ASIAN FILM AWARDS 16 17 2016 亞洲電影大獎
MAR
亞洲電影大獎與亞洲電影大獎學院 ASIAN FILM AWARDS & ASIAN FILM AWARDS ACADEMY 關於亞洲電影大獎 一年一度的「亞洲電影大獎」，由 2007 年創立至今，是亞洲地 區矚目的影壇盛事，當初獎項的成立目標，旨在表揚亞洲地區 傑出的電影作品及電影人才。頒獎典禮當晚，世界各地媒體及 亞洲區的台前幕後精英將聚首一堂，共同表彰及嘉獎該年度成 就卓越的亞洲電影及業界人士。 「亞洲電影大獎」在香港舉行了首七屆頒獎典禮後，由 2014 年 開始移師至亞洲娛樂樞紐──澳門，並計劃在未來繼續巡迴到 亞洲不同地區舉行，彰顯大獎在區內廣泛的代表性，同時亦期 望將獎項的影響力延伸至國際，讓全球電影愛好者分享到精彩 的亞洲電影。
About the Asian Film Awards
Inaugurated in 2007, the Asian Film Awards celebrates excellence in Asian cinema through the annual presentation of awards to talents and films that make up the dynamic film industries of Asia. Awards night is a spectacular gathering of stars, celebrities, industry professionals and the media that highlights and publicizes the year’s achievements in Asian movies. Presented in Hong Kong in its first seven years, the Awards moved to one of Asia’s fastest growing entertainment hubs, Macau, in 2014 – one step closer to its long-term plan of being held in different Asian cities to reflect its broad reach across the entire region.
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關於亞洲電影大獎與 亞洲電影大獎學院
ASIAN FILM AWARDS & ASIAN FILM AWARDS ACADEMY
ABOUT THE ASIAN FILM AWARDS ACADEMY In 2013, three main Asian film festivals - B u s a n , H o n g K o n g a n d To k y o joined together to create the non-profit organization, the Asian Film Awards Academy to promote and develop Asian cinema and its talents. The AFA Academy highlights, strengthens and develops Asian film industry and culture through the annual Asian Film Awards, and several year-round initiatives including strategies for building regional and international audiences. Members of the AFA Academy are drawn from all past nominees and winners of the Asian Film Awards. Members vote for the Asian Film Awards and also participate in various AFA Academy activities involving film professionals and audiences in Asia and around the world. In 2015, the AFA Academy launched events and activities including the Masterclass Series, Journey to the Fest, Asian Cinerama and Young Film Professionals Program to promote, educate, inform and develop
關於亞洲電影大獎學院
knowledge, skills and interest in Asian
「亞洲電影大獎學院」成立於 2013 年，由亞洲三大極具歷史性的國際電影節： 即香港、釜山及東京國際電影節共同創辦。學院致力推廣亞洲電影、培育區內 電影人才、以及拓展電影觀眾群。 現時學院的會員主要來自亞洲各地，當中有「亞洲電影大獎」的歷屆提名人、 入圍者和得獎者，他們在每屆「亞洲電影大獎」中均擁有投票權，亦可優先參 與學院於亞洲及以外地區所舉辦的各類活動。 另外，自 2015 年起，學院又推出一系列的推廣及交流活動，包括大師班、學 生觀摩團、電影專才海外實習計劃及巡迴放映，目的是向亞洲及以外的電影工 作者、學生團體及普羅大眾等，介紹亞洲電影工業及文化，促進區內電影業的 互動和發展，同時也藉著深入及親身的交流，聯繫亞洲各地區電影工作者，積 極推動亞洲電影文化發展，達致讓亞洲電影在國際間的創造力和影響力提升的 大方向，從而凸顯、加強及建立愈趨蓬勃的亞洲電影業及其多變的電影文化。 02
cinema among the industry, students and audiences in Asia and beyond. The AFA Academy expresses the increasing global importance and creative strengths of Asian films and aims to unite the industries and talents of the fast-growing region.
主席感言
WORDS FROM THE CHAIRMAN
王英偉博士，GBS，JP 現任亞洲電影大獎學院主席、香港國際 電 影 節 協 會 主 席、 香 港 藝 術 發 展 局 主 席、香港電影發展局副主席、香港浸會 大學基金會主席及第九屆中國文學藝術 界聯會全國委員，於 2007 年至 2012 年 期間擔任香港浸會大學校董會及諮議會 主席。為表揚王博士對社會的貢獻，香 港特區政府分別於 2015 年及 2007 年向 其頒授金紫荊星章和銀紫荊星章。
（左至右）杜琪峯博士、王英偉博士、劉青雲 (LEFT TO RIGHT) DR. JOHNNIE TO, DR. WILFRED WONG, SEAN LAU
主席感言 由「亞洲電影大獎學院」舉辦之「亞洲電影大獎」今年踏入第 10 周年，大會選取了共 36 部 來自 10 個地區及國家的作品，入圍 77 項提名，從家國情懷、浪漫愛情、警匪鎗戰至輕鬆喜
Dr. Wilfred Wong, GBS, JP
劇等包羅萬有，而在 14 項大獎外，大會還增設「最佳音響」獎項，表揚勞苦功高的幕後技術
He is currently the Chairman of Asian Film Awards Academy, Chairman of Hong Kong International Film Festival Society, Chairman of Hong Kong Arts Development Council, Deputy Chairman of Hong Kong Film Development Council, Chairman of Hong Kong Baptist University Foundation and Member of China Federation of Literary and Art Circles. He was the Chairman of the Court and Council of the Hong Kong Baptist University from 2007 to 2012. For his distinguished public service, Dr. Wong was awarded the Gold Bauhinia Star and Silver Bauhinia Star Medals by the Hong Kong SAR Government in 2015 and 2007 respectively.
