I am very honored to be a Hong Kong director. Since entering the profession at the age of 16, I have always felt that I was doing battle with American movies. Several decades later, both parties have made advances. Now times have changed, and so has the film market, but as Hong Kongers, we adapt easily, and this is particularly true for Hong Kong directors. The Hong Kong film scene will not die out, for we will always find a way to adapt. This power of adaptation is precisely where our greatest potential lies.
Henry Fong Ping was born in Hong Kong in 1951. In 1968 he joined the actor’s training course jointly organized by Great Wall, Feng Huang and Sun Luen film studios, and a year later he was cast in a small role in Storm Petrel (1970). In 1970, he played the lead in Adventure in Paradise (1970), directed by Chan Ching po, and in 1972, he was cast in Three Seventeens (1972), playing opposite Paw Hee Ching. The two went on to star in a series of films including A Family in Thousands (1975), Young and Loveable (1978), Boyfriend (1979) and Sorceress’ Wrath (1980). Fong and Paw eventually married in 1982. In addition to the above films, Fong also had starring roles in Inside the Football Circle (1974), Romance on the Bus (1978) and The Almighty Extra (1979), among others. After playing in Love with the Ghost in Lushan (1984), directed by his father-in-law Bow Fong, he switched to working behind the scenes. Fong became a producer, and produced such films as The Story of Haybo (1988), Dragon Fight (1989), Full Moon in New York (1990) and Sleazy Dizzy (1990). After directing two films, Forsaken Cop (1990) and Xiu Xiu (1995), Fong concentrated on being a producer, working frequently with Derek Yee, for whom he produced The Truth about Jane & Sam (1999), Lost in Time (2003), One Nite in Mongkok (2004), Shinjuku Incident (2009), Triple Tap (2010) and The Great Magician (2011). Fong’s other works as a producer included Crazy n’the City (2005), My Name in Fame (2006) and Overheard (2009), as well as Mr. Cinema (2007), which he produced for Sil-Metropole. To satisfy his acting bug, Fong had made cameo appearances in numerous films over the years.
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