WEBVTT

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Stay with us.

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Wong Kar-Wai is here.

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He's one of cinema's most respected filmmakers, and this

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is why he has won the respect of so many of them.

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(

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>>SPEAKING FOREIGN LANGUAGE) UNIDENTIFIED FEMALE: (

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>>SPEAKING FOREIGN LANGUAGE) UNIDENTIFIED

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See you tomorrow.

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His latest film is "2046." It reunites him with

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several of his favorite actors and crew, and here is a trailer

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for 2046.

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(MUSIC)

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I am pleased to welcome Wong Kar-Wai to this

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table for the very first time.

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I just asked him, had he ever seen this show before; he said,

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no, no." I said, "do you know what we do?

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He said, "Yes.

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You talk." And then he said, "We better

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find something interesting.

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>>WONG KAR-WAI: Right.

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So let me -- I'll try and make it interesting by

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starting here.

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"In the Mood for Love," at the end, he loses the girl.

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>>WONG KAR-WAI: Right.

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How is that film and that

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ending, same character,

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connected to "2046?"

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>>WONG KAR-WAI: Well, it's very strange, because we started the

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two projects, "In the Mood for Love" and "2046"

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at the same time.

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At the same year.

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You say "2046," not "20-46."

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>>WONG KAR-WAI: Well, some people say -- we have a big argument

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over this, it's "20-46" or "2046." But for me, I think it's

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much easier.

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"2046."

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>>WONG KAR-WAI: Yes.

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OK.

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>>WONG KAR-WAI: So in fact, I'm working on these two projects,

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and because of all these reasons, because of schedule,

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and we thought the film will be very like these -- two

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productions will be very short.

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But it's very hard at that time to work on two separate

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projects, like you are falling in love with two women at the

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same time.

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So more or less, I have to -- I need an excuse.

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So when we are shooting "In the Mood for Love," there's a room,

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I put the name "2046," then it's like two films

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connected in a way.

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And after "In the Mood for Love," because the story ended

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with these two persons, they have to separate,

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they can't get together.

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And I'm more interested about this man.

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So I want to tell the story about this man,

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with this room numbers.

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Because now he's always have a problem with these room numbers,

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because it is a place that kept his memories.

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So these two films is built like this.

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But let's remember, "2046" is also 50

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years from the time of the 1997 agreement.

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>>WONG KAR-WAI: Right.

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In which China took over Hong Kong.

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>>WONG KAR-WAI: Exactly.

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Because this is the reason we make this film, because we had

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the idea of this film just after 1997.

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And at that time, people always talk about 50 years and change,

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because the Chinese government has promised.

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Promised that there'd be no changes --

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>>WONG KAR-WAI: I think, well, that's very interesting, because

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it is a big promise, because we don't know what will happen 50

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years later, and what we mean by 50 years unchanged.

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So it, it -- I think it can be a very good idea to make a film

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about promises.

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So this is the origins.

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OK.

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Your films, people say, are about romance and relationships.

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And that you are fascinated by character, not story.

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>>WONG KAR-WAI: Well, for me it always come from

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the characters first.

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Because stories, it's more or less to me it's always more or

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less the same, same thing.

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But like a love story, you can tell in a different way.

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Like for me "In the Mood for Love" is a love story, because

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it involved two persons.

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And "In the Mood for Love" is a story about love, because it's

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about one person, and it is like the aftertaste of love.

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Here's what you said, too, on filmmaking.

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"Making movies is like loving a very dangerous woman.

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You have to serve her, make her happy, and care for her, or

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she'll leave you."

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>>WONG KAR-WAI: Uh-huh.

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Meaning if you don't pay attention to your

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movie, it won't be what you want it to be.

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It will be something else.

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>>WONG KAR-WAI: Yes.

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And also you have to wait for her.

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Wait for her?

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>>WONG KAR-WAI: Yes.

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Because like people ask me, like why do you need five years to

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make this film?

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Yeah.

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>>WONG KAR-WAI: But there are so many reasons, because we

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produced the film by ourselves, and during these five years, a

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lot of things happened.

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SARS for one.

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>>WONG KAR-WAI: Yes. So we have to stop the productions, and

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then we have to

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wait for all these actors and actress.

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So if a film is like a woman, then to make it simple, you are

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attracted by this film, attracted by this woman, and you

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have to wait for her.

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OK, tell me about Chow, the character.

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Played by Tony Leung?

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>>WONG KAR-WAI: Tony Leung.

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Say it again?

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>>WONG KAR-WAI: Tony Leung.

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Tony Leung?

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>>WONG KAR-WAI: Yes.

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OK.

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>>WONG KAR-WAI: And what interests me

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about Chow, it's professions.

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Because I haven't seen any Chinese or Hong Kong films made

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about writers, because it's almost like a taboo.

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There's a certain a taboo that you don't make films about

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writers, because it can be very boring.

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But I found the writers in the '60s or in the '50s in Hong

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Kong, it's very interesting professions.