人員。香港導演杜琪峯博士更將出任本年度的評審主席，率領 12 位來自全球的專業評審委員， 與兩位名人評審中國影星高圓圓及香港演員劉青雲，合力挑選優秀作品。「亞洲電影大獎學院」 主席王英偉博士深感興奮，「歷屆得獎者將聚首一堂見證十周年盛事，肯定亞洲電影大獎的重 要性。」
WORDS FROM THE CHAIRMAN Organized by the Asian Film Awards Academy (AFA Academy), the Asian Film Awards (AFA) celebrates its 10th anniversary this year. This edition’s 77 final nominations represent 36 films of various genres from ten countries. A new award is also made in the category of Best Sound to recognize excellence in the field. Hong Kong director Dr. Johnnie To serves as Jury President and will lead a jury comprising two celebrity jurors, mainland Chinese actress Gao Yuanyuan and Hong Kong actor Sean Lau Ching-wan, as well as 12 respected jurors from all over the world, to pick the best Asian works. 03
主席感言
WORDS FROM THE CHAIRMAN
王英偉博士：人，是每部電影的靈魂 「眼見入圍奧斯卡外語片的亞洲電影競爭激烈，我想成立一個專屬亞洲電影人的獎項，鼓勵同 業。」王博士表示亞洲電影擁有多元文化及語種，很難集中推廣。 「要提昇觀眾的關注度，必 須有專屬的土壤供電影人發聲，長遠地切磋技藝。」十年前，王博士及團隊鎖定聯合國劃分的 「亞洲」作為大獎的覆蓋範圍，期望以雅俗兼美的入圍名單，與及多元化的專業獎項，回應影 壇最新趨勢： 「過程中有很多新發現，例如曾經是『東方荷李活』的香港是電影業的樞紐，就 算面對中國市場開放，合拍片增加而本地產量減少的挑戰，我們還是輸出很多人才，提供許多 電影融資的機會，例如『香港亞洲電影投資會』的眼光並非只局限於本地。另外， 『亞洲電影 大獎』亦有多個獎項嘉許台前幕後的精英，回饋這班真正的靈魂人物。」
DR. WILFRED WONG: THE HEART OF EVERY FILM IS CREATED BY MANY PEOPLE Ten years ago Dr. Wilfred Wong, Chairman of the AFA Academy, created the AFA, “Asia’s film industry was growing so strongly. Why did it not have its own Awards?” He saw that “the fastest increase of audiences was in Asia, and its film industry needed a platform for recognition,” so the AFA began, and is now highly recognized by the film industry, “The AFA raised an awareness that there are many Asian film talents, and that it is team work that contributes to the creation of a film.” Dr. Wong recognized the difficulties, “It’s hard to promote Asian cinema overall because of its diversity and many languages.” However, he believed that Hong Kong was destined to conceive the AFA, “Hong Kong has passed much of its expertise on to mainland China, and has created opportunities for co-productions. Our vision is not just limited to the city.”
見證成長的腳印 把握天時、地利與人和，「亞洲電影大獎」由第 8 屆起，將頒獎禮從香港移師澳門舉行，又與 「釜山國際電影節」及「東京國際電影節」緊密合作，互相提供最新資訊及資源，吸納更多精 英。「亞洲電影大獎」還在 2013 年成立「亞洲電影大獎學院」，舉行持續性的活動。回憶紀 錄，王英偉一臉滿足，「學院曾在英國、俄羅斯及柬埔寨等地舉辦巡迴展覽，開設大師班讓電 影人作海外交流，例如去年 6 月，香港名導兼監製杜琪峯博士，出席由學院和英國電影電視藝 術學院（BAFTA）合辦的『BAFTA 光影人生』特別活動，分享導演生涯，名導吳宇森亦應『第 28 屆東京國際電影節』邀請出席座談會，領取『SAMURAI 賞』殊榮。此外，學院亦和其他國 家的機構加深交流，準備帶領更多本地年輕人外遊觀摩，為未來打好基礎。」
WITNESSING THE FOOTSTEPS OF GROWTH To promote Asian cinema and reach more talents, the AFA moved from Hong Kong to Macau after its first seven years, and partnered with the Busan and Tokyo International Film Festivals to exchange information, expertise and resources. “Our collaboration strengthens the AFA’s foundation, without which it would be hard to deal with all the politics of Asia,” said Dr. Wong. The AFA Academy was 高圓圓 GAO YUANYUAN
established in 2013 with the “purpose of organizing year-round programs apart from the Awards to provide sustained experience of Asian film.” For a developing organization, it has already notched up important accomplishments such as “events to promote and support veteran and emerging filmmakers, like film roadshows and masterclasses in different parts of the world, and strengthening our relationships with other organizations to further spread Asian film culture.” 04
FEATURE
武無止境
袁和平
THE BOUNDLESS WORLD OF MARTIAL ARTS
YUEN WO-PING
武無止境 : 袁和平 THE BOUNDLESS WORLD OF MARTIAL ARTS: YUEN WO-PING 06
天下間習武者眾，如何分高下？在乎觀念。 榮獲今屆「亞洲電影終生成就獎」的電影武術指導袁和平，憑著 大師級的技術和知識，縱橫影壇四十餘年，走過時代的變更、影 壇的順逆，以自成一派的功夫，引領華語及國際動作片潮流，同 時又以寬宏的胸襟，積極提攜後進、傳揚武術傳統，即使年近古 稀，他依然熱情表示，「武術無邊界，仍想探索更多、走得更 遠。」，充份體現武者「上善若水、厚德載物」的文化美德。 In a world where there are countless practitioners of martial arts, one’s greatness is determined by one’s attitude. Virtuoso action choreographer Yuen Wo-ping, the recipient of this year’s AFA Lifetime Achievement Award, has been a filmmaker for over 40 years. Given his unique style of kung fu, Yuen has not only successfully navigated the ups and downs of the movie industry, but also remains a pioneer in Chinese and international action cinema. In his seventies, he is still open-minded and passionate about supporting newcomers and promoting Chinese martial arts. He insists that “the world of martial arts is boundless, and wants to explore it further”. In short, Yuen is a true martial arts master.
