Wong Kar-wai on “The Grandmaster” and the Essence of Kung Fu: VICE Podcast 014

Wong Kar-wai on “The Grandmaster” and the Essence of Kung Fu: VICE Podcast 014


WONG KAR-WAI: Some people make
films to provide answers. But the way I make films is more
like posing questions. Is this the only way? Why can’t we do it like this? REIHAN SALAM: Hi. This is the Vice Podcast. I’m Reihan Salam. And I’m joined today by Wong
Kar-wai, the celebrated Hong Kong film director, who has made
most recently a martial arts epic entitled “The
Grandmaster.” Thank you very much
joining me today. WONG KAR-WAI: Thank you. REIHAN SALAM: Tell me about your
first movie memories, the first movies you saw
as a small child. WONG KAR-WAI: You know, I
was born in Shanghai. My family an I, we came to Hong
Kong when I was five. And actually, we don’t have any
relatives in Hong Kong. So basically, it’s mom and
my dad me and my mom. And my dad works at night. And my mom is a big movie fan. I still remember the first
day we came to Hong Kong. This town is like so
strange because the sound is different. It’s a different ambiance. And so a few days later, my dad
brought us to look around and to find films to look at. It is a local film. I think it is a kind of– it’s not supposed
to be for kids. I think it’s like a Hong Kong
version of “Dial M for Murder.” And the title of the
film is “The Murder in the Bathhouse.” The first image of it, I
still remember clearly. It’s a black and white film. There’s a woman. She’s not naked, but in those
days, you won’t see a naked woman on screen. But it’s in a way. She’s in her underwear,
dying in a bathroom. So that’s the first image that
I still remember strongly. REIHAN SALAM: That’s amazing. And it seems that that image
has lingered with you for some time. WONG KAR-WAI: Yes. We were living in an area in
which there are a lot of cinemas showing at that time. There’s like local productions,
Mandarin films, European films, and of course
Hollywood pictures. And mom, she’s a big fan
of cowboy films. And so we spent every day
mostly in cinemas. REIHAN SALAM: So this
Shanghainese community– did it feel like a community,
those who had come from Shanghai during that period? Was it close knit? Did people know one another and
feel alienated from the larger Hong Kong culture? Or was it more individualistic? WONG KAR-WAI: In fact, it is the
situation at that point. It’s like, the reason why Hong
Kong has Cantonese, which is the local dialect, cinema and
also the Mandarin cinemas, like typical Shaw Brothers
productions, is because there’s certain communities,
basically from the north. And people actually from the
north– they’re coming from different provinces. But for the local Cantonese
majorities, they will call them the Shanghainese group. All right? REIHAN SALAM: So they just
lump them all together? WONG KAR-WAI: Yes. And the reason why
they have these Mandarin speaking pictures– it’s basically for these
communities. And all the productions– it’s not really about
Hong Kong now. It’s all made in the studio. It’s really about the past, what
happened in Shanghai and what happened in the north. REIHAN SALAM: So those who had
been displaced, having this intense sense of nostalgia? WONG KAR-WAI: It’s very funny. The place where we lived at that
time– actually at the corner, there’s a small hotel. And in fact, it’s for those
Russian communities. We call them the
white Russians. The whole actually small hotel
you can see is full of Russian communities. And so when you look at them
and look at ourselves, it’s like, well, it’s
the same thing. It’s like, you’re far away
from your hometown. And it’s isolated in a way. REIHAN SALAM: Was there a way
in which this style of those who were the new arrivals from
the north differed from that of the local Cantonese speaking
Hong Kong community? Was there just a kind of
visual difference? Was there something that you
could read in terms of the way one dressed or carried
oneself? WONG KAR-WAI: Sure. Because before– the beginning of the
Chinese cinema actually happened in Shanghai. So in the ’30s, Shanghai
actually is called the Hollywood in China. So when you look at the Mandarin
productions, they actually were more well made. And for the local Cantonese
production, it’s mainly Cantonese opera. So they were shot
in two weeks. And quality wise, it’s
very different. And subject wise, it’s
very different too. REIHAN SALAM: I wonder, given
that you have this community that was displaced and that was,
in a sense, from the city that was the premier Chinese
city, the city that was the most cosmopolitan, the most
international, and then they find themselves in a place
that they might have once thought of as a backwater. So I wonder if there was a
resentment that came from that, that feeling of your
status having changed? For example, being an artist
