understanding of drama is a must of course. Each director has his or her own philosophy of life, values and views of love; but one must be able to handle and stay within a budget, and to use them appropriately and effectively within the plot. How to manipulate the audience’s emotions, use the money in upgrading production value and add to the tension of the drama development. This point, I think, is the key. I have come to this understanding because I had worked with most of Hong Kong’s directors!
Arthur Wong is a well-known director of photography, honored by his peers with the nickname “gold standard cinematographer”. His father Wong Chit was also a famous cinematographer who was active in the 1950s and 60s. The junior Wong entered the film industry in 1973 and was promoted to cinematographer in 1976. He has lensed over 150 films to date, 21 of those nominated for the Hong Kong Film Awards, and nine have won, including He Lives by Night (1983), The Soong Sisters (1998), The Sleepless Town (1999), Purple Storm (2000), Visible Secret (2002), The Floating Landscape (2004), The Warlords (2008), Painted Skin (2009) and Bodyguards and Assassins (2010).The last three films have won the award in consecutive years.
Wong is a founding member and the chairman emeritus of the Hong Kong Society of Cinematographers (HKSC). He has worked with many directors in the Hong Kong film industry, including John Woo, Ann Hui, Tsui Hark, Ringo Lam, Sammo Hung, Jackie Chan, Yuen Wo-ping, Peter Ho-sun Chan and Gordon Chan.
In 1979, Wong wrote and directed the action comedy The Fool Escape. In 1988, he wrote and codirected In Line of Duty III. His professed goal is to share his experience and everything he has learned with the young directors of Greater China.
|Year||Chinese name||English name||Directors|
||In the Line of Duty III||YUEN Brandy|
||The Fool Escape|