Johnnie To: Master of Hong Kong Cinema 杜琪峯: 香港電影不死
ENGLISH 英 : Jason Au | CHINESE 中 : Ken Li
Interviewer: Skye CHan
ART DIRECTION: Deborah Lau-Yu
VIDEOGRAPHER: Breaking Rice Studios
Photography: Berton Chang
COORDINATION: Elaine Chu, Rhonda Lam
As featured in Fête Chinoise Annual Book of INcredible People Edition 10: Thinking in Decades
In the pantheon of Hong Kong cinema, Johnnie To Kei-fung stands as a colossus. With a career spanning over five decades, To has evolved from a commercial success to an internationally acclaimed auteur, leaving an indelible mark on the industry alongside contemporaries such as Wong Kar-wai, Tsui Hark, and John Woo.
To’s career began in 1972 as a 17-year-old messenger at TVB, Hong Kong’s premier television network. “I knew nothing about being a director before joining TVB,” says To in a recent interview. There, he fell under the tutelage of Yale-educated Chung King-fai, a pioneering figure in Hong Kong’s contemporary performing arts scene, who sparked To’s passion for the movies. “It was Chung who nurtured my interest in cinema and taught me the theories behind Western filmmaking.”
「香港電影不會死，互聯網及串流平台興起只是媒體不同，仍然需要大量內容製作者。只要電影人願意轉變、轉型，配合時代，說出時代的故事，華人電影仍然有很大發展空間，可以再創另一高峰。」今年69歲、獲獎無數的香港導演、編劇和監製杜琪峯(Johnnie To)，一邊點燃深愛的雪茄，一邊呷咖啡，侃侃而談，對香港電影前景仍然充滿期盼。
交談期間，人稱「杜Sir」的杜琪峯很謙虛，常說自己幸運，尚有很多要學習。他17歲入行，在無綫電視戲劇組辦公室一邊當信差、一邊參加藝員訓練班，學習西方戲劇理論。在當時主管鍾景輝的薰陶下，杜Sir開始對戲劇、電視製作產生興趣。「當時只覺有滑輪的導演椅與別不同、很有權威，所以希望有一天能坐上去。」短短三、四年時間，杜Sir已成功由助理編導晉升為編導，參與作品包括《陸小鳳》、《小李飛刀》、《強人》、《千王之王》、《雪山飛狐》等，部部膾炙人口。
Rising through the ranks, To eventually became a producer and director, working across multiple genres while learning on the job. His transition from television to film was marked by a series of commercial successes in the 1980s, including the popular Happy Ghost series. However, it was in the 1990s that To began to develop his distinctive style, blending commercial appeal with artistic vision.
To’s creative process, honed over years, is as enigmatic as it is effective. “I often begin by staring at a blank sheet of paper for half an hour without writing anything down,” To shares. This solitary, unpredictable method has yielded some of Hong Kong's most critically acclaimed films, including PTU, Breaking News, Throw Down and Running on Karma. On set, To is known for his improvisational approach, often puzzling his crew as he wanders around, visualizing scenes in his mind before bringing them to life.
從電視台到電影拍攝
在電視台任職十多年間，杜Sir接受了工廠式的嚴格訓練，不論古裝、時裝、喜劇和動作片，不同劇種均得心應手，練就了一身好武功。在電視台任職後期，他開始接拍電影，首套執導作品為1980年的《碧水寒山奪命金》，89年的《阿郎故事》及90年的《天若有情》則分別成為兩大影帝周潤發及劉德華的代表作之一，之後執導的《審死官》及《十萬火急》等亦甚受歡迎。
「92、93年，我30多歲時，是我人生一大轉捩點。當時開始考慮是否要離開電視台，全心拍攝電影；思考為票房拍電影，還是為自己拍電影；繼續做一個精準的電視工程師，還是電影創作人?」杜Sir叩問自己到底想成為一個怎樣的人。最終，即使電視台高層多番挽留，他仍然堅決離開電視台，全心投入電影拍攝。1996年，杜Sir與好友，亦是影響他至深的拍檔韋家輝，成立「銀河映像」，以原創性及質量為先，拍攝了一系列具個人風格的電影，包括《一個字頭的誕生》、《暗花》、《非常突然》及《再見阿郎》等等。
In 1996, amidst a drastic decline in Hong Kong's film industry, To co-founded Milkyway Image with fellow Hong Kong filmmaker Wai Ka-fai. This move came at a crucial juncture, as many of their contemporaries were departing for Hollywood. The industry was facing rapidly declining revenues and uncertainty surrounding Hong Kong's return to China and the Asian Financial Crisis. Their production house initially teetered on bankruptcy, saved by a $250,000 investment from a Taiwanese associate.
