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籌 備 2 年 耗 資 1 億 5 千 萬 暑 期 鉅 獻
奧 斯 卡 金 像 獎 得 主 鮑 德 熹 導 演
楊 紫 瓊 鍾 再 思 監 製
楊 紫 瓊 班 卓 別 靈 李 察 若 思 博 張 卓 楠 主 演
天 脈 傳 奇
The Touch
浩 瀚 電 影 娛 樂 有 限 公 司 • 天 津 電 影 製 片 廠 出 品
中 國 電 影 合 作 製 片 公 司 協 助 拍 攝
電 影 神 話 有 限 公 司 • 騰 達 國 際 娛 樂 股 份 有 限 公 司 聯 合 製 作
ARUZE CORPORATION 協 助 製 作
嘉 樂 影 片 發 行 有 限 公 司 榮 譽 發 行
楊 紫 瓊 • 鍾 再 思 誠 意 貢 獻
鮑 德 熹 電 影
楊 紫 瓊 班 卓 別 靈 主 演
【 天 脈 傳 奇 】 李 察 若 思 博 郎 雄 張 卓 楠 王 宇 婕 登 谷 克 曾 江 艾 孟 紐 藍 斯
海 俊 傑 聯 合 主 演
趙 文 王宣 友 情 主 演
朱 嘉 懿 製 作 策 劃
陳 顧 方 服 裝 設 計
莊 志 良 美 術 指 導
巴 素 保 利 杜 維 斯 作 曲
郭 振 峰 動 作 指 導
馬 素 哈 菲 剪 輯
鮑 德 熹 攝 影 指 導
亞 洲 傳 奇 有 限 公 司 數 碼 特 技
楊 紫 瓊 黃 寶 雲 岡 田 和 生 聯 合 出 品 人
鍾 再 思 韓 宏 飛 出 品 人
鍾 再 思 楊 紫 瓊 鮑 德 熹 故 事
國 度 卡 邦 與 塞 克 編 劇
楊 紫 瓊 鍾 再 思 高 鳳 俊 監 製
鮑 德 熹 導 演
8 月 1 日 奪 寶 行 動
《 天 脈 傳 奇 》 故 事 大 綱
在 一 個 非 常 時 期 ， 敦 煌 的 僧 人 把 舍 利 子 收 藏 起 來 - - 這 是 佛 教 中 聖 僧 火 化 後 留 下 的 堅 固 子 ， 具 有 聖 僧 的 精 髓 。 為 了 保 護 這 件 稀 世 寶 物 ， 僧 人 們 把 衪 安 置 在 一 個 一 般 人 到 不 了 的 地 方 。 然 而 ， 這 寶 物 命 定 有 一 天 會 重 現 世 上 ， 為 了 確 保 寶 物 得 以 保 存 ， 僧 人 求 助 於 一 個 雜 技 員 家 族 。 數 百 年 來 ， 這 個 家 族 一 直 世 代 相 傳 著 他 們 的 家 傳 絕 技 ， 來 等 待 完 成 使 命 。
在 今 日 的 青 島 。 白 嫣 飛 ( 楊 紫 瓊 飾 ) 和 弟 弟 白 躍 童 ( 張 卓 楠 飾 ) - 這 個 雜 技 家 族 的 最 後 遺 裔 - 現 在 是 一 個 雜 技 團 的 成 員 ， 巡 迴 各 地 演 出 ， 以 出 類 拔 萃 和 意 想 不 到 的 身 手 為 觀 眾 所 喝 采 和 愛 戴 。
一 天 ， 亞 歷 ( 班 卓 別 靈 飾 ) ， 嫣 飛 的 舊 情 人 突 然 出 現 ， 帶 來 了 一 塊 陶 瓷 佩 -- 「 敦 煌 之 心 」 -- 它 能 解 開 寶 藏 之 謎 ， 揭 示 尋 找 舍 利 子 傳 說 的 線 索 ...... 於 是 ， 他 們 一 起 踏 上 了 這 個 充 滿 荊 棘 的 旅 程 ， 追 尋 曾 由 她 祖 先 保 護 的 神 秘 寶 藏 ， 及 被 一 個 為 達 目 的 不 擇 手 段 的 無 情 富 商 -- 卡 爾 ( 李 察 若 思 博 飾 ) - 尾 隨 不 捨 。
由 青 島 街 頭 追 逐 至 敦 煌 大 漠 ， 最 終 誰 能 逃 過 保 衛 舍 利 子 的 重 重 機 關 ， 奪 得 寶 藏 呢 ？ 七 百 多 年 來 ， 人 們 一 直 等 待 這 個 時 刻 的 來 臨 ...... 這 是 一 個 追 尋 、 動 作 和 冒 險 之 旅 ...... 這 是 一 刻 與 浪 漫 的 接 觸 ......
這 是 一 次 與 大 自 然 的 親 炙 ...... 這 就 是 《 天 脈 傳 奇 》 ......
角 色 介 紹
白 嫣 飛 ( 楊 紫 瓊 飾 )
美 麗 、 自 信 而 意 志 堅 強 的 白 嫣 飛 來 自 一 個 雜 技 世 家 。 她 繼 承 了 家 族 的 傳 統 , 與 弟 弟 白 躍 童 ( 張 卓 楠 飾 ) 成 為 極 受 歡 迎 的 " The Touch " 表 演 雜 技 人 。 深 信 自 己 的 家 族 與 陶 瓷 佩 「 敦 煌 之 心 」 有 著 極 大 的 關 連 ， 白 嫣 飛 決 不 惜 一 切 去 保 衛 它 。 過 程 中 ， 更 與 自 己 的 舊 情 人 亞 歷 ( 班 卓 別 靈 飾 ) 共 度 患 難 ， 重 新 認 識 對 方 。
亞 歷 ( 班 卓 別 靈 飾 )
亞 歷 是 白 嫣 飛 的 舊 情 人 。 性 格 膽 小 、 怕 事 ， 本 是 一 個 悠 手 好 閒 、 不 務 正 業 之 徒 ， 意 外 地 發 現 「 敦 煌 之 心 」 後 ， 便 去 尋 求 白 嫣 飛 的 協 助 ， 從 而 令 他 發 現 及 領 略 人 生 中 最 重 要 的 事 情 。
卡 爾 ( 李 察 若 思 博 飾 )
卡 爾 是 一 個 為 奪 心 頭 愛 而 不 擇 手 段 的 收 藏 家 。 他 將 手 下 視 為 棋 子 玩 弄 在 自 己 的 手 中 。 他 最 新 的 目 標 是 「 敦 煌 之 心 」 ， 為 此 他 可 能 要 賠 上 生 命 中 最 重 要 的 東 西 。
白 躍 童 ( 張 卓 楠 飾 )
白 躍 童 為 白 嫣 飛 的 弟 弟 ， 自 小 已 備 受 姊 姊 的 寵 護 。 為 証 明 自 己 已 成 長 ， 他 決 意 與 女 友 莉 莉 ( 王 宇 婕 飾 ) 到 敦 煌 尋 找 「 敦 煌 之 心 」 ， 誰 知 卻 因 此 而 險 闖 禍 。
敦 煌 喇 嘛 ( 郎 雄 飾 )
敦 煌 喇 嘛 平 常 的 身 份 是 市 集 紀 念 品 檔 攤 店 主 ， 但 事 實 上 他 有 一 個 重 要 及 神 聖 的 任 務 ： 為 白 嫣 飛 及 白 躍 童 提 供 揭 開 天 脈 傳 奇 這 個 神 話 的 線 索 。 可 惜 ， 就 在 提 供 線 索 之 前 的 一 刻 …
平 ( 曾 江 飾 )
平 是 白 嫣 飛 姊 弟 父 親 的 世 交 ， 自 他 們 的 父 親 去 世 後 ， 他 便 開 始 照 顧 姊 弟 兩 人 。 他 是 雜 技 團 內 最 年 長 的 成 員 ， 德 高 望 重 ， 備 受 尊 重 。
導 演 / 攝 影 指 導 - 鮑 德 熹 (Peter Pau)