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FEATURE
YUEN WO-PING
袁和平
心性決定境界 縱然被譽為「天下第一武指」，贏盡國際性 的獎項，但袁和平始終淡然，「感激大家的 認同和鼓勵，但我不敢自誇自大，因為武術 的世界如此高遠，自己根本不算什麼。與其 虛幻地追求無形之物，我更喜歡踏實地用心 做，不計算回報，但求問心無愧，做人會更 舒坦。」 袁和平的溫文謙厚，承傳自京劇武生父親袁 小田，「北派武術比較大氣，爸爸平日對我 們幾兄弟的家教不算嚴厲，既注重言傳身 教，還不時帶我們到片場觀摩，欣賞其他門 派師傅的武術。」這段日子是袁和平的武術 啟蒙黃金期，「由爸爸和其他師父身上，學 會好功夫不光靠華麗的拳腳，也隨武者的心 術而演進，必須主動求知發問，研究各個門 派的心法、特色、打法，才能將技藝融會貫 通。」從此他在鍛鍊身手之餘，也多讀文學 典籍，向前輩導演張徹、胡金銓等偷師，跟 同門溝通砌磋，務求盡覽各家之長。
A REALM FORMED BY TEMPERAMENTS Despite being hailed as the best action choreographer, Yuen remains humble, “I am grateful for such encouragement, but I must stress the world of martial arts is so profound that I have really achieved nothing. Instead of pursuing recognition, I would rather focus on working as best I can with no regrets.” Yuen’s wisdom and grace come from his father, Yuen Siu-tin, a martial arts actor with a background in Beijing opera, “My father was not strict; he took us to film studios to observe various kinds of martial arts. Great kung fu does not come from fancy fistfights. It evolves with the fighter’s mentality. One must inquisitively study different forms of martial arts to capture their intricacies.” Yuen worked tirelessly on his body and studied classical literature, and often sought advice from legendary directors such as Chang Cheh and King Hu.
《少年黃飛鴻之鐵馬騮》，導演：袁和平 | IRON MONKEY, DIR. YUEN WO-PING (1993) © 2010 FORTUNE STAR MEDIA LIMITED ALL RIGHTS RESERVED. 07
《臥虎藏龍》，導演：李安 | CROUCHING TIGER, HIDDEN DRAGON, DIR.ANG LEE (2000) STILL FROM “CROUCHING TIGER, HIDDEN DRAGON” APPEAR COURTESY OF SONY PICTURES CLASSICS INC.
超乎想像的百變武者 日子有功，袁和平在動作設計上的靈活度、 兼容性漸強，由武術指導處女作《瘋狂殺 手》 ，到早期港產片《蛇形刁手》 、 《醉拳》 、 《奇門遁甲》 、 《情逢敵手》 ，或後來打進荷 李活的《臥虎藏龍》 、 《廿二世紀殺人網絡》 及《標殺令》 ，無論親自執導或純粹指導， 處理上均變化萬千，時有道學法術、時有 CULT 片況味、時有青春活力、時有儒者俠 風、時有科幻哲理⋯⋯套路出其不意，若非 看到工作人員表上「袁和平」三字，絕對想 不到迥異風格，緣自同一人之手。 「我喜歡 突破創新，所以常與不同導演合作、接未試 過的劇本、也不模仿他人，挑戰個人的想像 極限。」譬如他對輕功好奇， 「不像別人空 中飛半日不落地，拍《臥虎藏龍》的竹林之 戰，我會安排動 作起落有輕重節奏。」有 時不想太嚴肅， 「製造趣味的生活化武器， 譬如《奇門遁甲》以紙當刀，借其硬砍人、 用其軟做鞭子； 《黃飛鴻之二：男兒當自強》 以布棍代木棍作窄巷打鬥。」即使愛中華文 化及寫實風格， 「也不介意和外國人合作， 嘗試將傳統技術與科技結合，或採取中西合 璧的手法。」
A CHAMELEONIC MARTIAL ARTIST BEYOND IMAGINATION Yuen became increasingly versatile with experience. From his action choreography debut Crazy Killer, to his early directorial works such as Snake in the Eagle’s Shadow and Drunken Master, and his Hollywood films such as The Matrix and Kill Bill, Yuen devised new action styles over a wide range - Confucian chivalry, sci-fi philosophy, coming of age - the list just goes on. “I enjoy breakthroughs, so I worked with different directors on unfamiliar scripts and did not imitate others - to challenge my imagination.” For instance, he was intrigued by qinggong (a martial art skill that is exercised by one’s assertion of bodily lightness), “Unlike those that could fly non-stop, I used different beats and tempos for the fighters’ flight in Crouching Tiger, Hidden Dragon’s bamboo forest scene.” He also created weapons such as paper swords and sticks made of towels. Although Yuen was devoted to Chinese culture, he was open to collaborating with foreigners or using technology.
