Hong Kong movie industry suffered heavily in 2006, with only 50 films produced in total and a two- digit falling in box office, both hitting a record low. There must be some reasons behind it, Kenneth Tsang thought. 　

"Look, our movie industry is being conquered by gangsterdom," the Die Another Day and Memoirs of a Geisha actor told Xinhua in a recent exclusive interview. 　　

Over-narrowed subjects and lack of good scripts largely contribute to the slack situation, he said. Since Infernal Affairs gained huge success in both Hong Kong Film Awards and market in 2003, gangsterdom has become the most popular subject in local film production. A series of gangster movies were produced thereafter, Infernal Affairs II, III, Election I, II, Exciled, Wo Hu... And more are in coming. 　　

"That's really bad. Actually we have the bright side of the society. We have the special culture mixed with the East and the West. We have many social problems that worth probing into. They are all good subjects for movies. Unfortunately our script writers turn a blind eye to them," Tsang said. "They wouldn't write them, or they just couldn't? Who knows. Maybe they are too young to understand life." 　　

Some people say cooperating with the mainland can help Hong Kong movie industry out of its mud. Co-produced movies like Houses of Flying Daggers, A World Without Thieves, New Police Story have all profited happily. 　　

Tsang thought it may be a way, but definitely not an easy way. "Culture difference is the major problem," he said. "We have different ways of thinking, in many aspects, which makes communication very difficult when working together for a film. Anyway, it's worth trying."

He likes mainland movies, he admitted, especially those depicting country life. Some city-life-themed pictures are also good, but some are doing beautifying work, he said. 　　

When talking about Feng Xiaogang's latest movie Banquet, he could hardly hold his excitement. "I like it very much. It's perfect in vision effect." 　　

Since its premiere a couple of months ago, Banquet has received controversial critics. Some criticized it's a weirdie out of Shakespeare's Hamlet. Some sneered at its westernized, modernized and poetrified lines. 　　

"I don't think they are of any big flaws," Tsang said. "Some feelings are beyond time and borders, and we share them with the ancient and the alien. The point is how we express them. Banquet did a good job in that way, delicately unfolding Hamlet's complicated emotions through Chinese characters." 　　

He even suggested foreigners try a hand in making a western story out of Chinese classic A Dream of Red Mansions. "Why not? Maybe it turns out amazing." 　　

On the severely criticized lines, Tsang said there is nothing wrong with them." Film makers should help upgrade audience's aesthetic level. We can't stay at where we were just because we have been used to it." 　　

As more and more Chinese film makers dream of having a step in Hollywood and target at an Oscar, Tsang, who has appeared in a bunch of Hollywood big sales, warned them to be careful. "Any Chinese who wishes to stand firm in Hollywood must have a profound understanding of both western and eastern cultures. And he must have experience of living abroad because a film can hardly be made exclusively out of imagination." 　　

"Don't let vanity mislead you," he said. "Hollywood is not a holy land for every film maker. We have our own holy land, which lies beneath our feet. Let's make our own films."
 
(Xinhua News Agency November 6, 2006)