奧 斯 卡 金 像 得 主 鮑 德 熹 是 世 界 頂 尖 攝 影 指 導 之 一 。 1983 年 肆 業 於 美 國 三 藩 市 藝 術 學 院 電 影 系 ， 於 90 年 代 曾 導 演 《 爵 士 駕 到 》 和 《 霧 都 情 仇 》 。 他 多 次 與 著 名 導 演 合 作 ， 包 括 吳 宇 森 的 《 喋 血 雙 雄 》 ； 徐 克 的 《 反 擊 王 》 、 《 花 月 佳 期 》 和 《 金 玉 滿 堂 》 ； 于 仁 泰 的 《 白 髮 魔 女 傳 》 、 《 夜 半 歌 聲 》 、 《 五 行 戰 士 》 和 《 娃 鬼 回 魂 》 ； 與 及 PATRICK LUSSIER 的 《 夠 僵 人 魔 》 。 1999 年 他 與 李 安 合 作 拍 攝 《 臥 虎 藏 龍 》 ， 他 以 其 詩 般 流 麗 及 眩 目 的 光 影 傑 作 ， 成 為 首 位 香 港 攝 影 指 導 奪 得 美 國 奧 斯 卡 金 像 獎 及 其 他 六 個 主 要 影 評 人 協 會 的 「 最 佳 攝 影 」 殊 榮 。 除 此 以 外 ， 他 狂 18 年 來 拍 攝 的 32 齣 電 影 中 ， 總 共 獲 得 12 次 電 影 獎 項 提 名 ， 其 中 三 次 獲 香 港 電 影 金 像 獎 「 最 佳 攝 影 獎 」 。
監 製 -- 鍾 再 思 (Thomas Chung)
持 有 英 國 執 業 會 計 師 牌 照 的 鍾 再 思 ， 曾 出 任 寰 亞 綜 藝 集 團 的 執 行 董 事 。 他 對 電 影 製 作 及 發 行 有 多 年 經 驗 ， 曾 擔 任 多 套 票 房 大 熱 電 影 ， 包 括 《 紫 雨 風 暴 》 、 《 半 支 煙 》 、 《 公 元 二 千 》 、 《 心 動 》 及 《 特 警 新 人 類 》 系 列 等 的 監 製 。 他 曾 獲 得 CINEASIA 「 2000 年 最 佳 監 製 」 一 獎 。 他 亦 有 二 十 年 的 投 資 經 驗 ， 當 中 十 年 是 在 娛 樂 及 電 訊 行 業 進 行 合 併 及 收 購 的 計 劃 。 他 曾 於 衛 視 集 團 旗 下 Media Assets 公 作 ， 於 1993 年 策 劃 收 購 五 百 五 十 部 電 影 ， 是 華 語 電 影 版 權 首 次 最 大 型 的 易 手 。
監 製 / 演 員 -- 楊 紫 瓊 (Michelle Yeoh)
國 際 知 名 演 員 及 亞 洲 首 席 動 作 女 演 員 ， 曾 在 香 港 參 與 演 出 超 過 20 部 電 影 ， 包 括 ： 《 皇 家 師 姐 》 、 《 警 察 故 事 III 》 、 《 東 方 三 俠 》 、 《 超 級 計 劃 》 、 《 阿 金 》 、 《 宋 家 皇 朝 》 及 《 臥 虎 藏 龍 》 等 。 她 在 1997 年 更 因 參 與 演 出 荷 里 活 電 影 《 鐵 金 剛 之 明 日 帝 國 》 (Tomorrow Never Dies) 而 為 全 球 觀 眾 所 認 識 。 她 曾 憑 《 宋 家 皇 朝 》 獲 香 港 電 影 金 像 獎 提 名 「 最 佳 女 配 角 」 ， 而 她 在 《 臥 虎 藏 龍 》 的 演 出 更 獲 金 馬 獎 及 英 國 BAFTA 提 名 「 最 佳 女 主 角 」 。 楊 紫 瓊 更 分 別 在 1999 年 於 CINEASIA 獲 得 「 最 傑 出 演 員 獎 」 及 2001 年 於 美 國 SHOW WEST 獲 得 「 國 際 藝 人 獎 」 。
拍 罷 《 鐵 金 剛 之 明 日 帝 國 》 及 《 臥 虎 藏 龍 》 後 ， 多 間 荷 里 活 片 商 不 斷 招 手 ， 誠 邀 楊 紫 瓊 接 拍 《 鐵 金 剛 》 系 列 及 《 廿 二 世 紀 殺 人 網 絡 續 集 》 等 等 ， 但 楊 紫 瓊 決 意 留 港 發 展 ， 製 作 及 拍 攝 高 質 素 電 影 予 觀 眾 欣 賞 。 2000 年 ， 她 成 立 自 己 的 製 作 公 司 「 電 影 神 話 」 ， 銳 意 吸 納 優 秀 的 編 劇 及 導 演 製 作 高 質 素 的 電 影 。 《 天 脈 傳 奇 》 便 是 楊 紫 瓊 公 司 首 部 製 作 的 電 影 。
演 員 -- 班 卓 別 靈 (Ben Chaplin)
英 國 演 員 。 1996 年 拍 攝 電 影 《 眾 裡 尋 她 兜 錯 路 》 (The Truth About Cats and Dogs) ， 鋒 芒 初 露 。 其 後 ， 他 繼 續 在 英 國 發 展 舞 台 劇 及 電 視 的 事 業 。 不 久 ， 他 接 拍 《 狂 林 戰 曲 》 (The Thin Red Line) ， 其 精 彩 的 演 出 為 他 帶 來 更 高 的 知 名 度 ， 讓 美 國 觀 眾 留 下 深 刻 印 象 。
成 長 於 英 國 Hampshire 的 班 卓 別 靈 16 歲 時 已 開 始 其 舞 台 生 涯 。 其 後 他 在 著 名 的 Guildhall School of Music and Drama 受 訓 更 出 演 多 個 製 作 。 之 後 ， 他 在 BBC 電 視 劇 中 演 出 。
班 卓 別 靈 曾 參 演 多 部 電 影 ， 並 曾 與 多 位 荷 里 活 一 級 女 星 合 作 ， 包 括 與 奧 馬 花 瑪 合 演 的 《 眾 裡 尋 她 兜 錯 路 》 (The Truth About Cats and Dogs) 、 與 露 雲 娜 華 特 合 演 的 《 勾 魂 追 兇 》 (Lost Souls) 、 與 妮 哥 潔 曼 合 演 的 《 生 日 女 郎 》 (Birthday Girl) 及 與 珊 迪 娜 布 洛 合 演 的 新 作 《 殺 人 習 作 》 (Murder By Numbers) 。
演 員 -- 李 察 若 思 博 (Richard Roxburgh)
澳 洲 著 名 電 影 及 舞 台 劇 演 員 。 1986 年 畢 業 於 澳 洲 戲 劇 學 院 NIDA (National Institute of Dramatic Arts) 的 李 察 若 思 博 獲 無 數 獎 項 及 提 名 ， 包 括 澳 洲 電 影 學 院 (Australian Film Institute) 舞 台 ， 電 影 及 電 視 提 名 及 最 佳 演 員 獎 。 他 亦 憑 " Doing Time For Patsy Cline " 榮 獲 澳 洲 影 評 圈 (Film Critics ' Circle of Australia) 的 最 佳 男 演 員 獎 。
李 察 若 思 博 曾 主 演 電 影 包 括 ： 與 妮 哥 潔 曼 合 作 的 康 城 影 展 閉 幕 電 影 《 情 陷 紅 磨 坊 》 (Moulin Rouge) 、 《 職 業 特 工 隊 ２ 》 (Mission Impossible 2) 、 《 In The Winter Dark 》 ， 《 Thank God He Met Lizzie 》 、 《 Doing Time For Patsy Cline 》 及 《 Oscar And Lucinda 》 等 等 。
2001 年 康 城 影 展 閉 幕 夜 中 ， 楊 紫 瓊 與 李 察 若 思 博 並 排 而 座 ， 他 沒 料 到 在 《 情 陷 紅 磨 坊 》 中 的 精 湛 演 技 能 獲 得 楊 紫 瓊 垂 青 ， 並 獲 邀 請 他 參 演 《 天 脈 傳 奇 》 ， 飾 演 奸 角 卡 爾 。