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FEATURE
YUEN WO-PING
袁和平
唯變則通，有容乃大 「最高的武術境界是應該沒有邊際的。」一 生精益求精的袁和平相信，世事萬物相生相 剋、相輔相成，故此人應該放開心懷，接納 不同可能性，千萬別畫地為牢當井底蛙， 「雖 然電影是商業活動，要幫老闆賺錢，但都有 些原則必須要守，就是該有文化追求，讓商 業和藝術得到平衡。若想達到此狀態，做人 就不能夠固步自封，必須多走出世界，觀察 人生百態，才能拓展眼光、掌握方法。像我 參與亞洲和荷李活製作以外，近年亦經常留 意韓國、泰國冒起的動作片，汲取人家的特 色和長處，思考怎樣從中融入個人元素，再 創出一套屬於自己的新技法。還有，強人不 恥下問，對弱者亦要親和，拍《廿二世紀 殺人網絡》 ，外國演員不懂武術，我就用個 人經驗教他們；知道每個演員能力有差異， 不管是新人或紅星，我不會批判太多，只會 多跟他們溝通，按能力及興趣給予最妥貼的 意見，盡量因材施教，發掘每個人潛藏的本 色。我覺得承傳很重要，教育後人也是責 任，為何要將心得藏起來？哪些知識理應是 活的，帶入棺材完全沒用！如果想讓武術文 化長存，只有靠每個人的獨特思維，才能推 動當中的變化，並且帶動電影文化的進步。」
UNDERSTANDING COMES FROM CHANGING, CAPACITY COMES FROM ACCEPTANCE. “The highest realm of martial arts should set no boundaries,” Yuen believes that all matters oppose and complement with one another to co-exist, so we should embrace possibilities and be freed from parameters, “Filmmaking is a business to profit its investors, but there are certain principles to abide by, such as the pursuit of culture and the balance between commercial and artistic incentives. One must explore the diverse spectrum of human experience for new vision and methods, “I have been watching South Korean and Thai action films, incorporating their strengths into my choreography to explore new forms. One should not be ashamed to ask powerful people questions and should be kind to the weak. When I was on The Matrix, I had to teach some actors who had no knowledge of martial arts. I tried not to judge them and focused on offering advice based on their attributes and interests. I believe the passing of traditions is important and educating the young is a duty. By encouraging critical enquiry, we can promote the development of martial arts and film.”
《一代宗師》，導演：王家衛 THE GRANDMASTER, DIR. WONG KAR-WAI (2013) 電影《一代宗師》劇照由春光映畫提供 FILM STILL FROM“THE GRANDMASTER” BY THE COURTESY OF BLOCK 2 PICTURES INC. © 2013 BLOCK 2 PICTURE INC. ALL RIGHTS RESERVED. 09
《臥虎藏龍：青冥寶劍》，導演：袁和平 | CROUCHING TIGER, HIDDEN DRAGON: SWORD OF DESTINY, DIR. YUEN WO-PING (2016).
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最高的武術境界是 應該沒有邊際的。 The highest realm of martial arts should set no boundaries.
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袁和平 YUEN WO-PING
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我們是從接納人生的 多面而變得更堅強的。 We gain strength by accepting that the coin has two sides.
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樹木希林 KIKI KIRIN
SIDE FEATURE
亞洲電影大獎的場邊絮語
MOMENTS OF THE ASIAN FILM AWARDS
亞洲電影大獎的場邊絮語 MOMENTS OF THE ASIAN FILM AWARDS 「亞洲電影大獎」舉辦至今十載，台上、台下星光熠熠，教人難忘，如今就為大家歸結出部份的趣聞點滴，共 同回味一番。 The star-studded Asian Film Awards (AFA) continues to dazzle after a decade. Let us celebrate some unforgettable moments.
電影是一場沒有 終點的馬拉松
近年中國電影以樸實內涵取代炫目包裝，像今年入圍「最佳電影」的《老炮兒》，以打鬥及人文討
頒獎典禮是電影馬拉松的分
佳電影」的《燥底師兄生擒富二代》以喜劇包裝悲劇，揭示貧富懸殊的悲涼。日本電影保持水準，
站，讓選手檢視進度。
入圍「最佳電影」及「最佳編劇」的《寂寞的戀人啊》和《身後戀事》均流露真實動人的情感。
匆匆十年，「亞洲電影大獎」
台灣的《醉．生夢死》與香港的《踏血尋梅》同樣揭露人性弱點。另外，分別由三地合拍的「最
見證了許多變化。
佳電影」入圍作，包括法、日、中投資的《山河故人》和中、港、台製作的《刺客聶隱娘》，均取
論，反思新舊時代的交融。印度電影的發展亦快馬加鞭，展示了深刻的人性哲理，入圍多個獎項 的《美人心計》和「最佳編劇」的《罪惡》就是佳例。南韓電影的時代書寫亦一枝獨秀，入圍「最
各地之長，將創作推向另一高峰。本年度亞洲電影大獎評審主席杜琪峯博士，在開幕禮上還鼓勵
THE IMPROVING DIVERSITY AND QUALITY OF ASIAN CINEMA
The cinema of mainland China shows a mature approach, as in this year’s Best Film nominee,
The AFA has witnessed Asian
to the Shore, respectively, and are both deeply touching films. South Korea’s Veteran, Taiwan’s
cinema’s rapid development. Let us have an overview of its recent trend.
