Ten years after attending the Tokyo International Film Festival for the screening of “The Grandmaster,” Tony Leung made a triumphant return to the festival on Thursday to conduct a masterclass. The iconic Hong Kong actor, dressed in a black tailored suit and trendy Kolor sneakers, was greeted with warm applause as he entered the packed Hulic Hall in Tokyo. Festival programmer Shozo Ichiyama kicked off the event by discussing Leung’s early years as an actor and his work with Taiwanese filmmaker Hou Hsiao-hsien.
One of the notable films discussed was “A City of Sadness,” set in Taipei, which Leung worked on during a time when he had no experience working outside of Hong Kong and couldn’t speak Mandarin. Despite these limitations, Leung took on the role to challenge himself. He immersed himself in learning about the history of Taiwan, reading numerous books as preparation. In the film, his character couldn’t speak, which Leung revealed was inspired by an artist friend of Hou who had lost the ability to speak due to an accident. Leung learned a great deal about acting from observing the artist’s facial expressions, gestures, and attitude. This experience shaped Leung’s approach to preparing for roles and deepened his understanding of character depiction.
Leung also discussed the impact that “A City of Sadness” had on his acting career. The film featured many amateur actors who delivered impressive performances. This made Leung question his own skills and ignited a desire to appear more natural and realistic in his acting. Leung expressed his gratitude to Hou for providing him with valuable lessons in naturalistic acting.
The conversation then turned to Leung’s long-standing collaboration with Hong Kong filmmaker Wong Kar-wai. Over the span of almost thirty years, the duo has worked together on seven films, including renowned classics such as “Chungking Express,” “In the Mood for Love,” and “2046.” Leung opened up about the beginning of their partnership, explaining that he felt stuck in his acting career and unsure of how to improve. Working with Wong on “Days of Being Wild” presented a turning point for Leung. Wong identified the flaws in Leung’s acting and encouraged him to abandon unnecessary technique and instead focus on a more organic approach. Seeing the final product, Leung realized that Wong had a unique talent for drawing out the best performances from his actors, which motivated him to continue collaborating with the director.
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Leung described working with Wong as his second acting training, equipping him with the ability to appear as natural as the amateur actors he admired. Wong’s unconventional method of working without detailed scripts was also discussed. While Leung clarified that scripts do exist, Wong keeps them hidden from the actors. Instead of rigidly following the script, Wong allows for improvisation and spontaneity on set, giving the actors freedom to explore their characters and adapt to the moment. This improvisational approach creates a sense of adventure on every film set, forcing the actors to remain present and react to the unfolding story.
The discussion then delved into Leung’s experience working on “2046” and how his character of Chow developed from “In the Mood for Love.” Leung revealed that while his character remained the same, Wong wanted him to showcase a different set of skills in “2046.” Leung initially wanted to sport a mustache for the role, but Wong disagreed. Eventually, Leung convinced Wong to let him have the mustache, and after the film’s premiere at Cannes, Wong admitted that it was indeed a beneficial addition to the character. Leung emphasized the importance of having triggers, even if they are small details like a mustache, to help him get into character.
Finally, the conversation touched on Leung’s recent work in the Hollywood blockbuster “Shang-Chi and the Legend of the Ten Rings.” Leung expressed his interest in working in various locations, including Japan, and revealed that he would be starring in a project in Germany the following year, the details of which he kept undisclosed. Leung shared that he had been preparing for the project for eight months and had been reading extensively in preparation.
In conclusion, Leung’s masterclass at the Tokyo International Film Festival provided valuable insights into his early career, his collaboration with Wong Kar-wai, and his approach to acting. Audiences were treated to an in-depth discussion on Leung’s experiences, influences, and the techniques he has developed over the years. As one of Hong Kong’s most beloved actors, Leung’s presence and wisdom captivated the packed hall, leaving a lasting impression on all those in attendance.
