- The biggest news out there, as I started teasing yesterday, is Tony Leung Chiu-Wai signing back onto John Woo’s troubled production of Battle on Red Cliff. As mentioned, Oriental Daily first broke the news without official confirmation. Ming Pao waited until this morning Hong Kong time to do it. Excerpt as follows:

昨晚《赤壁》監製透過網上承認此消息，他說﹕「經與梁朝偉先生聯絡後，梁朝偉先生基於與吳宇森導演20多年的友誼，又見到周潤發離開了《赤壁》劇組，《赤壁》又是一部令人期待的作品，必須要拍下去，所以當吳宇森邀請他重返劇組時，他一口答應，替吳宇森解決燃眉之急。」

Last night, “Red Cliff” producer admitted to the news via the internet: “After communication with Mr. Leung Chiu-Wai, based on his 20-year friendship with John Woo, Chow Yun-Fat’s departure, and the need to continue shooting the much-anticipated film, he decided to rejoin the film after John Woo invited him, helping John Woo due to the pressing need.

張家振表示，因偉仔已經熟讀劇本（去年初第一稿出時，已經給了偉仔）不會有發哥最介意的劇本問題（究竟發哥最介意的劇本問題是什麼，張家振未有回答）

Terence Chang said, since Tony have already read the script thoroughly (The first draft was given to him early last year), Chow’s problem with the script will not occur (But Chang has not responded to the question of what specific script problem Chow had).

Original Chinese report.

Variety Asia also has an English report.

- The other big story is the geniuses at New York Times finding what drove Virginia Tech student Cho Seung-Hui to kill 32 of his peers. Apparently, a package he sent to NBC just before he killed 30 students in a school building contained a picture of him holding a hammer that looks like he’s trying to imitate an image from Park Chan-Wook’s Oldboy. You know, it’s obvious because he’s a Korean, so of course violent Korean films would drive this poor disturbed bastard to murder.

OK, so how long before the American press starts blaming John Woo movies for the murders too?

Oh, wait, they’re not Korean, so Cho cannot possibly be influenced by those movies. Personally, I think anyone that blames movies for real-life crimes are just looking for false scapegoats so they can avoid dealing with real problems with society, like why he was mentally disturbed in the first place, and why he wasn’t properly treated by the authorities.

Plus, if Cho knew how fucking silly he looks with that hammer, maybe he would’ve woken up, but that’s just me.

In related media news, not only has there been reports of South Koreans coming out and apologizing for Cho’s rampage (what the hell for? They’re just feeding into this racial scapegoating the media is doing. The man has been in America so long he’s more Americanized than I am, for crying out loud), the Korean media has also taken a “it’s America’s fault” approach as well. (Thanks to Japan Probe for the link)

- Back to more relevant news to this blog, the Cannes 2007 lineup has been announced. As predicted, Wong Kar-Wai’s English-language debut My Blueberry Nights will be opening the festival, assuming that Wong is actually done with post-production. Representing Asia in competition will be South Korea’s Kim Ki-Duk with “Breath,” South Korea’s Lee Chang-Dong’s “Secret Sunshine,” and Japan’s Naomi Kawase with “Mogari No Mor.” Except for Wong, no Hong Kong films will be screened in or out of competition, despite predictions that Tsui Hark-Ringo Lam-Johnnie To actioner Triangle might make it. Nevertheless, the lineup looks pretty solid.

- Speaking of Korean films, Asian Cinema - While on the Road has reviews of a few Korean gangster films that are sure to corrupt another Korean-American youth’s mind (that was sarcasm, by the way).

- With the Hong Kong Entertainment Expo being a huge success, who can resist holding another film market in Hong Kong? That’s right, another film market event is going to Hong Kong, this time it’s Amazia, and it will open in November 2008. Yay.

- However, I don’t think the Amazia folks would be very happy to find what Hong Kong celebrities are doing with their Nintendo DS - some publicity photos have caught these celebrities playing their DS’s with an add-on that’s designed to enable the DS to play pirated games.

- I’ve never pushed box office news this far down an entry before, but I don’t want seem like I’m beating a dead horse. Eiga Consultant analyzes just exactly how bad Sunshine has done in Japan. According to his figures, it only grossed 52% of The Promise in its opening week in Japan. 52%?! I’m pretty damn sure Sunshine is better than The Promise based on this photograph alone.

- Ryuganji apparently has this report as well, but I saw it on Twitch first, so I gotta be fair. Anyway, Takeshi Miike is working on another new film, and apparently it’s a manga adaptation. I don’t care much for Miike, so you can find out more for yourself here as well.

- The troubled Bangkok Film Festival is making progress on its comeback, and this year they’re promising more Asian films. Good for them.

- I consider myself a fairly big fan of Japanese films. Sure, I’ve missed out on a lot of classics (I.have.not.seen.Seven.Samurai.), but I’m still a fan. So who’d know when Japanese people what 10 films they would recommend to foreigners, they would not only recommend a non-Japanese film (Letters From Iwo Jima), but they would actually recommended 57 films instead (the Tora-san series contains 48 films. I assume the Japanese people want us to watch them all)?

- Japanese new artist Ayaka has become the first female artist in over 4 years to sell more than 1 million copies of her album. Good for her too.

- I discovered Kon Ichikawa’s work when I took a Japanese cinema class last year. I discovered Shunji Iwai’s genius when I followed up my first viewing of Swallowtail with Love Letter. Too bad Iwai hasn’t done a new narrative film since Hana and Alice, but at least he made a documentary about Ichikawa, and it’s coming on DVD.

- Aside from making his war film The Assembly, Chinese director Feng Xiaogang is making a short film for China’s anti-piracy campaign. It even features one of the best metaphors for pirated films I’ve ever read.