編 劇 -- 卡 邦 (Julien Carbon) 、 國 度 (Laurent Courtiaud) 與 塞 克 (J.D. Zeik)
卡 邦 與 國 度 生 於 法 國 , 他 倆 自 1996 年 開 始 便 於 香 港 電 影 行 內 工 作 , ， 合 作 的 第 一 部 香 港 電 影 《 暗 戰 》 贏 取 了 2000 年 金 紫 荊 獎 最 佳 編 劇 ， 並 獲 提 名 香 港 電 影 金 像 獎 。 他 倆 亦 曾 與 香 港 多 個 著 名 導 演 ， 如 王 家 衛 及 徐 克 合 作 。 最 近 與 徐 克 合 作 的 電 影 是 《 黑 俠 II 》 。 今 次 他 們 創 作 《 天 脈 傳 奇 》 劇 本 再 加 添 一 個 合 作 伙 伴 ─ 塞 克 (J.D. Zeik) 。 塞 克 曾 創 作 荷 里 活 賣 座 電 影 ， 由 羅 拔 狄 尼 路 主 演 的 《 浪 人 》 (Ronin) 。
動 作 指 導 -- 郭 振 鋒 (Philip Kwok)
郭 振 鋒 ， 又 名 郭 追 ， 自 小 已 學 習 中 國 武 術 。 他 不 凡 的 功 夫 身 手 ， 令 他 有 機 會 在 香 港 最 具 影 響 力 的 製 片 廠 之 一 ─ 邵 氏 兄 弟 製 片 廠 工 作 。 郭 振 鋒 最 初 是 當 特 技 人 及 武 術 指 揮 的 工 作 ， 及 後 也 當 上 武 打 明 星 。 當 功 夫 片 衰 落 的 時 候 ， 他 曾 主 演 及 擔 任 一 些 動 作 片 的 動 作 指 導 ， 如 《 Big Heat 》 。 他 最 為 觀 眾 所 熟 悉 的 電 影 是 有 份 演 出 及 擔 任 武 術 指 導 是 由 吳 宇 森 執 導 的 《 Hard Boiled 》 。 1997 年 ， 他 憑 擔 任 楊 紫 瓊 及 皮 理 斯 布 士 南 主 演 的 《 鐵 金 剛 之 明 日 帝 國 》 動 作 指 導 而 打 入 國 際 市 場 。 其 後 ， 他 亦 為 擔 任 法 國 片 《 狙 魔 特 工 》 (Brotherhood Of The Wolf) 的 動 作 指 導 。
作 曲 -- 巴 素 保 利 杜 維 斯 (Basil Poledouris)
《 天 脈 傳 奇 》 不 但 著 重 畫 面 上 的 形 像 ， 音 樂 方 面 的 配 合 亦 力 臻 完 美 ， 由 國 際 知 名 的 艾 美 獎 最 佳 配 樂 得 主 巴 素 保 利 杜 維 斯 操 刀 。
巴 素 保 利 杜 維 斯 答 應 為 《 天 脈 傳 奇 》 配 樂 後 ， 便 開 始 加 深 對 中 國 樂 器 的 認 識 。 他 重 新 認 識 多 種 中 國 樂 器 ， 包 括 琵 琶 、 二 胡 、 古 箏 等 的 音 質 ， 希 望 將 它 們 的 獨 有 音 質 在 電 影 內 發 揮 得 淋 漓 盡 致 。 而 且 ， 本 片 亦 有 幸 請 來 北 京 管 絃 樂 團 合 作 。 混 音 及 錄 音 工 作 亦 盡 善 盡 美 ， 在 荷 里 活 最 大 的 錄 音 室 進 行 。 此 錄 音 室 的 設 備 及 規 模 全 屬 一 級 ， 多 齣 國 際 級 巨 片 ， 如 《 星 戰 前 傳 》 (Star War) 、 《 人 工 智 能 》 (A.I.) 、 《 侏 羅 紀 公 園 》 (Jurassic Park) 的 混 音 工 作 也 在 此 進 行 。
巴 素 保 利 杜 維 斯 為 電 影 配 樂 超 過 二 十 多 年 ， 這 位 大 師 將 澎 湃 的 感 情 溶 入 在 優 美 的 旋 律 當 中 ， 創 作 了 大 量 不 同 類 型 的 音 樂 。 而 且 他 的 才 華 亦 奠 定 了 他 跟 多 位 導 演 ， 如 保 羅 獲 荷 雲 (Paul Verhoeven), 約 翰 米 利 亞 斯 (John Milius), 蘭 度 里 薩 (Randal Kleiser) 合 作 無 間 的 關 係 。
巴 素 保 利 杜 維 斯 從 1973 年 開 始 至 今 ， 曾 為 接 近 五 十 套 電 影 配 樂 ， 包 括 科 幻 電 影 《 鐵 甲 威 龍 》 (Robocop) 、 《 星 河 戰 隊 》 (Starship Troopers) ； 動 作 電 影 《 追 擊 赤 色 十 月 》 (The Hunt for Red October) 及 《 絕 地 危 機 》 (Breakdown) ； 劇 情 片 《 青 春 珊 瑚 島 》 (The Blue Lagoon) 及 《 人 魚 的 傳 說 》 (Free Willy) 。 他 不 但 將 電 影 的 情 感 重 心 拿 捏 準 確 ， 亦 擅 長 豐 富 音 樂 的 原 素 ， 如 在 《 追 擊 赤 色 十 月 》 裏 的 配 樂 裏 ， 加 入 了 俄 國 國 歌 ， 令 這 部 驚 慄 片 加 添 了 史 詩 式 的 氣 派 。 另 外 ， 他 亦 擅 長 以 管 弦 樂 團 為 電 影 配 樂 。
他 的 成 就 遠 不 止 於 電 影 配 樂 方 面 ， 1989 年 為 電 視 劇 Lonesome Dove 配 樂 ， 為 他 帶 來 艾 美 獎 最 佳 配 樂 的 榮 譽 。 1996 年 ， 他 更 是 少 數 的 電 影 配 樂 者 被 委 任 為 奧 林 匹 克 運 動 會 編 寫 音 樂 ， 開 幕 典 禮 上 所 奏 的 舞 曲 名 為 " The Tradition of the Games " 的 便 是 他 的 傑 作 。
巴 素 保 利 杜 維 斯 七 歲 便 開 始 學 習 鋼 琴 ， 直 至 高 中 前 的 理 想 都 是 成 為 演 奏 會 的 鋼 琴 家 ， 從 沒 有 想 過 接 觸 現 代 音 樂 。 後 來 ， 他 接 觸 了 沒 有 任 何 規 限 的 電 影 音 樂 ， 認 定 這 更 能 滿 足 他 天 馬 行 空 的 創 造 力 。 於 是 ， 他 進 了 南 加 州 大 學 的 電 影 學 院 ， 同 學 亦 是 現 在 電 影 界 的 傑 出 人 物 ， 包 括 佐 治 路 加 斯 (George Lucas) 、 約 翰 米 利 亞 斯 (John Milius) 及 蘭 度 里 薩 (Randal Kleiser) 。
關 於 製 作
佈 景
雜 技 團 -- 電 影 的 第 一 幕 最 具 決 定 性 。 為 了 令 觀 眾 對 電 影 的 視 覺 效 果 留 下 深 刻 印 象 ， 設 計 師 將 一 個 巨 大 的 舞 台 綴 以 令 人 目 絃 的 紫 外 光 ， 希 望 可 襯 托 " The Touch " 的 表 演 及 白 嫣 飛 的 神 秘 背 景 。
佈 置 這 個 堂 皇 的 佈 景 殊 不 簡 單 ， 其 中 一 幕 拍 攝 圍 繞 舞 台 的 三 十 六 面 鏡 ( 每 塊 一 米 闊 乘 三 米 高 ) 同 時 轉 動 的 鏡 頭 ， 便 需 要 聘 請 數 位 機 械 工 程 系 的 教 授 設 立 一 套 電 腦 程 式 ， 以 計 算 及 協 調 那 三 十 六 面 後 的 摩 打 同 步 轉 動 。
