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Just ordinary enthusiasm: Interviewing Hou Hsiao-hsien
Jakub Krolikowski talks with Hou Hsiao-hsien about the Taiwanese cinematography and the director's plans.
Jakub Krolikowski: In the documentary "HHH – Un portrait de Hou Hsiao-hsien" (1997) made by Olivier Assayas, you mention that your greatest dream is to have your own cinema with a café, a meeting space. Now we are meeting in SPOT Film Centre in Taipei, the cinema managed by your team for the past ten years. Has the place materialised your dream?
Hou Hsiao-hsien: This is a very small cinema, in an old, historical building, where the first American embassy used to be located. The projection room is set in a former garage and does not meet the standards. I do not feel good about it and because of that we are moving to a new, better place this year.
JK: Do you believe that today's cinema could still be a meeting place for young people, be an alternative to bars like McDonalds?
HHH: As to today's young viewers, there are two different groups: those who come to drink coffee and those who come to watch a film, buy a DVD or a book. We already have our regular audience who have come here for over a decade. Every year we organise around ten different kinds of events, festivals dedicated to the directors such as Fellini or Godard.
I have the impression that it is difficult to arouse an enthusiasm for this type of cinema when it comes to our new viewers. The internet is the reason for this situation, they watch everything on-line, communicate over the internet. On the other hand, I like to make films for young people – especially in age from the elementary school to high school. Kids at this age experience films intensively, the impact of cinema is the greatest when you are a kid. When I look back at my own youth, I realise those were novels and films what had the greatest influence on my life then. I think that one should watch as many films as possible as a kid – it is beneficial regardless of your future choices. When we set up the film programme here, the most crucial for us is to reach the young audience.
JK: In the recent years, you have been involved in producing new Taiwanese films by young directors, managing the cinema, developing film culture in Taiwan. Have you decided to direct your creativity to other fields? Is it the reason why we have been waiting for your new film for four years now?
HHH: First of all, this is a matter of age, the other reason is my position. When people come to me with such proposals, it is simply hard to refuse. Taiwan is a small country, with the population of around twenty million people, it is difficult to develop here a self-sufficient market that would support local productions. It was different in the past years. Mainland China did not produce so many films and Chinese filmmakers collaborated with the Taiwanese. Likewise many artists from Hong Kong. We had a great film market and around 200-300 titles were produced in Taiwan. It has changed. Chinese cinematography is well-developed now, with many box-office hits being produced every year which could generate an income of about 200 million dollars, more or less what "Transformers 3D" could earn. However, I have the impression that the cinema of mainland China, although it is a great country, sooner or later be absorbed by Hollywood. My concern is what happens to the Taiwanese cinema. Will there be anyone willing to watch Taiwanese films in ten or fifteen years? Our Taiwanese cinema involves local productions which have less potential for spreading out of the island. Despite we have noted the rise in the popularity of the Taiwanese cinema in the past decade, we do need to get out of this locality, climb up to a higher level of generality. Taiwanese films can no longer be local, the local aesthetics and the humanities are no longer enough.
There have been many changes, for example the relations with mainland China. Film production is extremely expensive there. I wanted to take a more pioneering work in this situation. I believe that with a lower budget, you can make films that belong to the world of Chinese culture. That even with little money, on your own, or with young people, you can make original, creative films. I'd like to work without big budgets. I have my own team, we have been working together for over a decade and with some of my collaborators even for twenty or thirty years. Currently we are trying to work using simple means. Because people are the most important factor. They have to bring their roles to life. And the point is not to strive to commercialised productions, spend a lot of money, as it happens in mainland China, because it anyway does not measure up to American blockbusters, such as already mentioned "Transformes 3D".
JK: Do you feel responsible for the young directors?
HHH: This is not the word I would use. It is just ordinary enthusiasm. I think Chinese people, whether from Taiwan or mainland China, should discover young talents, help young directors. As people who belong to Chinese culture, we should consider what could be done to create a new aesthetic when it comes to the Chinese cinema in general terms. My impression is that we are very distinctive as the Chinese, we manage things in our own way. Cinema was formed under the influence of theatre. The Western theatre and the Chinese theatre are two completely different issues. Our tradition of theatre is abstract, based on an inflexible division of roles represented by four types of masks, there are only arias and repeatability of the codes. It is not about creativity, there is very limited space for any creativity in the Chinese theatre.
JK: So, do you you have any dreams as a filmmaker?
HHH: You have to dream... I would like to, using the simplest methods as possible, make a film with a Bolex camera. It is a very small camera and it does not let make any complicated shots of the plan. There is no time for long shots, you have to rapidly capture the essence of the plan. I find it important. When I observe how films are made outside of Taiwan, with all these huge devices to capture the plan, I realise it is not for me. I want to focus on the actor, to capture a person. I have many ideas like this now: to shoot with Bolex camera or to make a very low-budget martial arts film. However, there are a lot of limitations: the camera must be perfectly directed towards an acting object, an acting person.
JK: Will your next film fulfil these dreams?
HHH: We are just starting with it. I have talked about it with my cameraman but he seems to be getting older, he cannot see clearly in the Bolex viewfinder. He says he feels too old now and he is tired of looking in the picture generated by this camera... But you have to consider this way of shooting, follow your intuition, capture people straightforwardly, in the process of acting. We cannot miss it. I find it important and necessary.
Hou Hsiao-hsien says hi to Five Flavours:
Programme of the retrospective of Hou Hsiao-hsien works >
The interview was published in the October issue (10/2011) of KINO monthly.
