A matter of TIME for Wong Kar-wai

HONG KONG DIRECTOR Wong Kar-wai is notoriously difficult to work with. Many actors have complained about endless filming delays, a lack of planning and unexplained halts.
But they also say the results are more than agreeable.
And the fruits of Wong’s labour are on full display in an ongoing mainland retrospective of his films – the first of its kind– until January 8.
Beijing cinemas are showing his productions, including “Chungking Express” from 1994, “Fallen Angels” from 1995, “Happy Together” (1997), “In the Mood for Love” from 2000 and its 2004 follow-up “2046”.
The exhibition is organised by the China Film Archive and Bona Film Group.
Wong turned out to the China Film Archive cinema hall, wearing his signature sunglasses, after the show opened with the screening of the 1994 martial arts romance “Ashes of Time”.
“Most mainland viewers have watched my films on DVD over the decades,” says the director, who has been a film festival-award favourite for nearly 30 years.
Many of his movies haven’t previously been shown on the mainland’s big screen.
“So this is technically the first time some of my films are being screened on the mainland. I consider myself a newcomer here.”
The 56-year-old takes his time with productions. He finished only 11 films between 1988 and 2013. While a typical shoot takes three months, Wong’s take three or four years.
South Korean media report Wong had his assistants hide Song Hye-kyo’s passport during the filming of “The Grandmaster”, a biopic of kung fu icon Yip Man, for fear the Korean star would quit because of delays.
Despite his reputation for being difficult to deal with, Wong has worked with many A-listers-Hong Kong’s Tony Leung Chiu-wai, singer-actor Leslie Cheung and 2004 Cannes best actress-winner Maggie Cheung.
The director allegedly has a “weird” habit of showing up on set with only about 20 lines on a single piece of paper and keeping actors in the dark about their roles until filming has finished, domestic film news websites quote sources close to crews as saying.
Wong cites Einstein’s theory of relativity in defence of his “procrastination”.
“Filming speeds are relative,” Ifeng.com quoted him as saying. “Different films have different rhythms. I just pick the right rhythms for my films.”
He says he’s not slow but rather “very careful”. He disagrees with the showbiz piety that time is money.
“Money can buy many things – but not time,” he says.
“My bosses always asked me when I could hand in the script when I was a screenwriter. Producers ask me every day when I can finish filming as a director. But rushing makes me anxious.”
He has earned the ability to take his time through developing a distinctive style and aesthetic appeal that has won honours and fans.
China Film Archive curator Sun Xiang-hui says: “There were long lines when the exhibition’s tickets went on sale. I heard some fans came as early as 3am and stood outside in the cold.”
The exhibition’s most anticipated film is the 3D version of The Grandmaster, which will premiere on the event’s final day – exactly two years after its 2D version was screened nationwide – and run in theatres for weeks.
Wong spent 10 years on the movie, including four years filming. He visited nearly 100 martial arts practitioners.
The investment paid off. It won nearly 30 awards at Asia’s major film festivals, including the Hong Kong Film Awards and Asian Film Awards.
Wong believes the 3D version will bring audiences closer to kung fu.
“One of the martial arts masters told me fighting is like kissing – the closer, the better,” he says.
Wong, who became the only Chinese to preside over the Cannes International Film Festival’s jury in 2006, hopes to expand beyond his attributed identity as a new wave cinema pioneer.
He says he took inspiration from a visit to India, where he accepted the International Film Festival of India’s Lifetime Achievement award on November 30.
“Bollywood musical movies are full of fun. I hope to film a movie from that genre,” he says.