‘I can honestly say that my work shows that there is a good balance between art and business.’
Print Edition
NANSUN Shi, an esteemed and prolific film producer, is an influential figure of the Hong Kong cinema. She is also the envy of a lot of women for her elegance, independence and devotion to her career.
Shi has been in the film industry for more than 30 years and most films she produced were commercially successful. She is a member of the Hong Kong Film Development Council and has served on many film festival juries, including the Berlin International Film Festival and Cannes Film Festival.
Born in Hong Kong in 1951, Shi worked in television in the 1970s. Her film career began when she joined Cinema City Company Ltd in 1981.
Three years later she founded Film Workshop Co Ltd with her husband, Tsui Hark, an internationally acclaimed producer and director.
Shi has said that her affinity with film started early when she was a child. During the summer holiday, her mother frequently took her to the cinema.
Shi was in town last week to promote the Singapore Media Festival, which is to be held in December. The annual media festival brings together complementary film and TV events including a trade market for film and TV, conferences, awards and festival screenings.
Shi shared with Shanghai Daily her new films and her expertise and rich experience in the film industry.
Q: When and how did you come to join the Singapore Media Festival Advisory Board? Why did you decide to join the board and how do you like it?
A: I have had a long association with Singapore in general, from having met many Singaporean friends when I went to school in England in the 1960s to visiting Singapore frequently when I started working in the film business in the early 1980s.
In particular, I have also been associated with the festival for some time. I have been their international consultant and was also on the board of Screen Singapore for the last three years. So it was a no-brainer when I was asked to join the Advisory Board of the Singapore Media Festival.
Q: What is your focus at present? Any films in the making?
A: I have produced three films which are all in post-production. “The Taking of Tiger Mountain,” directed by Tsui Hark, is a true story set in the 1940s. “Three Cities,” directed by Mabel Cheung, again, a true love story set against war-torn China in the 1930s to 1940s. “Temporary Family,” directed by newcomer Cheuk Wan-chi, is a light comedy.
Q: Can you share a little about your journey to being a successful film producer? Do you have any advice for the newer players in the industry?
A: Hard work is always very important. Do more than what is expected of you, especially when you are young and your time is less “precious.” When negotiating, always think of what the other party is thinking about and what they would get out of the deal.
Q: How do you discover and select a film with potential? What kind of movies attract your attention?
A: I am always looking out for new talent and their work at an early stage of their career. I read a lot of scripts and that helps me to develop a better judgment on what may work.
Q: Producers, unlike directors, have to shoulder more pressure from the market. How do you balance art and business?
A: I think directors bear the same amount of pressure as producers. I have always worked in commercially entertaining films. My first criteria is to make sure the film does not lose money, yet, at the same time, have artistic merit. Since I have worked for over 30 years in the film industry and my work is well-recorded, I can honestly say that my work shows that there is a good balance between art and business.
Q: The Chinese film industry is developing so fast that it has become the second-largest film market in the world; even so we acknowledge that there is significant difference between Hollywood and the China film market. Do you have any advice for improvements and breakthrough?
A: The Chinese film industry is, at the same time, a late starter and yet growing at the fastest possible rate. Thus, the system is completely underdeveloped in each and every area. If you pick any aspect of the industry, from production, finance, IP (intellectual property) rights, marketing, post-production, box office reporting ... you will find we still have a lot of room to improve.
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