of variety The 2024 Hong Kong International Film and Television Market (FILMART) Lounge has emerged as a dynamic hub of creativity and insight. The studio includes European filmmaker Cristiano Bortone, producer and co-founder of boutique studio S11 Partners, and Cora Yim, vice president of business and director of CreAsia Studio Jessica. , a series of brilliant interviews featuring some of the biggest names in the world film industry. Kam-Engle and film director and producer Raymond Fasanavirangoon.
Organized by the Hong Kong Trade Development Council (HKTDC), the gathering brought together more than 7,300 industry players, comprising producers, distributors, distributors, service providers and investors from 41 countries and regions, over the weekend. Worked on sourcing and relationship building. Conversations centered around Asian-led media. This 4 days of his content his marketplace is variety Lounge for hosting conversations of variety Asia editor Patrick Freyer explores emerging trends in the global entertainment industry.
Discussions will include what goes into creating live-action films from anime IP, how to bridge the gap between Chinese filmmakers and European and American filmmakers, and how the Asian film industry works. Questions included whether there is a glass ceiling for women.
The expo will be held from March 11th to 14th, and you can watch all four conversations below.
Raymond Fasanavirangoon, Hong Kong-born, Bangkok-based independent film producer
Raymond Fasanavirangoon, a veteran producer with a diverse background in the film industry spanning multiple continents, shares his journey from computer engineer in the US to his current role as an independent film producer based in Bangkok. .
Discussing the Hong Kong Asian Film Finance Forum (HAF), Fasanavirangoon asserted its importance as a platform for filmmakers to pitch their projects and raise funding, and highlighted its role in fostering relationships within the industry. did. He emphasized the importance of the project market in improving scripts and facilitating cooperation between filmmakers and potential investors.
“I don't think that's necessarily the important point. [but the HAF can be used] You get to meet interesting people and really connect with the actors and crew,” Fasanavirangoon said. “There's a lot more to it than just saving money.”
Fatanabirangoon also teased an upcoming project tentatively titled “Walt City.” Set against the backdrop of the 2003 SARS outbreak in Hong Kong, this story captures the essence of Hong Kong's resilience in crisis and depicts it as a love letter to the spirit of Hong Kong.
Mr. Fatanabirangoon reflected on his experience running the CFIC Southeast Asia Fiction Film Lab and emphasized the need to strengthen training opportunities for Asian filmmakers. He lamented the industry's tendency to categorize filmmakers into commercial or arthouse categories and advocated a more unified approach to talent development. He emphasized the importance of valuing and nurturing talent within the Asian film industry, and reiterated the shared sentiment for cooperation and innovation throughout the discussion.
“I truly believe that there is a lot of talent in Southeast Asia, and East Asia in general. But there is still a significant lack of understanding of what development and development is,” Fasanavirangoon said. .
Watch the full conversation above.
Cristiano Bortone, European producer, director, screenwriter and founder of Bridging the Dragon
Cristiano Bortone, European producer, director, screenwriter and founder of the network association Bridging the Dragon, talks about his efforts to encourage collaboration between Western and Chinese filmmakers. Ta.
In late 2001, Bolton's film Red as the Sky premiered in China, and since Bolton spoke the language, he was asked to stay and teach the film. Through this experience, he was inspired to start his collaborative platform.
“I happened to speak Chinese, so I was invited. I spent some time teaching at Beijing Film Academy and at the end of 2000 I understood how this amazing market was emerging in a modern way. .In the end, the local government persuaded me to set up a company. So, in principle, I am a Chinese producer,” Bolton said.
Ten years later, Bridging the Dragon was born. Recognizing the desire of Americans and Europeans to collaborate with Chinese creators, we have developed a space where individuals from all over the world can talk, share, and make films together.
“I remember that at the time, China was on everyone's agenda and everyone wanted to work with China, even in Hollywood. But how? With whom? That was the question. So our intuition was very It was simple: “Let's create a platform where people can connect, meet, build trust, hopefully understand each other, and ultimately make movies,” Bolton said.
Watch the full conversation above.
Cora Yim, Co-founder of S11 Partners Ltd.
Cora Yim, co-founder of S11 Partners Ltd., talked about her boutique studio in Hong Kong and Taipei.
“I think everyone is looking for good stories and good talent,” Im said. Reflecting on changes over the past few years, Im said that superhero performances may not be as good as they used to be, and warned of changing tastes. “I think everyone is thinking about new strategies, new stories, new talent and how to integrate all of this into a winning formula.”
Ms Lim also discussed the representation of women in the Asian film and television industry.
Watch the full discussion above.
Jessica Kam-Engle, Executive VP and Head of Business, CreAsia, former Disney and HBO executive
Jessica Kamm-Engle is a highly experienced film and television production executive whose career has taken her from an independent producer to roles at major multinational companies such as HBO and Disney. She also started her own production company under her Banerjee umbrella.
“All jobs in this industry are not that typical…I've been very fortunate to ride different waves and have some golden hours through the golden years of different cycles.” said Cam Engle.
Reflecting on his journey thus far, Kam-Engle highlighted the diverse experience he has gained in various industry waves, from the boom in Chinese film production to the rise of streaming platforms. She emphasized the importance of local production for multinational companies like HBO and Disney, noting that Asian audiences strongly prefer content in their native languages.
Kam-Engle acknowledged the disruptive nature of streaming on the traditional TV model and the importance of profitability in the streaming environment. She emphasized the need for a more deliberate approach to content production, especially amid industry adjustments regarding intellectual property.
“It’s important for companies like Warner and Disney to have a way to preserve their IP and potentially monetize it in the future. Why not try it?”
Kam-Engle expressed her positive experience, noting the glass ceiling for women in the Asian film and television industry and citing the opportunities that companies such as Disney and Warner Bros. offer to female executives. He even said, “I've never seen it before.'' It's yourself. ”
Looking to the future, Kam Engle sees the potential for Chinese content to become a global success, pointing to recent successes such as the TV drama Blossoms Shanghai. She also highlighted the diversity of genres emerging from different Chinese-speaking countries, from Hong Kong action to Taiwanese romance.
Watch the interview above.