Screenwriters-turned-directors Sunny Chan (left) and Anthony Yan (right) reunite at their alma mater and reminisce about how their technical know-how and willpower sprouted during the years at the School of Film and Television and have guided their careers in the local film industry.
Last year, Men On The Dragon became a massive hit at local cinemas, receiving a total of 11 nominations in this year's Hong Kong Film Awards including Best Film, Best Director, Best Screenplay and Best New Director. Sunny Chan Wing-san, director and screenwriter of the blockbuster, established his screenwriting career in 2000 after graduating from the School of Film and Television (FTV). When asked about his brainchild, Chan did not talk much about its success. Instead, he shared a heartfelt story. When the film was about to hit the silver screen, Chan learned that his uncle living in the United States would not be able to watch it in Hong Kong during the screening. Happily, however, the film was chosen as the Centrepiece presentation of the 2018 New York Asian Film Festival before the Hong Kong premiere, so his uncle turned out to be the first in the family to watch his nephew's directorial debut.
From his acute observation and the way he cherishes the bonds with the people around him, one can tell why Chan is so great at writing heart-stirring plots and character relationships in screenplays such as Funeral March and Sound of Colors. “Creation is unconstrained, but it is not out of nothing. Inspiration comes from our everyday life,” Chan, who rejoined the Academy last year as Lecturer (Screenwriting and Creative Development), reflected.
There has always been a strong bond among the FTV alumni. Anthony Yan Pak-wing, director and screenwriter of Hotel Soul Good, studied at the Academy after Chan’s graduation and completed his studies in 2007. Although they were not on campus at the same time, the two clicked when they first met. “Sunny was my first employer. I joined his company as a screenwriter after graduating from the Academy,” said Yan.
Hiring people from the same alma mater is more than a result of random processes, as FTV students and alumni share a “common language”. Take Yan’s recent work as an example. Chiu Sin-hang, joint director of Yan’s directorial debut Vampire Cleanup Department, was his classmate at the Academy, and the majority of the crew of his two latest films were also FTV alumni. “We understand each other’s requirements and expectations without too much elaboration. We trust each other,” said Yan.
Both Chan and Yan believe FTV alumni work better together not only because of fellow feeling, but because they received the same professional training. As teamwork is vital in the industry, the School not only provides world-class technical training; it also fosters teamwork and communication skills. With a practice-based curriculum, the four-year bachelor's degree course offers six areas of major study. Besides the chosen major studies, students have to be familiar with other disciplines during the first year, such as production administration, screenwriting, directing, cinematography, editing and sound.
Film and television production is a highly technical profession, but both Chan and Yan reckon, besides technical skills, their studies at the Academy also shaped their cultural and artistic knowledge. Chan revealed that the contextual study of civilisations was an enormous influence on him. “Who would expect that a film student had to attend cultural lessons in a lecture hall? Artistic knowledge is essential for creativity.” Yan also highlighted the impact that Film Appreciation lessons had on him. “The subject aims to build a student’s appreciation skills. Years of constantly learning and watching taught me what makes a movie great.”
Besides artistic knowledge, their campus life also built an essential quality within them –– willpower, a noble quality that guides their tough careers. The two recalled the days when they burned the midnight oil to finish their assignments and went through many trials and errors until they were satisfied with the outcomes. “You have to resort to extreme means,” Yan laughed. “Try three million times until you find success.”
“When we talk about willpower, it is not about holding your ground wilfully,” Chan added. “You have to listen to others until you find the best solution. This is how you improve and make progress.”
When asked about their views on the future of the industry, Yan said, “In the future, there may no longer be a clear division between the film and television industries.” He explained that more and more productions by online TV streaming platforms are entering film festivals, and microcinema is going mainstream. He encourages aspiring filmmakers to learn and explore different media, noting that, “it is helpful to explore different disciplines and platforms to prepare yourself for future trends.”
(The article was published in the Mar 2019 issue of Academy News. Click here to read the original story.)
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