喇 嘛 之 家 -- 和 平 、 簡 單 、 寧 靜 、 神 秘 ， 充 滿 宗 教 色 彩 ， 似 乎 沒 有 足 夠 的 形 容 詞 可 表 達 一 個 喇 嘛 之 家 給 我 們 的 感 覺 ， 所 以 在 構 思 這 個 佈 景 時 更 需 要 深 思 熟 累 。 外 觀 看 來 ， 這 個 喇 嘛 之 家 跟 敦 煌 其 他 的 村 屋 模 式 無 異 ， 藉 以 反 映 這 個 敦 煌 喇 嘛 ( 郎 雄 飾 ) 作 小 店 店 主 的 身 份 。 踏 入 庭 院 ， 就 好 像 開 始 進 入 他 的 私 人 世 界 。 而 客 廳 ， 則 佈 置 以 敦 煌 當 地 及 西 藏 的 傢 具 及 裝 飾 。 門 檻 之 後 ， 是 祈 禱 室 ， 是 喇 嘛 等 待 、 祈 禱 及 死 亡 的 地 方 。
拍 完 郎 雄 流 著 道 具 血 漿 、 躺 在 家 中 的 鏡 頭 之 後 ， 下 一 個 鏡 頭 要 用 power pot 從 另 一 個 角 度 拍 他 維 持 同 樣 姿 勢 。 不 過 ， 首 先 要 做 的 是 將 一 幅 6 米 乘 6 米 的 牆 拉 倒 。 但 當 工 作 人 員 要 拆 牆 的 時 候 ， 郎 雄 竟 然 不 怕 危 險 ， 依 然 躺 在 地 上 ， 並 說 ： 「 要 是 我 稍 為 動 一 動 ， 我 的 血 漿 流 動 的 連 續 性 便 會 受 影 響 。 」 他 的 專 業 精 神 確 實 值 得 大 家 敬 佩 。
十 五 分 鐘 的 工 程 , 製 造 了 大 量 沙 石 塵 土 不 斷 在 現 場 飛 揚 , 其 他 工 作 人 員 便 圍 著 他 , 免 他 受 沙 石 擊 倒 。
卡 爾 之 家 -- 卡 爾 之 家 是 戲 中 最 優 雅 ， 獨 一 無 二 ， 複 雜 及 人 工 化 的 空 間 。 卡 爾 是 一 名 收 藏 家 ， 專 門 收 藏 世 上 最 罕 有 及 名 貴 的 藝 術 品 。 他 的 家 就 像 一 個 私 人 博 物 館 ， 不 過 他 從 不 滿 足 於 自 己 所 擁 有 的 。 外 表 看 來 ， 他 的 家 就 像 青 島 其 他 建 築 一 樣 。 室 內 空 間 方 面 ， 設 計 師 用 了 大 量 的 玻 璃 ， 不 氧 化 鋼 ， 鋼 線 及 透 光 建 材 ， 以 方 便 與 其 他 色 彩 繽 紛 的 收 藏 品 及 裝 飾 品 配 合 。
為 了 盡 量 利 用 真 實 室 外 環 境 及 天 然 光 ， 整 個 景 也 不 在 錄 影 廠 搭 建 。 取 而 代 之 ， 整 個 景 也 在 空 曠 的 戶 外 搭 建 。 最 初 來 到 搭 景 之 地 ， 只 有 長 及 腰 的 草 ， 沒 有 路 ， 沒 有 水 ， 而 土 地 亦 不 適 宜 承 受 建 築 。 此 景 是 搭 在 二 米 地 台 之 上 。 為 確 保 餘 百 工 作 人 員 都 能 安 全 踏 足 其 上 ， 電 影 公 司 特 聘 請 工 程 師 精 密 計 算 結 構 之 負 荷 力 。
Han Entertainment / Tianjin Film Studio Present
In Affliation With China Film Co-Production Corportation
A Mythical Films / Pandasia Entertainment Production
In Association With Aruze Corporation
A Michelle Yeoh & Thomas Chung Presentation
A Peter Pau Film
The Touch
Michel Yeoh Ben Chaplin "The Touch"
Richard Roxburgh
Sihung Lung
Brandon Chang
Margaret Wang
Dane Cook
Kennneth Tsang
Emmanuel Lanzi
Gabriel Harrison
Winston Chao as Yin's Father
Casting by Mindy Marin C.S.A. & Amanda Harding
Associate Producer Julia Chu
Costume Designer Shirley Chan
Production Designer Thomas Chong
Music by Basil Poledouris
Action Choreographer Philip Kwok
Edited by Marshall Harvey
Director of Photography Peter Pau
Digital Effects by Asia Legend Limited
Co-Executive Producers Michelle Yeoh Helen Pao Yun Huang Kazuo Okada
Executive Producers Thomas Chung Han Hong Fei
Story by Thomas Chung Michelle Yeoh Peter Pau
Written by Laurent Courtiaud Julien Carbon & J.D. Zeik
Produced by Michelle Yeoh Thomas Chung Gao Fing Jun
Directed by Peter Pau
1 August 2002 Opens
www.thetouchmovie.com
ABOUT THE STORY
In a time of great danger, the Monks of Dun Huang hid the Sharira -- a Relic purported to contain the pure essence of a Holy Man in the Buddhist religion. To protect this greatest of treasures, it was placed where no ordinary human being would ever be able to reach. However, it is destined to happen that someday the Sharira will be recovered. To ensure that it could be retrieved when such time came, the Monks turned to a family of acrobats. For hundreds of years this family has trained, passing on the skills required to perform the ultimate leap when the time is at hand.