業界：「亞洲電影的未來將愈趨一體化。」提醒大家無論獎項花落誰家，也要團結一致。
Mr. Six, which is a meditation on old age. The strength of Indian cinema is partly due to its potent original scores and thought-provoking narratives, seen in its nominees Bajirao Mastani and Talvar. Nominees for Best Film and Best Screenplay include Japan’s Three Stories of Love and Journey Thanatos, Drunk and Hong Kong’s Port of Call – all of which are multi-nominated – are works that reveal the depths of human experience. Two Best Film nominees are international co-productions: Mountains May Depart and The Assassin both highlight individual strengths of the producers of different countries, bringing the cinematic art form to new heights.
© 2015 AN FILM PARTNERS/COMME DES CINEMAS/TWENTY TWENTY VISION/ZDF-ARTE
樹木希林於《甜味人間》（導演：河瀨直美）中飾演堅毅的德江婆婆。 KIKI KIRIN PLAYS THE WILLFUL GRANNY TOKUE IN AN (DIR. KAWASE NAOMI). 13
SIDE FEATURE
亞洲電影大獎的場邊絮語
MOMENTS OF THE ASIAN FILM AWARDS
終身成就獎：樹木希林
LIFETIME ACHIEVEMENT AWARD: KIKI KIRIN 用生命演戲的 本色演員 探求真實是亞洲電影的大趨勢， 電影人亦愛借用演員自然的演 技，以及現實的經歷，關注時 政、思辨人性和道德。日本演 員就有種獨特的氣質和魔力。
ACTING AS LIVING: EXCELLENT PERFORMANCES Naturalism and realism are some of the most notable trends in recent Asian cinema. People may often believe that films are completely artificial, but many recent Asian films have belied this popular belief by excelling in portraying reality and eliciting genuine emotion from the audience. Achieving this audience reaction is certainly due to the work of superb actors. Japanese films have a long history of naturalist aesthetics, due in no small part to the inimitable aura of its screen personae.
© STILL WALKING PRODUCTION COMMITTEE.
早於「第一屆亞洲電影大獎」獲得「最佳女演員」，及於去年榮獲「卓越亞洲電影人大獎」的中谷 美紀，曾被《號外》創辦人之一鄧小宇力讚善於將人性的七情六慾壓抑轉化成平和安寧的表象， 演繹人物的內在情勢。在今年與一代武指袁和平一同榮獲至高榮譽「終身成就獎」的殿堂級女演 員樹木希林，更是用生命演出的表表者。她入行超過 50 年、曾參演超過 100 部電影，在 2013 年 證實患上癌症後，依然不曾放棄演出，在戲裡戲外均流露一股連歲月或疾病也無法將她磨滅的強 大意志，如同她在《甜味人間》中飾演的德江婆婆般堅毅。她常言：「無論是在生病還是健康的時 候，人總能細嚐生命。我們是從接納人生的多面而變得更堅強的。」回看華語世界，亦有強於表 達真實戲劇性的演員，像去年榮獲「亞洲電影大獎最佳電影」的《推拿》，當中女演員張磊本身就 是先天性失明人士，她在賽後曾說，「我們就是在演出自己的真實人生。」 此外，今屆入圍名單中，多部作品也一針刺在人生赤裸的傷口上，例如《燥底師兄生擒富二代》、 《寂寞的戀人啊》和《百日告別》等，都能夠引起觀眾強烈的共鳴，體會到戲假情真的味道。 This year, venerable Japanese actress Kiki Kirin will receive the Lifetime Achievement Award alongside master Hong Kong action choreographer-director Yuen Wo-ping. Kiki has an acting career of over half a century and has time and again demonstrated her masterful grasp of the actor’s craft. She can harness personal emotions to define her characters and produce powerful performances. To wit, her real-life medical predicaments in no way diminished her spirit. True to form, her positive attitude towards life perfectly reflects the granny that she plays in An. She frequently says, “Life can always be savored, whether you are ill or in good health. We gain strength by accepting that the coin has two sides.” Conveying reality in film is often attempted, but rarely successful. Films in various Asian regions have tried new approaches. Several nominees this year exemplify a certain rawness, exposing the wounds and flaws of human experience. In films such as Mountains May Depart, Veteran, Three Stories of Love, Port of Call and Zinnia Flowers, the thoughts and feelings of real life are inevitably projected within and without the movie screen. Cinema may be artifice, but audience reactions are genuine, and in these cases, even tangible. 14