who is coming in the 1950s from Shanghai. And then you find yourself
in Hong Kong. And then suddenly, you find all
of these things reversed, these power relations
reversed. I mean, do you think there was
a sense of that, there was an angry about that? WONG KAR-WAI: In
fact, it’s not. Because my parents– they never thought they are
going to stay here for long. They thought it’s going to be
something like a transit because one day, they
still want. And hopefully, they will
be back to Shanghai. So basically, for the first
generation of all these immigrants, in a way,
they took Hong Kong as a point for transit. They are not going to
stay here for long. And only in the ’70s, you can
see the second generation– they began to take this
place as their home. And by then, when you look
at all the cinemas– the difference between the
local productions and the Mandarin productions become
merging together. It’s not really about
the past. It’s really about now. And they are not shot
in a studio. So they are shot
on the streets. They cover more about the
realities, instead of what’s in the past and authenticity. So you can see, at that point,
that is the first so-called Hong Kong new wave. REIHAN SALAM: I often think that
there’s a way in which the culture of Hong Kong during
this moment you’re describing, the ’70s and
onward, is in a way the culture of the entire world,
or rather the entire urban world now, just this idea of
a place in which you, for example, in that early era,
had garment manufacturing, garment assembly. And so you had this
rich profusion of colors and styles. And the idea of the pastiche
and people dressing and putting themselves together in
these different original, highly original ways. And that, of course, is the way
that many people in the Western world, for example,
live now, partly shaped by that experience. And yet, in many
of your films– one theme that people often
bring up to me about your films is just the beauty of the
clothes and the textiles and the elegance of them. And I wonder how you
felt about that. I mean, was that something
you were keenly aware of? Were you very aware of style
when you were growing up and as you were first entering
the world of cinema? WONG KAR-WAI: It’s something
that– well, it’s– Shanghainese people actually
are very formal. So people thought some of my
friends, like, “In the Mood for Love,” wow, this woman– she just goes out to buy
something, and she’s fully dressed up. But this the way that people
behave in those days. And actually, it is
something that– REIHAN SALAM: But it was the
Shanghainese, not the natives. WONG KAR-WAI: Yes. Very specific. And even in “The Grandmaster,”
when you look at these people, they are not actually the
so-called fighters, because they belong to a class, like
Ip Man and also Gong Er. They are kind of– because they are from
a very rich family. And so they are sort of like
aristocrats at that time. So they have manners. They have rituals. So it’s very different. And that’s, I think– if you want to portray that
certain type or certain class of people, then that’s something
very essential. It’s about manner. It’s like, I remember I shot
my film, “My Blueberry Nights,” starting
from New York. And at that time, I traveled
to do some research in these cities. And you can look at it. It’s like, well, New York
actually is a bigger size of Hong Kong because you can see
all these immigrant stories. In fact, like “In the Mood for
Love,” I remember I visited this tenement museum. When I look at this tenement
museum, I said, well, I’m sure people can understand “In the
Mood for Love,” here because it can apply to Russian
immigrants in the ’30s in New York. In the same tenements, a story
like this can happen as well. REIHAN SALAM: So when you made
“My Blueberry Nights,” was it this– did you think of it as
an effort to transpose the style that you had pioneered
in Hong Kong? Or was it an effort to try to
find some different style that kind of particularly applied to
the American environment? WONG KAR-WAI: It’s really
related to “In the Mood for Love,” because the original
idea of “In the Mood for Love,” is called “The Three
Stories About Food.” So it’s about eating. And at the end, I made the
first chapters too long. So it became the film. In fact, there’s other chapters
which happened in modern time Hong Kong in a kind
of a deli in the Central. So by the time we came to New
York, because I’m doing research for another film– and then I have a chance to
sit down with Norah Jones. And so we talk about the
idea to make a film. And I think of that story. I said, wow. I tried to see if the same story
happened in New York in a different language,
what would that be? Would it be the same? Or is it a different experience,
different expressions? So I think this is the starting
