Johnnie To

Birthday: 22 April 1955, Hong Kong

With over thirty directing and producing credits to his name, Johnnie To enjoyed international breakthroughs with Hak se wui (2005), Hak se wui yi wo wai kwai (2006) (aka "Triad Election") and Fong juk (2006); those films enjoyed multiple international film festival appearances and were separately sold to more than 21 foreign territories (including theatrical distributions in France and USA).Stretching from the height of the Hong Kong New Wave right up to today, über-filmmaker Johnnie To could be considered an institution in the former British colony. Johnnie To's Milky Way production company, which he formed in partnership with frequent collaborator Wai Ka-fai in 1996, has become the de facto hallmark of quality filmmaking in Hong Kong since the Handover in 1997. His filmography is an eclectic collection of films from almost every genre and featuring almost every major Hong Kong film star, including classic films from the late Eighties and early Nineties including Heroic Trio (1993) & All About Ah-Long (1989), some ultra-cool crime-noir productions during the late Nineties; The Longest Night, Expect the Unexpected, and The Mission. Romances; Loving You (1995) & Needing You (2000). As well as a number of crowd-pleasing comedies; Wu Yen (2001) and Love on a Diet (2001).Unfortunately, the 'Jerry Bruckheimer of Hong Kong' has been in a creative and financial lull since 2001. In addition to facing diminishing box office returns stemming from the overall decline of the Hong Kong film industry, some of To's recent efforts have performed disappointingly, such as Fat Choi Spirit (2002), Full-Time Killer (2001), and Running Out of Time 2 (2001).However, in 2003, the veteran filmmaker was back in fine form with the release of PTU (2003), a crime-noir thriller, and Running on Karma (2003), about a body builder/exotic dancer with special visions that helps a cop track a vicious killer. These were both award winners at the Hong Kong Film Awards that year. These were followed closely by Breaking News (2004) & Throw Down (2004), then Election (2005) and follow-up Election 2 (2006), the award nominated companion piece. Hide

Asians are gaining more and more weight. And getting taller! Now weight-loss has become a very impor Show more Asians are gaining more and more weight. And getting taller! Now weight-loss has become a very important and popular concern now, and Love on a Diet has even coined a fitness catch-phrase. This kind of film can be successful because we made sure to aim for the middle-class audience. Before, something like a low-class movie was more popular - stories about people of the streets in Hong Kong. The middle-class did not used to be the major audience. Now you can see something in the stories, in the production values, and in certain creative concepts, Hong Kong cinema's recognition of an emerging middle-class audience. Only a few years ago, many movies in Hong Kong were, for example, films with a lot of dirty jokes or stories about gangsters. But now Hong Kong has changed very much, and in Asia I think something has changed too. For example, have you seen any recent Korean films? There has been a recent wave of Korean films, all alternative in a way because of their emphasis on a middle class setting. And in Japan, the films show more and more of the middle class, because of the economic changes there. The people have changed, and so movies have to change. Hide

When the British government ruled Hong Kong, there was no sense of democracy; the government leaders Show more When the British government ruled Hong Kong, there was no sense of democracy; the government leaders were British appointees. But they governed with an open hand, so whether in movies or other cultural events, they let creative people pretty much do what they wanted to do, so long as the films and events (like dragon dances, which could be fronts for protection money) weren't controversial or criminal in nature. Before the three-category film ratings system was introduced in 1988, it was impossible to feature any Triad-related language, gestures, or hand signs in movies. (John Woo's gangster movies, some of which were made before the system was introduced, didn't go into any specifics about Triad activity.) Once the ratings were in place the Hong Kong censorship board said that if a filmmaker wanted to depict any Triad-related rituals in a movie, that movie would automatically be rated Category III. Hide

...Milkyway Image sets a clear direction in terms of what kind of films it wants to make. We separat Show more ...Milkyway Image sets a clear direction in terms of what kind of films it wants to make. We separate our films into 2 categories: the commercial films and the personal films. As a film director, I have to be responsible to my investors and my audience. I hope critics can see films like Needing You and their success as a proof that Hong Kong audiences still very much support the local productions. Hide