AFA FUN FACTS
「最佳新演員」 之女性緣
WOMEN DOMINATION 亞洲電影大獎由第 3 屆起，設 立讓男女演員共同參予的「最 佳新演員」獎項，至今共 5 次由 女演員奪得，分別是：第 4 屆
亞洲電影大獎冷知識
原創電影 音樂王國——印度
獎座背後的低調
STATUETTE DESIGNER
INDIA – THE KINGDOM OF ORIGINAL MUSIC
在頒獎禮上，大家通常只會著 眼獎座最後花落誰家，卻忽略 了獎座的設計究竟出自誰手。 歷年來這雙低調的手，就是著
過去 9 屆「最佳原創音樂」 ，印度
名電影美術指導及服裝設計師
電影 7 次入圍，4 次獲獎，分別
張叔平，他於去年亞洲電影大 是：第 2 屆的《OM SHANTI OM》 獎憑《一步之遙》獲得「最佳 倪妮（《金陵十三釵》）、第 7 屆 （VISHAL DADLANI / SHEKHAR 造型設計」。獎座的設計概念 的齊溪（《浮城謎事》）、第 8 屆 RAVJIANI） 、第 5 屆 的《 自 殺 直 源於大廈的解構圖，張叔平原 的江疏影（《致我們終將逝去的 播現場》 （印度洋樂團） 、 第 7 初打算以閃耀光芒的銀鋼作為 青春》）及第 9 屆的張慧雯（《歸 屆 的《 戀 戀 大 吉 嶺 》 （PRITAM 製作材料，但後來因考慮到獎 來 》）， 只 有 2 次 由 男 演 員 獲 CHAKRABORTY） 及 第 9 屆 的 牌獎座大多是閃爍的東西，似 得，包括第 3 屆的余少群（《梅 《MARGARITA, WITH A STRAW》 乎不夠獨特創新。為了令亞洲 蘭芳》）及第 5 屆的趙又廷（《艋 （MIKEY MCCLEARY）。今年入圍 電影大獎顯得別樹一幟，他就 舺》）。其中第 6 至 9 屆更連續 的《美人心計》 （SANJAY LEELA 以家中擺設之雕塑為依歸，最 由中國大陸女演員奪得殊榮， BHANSALI ）和《孟買天鵝絨》的 後改用黑銅作為整個獎座的原 似乎女性緣特別旺。 （AMIT TRIVEDI）亦延續此特色。 料，再以雲石作底座，而且整 The Asian Film Awards launched 體的設計以硬線條為主，唯一 India leads in the Best Original the Best Newcomer category in 的弧線只出現在獎座的頭部， Music category, with seven its third year. Five outstanding 代表每位得獎者皆笑口常開的 nominations and four wins. This actresses have won this award, 喜樂訊息。 year’s Indian nominees for Best compared to only two actor Original Music are Sanjay Leela A little-known fact about the winners so far. Bhansali for Bajirao Mastani and AFA: the designer of the Asian 的黃明慧（《心魔》）、第 6 屆的
Amit Trivedi for Bombay Velvet.
Film Awards statuette is none other than world-renowned Hong Kong art director and c o s t u m e d e s i g n e r, W i l l i a m Chang Suk-ping, who won Best Costume Designer last year for Gone with the Bullets. He is also nominated for Best Editing as one of the editors of Port of Call this year.
第 5 屆亞洲電影大獎最佳原創音樂得獎單位「印度洋樂團」 INDIAN OCEAN WON BEST MUSIC SCORE AT THE 5TH ASIAN FILM AWARDS 15
男主角平均年齡創 新高
LIKE FINE WINE… 今年入圍的最佳男主角的平均 年齡是 50 歲，比過去 9 屆都高， 力證薑的確是愈老愈辣。 The average age of this year’s Best Actor nominees is 50, which is higher than all past editions.
入圍次數最多
WINNER OF THE MOST NOMINATIONS 宋康昊自《韓流怪嚇》獲得第 1 屆亞洲電影大獎最佳男主角 後，亦曾憑《密陽》、《風塵三 俠 決 戰 地 獄 門 》、《 飢 渴 誘 罪 》 及《逆權大狀》4 度入圍最佳男 主角。雖然之後 4 次沒有得獎， 但他的入圍次數之多，早已奠 定了這位韓國「國民影帝」於 亞洲影壇的顯赫地位。 Prominent South Korean actor Song Kang-ho, winner of the Best Actor Award at the First AFA for his performance in The Host, has subsequently been nominated four times for Best Actor, garnering the most Best Actor nominations to date.
亞洲電影大獎學院 凝聚亞洲力量的推手
ASIAN CINEMA JOINS FORCES AT THE ASIAN FILM AWARDS ACADEMY
亞洲電影大獎學院 凝聚亞洲力量的推手 ASIAN CINEMA JOINS FORCES AT THE ASIAN FILM AWARDS ACADEMY 成 立 於 2013 年 的「 亞 洲 電 影 大 獎 學 院 」 （AFA Academy） ，是亞洲電影大獎的精神延伸，以致力團結
「亞洲電影大獎學院」帶領十二位學生於去年參加釜山國際電影節。 THE AFA ACADEMY LED 12 STUDENTS TO VISIT THE BUSAN INTERNATIONAL FILM FESTIVAL LAST YEAR.