point I wanted to make “My Blueberry Nights.” REIHAN SALAM: Many of your
films are interconnected, sometimes very explicitly
and consciously. And some of them, like
“Chungking Express,” and “Fallen Angels,” seem to
kind of spill over into each other in a way. And I wonder, does this reflect
a desire to hold onto the characters, the idea that
you’re not done with a character, the idea that the
character is still lingering in your mind and that you want
to put them in other scenarios and what have you? What is the source of those
interconnections? WONG KAR-WAI: Well, it’s just
really sometimes you feel like– well, because in the
process of creating a story, a film, there’s so many
different options. And sometimes, you just want to
see– well, like “Chungking Express,” it’s about
a city instead of two pairs of people. It’s the days and nights
of Hong Kong. And when I’m shooting “Fallen
Angels,” I just want to try to see, well, if I’m shooting
a film in almost the same location, but a different
way to show it– because I still remember I want
to create a distance in “Fallen Angels,” with shooting
with extremely wide angels. No one will use this angle for
close up because your face will look like a banana. But the thing is, it’s also–
you can create certain aesthetics with it because it
gives you a sense like the people are actually
very close. But visually, they are
very far away. And we are shooting in this
almost same location with “Chungking Express.” But
it’s a different film. I think that that’s something
that I wanted to do at that point. REIHAN SALAM: So it’s partly a
kind of visual exploration of these shared spaces. And so the fact that the
characters will sometimes bleed from one film to
the other, do you think of that as secondary? Or do you think– WONG KAR-WAI: No, it’s really
like you keep asking questions about yourself. Is this the only way you
can do this scene? Or is it the only way
to tell the story? If you want to make a film about
the space, is it the only way to show it this way? Why not this? REIHAN SALAM: Where do the
characters come from? I mean, how do you
develop them? Is there some shared practice? Are they pastiches? Or are they combinations
of people you’ve known in your own life? Or do you think of them as
relating to the kind of visual landscape and just
the right face? WONG KAR-WAI: Sometimes,
it’s– most of time– because the normal processes
is there’s a script writer. He has the story. And then you have to cast
someone to play the role. But normally, I have the actors
in my mind already. I have that face in
my mind already. I have a kind of imagination. I said, well, what if Brigitte
Lin is in this part, playing a woman wearing a white wig
as a drug dealer? She’s never been to
a drug dealer. She’s like the Greta Garbo
of Hong Kong cinema. So what if we do something
like that? And that’s the beginning
most of the time. REIHAN SALAM: And then you might
use that face again in some other environment to kind
of test what it might look like in some other way? WONG KAR-WAI: Mm-hmm. REIHAN SALAM: So the faces, to
some degree, come first and wanting to put them in these
different scenarios? I mean, it seems that you’ve
worked with many of the same actors in a number of
different films. You come back to them
again and again. And is it because you kind of
grow accustomed to a certain kind of face, and you have a
hunger and a desire to see that face in other places? WONG KAR-WAI: I just want to
play with the audience. It’s like, well, you
believe him to be this person, a writer. But in the next film, he’s
also very convincing as a kung fu master. There’s so many possibilities
in life. REIHAN SALAM: In your very
early films, crudely, one could say that they had more
of an action oriented, violence oriented bend. And then you had a series of
films that were very lush and beautiful and, some would
say, romantic. And now in “The Grandmaster,”
you return to violence. And I wonder, what is it that
brought you back to some of those earlier themes and
to violence and the depiction of violence? WONG KAR-WAI: I don’t think
“The Grandmaster,” is a violent film. I think it’s really about
action, kung fu. It’s the form and the beauty
of it, instead of the violence of it. And you have to do understand,
when we first started, we are considered as very off. We are not mainstream in Hong
Kong, the way we make films, the topics with make. And at that time, it’s like the
golden time of Hong Kong cinema in the ’90s. So actually, you can easily
get your film financed. And we always want to keep the
spirit of independence. And at that time, when you are
trying to finance your films, you do it by pre-selling
your pictures. And normally, you have to
follow a certain genre. So it’s after “A Better
Tomorrow,” the John Woo film. So everywhere, they just
need gangster films. So we are going to make
