It’s the wrong time to become a film director in Hong Kong. It’s a wrong move to try the helm when you were about to turn 50. Two wrongs make one right, I hope.
I have this hilarious fridge magnet that says: “I may be fat but you are ugly and I can always diet”. I’d better have these made into a magnet too: “I may be old but you can’t write like I do and I can always play deaf”.
Not a bad idea to play deaf and blind, when the going gets really tough, to keep on going in this rough business known as film-making. After all, there is only so much calculation you can make, and so much friendly advice you can stomach, while the lure of the deep blue sea can be so tempting.
Born in Hong Kong, Ivy Ho started writing scripts for television when she was nineteen years old. Over the years, she wrote numerous TV scripts on a freelance basis while carrying on with her full-time career in public relations and advertising. From the late 1970s to mid 1980s, she wrote a variety of drama scripts for RTHK.
Ho’s career in film was officially launched in 1996 with Comrades, Almost a Love Story. The film was voted Best Picture and Best Screenplay plus seven other major prizes at the 1997 Hong Kong Film Awards.
While romance and drama have remained her forte, Ho’s portfolio includes works in the action genre too, notably the Jackie Chan vehicle The Accidental Spy (2001).
With July Rhapsody (2001), more screenplay awards came her way in Hong Kong and Taiwan.
Ho became a writer/director in 2008. Her directorial debut, Claustrophobia (2008), was shown in the Berlin International Film Festival (Panorama), Tokyo International Film Festival (Competition), San Francisco International Film Festival and other festivals. Besides winning Best Screenplay and Film of Merit from the Hong Kong Film Critics Society, Claustrophobia also garnered Best New Director Award in the 2010 Chinese Film Media Awards.
Crossing Hennessy (2010), her second film as writer/director, has also been named Film of Merit and won yet another Best Screenplay trophy by the Hong Kong Film Critics Society.
Both pictures earned Ho nominations in the Hong Kong Film Awards’ “Best New Director” and “Best Screenplay” categories.
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