In modern Qing Dao, Yin (Michelle Yeoh) and her brother Tong (Brandon Chang) are the last heirs in this long lineage of acrobats. Being circus performers, they travel throughout the world, entrancing audiences with their stunningly beautiful gymnastic performance. One day, Eric (Ben Chaplin), a man from Yin's past shows up with a Medallion-- the Heart of Dun Huang--a key to unlock the secrets, a clue to unveil the legend of the Sharira…Together they embark on a hazardous journey to rediscover what her ancestors once protected. Following closely on their trail is Karl (Richard Roxburgh), a merciless, unscrupulous rich man who will stop at nothing to get his hands on the valuable treasures.
The quest and chase take them from the streets of Qing Dao to the breathtakingly beautiful deserts of Dun Huang. Who will eventually evade the deadly traps that protect the treasures and retrieve the Sharira? For over seven hundred years people have been waiting for this moment…..
A journey of discoveries, action and adventure…
A touch of romance…
The Touch…
ABOUT THE CHARACTERS
Yin (BY MICHELLE YEOH)
A beautiful, confident and strong willed woman in her early thirties. The heir to a long line of acrobats and leader of a popular circus. A physically gifted performer.
Eric (BY BEN CHAPLIN)
A good-looking and charismatic man in his thirties. A man from Yin's past. He excels at taking things, but in the quest for treasure he discovers a greater value in life.
Tong (BY BRANDON CHANG)
Yin's younger brother. Late teens, good-looking and a brilliant acrobat. He lives in the guidance of his sister, eager to prove himself and yet he is not as much of a grown-up as he thinks he is.
Karl (BY RICHARD ROXBURGH)
A good-looking and ruthless man in his late thirties. A millionaire who will stop at nothing to get what he wants, in this case, a long lost treasure. People are nothing more than pawns in a game and for him to play with.
Lily (BY MARGARET WANG)
A very pretty Chinese girl in her late teens. A graceful contortionist in the circus. Tong's lover.
Monk (BY SIHUNG LUNG)
The Monk has been waiting for generations for that moment, the moment when the legend and the myth of "The Touch" is revealed. That moment is now… When he would provide the necessary clues to Yin and Tong… But…
Ping (BY Kenneth Tsang)
The oldest member in the circus family. An old friend of Yin's father and have been looking after Yin and Tong since their died.
Bob (BY DANE COOK)
Karl's American cousin and his henchman.
ABOUT THE DIRECTOR / DIRECTOR OF PHOTOGRAPHY
Peter Pau
Pau has been one of the top cinematographers in Hong Kong. After his graduation of Filmmaking at San Francisco Art Institute in 1983, he directed his first feature "The Temptation of Dance" and "Misty" in the 90s.
Pau has been working with the top directors such as John Woo ("The Killer"), Tsui Hark ("Double Team", "Love in the Time of Twilight", "The Chinese Feast"), Ronny Yu ("Bride With White Hair", "Bride of Chucky", "The Phantom Lover", "Warriors of Virtue") and recently Patrick Lussier's "Dracula 2000".
His collaboration with Ang Lee on "Crouching Tiger, Hidden Dragon" with poetic style in lighting and stunning camera moves made him become the first Hong Kong cinematographer being awarded the "Best Cinematography" award by the 73rd Oscars. He also won seven major critics' awards with this movie.
In a recent interview with Ang Lee by David E Williams (American Cinematographer, Jan. 2001) he described Pau as probably the biggest and most Hollywood-like cinematographer in all of Hong Kong. In fact, he's probably more Hollywood in style than Fred Elmes (ASC), who shot my last two films. He has directed films, and he even served as our assistant director-he's probably one of the few cinematographers in the world who can do all of that. What else can I say?"
With three times awards winning best cinematography by the Hong Kong Film Awards, Pau also got 12 nominations among 32 features during his 18 years of filmmaking.
ABOUT THE PRODUCER
Thomas Chung
Thomas Chung is a member of the Institute of Chartered Accountants in England, and (has been) the managing director of the Media Asia Group in Hong Kong. He has many years of experience in film production and film distribution. In the past Thomas has produced box office hits like "Purple Storm", "Gen-X Cops", "Gen-Y Cops", "AD 2000", "Tempting Heart" and "Metade Fumaca". In 2000, he was awarded as the "Best Producer" at Cineasia.
Thomas also has 20 years of experience in investment, including 10 years in the field of mergers and acquisitions in the entertainment and telecommunication areas. He has been the Vice President of Business & Corporate Development in Media Assets, part of the Star TV Group. He was closely involved in the acquisition of 550 films by Media Assets in 1993, the first time ever when such a volume of Chinese film copyrights changed hands.
In addition, Thomas is responsible for identifying strategic investments in programming throughout the Region as well as developing a business plan for financing its Chinese film production. In 1994, he negotiated a production output deal for films with Star TV and an exclusive distribution deal for the Star TV film library. In 1995, he structured and successfully closed Asia's first ever film production investment fund.
ABOUT THE PRODUCER / CAST
Michelle Yeoh
Michelle Yeoh is a world-renowned actress and the top action actress in Asia. She has starred in more than 20 movies, including "Yes, Madam", "Super Cop", "The Heroic Trio", "Project S", "Ah Kam", "The Soong Sisters" and "Crouching Tiger Hidden Dragon". In 1997, Michelle co-starred in the James Bond hit "Tomorrow Never Dies" and this made her to be recognized by the worldwide audience. Her performance in "Crouching Tiger Hidden Dragon" has earned her three "Best Actress" nominations at the Taipei Golden Horse Awards, the Hong Kong Film Awards and the British Academy Film Awards (BAFTA). In addition, Michelle received Cineasia's "Award of Exellence in Acting for outstanding performance as an actor" in December 1999 and the "International Star of the Year" award at the ShoWest exhibitors convention in 2001.
Taking her vast experience also behind the screen, Michelle established her own film production company, Mythical Films, in 2000. The company aims to produce quality movies, explore new film subjects, and recruit talented scriptwriters and directors. "The Touch" is the first movie produced by Michelle.
ABOUT THE CAST
Ben Chaplin (as Eric)
English, soulful and darkly handsome, Ben Chaplin has been making a small yet significant impression on American audiences since his American film debut in 1996's "The Truth About Cats and Dogs". Although not widely recognized by many Americans, the actor has enjoyed a steady career in British theater and television, and with his role in Terrence Malick's "The Thin Red Line", gained the greater exposure that had previously been lacking in his career.
Raised in Hampshire, England, Chaplin had his stage debut at the age of 16. He later trained at the renowned Guildhall School of Music and Drama, performing in a number of stage productions. He then acted on various BBC television shows and made his 1993 film debut in James Ivory and Ismail Merchant's "The Remains of the Day", in which he was cast as a wayward servant. 1995's "Feast of July" followed, but it was with his turn in "The Truth About Cats and Dogs" that he began to garner transatlantic recognition. The film, in which he played the object of both Uma Thurman's and Janeane Garolfalo's affections, made him something of a thinking woman's crumpet and paved the way for his starring role in Agnieszka Holland's "Washington Square" (1997). Following this, he landed the part of Private Bell in "The Thin Red Line". As part of a powerhouse cast that included George Clooney, Nick Nolte, Woody Harrelson, and John Travolta, Chaplin further cemented his standing as one of the more promising British imports to land on Hollywood soil.