a gangster film. But actually, it’s not
very gangster. REIHAN SALAM: So you had no
interest in gangsters as such. WONG KAR-WAI: No, I’m fine. I always like the challenge. Well, I give you a certain
genre, but is it the best you can do? Or is this the only
way you can do it? REIHAN SALAM: And kind of
exploring the inner lives of the gangsters or the visual
depiction of the gangsters. WONG KAR-WAI: Some people make
films to provide answers. But the way I make films is more
like posing questions. Is this the only way? Why can’t we do it like this? REIHAN SALAM: Your films have
been described as porous. There’s a way in which they’re
very strategic. They’re very intricately
patterned. And yet, there’s a great deal
of silence in them. And I mean, so is this what
you have in mind, the idea that you want the film to be
open to interpretation? You want people to revisit them
to re-watch and to kind of derive different conclusions
when they see them the second or third
or fourth time? WONG KAR-WAI: I think an
interesting film is something that you can– you have an aftertaste. Sometimes when you look at the
film, you might not get it the first time. But somehow, it lingers. And I like the idea of the
film that we made has an aftertaste for the audience. REIHAN SALAM: Were there films
from your youth that you recall that left you with
that kind of aftertaste? WONG KAR-WAI: Well,
there’s a lot. It’s like– It’s a long list. REIHAN SALAM: Did they blend?
do they bleed together for you, or do some of them kind
of really stand out? I mean, I’m curious if you could
think of one perhaps that left a particularly
deep imprint. WONG KAR-WAI: I still
remember watching a film, a Japanese film. It’s the “Condition of Human.”
“The Human Condition,” is actually the translation
of the title. The film is like eight
hours long. REIHAN SALAM: [LAUGHS] WONG KAR-WAI: It’s about the– REIHAN SALAM: I assume there
was an intermission. WONG KAR-WAI: Yes. Normally, it has–
it was screened– in those days, there’s no– I still remember, I was
a college student. And it was showing
on Christmas day. So it’s a challenge. So the film has an intermission
every two hours. So we start in the morning. So actually, the cinema
is half full. And then later on, there’s
only a few people left at the end. REIHAN SALAM: [LAUGHS] WONG KAR-WAI: Because this is
a black and white film. It’s about the Japanese soldiers
at the end of the war, when the emperor announced
the surrender. But they didn’t get
the message. They are still in the forest
at the Manchurian border. So it’s a very long story. Somehow, because it’s so
long, you don’t get it. But the thing is, after this
film, you realize why someone would want to do a film
for eight hours. And is it necessary
to do that? But afterwards, when
you really think about it, it’s like– when you look at a film like
this, it’s like it’s a book. Once you finish it, you close
the last pages, and that’s it. It gives you a sense like
it’s a life story. REIHAN SALAM: When you described
Hong Kong as a kind of place of transit and the idea
of it just being a place that felt, in that sense, very
impermanent, it struck me that you would see this film on
Christmas that was a Japanese film that was eight
hours long. And of course, there are plenty
of people, I should think, in that part of the world
who didn’t necessarily have very fond feelings about
the Japanese or about the Japanese military. So it sounds like a very
cosmopolitan kind of world. And I wonder, when you think
about Hong Kong culture having taken this thicker shape in
the ’70s and ’80s, how has that changed since then? I mean, you talk about the
’90s as this golden age. So you have this
culture that– people would come, the
Shanghainese and what have you, forming this kind of
distinctive common culture of people who are transient in a
way, who then find they’re stuck with each other. But of course now, you have
Shanghai experiencing this great revival. You have these larger changes
in the culture. So what do you see happening
in Hong Kong culture and particularly in cinema? WONG KAR-WAI: In my film
“2046,” it’s– the reason we make this film
is because before the Handover, the Chinese government
promised Hong Kong 50 years unchanged. Everybody thinks, well,
this is a great thing. But actually, I’m
not that sure. It’s like, well– it’s very hard to preserve
something while the rest of the world is changing. So in fact, when you look at
Hong Kong today, you feel that that promise actually could be
a curse because the rest of the world, even China,
keeps changing. And the spirit of Hong Kong is,
we are trying to preserve what we had before. And so now it’s time for
us to see exactly, is it a good thing? Or we should have to figure out
how to cope with all these changes around us, for instance,
like cinema. Now most of the filmmakers in
