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Co-production is one way to make Hong Kong film great again but I will not choose it:a director

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Co-production is one way to make Hong Kong film great again but I will not choose it:a director

Reported by Meng Shu Yang, Keira 165001, April 23, 2019

Hong Kong filmdom shouldn’t rely on sponsor from the government. Co-production was a way, but I won’t into it, said a Hong Kong director.

“Look at the leading nations like the United States, India and Japan in the film industry, they don’t rely on the government funding,” said Au Jevons, the Hong Kong film director and scripwriter.

Au said one of the difficulties for Hong Kong film industrial was that the insufficient investment.

“It’s difficult to apply for the government's film fund. I hope more investors could invest the Hong Kong local film productions,” said Au.

Au He has been nominated for Dest Screenplay, Best Director at the Hong Kong film awards and Best New Director at the Golden Horse Awards in Taiwan.

Financial Secretary announced an injection of another HK$1 billion into the Film Development Fund, set up by the Hong Kong Special Administrative Region Government 20 years ago to support film projects in 2018.

Speaking at a weekly assembly at Hong Kong Shue Yan University today, Au said Co-production was a way to get more investment, but he won’t into it.

“Cost of a film would affect its quality, like the latest success movie "Project Gutenberg" is a project more than 100 million investment,” said Au.

“If the audience can choose between a production of HK$3 million or a production of HK$100 million, and the ticket price is the same, they will definitely choose the latter.”

Although Au said co-production could promote the development of mainland and Hong Kong films and filmmakers could get investment from the mainland, co-productions have their drawbacks.

“Only movies are censored by State Administration of Radio, Film, and Television can be played in the mainland and getting the investment from the mainland,” said Au.

“Many films that rush into production often lose out on the mainland market because they fail to pass censorship.”

Au said the decision whether to choose the co-production or not depended on the director’s acceptance of the censorship.

“I will never used to it, so I rejected a co-production about Macau, even though the pay was good,” said Au.

Au said although “Trivisa” didn’t have the market in the mainland, there are still many different ways to get the revenue, such as selling movies to TV stations, Netflix or airplane company.

“And I can write the story I want, and it won't be edited,”Au said. --165001 2019年5月4日 (六) 15:37 (CST)

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