Chinese author Jia Zhangke has finished filming a short film in Italy that was commissioned and produced by Carlo Chatrian, director of the National Cinema Museum of Turin.
Jia (Still Life, Touch of Sin) made this disclosure at a wide-ranging masterclass hosted by the Academy of Asian Film Awards held at a packed Hong Kong Grand Theater on March 15.
“My latest short film was my first experience shooting in Italy,” Gia said. “And I think it’s very similar to filming in Beijing or Shanxi. I don’t treat myself as an outsider or a foreigner. So I didn’t experience too many obstacles.”
One of China’s prominent sixth-generation directors, Jia is known for his willingness to embrace new technology. He weighed in on the discussion on generative AI filmmaking, likening the introduction of generative AI to the transition from film to digital cinematography in the early 2000s.
“I don’t like innovation for the sake of innovation. I don’t like superficial innovation. I’ve seen the transition from film to digital production,” Jia said.
“And now AI is here. I’ve made two or three AI films, short films. I wanted to make another one with AI and be there to see if it works. And the dialogue and dialogue will be generated by AI using my voice.”
He also warned of backlash from film industry stakeholders against the use of AI in the film industry.
“When it comes to new technologies, I am not the first to pass judgment. I try to understand them first. There are many pros and cons. We should not be in a hurry to deny them. Of course, there will be problems and there will be problems. But those problems can be solved in many ways, for example by law,” Jia said.
“Before you jump to conclusions, you should first understand. I think that’s the right approach to show respect when something new happens.”
In a languid session reminiscent of one of his films, director Jia guided the audience through a variety of topics, from the difficulties of accessing foreign films during his childhood and student days, to the beginning of what would eventually become a lifelong collaboration with Hong Kong DP Yu Lik Wai, to his best practices as a director, and the process of finding investment.
“You Likuwai was studying film in Belgium. After I graduated, I told Yu Likuwai that I wanted to make a short film. So he moved from Hong Kong to Beijing. He thought it was important to come to where I live to understand more. I think that was part of our cooperation. We were both young at the time. So, we wanted to get into each other’s worlds, each other’s lives. In fact, Yu had never lived on the mainland before, but it was the purpose of coming to the mainland.”It was Lunar New Year, so we went back to our hometown in Shanxi province together, and suddenly, in the middle of New York, China, we decided to make “Xiao Wu” (my first film). ”
Jia provided some practical tips for a long career in filmmaking.
“If you want to respect this job of film production, you must maintain a healthy body.When I was studying at Beijing Film Academy, there was an old professor named Professor Lin who I saw running every day.When I asked him why, he replied, I said, “I’m going to be making a movie soon, so I have to stay healthy.” So that really influenced me. There are some elderly people who go for a run in the morning to make a movie.
Answering questions from the young audience at the Academy of Asian Film Awards, Jia also gave a glimpse into her screenwriting process. The writer revealed that he started his day with a morning run at 6 a.m. and then worked on the script until 11 a.m.
“Those early morning hours are the golden time for me to write scripts,” Jia said. “Sometimes I can’t think of a single word. But when I sit there for three hours, that’s time to feel, think, and imagine. It’s a continuous process. Right now, I try to keep creating.”