Hong Kong– they work in China because of the market and also
because of the co-productions. But at the same time, we’re also
concerned that we want to make films still upholding the
spirit of Hong Kong cinema. Just imagine, Hong Kong cinema
is something that is– it’s not supported by
the government. There’s no grants. You don’t have subsidies. It’s almost like wild kids. You have to find your
own market. You have to make films for
a different audience. And you have to be flexible. And at the same time, you
have to make the film with certain energies. REIHAN SALAM: This is your first
film, I believe, that is primarily in Mandarin. And I wonder how the
imperatives– so on the one hand, having this
enormous, increasingly lucrative Chinese market seems
like a wonderful opportunity for any filmmaker in terms
of finding financing and what have you. Yet on the other hand, you had
talked about how you have these moments. You have these moments in Hong
Kong cinema in which there was an appetite for the gangster
cinema and what have you. I wondered, the balance of
opportunity and constraint presented to you and to other
Hong Kong filmmakers by the Chinese market– any thoughts on that? WONG KAR-WAI: We always work
within constraints. I don’t see this as a problem,
even though when I make this film, “The Grandmaster,”
it’s– half of the film was shot
in the north with people speaking Mandarin. But to me, it’s not an issue,
because even in “2046,” or “In the Mood for Love,” people
speak Shanghainese. And some people speak
Cantonese. It’s very normal to me. And I don’t feel bad. And I don’t have to– I mean, I don’t want to do
something like, well, I want to cook for the Chinese
market. And I believe a film like
“Grandmaster,” there’s something very universal. It’s like the feelings between
the daughter to the father, the man, the responsibilities
in front of the family and the country. I think it’s something that can
be understood everywhere in the world. REIHAN SALAM: I was certainly
intrigued by what you had said before about this idea of– this desire to preserve
Hong Kong as it is– as it was, rather— particularly given that
this culture– perhaps you could say it existed
for a period of about 30 years, going from this
transience to forming a real culture around it, a real shared
culture around that. And yet, you have– think about right across the
border in Shenzhen– the experience of displacement
that those Shanghainese had in Hong Kong. I mean, that’s the universal
experience of that place. And that’s the experience
of, you could say, all of urban China. And can say much of the
Western world as well. And I wonder if that means that
that characteristic style might actually find a bigger
audience that arose in Hong Kong in the ’70s,
’80s, and ’90s. If you think that that visual
language might be more relevant than ever before
because that experience of transience is so much
more common. WONG KAR-WAI: Have you seen
“The Grandmaster?” REIHAN SALAM: I have. WONG KAR-WAI: There’s a scene
between the old grandmaster and Ip Man. They’re doing a challenge, a
demonstration with a cookie. And I think that scene tells
you exactly what I feel about it. You have to think beyond
limitations. If the Hong Kong cinema is that good, so why this boundary? Right? You can go anywhere. REIHAN SALAM: So what are the
questions that you want answered or that you
want to raise next? When you think about the
projects you’re likely to pursue after “The Grandmaster,” what are the things– I mean, is it– do you want to go back
in time again? Do you want to kind of
stay in the past? Do you kind of intend
to make– do you ever intend to
make a contemporary film set in the mainland? WONG KAR-WAI: One thing– I think the privilege of being
a filmmaker and what keeps me working in this business
is you can travel. You can travel in time. You can travel in different
places. You can be someone else. Today, you can go into the world
of Chinese martial arts. Or you can be a drug
dealer in Central. And what will be next? I don’t know, because there’s
so many different options. And the way, in a way,
I’m thinking– because I haven’t made any films
about contemporary Hong Kong for a long time, because
I think we have said what we want to say in the films from
“Chungking Express,” until “Happy Together.”
And I’m waiting. I want to see Hong Kong again
in my films with a different perspective because I’m waiting
for the city to grow into a different direction where
we can find different space to tell different
stories. REIHAN SALAM: “Happy Together,”
is about migrants. And I wonder if that’s a set of
questions you’re interested in pursuing in the future as
well, just the world of people who are displaced, not only
within China, but also elsewhere in the world. And “My Blueberry Nights,” I