The existence of Triad societies has always been a problem for Hong Kong. There were Triad-led riots Show more The existence of Triad societies has always been a problem for Hong Kong. There were Triad-led riots in 1957 and again in 1967, part of a long and complicated history. Gangsters have always been troublesome for the government. The Election films follow how the Triads have tried to transform and survive in the last twenty or so years, from 1983, when China started negotiating with the British government about the return of Hong Kong, to 1997. Before the handover that year, the mainland government, officially and unofficially, sent people down to Hong Kong to appease the gangsters, by working out deals with them. Regarding that film you mentioned [Triads: The Inside Story], at that time, in the late 1980's and 1990's, a number of film companies, like Win's Entertainment, had some connection to the Triad societies, which is one thing that the mainland government wanted to resolve. Despite the changing times that my films reflect, I should say that shooting in Hong Kong was interesting; within its boundaries, filmmakers and other creative people can still say and do as they please, even in this new day and age. Hide

I don't like to follow any "trends" - I just want to do what I want to do. I don't care about the cu Show more I don't like to follow any "trends" - I just want to do what I want to do. I don't care about the currents. Back in 1996, I really didn't think going to Hollywood would be a wise step for me - so I didn't leave the country. I have kept the same way of thinking up until now. Hide

Other gangster movies might have been of some inspiration, but from any worldwide gangster movies - Show more Other gangster movies might have been of some inspiration, but from any worldwide gangster movies - only Hong Kong 's films might have been of some influence. Election is a kind of New Age Hong Kong gangster movie, looking back at the 1997 handover. Actually, while I was preparing - and later on - shooting the Election movies, I told my crew not to take any influence from the Godfather trilogy, or from any other gangster movies. I told them I wanted to create a real Hong Kong gangster movie. Hide

The future of Hong Kong films lies in the Mainland territory. The market there has traditionally sup Show more The future of Hong Kong films lies in the Mainland territory. The market there has traditionally supported HK films, and I'm sure we can expand the market there in the near future. Stylistically I think the importance is not whether if HK films will resemble or not resemble Hollywood films, but whether we as local filmmakers can create fresh ideas. HK films have been very inventive in the last 50 years, and I hope this trend will continue. Hide

I really believe in Wai Ka-Fai's creativity: his writing, his ideas, everything. Which makes it easy Show more I really believe in Wai Ka-Fai's creativity: his writing, his ideas, everything. Which makes it easy for me to handle the production. At the beginning, he controls the whole thing. I just put it into pictures: everything he writes becomes pictures. I can't find any one else in HK like him: his discipline, talent, his good budgeting sense. We enjoy making movies together. Hide

My only goal is to make movies I like. Whether they're for the commercial market or for the film fes Show more My only goal is to make movies I like. Whether they're for the commercial market or for the film festivals. I know I still have a lot to learn and to improve upon. What I hope is new directors coming along and re-inject creativity into the industry so there's more to HK films than me, Tsui Hark or John Woo. Hide

I enjoy shooting different kinds of movies. But of course you cannot always choose what kinds of mov Show more I enjoy shooting different kinds of movies. But of course you cannot always choose what kinds of movies you make: sometimes you must consider the market. If you ask what kind of movie I want to make, it is not the kind of movie that is commercially successful. I think I would prefer the other type, but I need more experience shooting different genres to find out. Hide

We are aware about censorship, so alternative endings, such as the Malaysian one, are no real surpri Show more We are aware about censorship, so alternative endings, such as the Malaysian one, are no real surprises for us. As concerning their 'Crime doesn't pay' slogan, this is a typical 'government' thought, and it doesn't reflect reality in any way. It's like good people, who take the risk to have a bad life after all; you never know what might happen and as a filmmaker (and storyteller) you don't have to give a clear answer about what should happen to your film characters. Censorship is the sole belonging to some authority decisions, but doesn't reflect filmmaker's decisions in any way. Hide

2003 is going to be an important year for me and Milkyway Image, because we have decided to change o Show more 2003 is going to be an important year for me and Milkyway Image, because we have decided to change our direction. This year audience will see new styles of films coming from us, and one of them may be a personal film akin to PTU. Hide

It's important to distinguish the pessimism of the future of the Election gangsters and pessimism ov Show more It's important to distinguish the pessimism of the future of the Election gangsters and pessimism over the future of Hong Kong. The end of the film may mark the end of the Triads, or the beginning of the end. Regarding Macau, it was already highly influenced by China long before it was handed over by Portugal. Its people work more cohesively with the mainland government. I think it will be fine. Hong Kong, however, has appointed politicians who engage in immature struggles, and the government of chief executive Tung Chee Hwa proved incapable of running itself. [About the Election films] Hide