Through Milkyway Image, To produced a string of notable titles including Election, Election 2 (a.k.a. Triad Election), Exiled, Mad Detective and Drug War. These films, known for their stylish narratives, innovative action choreography, and intricate portrayal of triad societies, have graced prestigious festivals in Cannes, Venice, Berlin, and Toronto. To’s ability to blend political commentary with gripping storytelling has earned him the reputation as the “godfather of modern Hong Kong gangster cinema,” with his work drawing parallels to that of Scorsese and Coppola.
「其實，成立『銀河映像』的96至98年正值香港電影業低潮，公司面對很大困難，幾乎倒閉——但只要有一線希望，我都要去尋找。」面對挑戰正正是導演或創作人的一種歷練、考驗，反令杜Sir鞭策自己。「你已把自己的未來押在電影上，你就不可以再退縮。只要堅持、有信念，難關始終會過去。」那段時期杜Sir拼命尋找資金，最終獲台灣朋友邱復生資助250萬，拍出獲獎無數的《鎗火》。
回顧拍電影的這些年，成功全賴堅持與熱情。「我就是要拍電影，哪裡都不去。」杜Sir說時臉上帶著自豪的笑。經歷過香港電影的高低起跌，杜Sir從不放棄電影：業界環境不佳，便先做好自己、等待時機；時代改變，便自我調節、順應時代，最重要的是堅守本心。「如果你沒有信念，你沒法走下去；如果你不堅持，那就是你不夠強大。」與他同期的導演如徐克、許鞍華和王家衛等，都是抱著這種熱情一直拍電影至現在。
To remains humble in spite of his success. “I'm still a student of my craft,” he says. “I haven't created the perfect film yet.” This humility is reflected in his approach to filmmaking, which is rooted in a deep understanding of both talent and perseverance. “Talent is crucial—you either have it or you don’t.” However, talent by itself won’t suffice, he adds, explaining why he constantly advises aspiring filmmakers to embrace lifelong learning and balance commercial success with creative freedom.
In the early 2000s, To put this philosophy into action by establishing the Fresh Wave International Short Film Festival, vital platforms for nurturing young filmmakers. These initiatives have been instrumental in inspiring and supporting the next generation of cinematic talent. To’s commitment to mentorship extends beyond these programs; he actively collaborates with and nurtures younger, up-and-coming filmmakers through Milkyway Image.
To recognizes the difficulties this new generation faces, such as the rise of streaming platforms and shifts in the Asian film market. “They're a product of our digital era,” he observes. “While content makers can leverage additional platforms, securing funding in this evolving landscape remains a challenge.” The Hong Kong film industry also faces political realities and market fluctuations that complicate success for filmmakers. However, To remains optimistic about Hong Kong cinema’s future. “We haven't seen the best from the Hong Kong and Chinese film industries yet,” he asserts. He envisions a global market for Hong Kong cinema, not limited to Asia but expanding worldwide, driven by recent waves of emigration. For Hong Kong's unique cinematic culture to thrive, it must reach broader audiences beyond its traditional markets.
用鏡頭說話
「電影，其實是動態影像(Motion Picture)，用鏡頭講說話。可以用鏡頭交代的，便不用對白。」對杜Sir影響最深遠的兩位導演分別是胡金銓及日本的黑澤明。《柔道龍虎榜》便是杜Sir向黑澤明致敬的電影，亦是杜Sir認為較能反映他拍攝風格的一部重要作品。
杜Sir入行至今已經超過50年，拍過無數經典作品，獲奬甚豐，2014年先後獲香港演藝學院頒發榮譽博士和香港浸會大學頒發榮譽文學博士，也是首位在威尼斯、康城及柏林三大國際影展均獲邀擔任主競賽評審的香港導演。杜Sir近年主要擔仼監製工作，縱使執導較少，但他對每部作品仍然非常執着，堅持要有創意及帶出訊息。「一個導演、電影人必須持續擴闊視野。學問很重要，理解人生也是一種學問。從前我不愛看書，現在看多了; 初期我不參加影展，現在我去過無數影展，互相觀摩，學習說故事的技巧、學習捕捉社會變化，以小事說大題目。總之，要不斷思考、創新，學習平衡商業元素之餘，加入個人風格或訊息。有時為了電影的整體表現，不想角色影響電影，甚至會放棄一些重量級明星。」
看多了不同作品，杜Sir深明電影和文化息息相關，每個地方的視點、價值觀、文化、歷史與生活點滴，盡在電影中。「所以我鼓勵新一代拍電影，承傳我們豐厚的過往電影歷史和根基、珍惜我們所擁有的文化，建立我們獨特的電影風格，走出屬於自己的路。」
His perspective on cinema as a medium for cultural exchange is informed by his own experiences living abroad. In the early 1990s, To and his wife lived in Unionville, a suburb in the city of Markham, Ont., just north of Toronto. This period exposed him to a different cultural environment, which left a lasting impression on him. “Canada isn’t a place of extravagance,” he says. “But it has created an environment where people can truly embrace living.”
