A director’s statement should be made in his work, but when he cannot express his ideas fully in his films, getting up on the podium to say a few words is not inappropriate.
In fact, the director is just a small cog in the machinery of film production, even though he or she is the most important cog. Since the inception of cinema, from its earliest history as a fairground amusement to the 5D exhibition of today, most directors did not have proper academic training, especially in Hong Kong, where the most lively and creative directors are those who rose up through the ranks. Since the 1980s and 1990s, many Chinese-speaking directors have won awards in international film festivals, which is to be commended, and have done much to bring honor to all directors of Chinese language films.
All in all, in an age when everyone is fighting for the right to speak up, it’s best to say one’s piece at every opportunity. The above is just my ramblings.
Cheung Chin was born in Hong Kong in 1952, and graduated from the film department at the Paris Censier University in France in 1973. Upon returning to Hong Kong, Cheung was referred by Chiu Kang-chien to serve as Chang Cheh’s second assistant director. He made his directorial debut with Paris Killer (1974), which starred Choy Lay Fut kung fu champion Tam Shing.
Cheung worked for RTHK between 1975 and 1976, and directed several Under the Lion Rock episodes and documentaries. In 1984, he served as line producer on A Great Wall, directed by Peter Wang, and in 1989, he produced The Cruel Kind, directed by Taiwanese director Yu Wei-cheng. In 1993, Cheung served as line producer for 7 Days In Paris, directed by Wan Siu-Kuen. The following year, he produced Face d’Ange, directed by Pierre Reinhard, while in 2001, he produced Fall For You, directed by Cha Chuen-yee. Fluent in French, Cheung often served producing duties for Hong Kong productions filmed in France, such as The Lavender, directed by Ip Kam-hung, and Tiramisu, directed by Dante Lam Chiu-yin. Cheung also worked as interpreter and publicist for Chinese language films at the Cannes International Film Festival, including Farewell My Concubine (1993), which won the Palm D’Or, To Live (1994), which won the Special Jury Prize, and Happy Together (1997), which won the Best Director award at that festival. In addition, Cheung served as press attaché for various 6th Generation Chinese directors like Zhang Yuan and Jia Zhangke when their films competed at Cannes.
|Year||Chinese name||English name||Directors|
||Postcards From Paris|
||Paris By Night / Paris, Mon Coeur|
||La Tentation de Paris|
||Paris Killer||HO Chi keung Godfrey|
||Paris Killers||HO Chi keung Godfrey|