Brian Thibodeau wrote:a) So are you guys saying that most of Jackie Chan's 84-94 directorial output was actually directed by Chen Chi-hwa in the style of Jackie Chan?
b) Does this include a film like Drunken Master 2 where Jackie "took over" the film from Lau Kar-leung?
c)Does (or did) this practise simply free name directors up to work on more projects in an industry that, particularly in its heydey, needed to crank out product at a blistering clip?
d)When someone DOES receive an on-screen associate or executive director credit, is that then a reasonable sign that that person likely did most of the hands-on directing?
Hey Brian,
Step by step, and in answer to your questions:
a) From what I understand, and was informed by someone with direct contact with the HK film industry circa late nineties (we've long since lost touch), Chen Chi Wah is Taiwanese and his relationship with Jackie can find its origins as far back as Chan's Taiwanese productions. From what I was told, Chen is a kind of "fixer-upper" (much like Sammo Hung, which I'll get to shortly) and was frequently brought in either to finish off a difficult shoot, or oversee production when problems begin to set in. I believe he directed as much as 80% of CRIME STORY, and had some involvement with the PROJECT A and ARMOUR OF GOD films -- beyond that I can't help any further as to what he worked on. Suffice to say, Tony Ching Siu Tung didn't receive a very large credit for taking on board the major role in the shooting of Wong Jing's CITY HUNTER adaptation with Chan (the notorious film that forged a large rift between Wong and Chan).
b) Once again, from what I read at the time, Chan himself actually directed the lion's share of DRUNKEN MASTER II - Lau Kar Leung's "traditional" style of martial arts direction clashed severely with what Jackie was wanting of the film (faster and more intense than flowery and traditionally choreographed). Though the two clashed, Chan took no credit as director for the finished work and Lau received full credit -- even though maybe only 30 or 40% of the material he shot remains in the completed film.
c) Sort of. It's more about the financial side of things and that old chestnut "creative differences". From what I've read, directors can only work on so many features in any given financial year, hence attribution or non-attribution for certain projects. Johnnie To claimed not long ago that it was actually he who directed the two Milkyway productions EXPECT THE UNEXPECTED and THE LONGEST NITE, but associate director Patrick Yau was given screen credit due to the number of films To had his name attached to as both director and producer that year (1998). Additionally, in a print interview from some time ago Ringo Lam claimed part authorship of A MOMENT OF ROMANCE along with To, however is was "debuting" director Benny Chan that received full credit. And sometimes, things just don't work out: cases in point -
1. Tsui Hark produced THE BIG HEAT, and Andrew Kam and Johnnie To were credited as directors; however, interviews with Tsui noted the involvement of a third (unnamed) director who left the project early and, after he became dissatisfied with the work both Kam and To were undertaking, Tsui finished the piece without credit.
2. Likewise, Sammo Hung's director's credit on THE MOON WARRIORS is really just that of a supervisory one, as Hung was brought in to complete the film after all other avenues were exhausted (due to his work ethic and ability to take charge of troubled projects). The film was commenced as husband and wife team of Alex Law and Mabel Cheung's first foray into wuxia filmmaking, but the pair (also the screenwriters) lost confidence in their abilities to deliver a period fantasy piece, as it was outside their realm of the usual comfort zone (straight dramas). Corey Yuen was brought in at some point during filming to take charge, but I believe he and existing action choreographer Tony Ching clashed over stylistic choices. At that point, Andy Lau's company Teamwork turned to Sammo to oversee and wrap-up the production as well as post-production. You can kind of spot who did what in the final film...but sometimes the lines blur.
3. As previously mentioned, Cinema City boss Karl Maka dumped ESPRIT D'AMOUR's director, Leung Po Chi, when their working relationship became strained and Ringo Lam scored his first cinematic directing job (albeit as "completion director").
d) In most cases, the answer is going to be yes. However, HK does not operate in the same working fashion as Hollywood productions, where a director is virtually omniscient. You can have many directors, specialised in a variety of roles, all acting as director on the one film - usually the "dramatic" director (who directs the actors' performances) will gain full credit; but you can also have working an action director, stunt director, dance director, musical director and so on. Each has their own place and each is afforded their own respective role on the filmmaking team (eg: when the drama director has finished shooting the actors emoting in the morning, the action director will come in and take over shooting for the afternoon). If you can, try to track down reports about the Pang Brothers' first American film THE MESSENGERS (due soon); the American actors working on the film were stunned at the way the brothers work - one day one brother directs, while the other edits and oversees filming...the next day they switch caps! I was quite amazed when I read that, and it really displays the symmetry in which these people are used to working.
Lastly, I don't really see any useful purpose in crediting an associate/executive/assistant/acting director in the main director's field in the database (especially as "uncredited"), when they have already been listed in the database entries under their rightful role. In the case of a primary (or "supervising") director being given main accreditation, and the secondary directors being billed per their involvement already, additional accreditation is just doubling up information and misleading potential readers of the database. Plus, in some cases, there is no solid proof of uncredited authorship of a work, as the information has been imparted as hearsay or gossip, related in confidence at an industry level, or is common knowledge yet determined to remain an "open secret" with the supervisory individual retaining full authorship. Like the old saying goes, if it ain't broke...don't try to fix it.
Regards,
Mike