Richard Roxburgh (as Karl)
Richard Roxburgh was graduated from prestigious Australian theatrical school NIDA (National Institute of Dramatic Arts) in 1986.
He has received critical acclaims and numerous awards such as Australian Film Institute (AFI) Award nominations for his work on stage, film and television, and won a "Best Actor in a Leading Role" Award as well as a Film Critics' Circle of Australia "Best Actor" Award for his performance in "Doing Time For Patsy Cline."
Roxburgh's film credits include "Moulin Rouge", "Mission: Impossible II", "In The Winter Dark", "Thank God He Met Lizzie", "Doing Time For Patsy Cline", "Oscar And Lucinda" and many more.
Roxburgh's many theater credits include his highly acclaimed "Hamlet" for director Neil Armfield for the Belvoir Street Theatre, for which he received many awards including the Sydney Theatre Critics' Circle Award for Best Performance by an Actor. His other Belvoir Street credits include "The Seagull" and "On Parliament Hill." Roxburgh has also worked extensively for the Sydney Theatre Company and has appear in "Closer," "The Homecoming," "Burn This" and "Romeo and Juliet."
Roxburgh's television credits include the lead role of "Roger Rogerson" in the controversial and critically acclaimed drama series "Blue Murder," for which he won an Australian Logic Award for Most Outstanding Actor.
Brandon Chang (as Tong)
This exciting newcomer to the entertainment scene was born in Toronto, Canada, just 18 years ago. At the age of 14, Brandon returned to Hong Kong with his family, and subsequently made his small-screen debut in the RTHK which produced the show names "Y2K". Brandon's hobbies include swimming, roller-blading, basketball, and music. He is also a trained pianist, and has studies the Bruce Lee-devised martial art of Jeet Kune Do. Brandon currently has his sights set on a film career, and recently signed with a newly formed Hong Kong-based management company known as Han Entertainment.
Dane Cook (as Bob)
Dane Cook, born and raised in Boston, first began his career doing sketch comedy. Within a few years he went solo, performing stand-up comedy at the local clubs in Massachusetts. After fine-tuning his act in the New England circuit, Dane decided to make the big move to New York City.
Within Dane's first year in New York, the ABC network decided to sign Dane to his first development deal. His television career began on the ABC sitcom "Maybe This Time" with Betty White. That same year he made his feature film debut with Rene Russo in Columbia's release "Buddy".
After one short and exciting year in New York, Dane moved to LA where he signed his second development deal with NBC and guest starred on the hit sitcom "Suddenly Susan". Cook's film credits include the movie "Mystery Men" with Ben Stiller, Greg Kinnear, and Janeane Garofalo. He also co-starred in the action-comedy film "Simon Sez" with Dennis Rodman.
Cook recently appeared in his first half-hour special "Comedy Central Presents… Dane Cook". His other television credits include four appearances on CBS's "The Late Show with David Letterman", "The Tonight Show with Jay Leno", "The Late Late Show with Craig Kilborne", "Comedy Central's Premium Blend", "Showtime", ABC's "American Comedy Festival to Benefit Comic Relief", as well as "Comic's Come Home" to benefit the Cam Neely Foundation.
Long Sihung (as Monk)
Long Sihung passed away on 2 May 2002 in Taiwan at the age of 72.
Long Sihung dedicated his whole life to the performing arts. He joined CTV in 1970 and acted in numerous memorable television drama series. In 1976, he started his film career and won the Best Supporting Actor award in the 13th Golden Horse Awards with his first ever film performance in [Chinese name]. With over 15 films to his credit, Long was one of the most respected character actor in Taiwan.
Affectionately called "Uncle Long" by his peers, he and Ang Lee had established a strong working and personal relationship from their collaborations in "Pushing Hands", "Wedding Banquet", "Eat Drink Man Woman" and "Crouching Tiger, Hidden Dragon".
In "The Touch", Long accepted Michelle's invitation to play a role as a Lama monk. It sadly turned out to be his last performance.
ABOUT THE SCRIPTWRITERS
Julien Carbon & Laurent Courtiaud
Julien Carbon and Laurent Courtiaud were born in France. They have been working within the Hong Kong film industry since 1996. Their screenplay for Johnnie To's "Running Out of Time" won the Golden Bauhina 2000 (Hong Kong Film Critic's Award) and was nominated at the Hong Kong Film Awards. They have also worked with acclaimed directors Wong Kar-wai and most recently Tsui Hark, for whom they wrote the screenplay of "Black Mask 2".
ABOUT THE ACTION CHOREOGRAPHER
Philip Kwok
Philip Kwok, known in his native Hong Kong as Kwok Chui, studied Chinese martial arts from an early age. His kung fu skills led to his being offered the chance to work at what was then China's most prolific film studio, Shaw Brothers. Kwok laboured as a stuntman and fight coordinator, before finally becoming an action star in his own right. When period martial arts dramas fell from favour, Kwok shifted his focus to contemporary action films, working as stunt coordinator and actor on gangster fare like 'The Big Heat'. He is best-known to international audiences for his work in front of and behind the camera on the John Woo-directed 'Hard Boiled'. In 1997, Kwok moved into the international arena when he choreographed Michelle Yeoh's fight scenes for the 007 hit 'Tomorrow Never Dies'. Since then, he has contributed his talents to the French language period piece 'Brotherhood Of The Wolf'.
ABOUT THE MUSIC
BASIL POLEDOURIS
In over 20 years of scoring motion pictures, Basil Poledouris has proven himself a master of melody and emotional power, producing a wealth of music that ranges from rousing adventure to intimate drama, and forging rewarding creative relationships with directors like Paul Verhoeven, John Milius, Randal Kleiser, Simon Wincer and John Waters.
While he has worked on some of the screen's toughest action pictures including Conan, Flesh + Blood, Robocop and The Hunt For Red October, Poledouris' strength has always been his ability to find the emotional center of a film.
Poledouris won early accolades for his lush orchestral scores to Milius' Big Wednesday and Kleiser's The Blue Lagoon. His 1982 score for Milius' Conan The Barbarian assured his place in the pantheon of great modern film music with its hammering "Anvil of Crom" theme featuring French horns, and its blend of blood-and-thunder choral cues with an unexpectedly beautiful, lyrical sensibility. His Emmy award-winning score for the Larry McMurtry masterpiece Lonesome Dove is a classic of the genre, with an unforgettable, gently rolling title theme that is as memorable as any western film theme ever written. Within a year of scoring Lonesome Dove, Poledouris collaborated with director John McTiernan on The Hunt For Red October, bringing an epic feeling to what might have been a simple Cold War thriller by underscoring sequences of the Red October launch with a sweeping, traditional-sounding Russian choral anthem. In 1996 Poledouris became one of a select few contemporary film composers to be commissioned to write music for the Olympic Games, and he created a thrilling accompaniment to the '96 Olympic Opening Ceremonies dance sequence entitled "The Tradition of the Games."
