
Hong Kong films have been more influential on Hollywood films than any other international influence since the 1960's French New Wave. This influence is not new, but is accumulating to the point where a wider segment of the Hollywood movie industry and the movie-going public is growing to appreciate it - writes Patrick Gorman, Partner with Pierce, Gorman LLP.
In recent decades, famous Hollywood directors, such as Quentin Tarantino and Oliver Stone, have credited the influence of Hong Kong film styles on their works. John Woo has relocated his career to Hollywood to become one of its biggest directors. In fact, not only has John Woo's style influenced others, but his current films are Hollywood.
Crouching Tiger, Hidden Dragon: one example.
Crouching Tiger, Hidden Dragon is really only an example of one Chinese/Hong Kong film that has influenced Hollywood business and creative style as well as having achieved commercial success. The artists who have worked on CTHD are now established in the Hollywood system. Take Yuen Wo Ping in The Matrix for example, and Zhang Zhi Yi in Rush Hour II (although she is not a Hong Kong actress).
More and more Hong Kong films are being picked up for distribution in the US, such as Fulltime Killer, which is to be released theatrically in the US later this year. More Hong Kong talent seems to be appearing on American screens, and not just John Woo and Jackie Chan. Hong Kong companies like Emperor Multimedia Group and Media Asia were very active at the Cannes Film Market this year making international relationships and selling their product for distribution in the US and elsewhere around the world.
Three major Chinese films are slated for release in North America in the next few months. They are Jackie Chan's Highbinders, The Touch, starring Michelle Yeoh, and Hero, directed by Zhang Yimou. These movies are not angling for the usual art-house cinema slots or festival acclaim, but are all big budget, action-oriented movies made in English and are aimed at generating big box office numbers.
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