亞洲各地的電影工業和人才為目標。在 2015 年，學院 就夥同多個國際電影節及組織，舉辦了不同類型的電 影活動，包括人才交流、宣傳活動、師友計劃等，為 亞洲電影出一分力，現不妨回顧一下去年的點滴。 Developed from the unifying spirit of the Asian Film Awards, the Asian Film Awards Academy (AFA Academy) was established in 2013 to extend and strengthen the function of the Awards as a major way to develop Asian cinema, and to celebrate excellence in Asian cinema by recognizing film talents. Working with film festivals and other organizations around the world, the AFA Academy has been active in several year-
「亞洲電影大獎學院」及「柬埔寨國際電影節」於去年在金邊合辦「亞洲電影推廣策略」 座談會。 THE AFA ACADEMY AND THE CAMBODIA INTERNATIONAL FILM FESTIVAL COORGANIZED A PANEL ON ASIAN CINEMA PROMOTION STRATEGIES IN PHNOM PENH LAST YEAR.
round initiatives and strategies to not only build regional and international audiences for Asian cinema, but also cultivating and boosting industry talent as well.
16
亞洲電影大獎學院 凝聚亞洲力量的推手
ASIAN CINEMA JOINS FORCES AT THE ASIAN FILM AWARDS ACADEMY
從香港到英倫的大師交流
A HONG KONG-LONDON EXCHANGE
Established in 1947, the British Academy of Film and Television Arts (BAFTA) is known for its prestigious annual Awards, and is highly regarded by the international film community and is a major influencer of world cinema. Brought together by their common vision and commitment to film, the AFA Academy and BAFTA co-presented a masterclass by renowned Hong Kong directorproducer Dr. Johnnie To in London. The masterclass was then brought to Edinburgh by the AFA Academy and the Edinburgh International Film Festival. Supported by Create Hong Kong, the Hong Kong Film Development Fund and the Hong Kong Economic
英國的藝術及文化市場發展成熟，像創建於 1947 年的「英國電影
and Trade Office, London, the two events successfully kicked off
電視學院」 （BAFTA，原名「英國電影學院」 ），會以其年度電影獎
the Academy’s series of year-round initiatives.
項，回應當下的文藝趨勢，而業界人士亦視其頒獎的取向為行內指
Past filmmakers and luminaries that have been featured on BAFTA’s
標。惺惺相識，「亞洲電影大獎學院」近年積極與 BAFTA 溝通，並
“A Life in Pictures” series include greats such as Ang Lee, Martin
於去年在香港品牌、香港電影發展基金及香港駐倫敦經濟貿易辦事
Scorsese, Kenneth Branagh, Cate Blanchett, David Fincher, Tom
處的支持下，聯同 BAFTA 及愛丁堡國際電影節主辦大師班的一系
Hanks and Meryl Streep. As the first Hong Kong filmmaker to be
列活動，邀請了香港著名導演杜琪峯博士遠赴倫敦及愛丁堡，參與
presented in the series, Dr. To felt honored by the privilege and 「BAFTA 光影人生」舞台訪談及「愛丁堡國際電影節」分享會成為 humbled by the opportunity to engage with British audiences.
首位香港導演參與「BAFTA A Life in Pictures」，杜琪峯博士向媒體
He was quite inspired by the experience, “Although I may be
表示與有榮焉。因為此活動過去的參加者皆粒粒巨星，像李安、馬
considered an industry veteran, in no way does it mean I know
田史高西斯、簡尼夫班納、姬蒂白蘭芝、大衛芬查、湯漢斯、梅麗
everything. The world of cinema is boundless and there’s still much
史翠普等，均是影壇資深實力派，故此他認為今次能夠代表香港電
to learn. Meeting different filmmakers from around the world on
影人前往英倫交流，既感受到大眾對其多年付出的肯定，同時亦在
these occasions allows me to not only introduce Hong Kong films
活動中獲得不少啟發，「別以為我年資深就什麼都懂得，其實電影
to different audiences, but also to learn about the latest trends
世界無邊無際，需要學習的事情還有很多。通過親身參與是次活
in world cinema. These engagements have enriched my own
動，跟國際電影人及影迷交流，不但可以將香港電影與當地人分
cinematic vision and creative imagination, which makes these trips
享，自己也在過程中認識多了當下的電影熱潮，拓闊了創作的視野
even more meaningful and enjoyable.”
及想像，可謂獲益良多，是一次有意義和愉快的旅程。」 17
亞洲電影大獎學院 凝聚亞洲力量的推手
ASIAN CINEMA JOINS FORCES AT THE ASIAN FILM AWARDS ACADEMY
來自東洋的最高敬意
JAPAN’S GREAT RECOGNITION OF HONG KONG CINEMA
Established in 1985, the Tokyo International Film Festival (TIFF) is a festival of rich heritage and high standards. As one of the world’s top 12 film festivals, TIFF is also the only internationally recognized Japanese film festival. Nearly 224,000 audiences attended the 27th TIFF, and the festival boasted an advertising conversion value of JPY3.82 billion – which, along with the highly renowned TIFF
© BAFTA / JAMIE SIMONDS
Awards, gives TIFF both industry and critical heft. Recognizing the
始辦於 1985 年的「東京國際電影節」，集傳統與高規格於一身，
rising influence of Chinese cinema, TIFF and the AFA Academy
既是日本唯一國際公認的電影節，亦是世界 12 大電影節之一，譬
invited renowned Hong Kong director John Woo to give a
如「第 27 屆東京國際電影節」就有近 22.4 萬人參與，相關廣告
masterclass at Roppongi in Tokyo at the 28th TIFF. The resulting
效果換算值更達 38.2 億日元之多，足見其在業界的號召力，也印
two-hour program “In Person: John Woo” saw the master director
證每年由其授予的獎項具有極高認受性。這個影展老大哥考慮到近
sharing thoughts on cinema as well as his filmmaking career, one
年華語電影的飛騰，於是在去年提出與學院合作，在「第 28 屆東
which started in Hong Kong, continued in Hollywood and returned
京國際電影節」，邀請暴力美學大師吳宇森導演出席與學院合辦一
to Greater China.
