Golden opportunities:
The success of Taiwan's new films in the international cultural field of battle has started a roll for box offices that began abroad and is making its way back home.
After City of Sadness won its prize, total take in Taiwan and abroad reached NT$120 million, a box office figure that no other film has yet approached. It was also the vanguard in the penetration of the Japanese market by Taiwan movies, and ERA International, which distributed the film, bought the Tokyo rights for 20 million yen. In Japan they didn't employ the method of showing the film in 100 large theaters at once, but played it in 260-seat mini-theaters in Tokyo. Once it was put on, it was held over for a half year, quite a successful outcome.
Edward Yang's fame is no less than that of Hou Hsiao-hsien. Because of the success of City of Sadness, Japanese distributors have great confidence in Taiwan films. When A Brighter Summer Day was still in the later stages of production, Central Motion Picture Studios sold the Japanese rights for US$600,000.
The achievements of Hou and Yang in international settings have definitely paved the way for latecomers.
Look East:
The Wedding Banquet opened on March 5. Taking advantage of the whirlwind of Berlin, there was a tremendous change in the original structure of the market. Some films left the field to protect themselves, and theaters in the south received instructions to show originally scheduled films only after this one.
In Berlin, not only did the picture win the top prize, more than 40 national film distribution companies from abroad came forward to discuss international film rights. Central Motion Pictures has already signed contracts with 15 distributors, for a total amount of more than US$2 million (more than NT$50 million). If you add on the domestic box office, the profit on the NT$22 million production could be considerable.
Hsu Li-kung, assistant general manager at Central, states that the success of The Wedding Banquet gives them confidence about expanding into foreign markets. But one shouldn't have excessive expectations when just starting out. "If we can first bring in Southeast Asia, that would be something."
Chiao Hsiung-ping reminds those in the industry that Japan itself has a powerful film industry, and there is no way for Taiwan to compete with their commercial films. On the other hand, the Korean market is very large. It is said that these days if a film just has Lin Ching-hsia's name on it, you can sell it for US$1 million.
Perhaps winning a prize does help at the box office, but it must be remembered that "this is something that happens, not something one can deliberately pursue." Besides relying on the strength of the film itself, it is necessary to rely on the depth of the domestic film industry.
"Winning a prize is a good one-off advertisement, but it can't necessarily compete with the intensive promotions for Hong Kong films," warns Hsiao Yeh. Ang Lee used the most simplest form to achieve the highest honor, clearly exceeding all expectations. His success also makes many critics wipe the cold sweat off their brow on his behalf.
The golden mean:
Many people see Ang Lee's success as an affirmation of the techniques and forms of American independent films--lacking a big cast, choosing actors entirely based on the direction of the script, without time pressures that force people to cut corners. But as Hsiao Yeh sees it, Lee is returning to the traditional story-telling style, with a build-up, conflict, and conclusion. This picture boosted the morale of other film makers, letting them know that they needn't completely follow in the footsteps of Hou Hsiao-hsien or Edward Yang; Taiwan films should develop in a new direction.
"The problem of creativity in Taiwan films lies in the fact that the proletarian class is attached to Hongkong and Hollywood films that are sensory stimulation, while elite culture is still separated by too large a gap. We have lost middle-of-the-road commercial entertainment," argues Chiao. Ang Lee proves the potential of the middle road.
What's next? How to make it so that "The Wedding Banquet" is not the exception is the next challenge for local films. There is no shortage of creative film talent in the country. Hou and Yang already have achieved their status, and there is no lack of support from producers like Chiu Fu-sheng and Hsu Feng. And there are many "cutting edge" young directors just waiting for their support. Many people are hopeful that Lee's success will make local investors willing to "take a risk" and give the newcomers a chance.
Ang Lee says that he has no particularly great feeling about having won this award. "The best thing was to see all the people around me being so happy." It is precisely this joy that makes people look to the future of Chinese film.
The sequel:
Naturally we cannot expect that one production will make everything all right in Taiwan films.
As for Central Motion Pictures, which is sparing no effort to cultivate new cutting-edge talents, last year results were quite good: The Hill of No Return, Rebels of the Neon God, and The Wedding Banquet were all well-received. This year several additional films have already been completed, and many more are in the planning stage.
People are concerned about whether these works, which have been given supportive funding, can pick up where the Wedding Banquet ended.
Of the new films, the one that raises the greatest expectations is Hou Hsiao-hsien's The Puppet Master. The Cannes Film Festiival. scheduled for May, has already indicated it wants Hou's film to participate. Because Chen Kai-ge's Farewell to My Concubine is already slated to be in the competition, the Cannes Film Festival might again see the sight of two Chinese films competing against each other.
"I'm just afraid we won't be able to keep it up. If we go on like this passing the torch from one film to the next, won't Chinese films be able to stand up and be proud?" inquires Hsu Li-kung optimistically.
From going abroad seven or eight years ago to participate in any film festival large or small to having the organizers of internationally recognized film festivals compete to invite them, Taiwan films have traversed an arduous road, and many domestic film workers cannot but be moved. But Chinese movies cannot rely entirely on foreign praise: "What those who work on films wish most is still that their works will be affirmed by Taiwan audiences," concludes Hsiao Yeh.
From the box office records of Western or Hong Kong films, you can tell that Taiwan has never lacked for an audience. The problem has been in the quality of domestic films. Thus, even when foreign film festivals "add luster" to Taiwan films, those in the film industry in fact most hope for the applause of our own viewers.
[Picture Caption]
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The Wedding Banquet was indeed a cause for celebration by the film industry in Taiwan: It took the Golden Bear at the Berlin International Film Festival. (photo courtesy of Central Motion Picture Co.)
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R.O.C. directors are no strangers to success at the Tokyo Film Festival: Edward Yang and Stan Lai have both won awards here. (photo by Huang Li-li)
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City of Sadness won the Golden Lion at the Venice Film Festival, launching work by R.O.C. directors into the front ranks of international film. (Sinorama file photo)
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The director of The Wedding Banquet, Ang Lee (in the middle), and actors playing important roles in the film have been charmed by the The Berlin International Film Festival's Golden Bear. They have been hotly sought after by the media since they've returned to Taiwan. (photo by Diago Chiu)
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The scene of the Chinese-style wedding in The Wedding Banquet has turned Chinese and foreign audiences alike to laughter. (photo courtesy of Central Motion Picture Co.)
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Three years ago, the director of City of Sadness, Hou Hsiao-hsien (third from the right), won the award for best picture at the Venice Film Festival. In the European film community, he already has the status of a master. (Sinorama file photo)
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Hou Hsiao-hsien's new film, The Puppet Master, is a captivating period piece. The organizers of the Cannes Film Festival, which will be held in May, have already told Hou that they hope he can participate. (photo courtesy of ERA Films)
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Edward Yang, the director of A Brighter Summer Day, has lots of experience in participating in international film festivals. He deserves a lot of credit for helping to pave the way for domestic productions to move onto the international stage. (photo courtesy of Atom Films, Theatre & Creatives Co.)
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Before being shot as a film, Stan Lai's Secret Love for a Peach Blossom Spring was a play. It is rather experimental in form. (photo courtesy of The Performance Workshop)