Poledouris began studying piano at the age of seven and was initially set on the road to become a concert pianist up until he entered college. "I lasted about a semester as a music student; basically I was not prepared for 20th century music. Most of my piano training literature really only took me through Prokofiev. That's still 20th century, but it certainly isn't modern by any stretch of the imagination, even in the mid-60s. Every technique of composition being taught at that time, primarily serial composition and twelve tone composition, left me disinterested in writing that kind of music. I wandered into the cinema department because of (Miklos) Rozsa, and immediately thought that it looked to me like film was the music of my generation. Cinema was a very new art, there were no rules, and it just seemed to fit in with the Beatles changing the world, and the world itself changing. It was an extraordinary time of social upheaval, and film just seemed to be part of it."
Poledouris attended film school at USC with a graduating class that included such luminaries as George Lucas, John Milius and Randal Kleiser. It was Milius who gave the composer his first major break with his score for the surfing movie Big Wednesday in 1978. The full-bodied sound of that score revealed a composer quite at ease with the symphony orchestra. "I had done a lot of educational and documentary television where I got to work with smaller choirs of the orchestra. I had done about a hundred of these things before my first work on Big Wednesday, and that was the first time I really got to hear my work played by a group of that size." His collaboration with Milius continued with Conan, Red Dawn, Farewell to the King, and Flight of the Intruder.
Poledouris first teamed with Starship Troopers director Paul Verhoeven for the medieval adventure film, Flesh + Blood, in 1985. Seeking out a major composer for his first American-financed film, Verhoeven was immediately drawn to Poledouris' dramatic voice. "I think he was quite taken by the Conan score," Poledouris recalls. "I know he loved the movie, and he liked the idea of it being more like a silent film. Conan's dialogue is minimal. He knew that he wanted a score that was as descriptive. I think he liked the power of the Flesh + Blood score and the kind of strange world it created. There's much more of a medieval aspect to that score, as well as a lot of religious symbolism, but I always saw the Rutger Hauer character and his band as land pirates, so there's a swashbuckling character too."
The next collaboration was 1987's Robocop, an ingenious science fiction movie that has been regarded as one of the finest in the genre, although its extreme violence caused a great deal of controversy at the time. "I think Verhoeven and Milius both see violence as something that just happens, that it's natural for the time in which these movies take place, or even today, it's over the top for an effect."
The score for Starship Troopers is a powerful work of unusual complexity and impact. The film's ground-breaking special effects resulted in an extended post-production period which afforded Poledouris an unprecedented opportunity to develop his themes and approach over a period that stretched from February until October 1997. Considering that most films provide the composer with three to five weeks in which to write and record their scores, the Starship Troopers music is a truly exceptional case that points out the care with which director Paul Verhoeven regards this aspect of movie-making.
Perhaps nothing highlights the versatility of this man so much as contrasting the epic scale of his Starship Troopers score for a 96-piece orchestra with his intimate music for the acclaimed 1996 film It's My Party, which the composer scored and performed for solo piano. His other credits show a talent capable of adapting to virtually any kind of film, from the relationship between a young boy and a 30-ton killer whale in Free Willy to the off-the-wall comedy of cult director John Waters (Cecil B. DeMented, Serial Mom), to one of the most excruciatingly suspenseful nail-biters of recent years, the Kurt Russell thriller Breakdown. In each case Poledouris' contribution was integral to the success of the film.
Other collaborations include Sam Raimi's For Love of the Game, Bille August's Les Miserables and Hugh Grant's Mickey Blue Eyes.
ABOUT THE PRODUCER'S STORY
(By Thomas Chung)
"The business of film is the business of dreams" -- Nathanael West
Where to begin, how to start my story and recollection of "The Touch"? It really seemed like yesterday when it all began. But in fact, it all started in January, 2000, 2 ? years ago…
After producing movies such as "Gen-X Cops"[特警新人類] and "Gen-Y Cops"[特警新人類續集], "Tempting Heart"[心動e], "Metada Fumaca"[半支煙], "Purple Storm"[紫雨風暴] in 1999 and 2000, a tiny voice began to whisper in my head. The voice was saying there was a film out there somewhere which would challenge me, stretch me and expand me, as a producer. When that voice first surfaced, I didn't quite know what that film would be. Certainly I could not predict at the time that "it" was meant to be "The Touch". I could never have imagined how it would challenge my resolve, stretch my capabilities and expand my horizon as a producer as well as an individual when the idea eventually took shape.
The story of "The Touch" began in January 2000 when, on a trip to the USA, I had the chance to visit Las Vegas and watched the famous Cirque De Soleil "O " show along with a few colleagues and Michelle Yeoh. The lavish stage and costume design, the amazing acrobatic skills of the performers and the sensational music score truly inspired me. Beyond that, I was utterly stunned by the East meets West concept of the entire show. When the show finished, a film concept somehow appeared in my mind: a film in the genre of a contemporary romantic action adventure, an "Indiana Jones" meets "Romancing the Stone", revolving around a family of acrobats. I discussed this with Michelle. She liked the idea. That was, I suppose, the beginning!
At that point, I finally realised what that little voice was asking me. Am I ready to produce a true blockbuster film that would be well-received both by the Asian audience as well as our audience in the West? To produce a movie which would have the best from the East and the best from the West? The question in itself sounded simple enough, but before I could answer it, a whole set of issues that needed to be raised and addressed affirmatively (before I would say yes) were actually quite complex. Questions like:
Those were the guiding questions that I needed to answer. From the outset, I knew it would be difficult. At the same time, I could gradually feel the fire of passion burning inside me … I could hear this voice turning into a cry of determination - a determination to produce a movie that would stretch the boundaries of Asian cinemas, and myself of course. I just knew I had to do it, come what may.
Little did I know, at the time, that I had to be more determined that I had ever been, tackle problems that I had never faced before and make some of the toughest decisions which would change my life forever. Along the way, I had the opportunity to sort out the people who have been around me for years, those who are true companions and those who turned out to be good-time friends. Yes, I work in a razzmatazz and fickle industry.
That was the beginning of my journey. At the time of writing, we have finished shooting, we have just "locked picture" (i.e. the editing of the entire was completed) and other elements of post-production (computer digital effects, sound effects and music) had just started. The film should be all ready in the summer of 2002. So, from start to finish, I would have invested over 2 ? years of my life in "The Touch".
This is my recollection of these eventful years.
2000… the 1st half year:
Upon my return from Las Vegas, I stopped off in Los Angeles and met with several scriptwriters to start the ball rolling on defining the storyline of the concept I had. Between the months of February and June, Michelle and I were struggling to come up with the storyline that we really wanted. Somehow, the scriptwriter working for us were not seeing the concept that we felt and somehow, it just did not feel right. Then we made a decision. Instead of forcing something to happen, it was time to re-think, re-define and re-start the whole process.
2000… the 2nd half year:
We decided to find someone in Hong Kong who would be capable of developing the script with us. After a few rounds of discussions with Michelle, we decided on Lee Chi Ngai. We both love his work in his UFO days and we knew he was not just a good director; he was also a strong scriptwriter. I supposed from the outset, both of us somehow felt that this film would not be the usual Hong Kong action movie (i.e. action first, script… never mind). Consequently, the eventual selection of the director… we needed to think outside conventional wisdom. Working together with Chi, the three of us came up with the treatment quite quickly. By autumn that year, we had our first script. The story started in Hong Kong and quickly moved to Morocco and Venice. Although there were still some problems with the script, they were solvable. The biggest issue we had was the locations. Morocco, as a location, has been used for quite a number of films and Venice… suffice to say it is not an easy location for filming; hmm… transportation is a problem!!! However, we were prepared to examine the possibilities; not knowing this would become the Achilles heel which would change the whole direction of "The Touch".
