Huayi Brothers announced its slate on 22 April, 2012 for 2012 and 2013 under the umbrella of H Projects. My project "Control" was also included in the announcement along with other directors like Tsui Hark, Stephen Fung, Feng Xiaogang, Pang Ho Cheung, Wu Ershan, Doze Niu and Korean director Kim Yong-hwa.
From left to right: Chen GuoFu, James Wang, KimYong-hwa, Kenneth Bi, Doze Niu, Wu Ershan, Peng HaoXiang, Stephen Fung, Tsui Hark, Feng Xiaogang and Wang ZhongJun
The Medienboard Berlin-Brandenburg and its counterpart in Hong Kong, the Hong Kong Film Development Council invited ten Hong Kong directors during the Berlinale for an exchange.
The Hong Kong contingent and Medienboard Berlin Brandenburg's Teresa Hoefert de Turégano and Christiane Raab
The Medienboard Berlin-Brandenburg had actually invested in my film The Drummer through my producer, Twenty Twenty, in Germany. They are an important film funding entity for films throughout the world.
They had arranged a tour for us at the Studio Babelsberg where such classics as Metropolis, the Marlene Dietrich films, and modern classics like Polanskis The Pianist, Ghost Writer, and Tarantinos Inglorious Basterds were made.
Marlene Dietrich and Brad Pitt
Alfred Hitchcock made films in Studio Babelsberg and learnt about German Expressionist cinema there
Derek Tsang, Saville and Adam Wong in the prop shop
Adam Wong, Saville, Derek Tsang and Clement Chang looking at a piece of the Berlin wall
This backlot was built in the 80s. They change the façade to accommodate the film. Polanski shot The Pianist and Kevin Spacey shot Beyond the Sea here.
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Quentin Tarantino shot Shosannas, played by Mélanie Laurent, cinema exterior of Inglorious Basterds at the end of the street on the left
And a street in the huge studio is dedicated to him
We also visited the Holocaust museum
Mélanie Laurents new film was selling at the European film Market.
The Girls of GIRL$ handed out gifts and "gratitude" tickets at Langham Place cinemas at 9pm tonight (9 September, 10) as the film is gathering momentum...
Despite being shown on only 11 screens across Hong Kong, the local audience is claiming GIRL$ as their “Hong Kong” film. It was my intention to make a film about Hong Kong for Hong Kong people. I always believed it would work because there aren't any fake romance or fake love in this film like in most co-production hybrid films we see today. The audience has been starved of anything genuine from their real lives for a long time.
I hope they keep coming out to enjoy GIRL$ as it heads towards the second week which is beating films that have more than double the number of cinemas GIRL$ has.
“A DARING and BOLD HONG KONG FILM” Hong Kong Film Magazine
“A look at Hong Kong's modern social issues” Ming Pao Daily
“Solid performances from the four actresses" Sing Tao Daily
"New generation of neo-realism, especially in the depiction of sexual encounters on the internet." Local preeminent film critic Shek Kei from Ming Pao daily
"Documentary style - realistic" Apple Daily
"It's been a long time a Hong Kong film has stayed so true to Hong Kong." New Monday
Feature film Writer/Director. Studied theatre in Canada. Have acted, written, art directed, composed music in film, TVC and music video. Nominated for Best Original Music for Fruit Chan’s Longest Summer. Won Oustanding Screenplay award for Rice Rhapsody in 1999 in Taiwan and most recently won Best New Director at the Hong Kong Film Awards in 2006.
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