The most rewarding aspect about being a director is that you have many people to help you fulfill your dream, which is such a blessing! However, the prerequisite is that you have to find the right people (including the investor, of course), and give them clear instructions and goals. You also need to have super-human strength and stamina (because everyone on the team can rest after they had finished their jobs, but a director’s duty is the sum total of theirs), ability to withstand pressure (which will come from above, below, outside, inside, and simply put, from all over, but most crucially, from within you), an ability to make quick decisions (which must not only be quick but also accurate, effective, final and without regrets), and if the gods don’t play too many jokes on you, then the first part of your job is done and the film will be produced. Even so, one must remember that making a film is not just for one’s own amusement, so your dream is only half completed. You also need another group of people to help you fulfill your dreams, who come from distribution, promotion, theatre chains. The problem is that these people, unlike the previous group, do not view you as the centre of their universe, and they seem to have the final say in all matters, which a director must accept with sanguinity. Without their help, your dream will never come true. You must have very high EQ at this stage, and after that, your film will be in the audience’s hands, who will decide whether or not you can pursue your next dream. It is a cruel and tough business! However, many directors, including me, still toil endlessly and tirelessly in the field because of the sense of fulfillment they get from their jobs.
Roman Cheung Siu-lun was born in 1960 in Hong Kong. He entered TVB’s 12th Actor’s Training Course in 1983, and upon completion of the course, became an actor at TVB, playing supporting roles for the next four years. During this time, he also enrolled in the Chinese University of Hong Kong’s School of Continuing and Professional Studies for two years to study film theory. When he graduated in 1988, he began working as a production assistant at TVB. One year later, he entered the film industry and joined Clifton Ko’s company to serve as an assistant director. He also started scriptwriting and wrote his first script, City Squeeze (1989). His subsequent output as a scriptwriter included The Wildgoose Chase (1990), Gambling Ghost (1991), Beyond’s Diary (1991), It’s a Mad Mad Mad World Too! (1992), Stooges in Hong Kong (1992), Summer Lovers (1992), and Laughter of “Water Margins” (1993). He went on to become a director with a tele-feature, Spider Woman Next Door (1993), followed by Crazy Love (1993), which grossed over $12 million. After completing Cohabitation (1993) and Fait Accompli (1994), the local film industry went into a downturn, and Cheung returned to scriptwriting, writing the scripts to Satin Steel (1994), From Beijing with Love (1994).
|Year||Chinese name||English name||Directors|
||Take Five||WONG Ka Fai|
||Spider Woman Next Door|