By November, preliminary production budgeting started and the costs involved for filming in both Morocco and Venice, beside Hong Kong, were much higher than anticipated. Airfares, hotel accommodation and transportation alone would cost over US$ 1.5 million. As a producer, I simply could not justify that level of expenditure on elements which could not be seen on the screen. Michelle shared that viewpoint. .Moreover she felt that these locations had been filmed before and so it would not be refreshing. Nor would it be be easy to make our film look much better than those made by Hollywood in the same locations. That last point convinced me to give up Europe for "The Touch". What we did not expect was in giving up Europe, we were giving up collaborating with Chi too because his mindset was tuned to shooting the film there already and he could not mentally move to any alternative approach. On one Saturday morning in November in our office, Chi opted out of the project. I was quite disappointed because I have immense respect for Chi. That was a low point. That same afternoon, Michelle and I talked at length. From one director to the next, one approach to another, we searched for an optimal solution. The only option which was never discussed was giving up. We just knew we had a great concept on our hand. Into the wee hours of the morning, we both mentioned the same name at the same time - Peter Pau.
Peter had previously worked on one of my movies, "Metada Fumaca" and he was filming "Beijing Rocks" for me. He collaborated with Michelle, of course, on "Crouching Tiger, Hidden Dragon". Michelle and I both shared a common opinion on Peter. Peter is much more than a world class DP. Peter has vision, he is disciplined and we have worked with him and have seen him at work. So we went up to Beijing and met with Peter. Over lunch in a Japanese restaurant, we broached the subject and Peter was interested. I think it is worth noting here that when we approached Peter in November 2000, all his nominations (let alone the Oscar award) for "Crouching Tiger" had not been announced yet. Peter told me afterwards that he actually anticipated the purpose of our visit and, at the time, he was considering if he should focus more on Hollywood projects or staying in Asia. I was glad that it didn't take him too long to decide to come on board for "The Touch". In fact, we agreed to sign a two-picture deal. Then came all the nominations from BAFTA, Golden Horse, Oscar and HK Film Awards for his efforts on "Crouching Tiger".
2001… the 1st "Eventful" half year:
This was, without a doubt, the most eventful, stressful time I have ever experienced. While trying to move every component of "The Touch" forward, I found myself also having to combat internal corporate politics.
The year 2001 started off rather positively with Peter attached and we also signed on 2 scriptwriters, Julien Carbon and Laurent Courtiaud, to start revising the script we have. Julien and Laurent have been living in Hong Kong for a while and I was particularly impressed with their work on "Running out of Time". Between them, Peter, Michelle and I, we were off to a good start. By the end of March - and nine drafts later - we were quite happy with the script knowing that we still had the location scouting trip ahead of us and we would eventually hire someone from Hollywood to polish the script. Another series of happy events were, of course, the BAFTA nominations for Michelle ("Best Actress") and Peter ("Best Cinemaphotographer) and the string of nominations for "Crouching Tiger" at the Oscars and Peter winning the Oscar and delivering possibly the best (and funniest) acceptance speech on the night.
In April, we went on our locations scout. Along with the camera crew, Philip Kwok (Action Choreographer), the two scriptwriters and local line producers, we visited Tibet, Dun Huang and Shanghai (Shanghai was subsequently replaced by Qing Dao). It was a very productive trip. My adrenaline was running high seeing my dream another step closer to reality… not knowing troubles were already brewing at home.
After returning to Hong Kong after the two-week trip, I put on my Executive Producer hat and started preparing for Cannes 2001 where I would commence structuring the financing, completion bonding and casting (for the overseas actors to play "Eric", the male lead and "Karl" the villain). At the time, Media Asia (the company I founded in 1994) was the principal financier for "The Touch". At a budget of US$20 million, it was definitely the biggest film project I as well as Media Asia had ever done. Just before Cannes 2001 in May, my fellow shareholders expressed concerns, amongst other issues, over the size of the production funding required, the inherent risks, my role as the producer of the film as well as the CEO of the Media Asia Group etc. etc.
I knew it was time for me to make a very significant decision for my career: (i) to stop the production of "The Touch" for good and concentrate on running Media Asia; or (ii) to keep "The Touch" going but then, for multiple reasons, to sell my investment in Media Asia and relinquish my post as its CEO. After much arduous considerations, I decided on the latter. Because what started as a little voice whispering was now confidently telling me "This is what you want, this is the next phase of your journey!" Thanks to an understanding friend, Mr. Peter Lam, also a fellow shareholder of Media Asia, who accommodated my decision by agreeing to buy my investment in Media Asia and, in turn, allowed me to buy back "The Touch" from Media Asia. I will always thank Peter for that! There is now clarity for all concerned…
The past six months has been great for character-building, no doubt.
2001… the 2nd half year:
With the corporate decision out of the way, I could concentrate on simply three tasks: (i) completing the legal documentation for the sale of my Media Asia shares and the re-purchase of "The Touch"; and more excitingly (ii) marching forward with the production of "The Touch"; and (iii) the setting up of my new company, Han Entertainment.
The first piece of great news was getting screenplay writer, J. D. Zeik ("Ronin") to polish the script. JD was recommended to us by Amanda Klein. Let's just say Amanda is a good friend; a passionate gal who works in the industry in Hollywood. JD came to Hong Kong with Amanda during the typhoon summer and they, Peter, Michelle and I locked ourselves up and worked solidly for three weeks bouncing dialogues, dismantling and re-assembling scenes until we were truly happy with the script. Those turned out to be three really constructive weeks. I have always said that half the problem with the usual Hong Kong movies lies in the script, or the lack of one. I was very glad that we had spent so much time in doctoring, revising and chiselling out this process. Then came the second piece of wonderful news, Richard Roxburgh agreed to play the villain. We first met with Rox in Cannes at the gala premiere of "Moulin Rouge" and we were so impressed with his performance. We knew he would be able to play a stylish and powerful role in our film. That was good. But we were still missing our male lead. Together with the help of Miramax (esp. Laura Rister) and our casting director, Mindy Marin in Los Angeles, we secured Ben Chaplin, a soulful actor whom I believe will have strong chemistry with Michelle. At the same time, our script was officially approved for a co-production in China. With all these elements locked up, we could deliver a very detailed budget. The deal with Miramax was signed and concurrently, we also executed our completion bond and bank financing. Things were beginning to come together.
By August, all the essential elements were confirmed. On 7 September 2001, a blessing ceremony took place. With Buddhist ceremonial music as background and every crew member with joss stick in hand, we all prayed for a smooth and successful filming. In that moment, I felt quite emotional.
In all these times, some particularly difficult and trying, I was so lucky to have a few true friends around me, friends who did not suddenly disappear when times were trying. The fact that "The Touch" could actually be made, I will eternally be grateful to the following "Magnificent Eight":
In a way, I must thank some of my ex-partners in Media Asia too. They, in their own special ways, helped me in reaching my decision and propelled me to the next phase of my career.
Finally, on 11 September 2001, we left for Tibet. At last, we are making a movie!!!
For the rest, my good partner Michelle will share with you her memories throughout the production. For me, it has indeed been a worthwhile and fulfilling journey. I wouldn't have had it any other way!!
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