場大師班──「In Person: John Woo」，並於去年在東京六本木舉
While in conversation with young Japanese filmmakers at the
行兩小時分享會，細談幾十年來的導演生涯及創作歷程。
masterclass, Director Woo shared fond memories of Japan. Woo
這次活動絕對別具意義，因為吳宇森向來視日本電影為靈感泉源，
has a special affiliation with Japan, as Japanese cinema has long
多位六、七十年代名導如黑澤明、小林正樹是其少時的創作啟蒙
been his source of inspiration; as a young person, he was heavily
者，加上他執導多年以來，經常與日本演員及幕後的電影人合作，
influenced by filmmakers as Kurosawa Akira and Kobayashi
又準備在來年翻拍日本國寶級演員高倉健名作《追捕》，可說與此
Masaki. He has also frequently worked with Japanese filmmakers.
地有妙不可分的緣份。所以在講座期間，當吳宇森與學生回憶起對
His upcoming feature, Manhunt, is an adaptation of a Japanese
日本的印象，以及後來在荷李活工作的經驗時，也坦言感觸良多。
novel by Nishimura Juko, which was previously adapted into a film
另外，作為東道主的東京國際電影節大會，亦隆重其事，在銀座歌
starring Takakura Ken in 1976. In honor of Woo’s contribution to
舞伎座向吳宇森及另一位日本名導山田洋次特別頒發「SAMURAI
film, the TIFF presented the SAMURAI Award to Woo alongside
賞」，為他們的無私貢獻表達敬意。
venerable Japanese filmmaker Yamada Yoji. 18
亞洲電影大獎學院 凝聚亞洲力量的推手
ASIAN CINEMA JOINS FORCES AT THE ASIAN FILM AWARDS ACADEMY
與影壇新血尋找生機
NURTURING THE NEXT GENERATION
Woo believed that cinema opened his eyes to life, aesthetics, love, friendship and the beauty of creating. As a seasoned professional, he hopes to pass this sense of value on to the next generation of filmmakers. While the master filmmaker is an embodiment of these realized aspirations, the AFA Academy is compelled to help nurture the next generation to do the same. Last year, the
在「東京國際電影節」的交流活動上，吳宇森向在場的年輕人表
Academy brought 12 students in film-related disciplines to the
示，電影讓他看到生活、美學、愛情、友誼及創作的美好，所以他
Busan International Film Festival in Korea, with the objective of
作為前輩，亦希望能將這些珍貴的價值，承傳給下一代，而這理念
letting these young Asians develop their skills and enrich their
正好與學院相同。自成立以來，學院積極表揚大師級電影工作者之
outlook, experience and network with film practitioners from around
餘，亦耗盡心思培育影壇新血，像去年它就首度與「釜山國際電影
the world. The students attended the opening and closing festival
節」合作，舉辦學生觀摩團，甄選 12 位有志投身電影行業的香港
events, talks, networking events and watched films.
學生，遠赴釜山參加一年一度的亞洲電影盛事。
While the students learned about how a professional film festival
這次旅程的內容非常豐富。一眾學生獲邀欣賞參加開幕及閉幕典
and market functioned, they also caught a glimpse of some
禮，親身踏上開幕紅地毯，一睹蒂達．史雲頓、是枝裕和、長澤雅
international film celebrities - Tilda Swinton, Kore-eda Hirokazu,
美、宋康昊、全度妍、阿比查邦．委拉瑟塔庫、拉夫．狄亞茲、
Nagasawa Masami, Song Kang-ho, Jeon Do-yeon, Apichatpong
杜琪峯、湯唯、王小帥、賈樟柯、張艾嘉及張震等國際級影星的
Weerasethakul, Lav Diaz, Johnnie To, Tang Wei, Wang Xiaoshuai,
風采；觀摩團又欣賞了《刺客聶隱娘》、《山河故人》、《華麗上班
Jia Zhangke, Sylvia Chang, Chang Chen and others. There were
族》、《海街女孩日記》、《百日告別》、《A Bigger Splash》、《STOP》
also rare opportunities for the students to see films and directors
等多齣揚威國際電影節的影片，同時參與映後分享會；此外，觀 摩團還走訪南浦洞、Centum City 等多個拍攝熱點，尋訪著名的海
that usually only travelled to film festivals. Their visitors’ map also covered popular shooting locations such as Nampo-dong, Centum
雲台 BIFF Village 及電影攤位，參與影星及導演的大型戶外宣傳，
City and Haeundae. With a varied and packed schedule, the
從中了解電影及項目市場、融資、資金籌集、買賣外國電影、尋找
students were able to have a very hands-on experience at a major
拍攝場地、藝人管理及電影特效等多個範疇的實務，透過一系列活
international film festival and learn how it plays an important role in
動，了解南韓電影業界發展，促進兩地的創意與文化交流，鼓勵人
the film industry.
們投身創意工業。 19
021
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張高翔 WRITER
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