Tsui Hark on ‘Condor Heroes’ and Navigating Censorship in Modern Cinema: ‘We Can Never Get Out of the System’

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By skillfully blending reality and imagination, business and creativity, and independence with restraint, renowned Hong Kong director Tsui Hark isn’t merely creating films; he’s navigating the intricate challenges of modern movie-making.

After winning the prestigious Golden Mulberry Lifetime Achievement award at the recently concluded Far East Film Festival in Udine, Italy, the mastermind behind “Legends of the Condor Heroes: The Gallants,” EbMaster, opens up about his creative journey and the current trends shaping Asian cinema.

Following his recent Golden Mulberry Lifetime Achievement win at the Far East Film Festival in Udine, Italy, the creator of “Legends of the Condor Heroes: The Gallants,” EbMaster, shares insights into his creative process and the influential factors shaping Asian cinema today.

As a fervent admirer, I can’t help but marvel at Tsui Hark, who stands as a towering figure in the Hong Kong New Wave of the 1980s and is often referred to as Asia’s Spielberg. His most renowned works include the “Once Upon a Time in China” series and the “Detective Dee” films, along with several other captivating titles. Some of his latest action blockbusters — preceding “Legends of the Condor Heroes” — are “Journey to the West: The Demons Strike Back” and “The Battle at Lake Changjin.

The Gallants – Chronicles of the Condor Heroes”

This martial arts saga is an adaptation from the renowned Jin Yong novel, taking place during China’s Southern Song Dynasty (1127-1279). The narrative revolves around Guo Jing, a master of martial arts, who safeguards the borders of the Southern Song Dynasty and emerges as a national hero. This recognition for lifetime achievement, bestowed upon him by his frequent collaborator Tony Leung Ka-fai, is a fitting tribute as the film makes its global debut at the festival.

In an interview, Tsui discusses his unique take on his new wuxia project, a departure from his earlier works in this genre. He expresses, “I aimed to make it feel more authentic.” This differentiates it from his past productions. He further adds, “The initial idea is there, but as the filming progresses, you may find yourself immersed in the creative process.

The director expresses that the final product should be unexpected. He mentions that while he aims to apply the approach he used in “Condor Heroes”, he feels we’re approaching the action in a completely new manner compared to his previous work. He describes his handling of the subject as being both imaginative and realistic at the same time.

Pondering on the transformative journey of Hong Kong cinema from his initial days with Cinema City and the “A Chinese Ghost Story” period, Tsui emphasizes that filmmakers are inherently bound by different systems. “We’re always ensnared within these systems,” he says, clarifying that these systems aren’t necessarily about censorship, but rather can be the market or commercial system. He highlights financial constraints and investor demands as persistent factors shaping the creative process.

In addition to business aspects, Tsui highlights the authentic challenges contemporary filmmakers encounter, such as censorship and limitations. “Indeed, censorship is another obstacle we constantly deal with, a topic that cannot be ignored or overstated,” he notes, alluding to sensitive areas like explicit content and ethical standards that must be handled carefully.

According to Tsui, the impact of the internet poses another hurdle. He expresses that it’s not just his issue; rather, every filmmaker worldwide has encountered challenges due to the internet’s influence, as he points out.

When questioned about the future course of Hong Kong cinema and his influence on its direction, Tsui responded by stating that innovative filmmakers like himself did not initially set out with the goal of changing anything deliberately. Rather, he has consistently prioritized authenticity and adhering to his own creative principles.

Occasionally, when we begin creating a movie from a written script, the script is just text and words. However, films encompass so much more,” he ponders, elaborating on how the process of filmmaking expands our viewpoints, going beyond the original plans.

Regarding the current hurdles in Hong Kong’s business sector, Tsui maintains a guarded sense of optimism about surmounting these difficulties, specifically with regard to market limitations and disparities among regional audiences. In his words, “I hope we can emerge from this predicament… I’m hoping that we can transcend these boundaries and reach a wider audience.

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2025-05-08 07:49