Cheung Sing Yim On Seven Swords of Mt Tian

Chengdu Daily, 9 Aug 2004


On August 7, the day of Seven Swords of Mt Tian TV series inauguration, this reporter conducted an interview with Cheung Sing Yim (aka Cheung Kam Yim) at the hotel he was staying. This was also the first time Cheung Sing Yim granted a formal interview with a Mainland press. Cheung Sing Yim, who is 70 years old, revealed that once Seven Swords of Mt Tian is unleashed, he will retire from showbiz. During the three hour long interview, his wife stayed by the side, serving tea and listening attentively.


On Himself

It has been ages since there's any news of you doing any works. Why are you merely serving as a producer and an artistic consultant but not director?
Cheung Sing Yim: I come only to help. It's a titular title, I have no energy to direct anymore. Once Seven Swords of Mt Tian is done, I will retire, living in seclusion.

Living in seclusion? It's a great pity to the audience.
Cheung Sing Yim: Not at all. Have to retire when old. I think a director should retire at the age of 50.

Why do you choose Seven Swords of Mt Tian as your retirement work?
Cheung Sing Yim: It has been my wish. I have always loved how the chivalry was portrayed in Liang Yu Sheng's Seven Swords of Mt Tian. I have always wanted to film it, and I had been to Xinjinag to scout locations before, but due to many reasons, had never been able to achieve it. But now, I sought Tsui Hark's help, only he has the capacity to could complete this task wonderfully. Now that he has helped me realised my dream, I have no more worries left.

What kind of director do you think Tsui Hark is?
Cheung Sing Yim: He indeed lives up to his reputation as the grandmaster of wuxia movies. His Zu: Warriors from Magic Moutain, Once Upon a Time in China, New Dragon Inn, etc, nearly all his works invented something new. Most importantly, he approaches his work with a very earnest attitude, he works for 16 hours daily, even farmers don't work so laboriously.


On Jet Li

Two decades ago, Shaolin Temple, which you directed, made Jet Li a shot to stardom. But he was still a newcomer then, were there any commercial considerations for putting him in the lead?
Cheung Sing Yim: I have always been accustomed to employing new blood to stimulate the film industry. And it had been proven so: when Shaolin Temple was released in Hong Kong, the audiences remarked, "Finally, there is a kungfu star from China."

Why did you choose Jet Li?
Cheung Sing Yim: At that time, we were exploring wuxia movies, hoping to made Shaolin Temple into an archetypal Chinese wuxia movie. Basically, we didn't use camera tricks, only employed long cuts and wide shots. Jet Li was very handsome, and had always emerged as a wushu champions over many years. He carried himself very well during audition, he had the makings of a big star. I made him the male lead on the spot.

Why didn't you collaborate again after that?
Cheung Sing Yim: After filming Shaolin Temple, I told him it's of no good to follow one single director forever. Then Tsui Hark spotted him, and created an all new role for him in Once Upon a Time in China. When I wanted to work with him again, I couldn't afford his pay anymore, for he commanded HK$ 1.5 million.

Still, there were studios that hired him.
Cheung Sing Yim: Actually, there was a long period of time when Hong Kong had no place for Jet Li, that's why he was forced to go to Hollywood. Then he could only work in low-budget US movies. The Americans invited you to do films to learn your kungfu. After they have learned it, they would cast you aside. And so, when Zhang Yimou invited him to do Hero, he returned.

Do you still keep in touch with each other?
Cheung Sing Yim: He respects me very much. Whenever we run into each other, he would express his gratitude, "Without you, I wouldn't have gone so far today." As such, he would invite me to the premiere of his moves, such as Hero's premiere, which I attended.


On Zhang Yimou and Other Wuxia Movies

What do you think of Zhang Yimou's wuxia?
Cheung Sing Yim: I have seen Hero, he glamorised wuxia like dragonfly skimming over the water. The picture is very beautiful, but the story is mundane.

Have you watched House of Flying Daggers recently?
Cheung Sing Yim: No, there is no necessity. Once is enough, as far as his wuxia movie is concerned. I am very obstinate, I watched Hero, being drawn by its advertisement. His wuxia is too mythical, even if he had won the Oscars, I would still find it ludicrous.

What makes a good wuxia movie?
Cheung Sing Yim: Real fights, exciting special effects, gorgeous cinematography, most importantly a great story.
 

Do you like Jackie Chan movies?
Cheung Sing Yim: His earlier works are great. But the audience's tastes change very fast, and so do their idols. For example, Around the World in 80 Days were taken down in most cinemas in Hong Kong after 3 days.

You are disappointed with today's wuxia movies?
Cheung Sing Yim: Can't say I'm disappointed, rather the audience needs new idols, as such I always advocate new blood. But I believe wuxia's lifespan is eternal.
 

On Wuxia Novelists

It seems that you are always so passionate about adapting Liang Yu Sheng novels.
Cheung Sing Yim: Jin Yong (Louis Cha) and Liang Yusheng are my seniors. It was by chance that they wrote wuxia novels. Jin Yong was compelled by the press to pen Romance of the Book and Sword

Huh?
Cheung Sing Yim: In 1952, the White Crane Sect and Taichi Sect had a contest. New Evening Paper, invited Dagong Paper's Liang Yusheng, a wuxia fan, to write a serialised novel. This was how Long Hu Dou Jing Hua was born, unexpectedly, the novel became very popular. New Evening Paper's Jin Yong had also seen that day's contest, and was forced to write story everyday. This serial was later published as novel Romance of Book and Sword. Interestingly, the cinematographer Chen Jia Luo in our company became the name of the protagonist in the novel.

Why didn't you adapt Jin Yong novels?
Cheung Sing Yim: Jin Yong novels have been adapted countless times, again and again, into teleplays, and they have many investors. I have my own pursuits and don't wish to repeat what others had done.

Between Jin Yong and Liang Yu Sheng, whose works do you admire more?
Cheung Sing Yim: They have two different styles, I like both. Jin Yong novels are full of twists, and the protagonists have shortcomings. Liang Yusheng novels lend a historic feel, and mostly relate to eternal triangles. Comparatively, I worship Liang Yu Sheng more, he's my idol.

How's Liang Yu Sheng's health?
Cheung Sing Yim: He just underwent an operation in Australia and is convalescing there. He told me he would return to Hong Kong in November. When Seven Swords of Mt Tian moves location to Hengdian, Hangzhou, he would pay the production a visit. This is the first time Seven Swords Descend Mt Tian is being adapted for teleplay. He has been very concerned about it.
 

Background on Cheung Sing Yim

From Zhejiang's Ningbo. Born in June 1934. Completed high school education. 1957, joined Great Wall Films. Worked as editor, to assistant director, to director.

Main works: 1960 co-directed Sweetheart with Li Qi Ming. 1966, directed the famous Jade Bow. 1982, filmed Shaolin Temple, being hailed as the forerunner in creating "colour wuxia century." Subsequently, his other works Kids of Shaolin, White Hair Demoness and Master of Taichi won him the title of wuxia movie grandmaster in people's hearts. 2004, works in Seven Swords of Mt Tian TV series as the producer and artistic consultant, his last work before retirement.

[ Main ]