suppose, is also a story about people who have been
displaced. Is that something that continues
to interest you? WONG KAR-WAI: The reason I want
to make “Happy Together,” is right before the Handover. And what intrigued me about
the idea of that film is– we tried to make a film–
because everybody at that time, once you start a project,
they would say, well, is it about Hong
Kong Handover? Is it about the Hong Kong before
going back to China? So I just want to make a film as
far away from Hong Kong as possible because I get tired
with these questions because it’s always the questions
about this. And I want to explore to see,
well, if I’m going to the other side of the world to make
a film about two Hong Kong people over there,
what would that be? But at the end, it’s still
related to Hong Kong. REIHAN SALAM: Who do you think
of as your contemporaries? Who do you think of as your
peers among film directors, whether in Hong Kong or
around the world? WONG KAR-WAI: There’s a lot. Tarantino is a peer, right? We are the same generation. In fact, it’s not about age. Is about the spirit. So you can say, well, you are
actually in the line of this school or in the line
of that school. Some people make films- it’s
almost like a scientist. The structures are very clear. It’s very rational. And some people are actually
more like in the emotional. Or is more like by feelings. REIHAN SALAM: Do you see
yourself as being in dialogue with other filmmakers? Or do you see yourself as just
really realizing your own aesthetic project over time? WONG KAR-WAI: I think
filmmakers, in a way, are like dinosaurs. They have their own space. And they’re trying
to do as much– because you’re busy
with ideas. And sometimes when you
look at works from other filmmakers, you– it’s not that they’re
inspirations. But the urge– because you feel– whenever you look at a very good
film, you say, well, it’s something that– it really gives you a reason to
make films and to make you feel like, well, you
are not lonely. Or sometimes when you look at
a very bad film, you say, well, maybe there’s
time I can– if I’m going to make this
film, I would want to make it this way. REIHAN SALAM: To Americanize
your films from the 1990s, the colors seemed quite amazing
and very rich. And I wonder if there’s
something about the film stock they were using during that
period of time that was different from the film stock
used in the United States. WONG KAR-WAI: No,
not necessarily. I think it’s– when you– have you ever been
to Hong Kong? REIHAN SALAM: I have. WONG KAR-WAI: That’s the
color of the city. It’s very vibrant. It’s very colorful. REIHAN SALAM: How about
digital video and what have you? I mean, the changing technology
surrounding filmmaking, how has that shaped
your palette and the kind of tools that you use? WONG KAR-WAI: I still remember,
some people call me. You are the– I think that’s a digital
company. Once, they offered me– like,
well, we want to do projects with you because we consider
you as the analog director. We wanted to turn you digital. But so far, I’m still shooting
with film stock. Maybe “Grandmaster,” will be the
last one because actually at the end of the shoot, Fuji
Color sent me a letter that said, well, sorry, sir. This film stock is going to be
the last shipment because we’re not going to
produce any more. So that means you have to go
into the digital time and not going to shoot with film
stock anymore. REIHAN SALAM: That sounds
traumatic, potentially. I mean, how did you feel upon
getting the letter? WONG KAR-WAI: Well, it’s a sign
for you to say, well, it’s time maybe you should stop
shooting the film because you are running out
of film stock. And also, it’s a
signal for me. It’s like the time
to a new era. Because whenever you look at– I still keep that can of
negatives with me because when I look at this letter, I’m not
only thinking about the film stock, I’m thinking about what
happened to all of this beautiful Panavision cameras? What happened to the experience
of watching all these film grains, beautiful
film grains on a big screen? So it will be a different
experience. So you have to move on. REIHAN SALAM: It’s fascinating
because your name is associated with nostalgia more
than almost any other term. It sounds like you’re very
unsentimental about– WONG KAR-WAI: If you
are giving me– that’s giving me a reason
to do something not nostalgia, right? REIHAN SALAM: So is that
something that you might revisit in terms of the
questions that you’re seeking to spark and seeking to raise
with your future films? Do you see yourself going back
to the future, going back to science fiction perhaps? WONG KAR-WAI: No, I just
don’t want to stay in a place too long. I prefer to do something that
people don’t expect me to do. REIHAN SALAM: Well, thank
you very much. I really appreciate your time. WONG KAR-WAI: Thank you.

