Peter Chan Recalls UFO’s Golden Era, Industry Evolution at Tokyo Film Festival
Renowned director-producer Peter Chan delivered a captivating keynote at the Tokyo International Film Festival, reflecting on his trailblazing career, the rise and fall of Hong Kong’s United Filmmakers Organization (UFO), and how global cinema’s transformation shaped his mantra: “I make movies that the market needs.”
The UFO Era: Revolutionizing Hong Kong Cinema
In the 1990s, Chan and UFO co-founders like Eric Tsang redefined Asian cinema with genre-defying hits:
– He’s a Woman, She’s a Man (1994) – A gender-bending rom-com
– Comrades, Almost a Love Story (1996) – A timeless romance
“UFO was lightning in a bottle,” Chan recalled. “We mixed artistry with commercial savvy—making films that felt intimate yet broke box office records.”
Adapting to Change: From Hong Kong to Mainland China
As Hong Kong’s film industry declined, Chan pivoted to mainland China’s booming market:
– The Warlords (2007) – A Mandarin epic starring Jet Li
– American Dreams in China (2013) – A diaspora-themed blockbuster
“The market is the compass,” he stressed. “China’s audience grew, so I switched languages and themes without losing my storytelling core.”
Streaming’s Disruption & Future of Film
Chan highlighted how platforms like Netflix reshape distribution:
– The Midnight After (2014) gained traction digitally post-theatrical run.
– “Streaming lets niche films thrive, but theaters remain vital for communal experiences.”
Chan’s Advice to New Filmmakers
- Balance Art & Commerce: “Understand trends but keep your voice.”
- Think Globally: “A Korean drama can top charts worldwide—cultural walls are crumbling.”
At 60, Chan remains active, blending emotional narratives with market demands. “Adapt or fade away,” he concluded, leaving Tokyo’s audience inspired by his enduring legacy.
