Chinese movies need world view

Director John Woo, who received a lifetime achievement award at this year's Venice International Film Festival, talks with China Daily in Beijing about how to present the country and its culture in a more efficient way.

What's your experience of making movies popular both at home and abroad?

We Chinese should have a world view to make people around the globe understand us. Though we come from different countries and develop different ways of doing things, we have common values and moral standards. So we Chinese can deliver our common and particular things to foreign audiences as long as we use effective techniques.

Many excellent Chinese movies have been a success nationwide. I agree with their producers that the domestic market is large, but we can add a world view and humanity in movies and still keep our Chinese style. For instance, we all value loyalty. The difference is that we Chinese will sacrifice our lives for our country and friends, but they (Westerners) think they should save their own skins and then help others. So we can use some methods to produce resonance.

What qualities should Chinese actors have to be international?

It is a difficult question. In my opinion, they should remain themselves. Some of them think imitating foreign actors is the way to enter the international market, but actually foreign audiences are interested in our own tastes.

See my movie The Killer (1989), for example. When watching Chow Yun-fat's performance, foreigners were moved at the scene in the same way as Chinese; they laughed and got excited the same way. People knew Chow was Chinese and also felt his emotion from his acting.

Sometimes actors live in a certain environment and form fixed performing skills. If they broaden their performing arts, they can make it (to the international market). Kungfu skills are not enough for one to access the international market, and acting is most important.

Why do you always combine violence with aesthetics in your movies?

I revere the chivalrous spirit, and when I describe it, I will present it in an aesthetic way. For this reason, my films seem to combine violence with aesthetics. In fact, I am adverse to violence - I never use guns, nor do I study kungfu or fight with others. I advocate peace and a chivalrous spirit, as I present them in tough and newfangled images.

Since Red Cliff (2008), you have served as executive producer in movies like My Fair Gentleman (2009) and Reign of Assassins. Why do you choose to work with young directors?

Movies should be diversified with different styles and innovation. Besides preparing for my next movie Flying Tiger Heroes, I am seeking good scripts and directors. Many young people have talented ideas but have no opportunity to present them, and what I can do is to support them with my efforts. I appreciate Su Chao-pin (one of the directors of Reign of Assassins) very much because his means of expression are simple and unadorned. When I saw the script, I decided to support him and he made it.