Thinking back on his time in Ontario, To fondly recalls the sense of community, the ease of travel, and the natural beauty of the province he encountered there. He also remembers picking corn and strawberries at local farms. He found places to hike within Ontario and experienced the kindness of neighbours who helped his wife with lawn maintenance and snow shovelling as she adjusted to suburban life in a foreign land.
薪火相傳
杜Sir一向致力推動香港電影業的傳承。身為過來人，他也明白年輕人剛開始時難免感到迷惘。眼見「小朋友們」（杜Sir對年輕導演們的暱稱）滿有熱誠卻苦無門路入行，杜Sir一直放在心上，由此促成2005年第一屆鮮浪潮國際短片節，為年輕導演提供平台展示作品、尋找發展機遇。2017年於第36屆香港電影金像獎贏得最佳電影的《樹大招風》，則是杜Sir挑選了3位鮮浪潮得獎年輕導演許學文、歐文傑和黃偉傑，由杜Sir自己及游乃海牽頭，歷時5年以老帶新承傳經驗；3人分拍3個故事，然後藉剪接交錯串連出一套完整電影。無論創作模式和主題內容，都是近年少見，考驗創作者的膽色、功力與耐性。
「鮮浪潮」發展至今培育出很多電影新晉，隨著業界對年輕新血更有信心、老前輩更願意提攜新人、電影圈傳承風氣已成，杜Sir開始反觀自己，希望未來可專注更多時間在創作上。對一個導演而言，最重要的是自己的作品可以啟發他人並流傳後世。自覺身為導演成就不夠，杜Sir將繼續增值自己、創作及籌劃開拍新電影，希望拍一部能代表自己電影生涯的作品。
His experiences in Canada taught him that people can relate to each other regardless of cultural differences. This lesson was further emphasized when he started attending film festivals in Europe and North America, and was surprised at the international audience his films had garnered. This realization reinforced his belief in the universal appeal of stories that authentically represent diverse experiences. “Cinema is a universal language,” said To in a previously published interview. “It allows us to understand each other, no matter where we come from.”
This belief in the power of cinema to bridge cultural divides has been a guiding principle throughout To’s career. Over the course of his 50-plus years in the entertainment and film industry, To has seen himself evolve from a commercially successful producer, director, and screenwriter to a production house founder and mentor to young, up-and-coming producers. As he continues to push the boundaries of his craft, To remains committed to his timeless creative process, always ready to sit alone and immerse himself in the act of creation, starting with a blank sheet of paper and waiting for the ideas to flow.
Looking to the future, To plans to continue learning his craft and pursuing projects that challenge both himself and his audience. He remains confident in the potential of Hong Kong and Chinese cinema: “The best is yet to come.”
港產片於國際的出路
90年代，杜Sir曾在多倫多Unionville生活一段時間，早已與加拿大結下不解緣。期間領略到加拿大人尊重社區、考慮他人的精神，令他對生活有另一種看法。加拿大多元、開放，人可以找到自己的生活步伐，回歸人的本質。「我很喜歡加拿大的生活, 樸素簡單，加拿大人也十分友善。在這裡生活未必精彩，但多元文化的城市生活，令一般傾向物質主義的香港人，有新的體會，思考人生的不同價值。」來加是一個放鬆的好機會，不過杜Sir大多選在9月「多倫多國際電影節」（TIFF）時到訪加拿大，順帶和電影界朋友見面敘舊，行程緊湊。
疫情後，不少港產片差不多能在加拿大院線中同步放映，杜Sir認為絕對是好事。他建議應進一步發揮加拿大多元文化的特色，設立港產片網頁，以不同語言推介在加拿大放映的香港電影，希望更多不同族裔人士能夠欣賞近年新一代香港電影，打破國界，讓國際社會透過電影，了解香港近年的轉變及發展。
「香港電影新一輩創作人不似我們是跟隨師父從低學起的『紅褲仔』，他們是學院派，有思想有學識，只要有好的養份、Think Big有夢想，堅持創新，堅持理念，掌握時代及文化轉變，華人電影仍然有很大發展空間，靠着年輕一代可以再次爆發起來! 」
的確，由近年票房過億港元的《毒舌大狀》，到《年少日記》、《白日之下》、《正義迴廊》以至《飯氣攻心》等多部叫好又叫座的港產片，均可印證杜Sir的看法: 新晉導演執導，成本不高，部部洋溢個人風格，而且充份掌握時代及文化脈搏，令觀眾易有共鳴。期待杜Sir快有新作品推出，更期望港產片能再闖高峰，發光發亮。
In the pantheon of Hong Kong cinema, Johnnie To Kei-fung stands as a colossus. With a career spanning over five decades, To has evolved from a commercial success to an internationally acclaimed auteur, leaving an indelible mark on the industry alongside contemporaries such as Wong Kar-wai, Tsui Hark, and John Woo.