from genres such as comedy, fantasy, adventure, and more. Unfortunately, they seem to be primarily focused on delving into their personal emotions, which while commendable, may not provide the diversity we seek. While these films are well-made, we require a wider range for a balanced portfolio.

How different is it now compared to when you started work on the Infernal Affairs trilogy?

During that period, the market was similarly gloomy as it is today, causing many filmmakers to switch careers, opting for jobs like taxi driving instead. It was disheartening. However, Peter Lam from Media Asia managed to secure funds to produce larger films. We felt these movies couldn’t just be action-packed; they needed to delve into psychology and depict characters battling mental struggles. Upon reading Infernal Affairs, we saw it as a thought-provoking concept. I told director Andrew Lau that a high-concept story means lower risk. Then we discussed the cast [including Andy Lau, Tony Leung, and Anthony Wong] and people expressed concerns because they were all in their 40s. At that time, there was a belief that men in their 40s were too old. Little did they know, those men are nearly 70 now, still active, and continuing to produce excellent work.

So great script, great cast — but still a risk?

Andrew stated that if our endeavor didn’t pan out, he would need to switch careers. Everyone involved understood that this was our one shot at success; if it failed, we were all in deep trouble. To ensure our best chances, we collaborated diligently and made numerous changes – over ten revisions, edits, and modifications to the dialogue. Eventually, Peter inquired, “Have you completed the final cut?” I replied, “Yes. It’s excellent.” He then questioned me about my conservative approach and asked if it was brilliant. I affirmed that yes, it indeed was. Upon first viewing, I found it brilliant, and the rest, as they say, is history. When creating a film, everyone must give their all, and our team shared this dedication.

20 years had passed, and once more the industry was facing difficulties. This time around, however, you created “Twilight of the Warriors: Walled In.” Can you share what made this creation unique?

Initially, what makes this crime film stand out are its compelling narrative and well-developed characters. It’s not particularly unique in its genre, but it explores themes such as brotherhood, deceit, and survival. On a deeper level, the film captures the essence of the walled city so authentically that some viewers believe it still exists today. This location holds a special significance for many, including myself, as I lived there for several years during my childhood. For a child, it could be quite distressing due to restrictions on certain areas. We managed to convey this feeling and created something truly unique.

In a short while, you’ll be focusing on the International Film Camp, assisting budding Asian filmmakers kick-start their careers. Could you share your own journey of breaking into the film industry?

After watching “Taxi Driver,” directed by Martin Scorsese, I found myself captivated by the idea of being a filmmaker. Upon graduation, my desire to enter the film industry was strong, but I lacked direction. With a minor in Chinese literature, I contemplated starting as a scriptwriter. This led me to approach director Ringo Lam, who kindly offered advice and provided an opportunity for me. I began writing scripts and also worked on subtitles for films like “The Shining” and “Top Gun.

What was your first credit?

I chatted with Ringo, who informed me he was composing a tune for the movie “Prison on Fire” [1987]. Music isn’t my strong suit, but if I took this task, I’d be swamped for at least two weeks. If I declined it, I’d miss out, and there wouldn’t be any payment. Since I’m not familiar with music, it took me almost three weeks to create the song titled “Full of Hope.” Ringo adored it and ended up using it. That was my first time being credited for a piece of work.

What are your plans for your role as chief mentor at the International Film Camp?

In my youth, I yearned for the chance to seek advice from seasoned filmmakers. I believe it’s crucial because they are just embarking on their journeys in the film industry. If given the chance, I would emphasize the significance of perseverance. They should remember that if they have a passion for filmmaking or creating films, they shouldn’t overthink and simply take action. There are countless instances of individuals who worked diligently for many years before suddenly gaining recognition as a director or screenwriter. So, stay persistent!

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2025-06-19 14:55