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Because I interviewed a lot of them, and also I had the idea

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from a journalist that I know from China, who works in Hong

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Kong in those days.

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We have to know that these people, they are trained to be

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serious journalists, and they worked during the second world

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war in China, and after '49, they moved to Hong Kong.

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But they found it's a different places.

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They have to work very hard, because they don't have any

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friends, any relatives, and they work for newspapers, and they

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have to write a lot of things.

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Like they have to write horse racing, food, martial art films,

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martial are stories, or even like porno stories.

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So they have to, like the gentleman that I've interviewed,

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he has to write for Chinese, because they calculate it in

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terms of words.

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They have to write at least 50,000 words -- 50,000 words a

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day to make their living.

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And it is very interesting.

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When I look at his book, it is like a documentary of Hong Kong

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during that period.

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And it is some characters which we never have addressed before

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in our cinema.

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Characterize -- this is away from cinema for a

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moment -- characterize to me the change you think China is going

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through right now.

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>>WONG KAR-WAI: It's a very interesting question, because

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it's moving very fast.

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It's moving very fast.

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When I look at Shanghai, because I was born in

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Shanghai in '58, I

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came back -- I go back to Shanghai

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like when I was teenagers.

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And then in this few years, I've been traveling a

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lot of times to Shanghai.

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You realize this city has changed so fast.

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And the thing is, at a certain point that you really want to

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preserve something, you just want it to stop,

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to preserve something.

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And this also one of the reasons we wanted to make like "In the

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Mood for Love" and "2046," because there are certain things

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that I think we should preserve it before it's gone, because the

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cities is changing so fast.

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Never seen so many derricks in the sky in

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anybody's life.

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>>WONG KAR-WAI: Yes, it's not only about the landscape.

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I know, I know, yeah.

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>>WONG KAR-WAI: Yes.

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It's about a way of life.

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>>WONG KAR-WAI: Yes.

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It's about moving away from tradition.

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>>WONG KAR-WAI: Exactly.

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But why aren't you making a movie about that?

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>>WONG KAR-WAI: I am.

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You don't think so?

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No, no, but I mean, well, I don't know.

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You tell me, "2046" is about that?

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That's exactly --

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>>WONG KAR-WAI: No, I think -- I think to be more --

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"In the Mood for Love?"

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>>WONG KAR-WAI:  -- to be more exact, "In the Mood for Love" is

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exactly about those communities.

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Because it is --

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And what happens to people.

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>>WONG KAR-WAI: Right.

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And it is about a certain group of people who came from China in

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those days, living in Hong Kong, and they want to live because

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they're Chinese, they have their own languages, they live in a

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certain area, and they just want to have

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their own world, because

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they are not going to stay here for long.

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They know it's like a transition.

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So their life is a nostalgia.

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Even they have their own cinema.

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Hong Kong does?

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>>WONG KAR-WAI: Yes.

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Is that what you're saying, Hong Kong does?

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>>WONG KAR-WAI: Yes, Hong Kong.

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And today when we look at these people, even though in China,

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they thought this is something that they don't know, but it is

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something that I wanted to capture in a film, because it is

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like a witness to a certain period of time, because they are

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Chinese and they travel to Hong Kong, and they preserve their

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own way of living, and then now they come back to China.

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There is a confrontation between Chow and

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Bai Ling, who plays -- Ziyi Zhang.

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>>WONG KAR-WAI: Yes.

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Tell me about the relationship

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between the two of them.

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>>WONG KAR-WAI: They ar neighbors.

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Because they live in a hotel room.

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And she is -- what does she do?

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Her occupation is?

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>>WONG KAR-WAI: She's like a ballroom dancer.

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Ballroom dancer.

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>>WONG KAR-WAI: So some people think she's a prostitute, but

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it's not, because in those days, in the '60s, ballroom dancers

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and prostitutes are quite different.

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Because they have a bit more high class, that doesn't mean

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they will sleep with you, but they work in a nightclub, and

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they dance with clients, and they sing, but that doesn't mean

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it's -- they are prostitutes.

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So it is different.

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And she's coming from the north, because in the film she

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speaks Mandarin, so in those days, there's a lot of immigrant

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from China to Hong Kong, and they don't speak Cantonese.

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So they stay in a certain area, in some small hotels.

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And the writers -- he rather to stay in a hotel than to have a

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place, because he like that.

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And they become neighbors.

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Here it is.

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Roll tape.

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(

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>>SPEAKING FOREIGN LANGUAGE) UNIDENTIFIED MALE: ( SPEAKING

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FOREIGN LANGUAGE)

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You were born in Shanghai in 1958.

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>>WONG KAR-WAI: '58, yes.

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'58. Makes you about 46, 47, something like

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that. When did you move to Hong Kong?

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>>WONG KAR-WAI: When I was 5.

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When you were 5?

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>>WONG KAR-WAI: Right.