...we wanted a good quality movie created quickly. We needed a movie good enough to be called a Milk Show more ...we wanted a good quality movie created quickly. We needed a movie good enough to be called a Milkyway Image film. Hide

I want to put more time and energy into production. Of course I hope that Wai Ka-Fai and I can conti Show more I want to put more time and energy into production. Of course I hope that Wai Ka-Fai and I can continue to plan projects and make new films. We especially want to support new directors, new writers, and new actors in our production company. This is our plan. I hope we can do it together for many years. Hide

If we cannot rejuvenate the industry, give it support, and make it more exciting, then perhaps inves Show more If we cannot rejuvenate the industry, give it support, and make it more exciting, then perhaps investors will have no interest in putting more money into it. Why does an investor want to put money into the Hong Kong film industry? To make a profit. At Milkyway Image, we aim for a balance between the kind of movies we like and the kind of movies audiences like. That is our goal. A few years ago, we only did the movies we liked. That would make the industry dead. Hide

...I've answered many questions about this before. We want to keep making movies in HK. We want to d Show more ...I've answered many questions about this before. We want to keep making movies in HK. We want to develop projects in HK. But if a good opportunity arises to shoot a movie in the West, then that would be fine. Maybe Wai Ka-Fai and I would do it together: he would write a script for a Western movie, and I would direct it. But it wouldn't be a movie just for American audiences. In our movie-making future, it's not the goal of Fulltime Killer to bring us to Hollywood. Hide

I already wanted to bring together a film crew to work together on different and interesting movie p Show more I already wanted to bring together a film crew to work together on different and interesting movie projects; but collaborating with different people with different ideas and different ways to work on every new movie made it all very difficult. Hide

Hong Kong still remains a competitive city, like Shanghai, or even more than Shanghai, and everyday Show more Hong Kong still remains a competitive city, like Shanghai, or even more than Shanghai, and everyday life is stable. But the Beijing government has decided that, while we're still talking about "one country, two systems" and Hong Kong not changing for fifty years and Hong Kong rule for Hong Kong people and all of that, it will rule Hong Kong, and rule Hong Kong more directly. I still think that Hong Kong will remain an important place as part of China. Hide

As a producer, I always encourage directors to pursue their own styles, and I try not to alter or ta Show more As a producer, I always encourage directors to pursue their own styles, and I try not to alter or take over their works. I have been a director for many years and I have a lot of respect for those of my profession. Hide

For me, this interest in killers, no matter where they might exist in the world, does not really sho Show more For me, this interest in killers, no matter where they might exist in the world, does not really show the whole story. Hong Kong does have many "killer films," because we always use the character of a killer to tell a very specific story - it can be a love story, a story of friendship, or some heroic story. Why are there so many Hong Kong "killer films?" Of course, they're very similar to the martial arts film, and in Hong Kong, the major type of film, ever since the days of Shaw Brothers and then Golden Harvest (they are the ones who really developed this) has been of course the martial arts film. The killer idea always uses to some degree a martial arts framework. Maybe it's a good story, or maybe its not. But if we tell the story as a story of a killer, at least we can put some martial arts in it. And so then, generally speaking, the genre at least forces you to create some action and movement in the movie. Without of course being very specific, this might describe the history of Hong Kong filmmaking. But in the past ten years, Hong Kong has had too many killers in films, and the audience is now very tired of seeing this. It's become boring. Hide

I'm proud of all the movies I have done since I owe them my current position. I'm proud of all the movies I have done since I owe them my current position.

My ultimate goal has always been to achieve top-notch quality Hong Kong movies. At the time of direc Show more My ultimate goal has always been to achieve top-notch quality Hong Kong movies. At the time of directing my very first movies, I already wanted to achieve this same goal, but I was unable to get what I really wanted. Hide

Johnnie To's FILMOGRAPHY

as Director (9)

Fat Choi Spirit (Lik goo lik goo san nin choi)

Three 2016

Tit sam gok [Audio: Chinese]

Don't Go Breaking My Heart 2

Running Out of Time 2 (Am zin 2)

The Mad Monk

Mad Detective

The Longest Nite [Sub: Eng]

Don't Go Breaking My Heart