100 thoughts on “Wong Kar-wai on “The Grandmaster” and the Essence of Kung Fu: VICE Podcast 014

  1. He purchased a 5% stake because he thinks VICE is good at reaching millenials with news in an alternative fashion. Murdoch does not have majority ownership at all in VICE, so I do not see him controlling it.

  2. Its probably already been discussed…. but is this new Grandmaster joint just an American remake of the Ip Man movies made in Hong Kong? It sure looks like it.

  3. according to LA times, "He owns only one pair, he said, custom-made for him by a Japanese artisan who also makes samurai swords"

  4. not exactly. this "new" movie, "The Grandmaster," is an American remake of the Hong Kong "The Grandmaster." The movie was about Ip Man but it wasn't a remake of the actual Ip Man movies.

  5. Northern China borders Siberia. The communities in some provinces there are sino-russian for several generations.

    There are Chinese that speak fluent Russian, and vice-versa. Rice wine and vodka drinkers, mixed kids, and so on…

  6. People that complain about things being boring, are short attention span knuckle draggers that have never read a book on their own for pleasure.

  7. I was very happy to hear him mention The Human Condition. That film is seriously one of the best ever made and it's a damned shame to see that it's even somewhat overlooked among those who really are into cinema.

  8. How can we expect to change the world if we can't even enlighten the world, The fact that the vice series was blocked from certain people in certain countries is truly sad.

  9. Actually Wong Kar-wai is one of the greatest filmmakers of his generation, any opportunity to interview him is a great one. Get over yourself. Not everything Vice does has to be shock based.

  10. Urgh, nice interview but about halfway through, the interviewer began to get on my nerves. With his unnecessarily big words, very long winded questions (& let's not forget that English isn't Wong's primary language) and god, that loud abrasive laugh which seemed so forced.

  11. doesnt mean they arent spitting in the face of all the people that made it possibler for them to be on HBO.

    A moral group of people would have never gone onto HBO if HBO was going to force them to lock out their fans.

    We made VICE popular and now they say we only get certain content?

    Region locking is capitalist pig shit and in a moral world it is called discrimination.