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Because your father and mother

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moved to Hong Kong?

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>>WONG KAR-WAI: Yes, my father.

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What did your father do?

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>>WONG KAR-WAI: He worked in a night club.

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He used to be a sailor.

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A sailor?

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>>WONG KAR-WAI: Yes.

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You mean a sailor in the navy or a sailor --

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>>WONG KAR-WAI: Commercial.

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Commercial sailor.

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>>WONG KAR-WAI: Yes.

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So he traveled to like Scandinavia all the time.

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Yeah.

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>>WONG KAR-WAI: And then afterwards, he preferred to stay

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in Hong Kong, and to work in a night club.

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What does he do?

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>>WONG KAR-WAI: As a manager.

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He's the manager of a night club.

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>>WONG KAR-WAI: Right. Right.

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And did you spend much time there?

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>>WONG KAR-WAI: No, we were not allowed to go there, because we

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were too young.

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So you had to be 18 or 21 or something --

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>>WONG KAR-WAI: Yes, right.

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So sometimes, he would invite my mom to dance with him, in the

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night club.

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And so, I just stayed home alone.

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If she wanted to go dancing, she'd go to the

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night club with him.

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>>WONG KAR-WAI: Right.

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What do you think your most

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distinguishing quality

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is as a filmmaker?

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>>WONG KAR-WAI: Patient.

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Patience?

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>>WONG KAR-WAI: Right.

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You were willing to wait four or five years to

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make this movie?

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>>WONG KAR-WAI: No, it's not only about that.

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It's -- you have to -- to wait for the right moment, for the

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film, or for a shot or for emotions, and also for very

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practical reasons, you have to wait for the locations.

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There's a lot of things.

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And I think for directors, it's very important

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that you have patience.

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Patience beyond for all the factors to come

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together, the convergence of the actors and the venue and

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everything else, but also patience in terms of waiting for

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the right performance?

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I mean --

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>>WONG KAR-WAI: Well, it's like I just told you,

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it's like you are

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very attracted to two persons, to a woman, and you want to date

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her, so you will wait under her balcony.

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I told you, everything for you is in your

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relationship to women.

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>>WONG KAR-WAI: Right.

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Everything, that's how you

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characterize everything.

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>>WONG KAR-WAI: No, it's not true.

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It's not true.

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It is true.

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>>WONG KAR-WAI: We have to do it this way now.

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Because at the very beginning, we both agreed that we want to

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make something interesting.

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Speaking of that, the most

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pervasive influence on

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you was your mother.

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>>WONG KAR-WAI: It's true.

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True?

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>>WONG KAR-WAI: Yes.

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Even as a filmmaker?

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>>WONG KAR-WAI: Because when we came to this city, to Hong Kong,

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we don't have any relatives here, and we

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don't speak any Cantonese.

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So my mothers like films a lot, and we live in an area which has

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a lot of cinemas.

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So we almost spend every day in the cinema.

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Is that right?

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>>WONG KAR-WAI: Afternoon, right.

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So we have a chance to see all these American films, European

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films, and local production.

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Is that where the dream began?

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>>WONG KAR-WAI: Yes.

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It's like Graham Greene said, it's like --

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Graham Greene?

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>>WONG KAR-WAI: Yes.

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It's your darkness in the afternoon.

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And it's wonderful.

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Did she get to see you

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successful as a filmmaker?

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>>WONG KAR-WAI: No, she passed away before I became a director,

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and it is one of my biggest regrets.

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I'll bet it is.

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>>WONG KAR-WAI: Yes.

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To have her see a movie you made after all those

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hours of sitting there in the theater.

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>>WONG KAR-WAI: Because she was the one who introduced me to

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cinemas, and also music.

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She was a very good singer.

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She was a good singer.

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>>WONG KAR-WAI: Yes.

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Finally, are you going to make a movie called

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The Lady From Shanghai --

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>>WONG KAR-WAI: Right.

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-- with Nicole Kidman.

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>>WONG KAR-WAI: Right.

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What's the story?

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>>WONG KAR-WAI: We don't know yet, but we know it's about --

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You know the character.

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>>WONG KAR-WAI: I know there's a character which

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I like very much

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to have Nicole to play.

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It's a dangerous woman, because -- and she's in danger.

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A dangerous woman who's in danger.

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>>WONG KAR-WAI: Right.

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Sounds good to me.

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>>WONG KAR-WAI: It's quite effective --

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When do you start?

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>>WONG KAR-WAI: Next year.

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Next year.

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>>WONG KAR-WAI: Right.

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So I can enjoy my time to do all this research.

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Yes, so that's actually what you're researching

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here now?

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>>WONG KAR-WAI: Exactly.

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It's great to meet you.

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>>WONG KAR-WAI: Thank you very much.

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"2046" is in theaters on Friday, August 5th.

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Wong Kar-Wai, filmmaker.

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Thank you.

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Thank you for joining us.

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See you next time.