Wayne Wang Wanders through Hong Kong's "Chinese Box"
Wayne Wang Wanders through Hong Kong's "Chinese Box"
by Anthony Kaufman
Wayne Wang is a bit insecure about his new movie, “Chinese Box“,
marketed heavily as the Chinese-American’s return to his native Hong
Kong. With this perhaps most personal and experimental film, Wang, who
was born and raised in the city until age 18 and now mostly known for
his Brooklyn doublebill, “Smoke” and “Blue in the Face,” goes out on a
stylistic limb, shooting in sequence, handheld, and packing a hell of a
lot into this story about an English journalist (Jeremy Irons) in love
with a woman (Chinese superstar Gong-li) on the verge of Hong Kong’s
return to Chinese rule on June 30, 1997. “It is what it is, in the end,”
he remarks, “Some of it works, some of it didn’t work, but it’s definitely
an interesting film.”
The Trimark film (opening this Friday) was filmed on location in Hong
Kong during the very six months leading up to the British expulsion.
Also starring Maggie Cheung (“Irma Vep“), and Ruben Blades (“The Devil’s
Own“), and written by Jean-Claude Carriere (“The Unbearable Lightness of
Being“) and Larry Gross (“48 HRS” and “Another 48 HRS“), with a
Slovenian D.P. and a team of Chinese, American and French producers,
Wang’s latest is truly a chinese box of filmmaking efforts.
indieWIRE: You had a very international crew, a French producer and
writer, some Chinese crew, some Americans, and of course, you —
overlapping these boundaries. And you’re shooting in Hong Kong during a
time that is filled with transition. What were the problems and
benefits you had?
Wayne Wang: There weren’t a lot of problems, honestly. I consciously
wanted to assemble really talented people from around the world and see
what mistakes we’d make (laughs) and see what would happen. Basically,
when you’re making a movie, you can become a microcosm. You’re kind of
like a little family and you sort of live and die by each other and you
just try to make a movie. I knew this movie would be difficult to make
because shooting on the streets of Hong Kong and shooting the way I
wanted to shoot, which was in sequence, and shooting by incorporating
things happening in Hong Kong, I knew would be very difficult. But this
was a crew that was very used to surviving around the world. This was a
crew that came off of “Kama Sutra” mostly. This was a crew that worked
with Emir Kusterica (“Underground”); this was a Hong Kong crew that was
used to a lot of foreign crews working with them. In a way, it’s like
different bands of gypsies getting together and kind of going on this
crazy journey. We didn’t have a lot of problems. Obviously, there were
some day to day problems on a personal level, but overall it was really
fun, really scary, but really interesting.
iW: What was scary?
Wang: Not knowing what we were doing, that’s what was scary. Most of
the time we had a script, sometimes it needed work. And we were trying
also to do things that we’re going on and be open to changing the
script. And trying to at least, subconsciously or in the subtext,
incorporate what was going on in Hong Kong. And that was very difficult
and very scary. I didn’t know what to do everyday when I woke up. That
was scary. But I also really thrived on it; it gave me the adrenaline
to get pumped up and go. It’s like playing jazz. You have a structure,
you have a melody, but everyday, you’re playing jazz.
iW: Tell me about your choice to shoot in sequence?
Wang: I insisted to shoot in sequence, because I wanted to feel the
movie from a day to day level on one hand. On the other hand, I wanted
to be able to wake up in the morning and look at the headline in the
Hong Kong newspaper and either just clip the headline out and make it
part of the movie or put in on the wall behind Jeremy Irons or take a TV
broadcast and incorporate it into the movie. On another level,
sometimes we’d create a scene around what was going on that day. If
their were protests, we’d go out and shoot it. Other times, it was more
subtextual and more self-conscious. I would look at the revoking of 16
human rights laws and how can I make that part of the subtext of the
different options to play a love scene between Jeremy Irons and
Gong-Li. Or Gong-Li and her boyfriend. It functioned on all those
levels. That was really interesting. I enjoyed working that way. It’s
a different way of determining how you approach a scene.
iW: I had heard that the film, after the festival screenings, took on a
Wang: We recut it. We took out about ten minutes, we added more
narration, and we put in a new scene with Maggie Cheung’s character,
which is the ending scene.
iW: Tell me about the choices and how they came about. Were you not
satisfied with the first cut?
Wang: I was happy with the first cut, personally, because it’s more
elliptical, more abstract, and a little indulgent — which I didn’t mind in
this case. It doesn’t have as much narration also. For most of the
audience concern, they were having a tough time with it. So I said,
Okay, I have a chance to reshape it differently, and not compromise too
much. I put in more narration with Jeremy, and cut it tighter, which I
didn’t mind, it was good to cut it tighter. And then ultimately, the
ending scene with Maggie is what I’m really happy about.
iW: Most people identify you with “Smoke”, maybe “The Joy Luck Club.”
Do you think the audience is expecting something different when they see
the new Wayne Wang movie?
Wang: What would they expect? (Laughs)
iW: I don’t know. I think it’s more interesting, but I think it’s more
Wang: I don’t know what people expect. I try not to think about that. I
know why I did the film the way I did it. I just. . . I really liked
“Smoke”, but honestly I was a little bored making “Smoke.” That’s why I
made “Blue in the Face” because it was pure adrenaline, so to speak, on
an improvisational level, again, it’s like playing jazz. And I wanted
to combine the two — I wanted both. I don’t want just to improvise,
because there’s not enough substantial information there. So “Chinese
Box” is predictable for me in the sense that it’s stylistically “Smoke”
and “Blue in the Face,” and content-wise, it’s both “Smoke” and “The Joy
Luck Club” because it’s about an English journalist trying to understand
the Chinese world, in that sense, I think it’s quite predictable.
Although stylistically it’s more experimental, it’s more stylized than
the films I’ve done.
iW: Hong Kong as a milieu is almost the whole movie. That’s all you
need, right? The changeover. You have such a powerful environment.
So, how did the actual city of Hong Kong create your movie?
Wang: If I didn’t have to deal with certain realities such as having
characters or having stars in the movie, I would have made “Le Soleil,”
the Chris Marker movie, in a very impressionistic style and just focused
on the city. That would have been a more interesting movie, but I may
not get distributed, it would probably just show in film festivals.
That, in itself, is a really wonderful, broad, interesting framework
already. In a way, there are aspects of “Le Soleil”, a lot of the video
stuff that Jeremy’s character was filming about the city itself, things
like that, were very much inspired by that.
iW: So do you feel you have a better understanding of where you come
Wang: A little bit more. I think there’s a part of me that
subconsciously suppressed how much I was a colonial citizen. . .
iW: When your alter-ego is Jeremy Irons. . .
Wang: Yeah, right. So, I think what I found out is that I have to
accept the fact that actually, I’m very influenced by the English and
that’s very much part of my growing up. In a way that came even before
the Americanization of myself, and that’s something that was rekindled
in this whole process. I also found that the city of Hong Kong will
forever be different. With that lowering of the flag, with that
midnight and the hand over, the city will forever be different, the city
that I grew up in, the city that I know, will forever be different.
That’s what the movie is about for me.