  12. sell outs after all just forget the people who followed you shared your vids with friends gave you likes and views that made vice what it is as long as your getting that HBO money well what gos up must come down

  13. Oh cmon man how can you be so naïve! 70 Million is a lot of money and a man known for investing in media outlets to control the content and have a say in what they release just invested in a company that is reaching a much larger audience then simply "millenials" as you put it. You don't need a majority ownership to make your voice heard when you are as powerful as this man is. But if you don't believe me that's fine just wait and watch how this plays out you will see soon enough.

  14. So this is the kind of shows I can watch in Sweden? I was a subscriber but I'm not going to be because the shows i want to see at Vice aint avalible in my country.. Thats just a no good way to get subscribers and me as a Swede feel like this Vice channel is not for my country. good luck with everything

  15. If VICE is lost to Murdoch's special interests… it will not be that big of a loss in the end. Others will report out there in an even more truthful manner. Even in the worst case scenario, this will not be anywhere close to the end of independent media. 70 mil is not as much as you think to someone that is worth billions.

  16. I like how in the beginning of the video, Wong Kar Wai mentions making films as posing a question rather than providing an answer. I imagine that Asian philosophy also follows that stream of thought. The idea of filming the realism of the streets or the local community of the place is also pretty interesting and much more relatable. He also reminds me of the storytelling manner of director Hiyao Miyazaki in that he connects familiar characters together. Good stuff for making other movie projects

  17. yippee. i wanna do again so that i can get one more ipad :P. i am telling you, never forget to fill with your mail id and ph number. rush it here => bit.ly/1dPg9lm?=dhmctj

  18. Vice is clearly racist towards swedes since the good ones aint avalible to swedes, I dont know why some of the shows is not for swedish eyes but I dont like seeing it, specially when it comes to documentaries.

  19. And why would youtube do that? and why would Vice allow that to happen? Its only 9 million pople in Sweden, fuck em all, said Vice and / or youtube. Let the swedes look at only the bad documentaries, protect the swedes from truths! Said youtube and Vice. I guess swedes are a problem, maybe we got to much opinions and they dont want us to get more opinions by lookin at documentaries.

  20. Whoa, Swedish people getting pissed at YouTube because they can't watch vice. Well, just put urself in a Chinese people's shoes and it will make u feel better since they can't go on YouTube at all.

  21. One thing that is so sad about Hong Kong movies today is the entering of Mainland Chinese, they do not speak cantonese nor do they understand the wonderful Hong Kong culture. If any of them can be like Jet Li who participated in the HK industry since early 80s, that would bring back the greatness of HK movie.

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  23. If only there was a free and easy way to find out how to bypass that. Too bad you don't have some kind of website that you could access from your computer that would tell you how…

  24. You've got free low-effort ways to circumvent regional blocks but you won't use them because what, you'd rather believe some evil man in a suit is out to get Sweden? Please.

  25. That is a great point, especially considering that this man is from China and probably has a fan base there that wont ever be able to see this video. Though they probably will just figure a way around it without complaining and trying to force a major company to change their policies. China 1 Sweden 0.

  26. Wong Kar Wai makes shit movies! No one on earth understands what he says~ He was just removing money out of your pockets by capitalising on people's curiosities。 What a phony~!

  27. Just because u dont understand his movies doesnt mean his movies are bad, there're many people that like his movies, it almost like saying only u opinions matter lol…

  28. Wong Kar Wai is a virtuoso. His movies have a universal appeal because he understands music, emotions and cinematography. Props to Vice for interviewing this amazing artist. 

  29. In case you're curious about The Human Condition, it's actually 9 hours 47 minutes in length (the longest fiction film ever). 90% on Rotten Tomatoes. Anyone have an idea of which movie he's referring to (Murder in a Bathhouse)?

  30. why the fuck this stupid interviewer forcing his assumption in the questions? Couldn't finish because of it. Love Wong Kar-wai.

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