FILMART HONG KONG SPECIAL, MARCH 2012 FILMART’S FLYING START


UK office Greater London House, Hampstead Road, London NW1 7EJ, UK Tel: (44) 20 7728 5000


E-mail: firstname.lastname@screendaily.com (unless stated)


Editorial Editor Mike Goodridge (44) 20 7728 5626 Head of content Wendy Mitchell (44) 20 7728 5633


Asia editor Liz Shackleton, lizshackleton@ gmail.com


Group head of production and art Mark Mowbray (44) 20 7728 5619


Sub-editor Danny Plunkett


Group art director Peter Gingell (44) 20 7728 5562 peter.gingell@emap.com Art editor Joselle Carlino (44) 20 7728 5518 Designer Luana Asiata


Senior writer and features co-ordinator Sarah Cooper (44) 20 7728 4270 Reporter Andreas Wiseman (44) 20 7728 5628


Greater China researcher Sen-lun Yu (86) 139 1151 9673 senluny@gmail.com


Japan reporter Jason Gray (81) 3 6767 2480 jasong_screen@jcom.home.ne.jp


Korea reporter/deputy Asia editor Jean Noh (82) 10 4205 0318 hjnoh2007@gmail.com


Advertising and publishing Commercial director Andrew Dixon (44) 20 7728 5622


UK, South Africa, Middle East Andrew Dixon (44) 20 7728 5622


France, Spain, Portugal, Latin America, New Zealand, Singapore, Australia Nadia Romdhani (44) 20 7728 5625


Germany, Scandinavia, Benelux, Eastern Europe Gunter Zerbich (44) 20 7728 5621


Italy, Asia, India


Ingrid Hammond (39) 05 7829 8768 ingridhammond@libero.it


VP business development, North America Nigel Daly (1) 323 654 2301 / 213 447 5120 nigeldalymail@gmail.com


Production manager David Cumming (44) 20 7728 4120 david.cumming@emap.com


Group commercial director Alison Pitchford (44) 20 7728 5528


Corporate subscriptions sales — Emap Inform Akbar Ansari (44) 20 7728 3536


Festival and events manager Mai Le (44) 20 7728 5609


Publishing assistant and events co-ordinator Stephanie Geisler (44) 20 7728 4583


CEO Emap Inform Natasha Christie-Miller


Managing director and group editor Conor Dignam (44) 20 7728 5545


www.screendaily.com 8 2 4


2 FILMART OPENS THE GATE Already a leading content market, Filmart is likely to be busier than ever following the relaxation of China’s film quotas


4 TUNING IN TO DEMAND Hong Kong producers are debating future strategy in the face of regional competition and the booming mainland market


8 INTERVIEW: PETER HO-SUN CHAN The producer-director explains how the growth of China is transforming the film-making landscape


12 HONG KONG COMES TO PARIS This year’s Paris Cinéma will showcase films and co-production projects from Hong Kong


14 THE DIRECTORY The exhibitors at Filmart 2012


March 2012 Screen International 1 n


The importance of Filmart on a global level has never been greater. It’s now clear the Chinese market — the third biggest on the planet — will soon surpass Japan to become the second biggest after the US, and, who knows, might challenge the US in the near future. Mainland China is now sustaining its own block-


busters and in recent months The Flowers Of War grossed more than $93m in China and The Flying Swords Of Dragon Gate more than $80m. In February, the Chinese and US governments reached an accord whereby China would open its market to a further 14 US films in 3D or Imax formats in addition to the quota of 20 revenue-sharing foreign titles, and raised the box-office share for foreign companies to 25% from the current 13%-17%. Filmart, which like Hong Kong itself is often


dubbed the gateway to China, will be abuzz with the newly relaxed rules and how independents will be able to take their films to this potentially gigantic audience. Screen’s Asia editor Liz Shackleton explores Hong


Kong’s role in our Filmart supplement, both as a sup- plier of talent and co-productions to the mainland, and how its indigenous industry is faring — an industry still able to deliver world-class success stories such as A Simple Life. Shackleton also talks in depth to Peter Ho-sun


Chan, who is named Filmmaker In Focus at this year’s Hong Kong International Film Festival. Hong Kong’s Chan is an iconic figure in new Chinese cinema, as both producer and/or director of some of the indus- try’s most ambitious films.


Mike Goodridge, editor


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28