words cindy lam

It is not just about fights and love, it is about fights soley motivated by love, said the director of Butterfly Lovers.
Jingle Ma looked much older in person than I remembered his hair was no longer dyed and he wore a pair of black-framed glasses. He was ordering his second beer when I sat down. The waiter suggested he try a white beer. He hesitated for a moment, laughed and replied, "Yes, a director should always try new things!"
As a Hong Kong director of love films, however, combining action and love is not just a new gimmick. "When I first watched Tsui Hark’s version (Butterfly Lovers, 1994), I did not like the ending with Leung dying in bed. He did not do anything to get his girl back. Yes their family disapproved of their marriage but so? Shouldn't a guy do something for a love relationship? I think today’s audiences want something different. We men are not like that nowadays. If we want a girl, we fight for her, right? Unless the girl does not love the man, otherwise, the man should fight until death for her, instead of dying with pity." He stressed that girls should love this kind of man too, seeking perhaps, my implicit agreement as a woman.
"My point is, it is not just action and love. The action is there because of love. All the action and fights are motivated by love. Leung is good at fighting in the story but he is not simply good at it, as in other kung-fu films. He is good at fighting because it is love that he is fighting for; because he really loves."
He has much of himself in the male lead personality. "Haha, as a love film director, I tend to position myself as the male lead, when writing the scripts. In Fly Me To Polaris (1999), in Summer Holiday (2000), there is a Jingle Ma. I think I have grown as a lover, and as a man, in the last 8 years. I put my enlightenment or realization in my love films."
For example, looks are very important? He once said Wu Chun is perhaps the most handsome male artist after Leslie Cheung. He laughed, "No, actually I think Wu is too handsome, too perfect. So I try to make him imperfect, for instance, by adding scars on his face. But people around me all oppose the idea. You cannot quite see it from the poster now but it is there, and throughout the movie too! I cannot accept a man being flawless. I prefer him to take out a cigarette suddenly, or sit improperly. That is more humane, more realistic, and that is where the charm of a man lies."
Then how does the faultless Wu Chun attract you to become your male lead? "He is a very nice boy. Polite and kind-hearted. Despite his handsome look, he does not take advantage of his face. When I first met him, I could already fell his sincerity. An actor must be very genuine in real life, or even when they act, they cannot act like genuine people." So a scar and a natural yet beautiful boy fit the role, the role while Ma projects himself as an ideal man.
"I said I have changed and grown as a man, that is what I put in this story. In my previous films, there is only one problem to be solved in a love relationship - whether they love each other. But in this one, the man has to think about more. How can he deal with his feelings and actions at different stages: his affection towards his junior brother apprentice, then to find out he's a girl, followed by a love rival, and finally the family disapproval? It is no longer a problem between just two people. You can also see that I have used less dialogue. Not only words can convey feelings. I believe the audience will feel and understand my attitude to love from this movie."