- Jeffrey Wells has a link the the first legit review of Spiderman 3, and the verdict isn’t good.

Managed to find 3 hours to check out the Rodriguez/Tarantino double feature Grindhouse. Overall, I thought the 3 hours went by fairly fast, and I found it funny that the multiplex I saw it at were playing the film like a grindhouse theater might have, though unintentionally. First, someone forgot to start the previews as the screen froze on the “please turn off your cell phone” screen for a good minute or so. Of course, someone realized he or she was asleep at the wheel and finally started the film. But then the first trailer was misframed for a good 5-10 seconds before the same person fixed it. After about 7 trailers or so (for a movie that’s already 191 minutes long!), the movie (which opened with the Machete trailer) started playing with the lights still on “trailers setting” until Planet Terror was playing for a good 5 minutes already, when someone finally turned the lights fully down.

Then after Planet Terror, people who either needed a good toilet break or just didn’t get the concept started walking out. They were either aware of the 90 minutes of stuff still coming or felt ripped off that they only got the movie with the rocket leg, and about 5-10 people started leaving. Only a few of them come back, and a pretty huge group of 7 people or so also walked out just after Death Proof started. Why? I had no idea. I guess that’s what Harvey Weinstein meant about not “educating” people enough.

Oh, right, the movies. Grindhouse starts with a fake trailer for a film called Machete, starring Danny Trejo as the title character. Machete is, as a character says “a Mexican day-laborer that’s really a Federale.” He gets crossed by some evil men, talks a priest into helping him get revenge, and kicks a whole lot of ass. By the end of Machete, I was more than amused - I was pumped.

I wasn’t really looking forward to Rodriguez’s Planet Terror. I thought Rodriguez is a great technical filmmaker - his ability to DIY everything is impressive to this aspiring amateur director - but he was never a very good storyteller to begin with. His scripts are usually shallow, filled with some “whoa” moments or tons of plot developments to stuff what is essentially an empty story. That’s why I was surprised that I was having so much fun with Planet Terror. Again, he makes up a complicated story about biological weapons that has something to do with viral infections (with an intentionally complicated “here’s what really happened” explanation scene) and essentially makes a very gross zombie film out of it. Any plot description is useless, just know that it’s about a bunch of people fighting really really gross “infected” people and go with it. Everything is tongue-in-cheek and really into that exploitation shoot-and-run spirit (the camera crew shows up very clearly in the mirror in a shot during the opening dance sequence). As for the machine gun leg? Honestly, the trailers showed almost all the money shots out of it already.

Then the bulk of the fake trailers come out - Rob Zombie’s “Werewolf Women of the SS” is only amusing because of its title and a surprise appearance by a big-name actor. Edgar Wright’s “Don’t” is more amusing with better make-up and really good editing, but it’s obviously not much of a feature film idea. Eli Roth’s Thanksgiving is already all over the web, and it’s the best of the bunch. It’s sick, gross, and actually has my favorite lines in the film:

A: [licks blood coming out of headless carcass] “It’s blood.”
B: “Son of a bitch!”

I’m a bigger Tarantino fan - he may have essentially just made a bunch of homage movies (some call them rip-offs, which I can see is a valid complaint.), but he knows how to make a movie. He usually has a good enough handle on dialogue, pacing, and technique that make his movies well worth-watching. I had pretty big expectations for Death Proof; I figured if anyone was going to make an 85-minute movie with mostly girl-talk (which I had read about in reviews), it was Tarantino. However, I have to say I was somewhat disappointed by Death Proof. I was fairly involved the first 45 minutes - Tarantino hooks you with the 70s visual aesthetics, from the credits to the music to all the scratches and missing frames. And the car crash was rightfully intense. Then he resets everything and then it’s another 20 minutes of dialogue before the big finale comes out of nowhere. I usually dig Tarantino’s dialogue, but here, his indulgence is far too apparent. The dialogue in both halves of the film are either repetitive girl talk, endless tidbits of 70s pop culture references, or talk about car movies. What’s worse is that Tarantino has been all over the talk shows, just regurgitating all those stuff he wrote in Death Proof, making all the dialogue feel even more self-indulgent. Hell, Tarantino even flat out gives up on the 70s visuals halfway through the film, and Death Proof suddenly looks crisp with colors and no missing frames. Talk about killing the atmosphere.

Of course, Death Proof does have two redeeming values - car chases and Kurt Russell. Tarantino does live up to his complaint about CGI in car chases by delivering two intensely real car chases, one with real-life stuntwoman Zoe Bell sliding around the hood of a car as Kurt Russell tries to run it off the road, and the other through the highways of Texas. They were well-filmed and well-edited all around. The “avenging chicks” ending felt like Tarantino suddenly woke up and found a direction to take the movie, and I was all the more thankful for it. Kurt Russell, meanwhile, plays his stuntman Mike with a great evil smirk in the first half, only to be reduced to a scared pathetic over-the-top psycho at the end. His transformation is abrupt on paper, but Kurt’s performance eventually made the whole thing work. Would’ve liked to see what Mickey Rourke would’ve done with the character, but I didn’t mind Kurt Russell in the role either.

OK, so some people would say “hey, Tarantino just wrote a bunch of dialogue scenes because that’s how low-budget exploitation films were like.” My problem isn’t exactly with the amount of dialogue. Like I said, I liked the buildup in the first half, but Tarantino could’ve just merged the two groups of girls and made a real revenge film out of Death Proof. But in the end, Death Proof felt like it would’ve made a better extended fake trailer than a feature-length film.

In any case, Grindhouse was actually a lot of fun to sit through. I personally didn’t mind the length, but I could see why people would be turned off by it. The saddest thing is that both films really could’ve been trimmed to a more audience-friendly length - Rodriguez could’ve simplified the convoluted plot and took out the gratuitous explosions to save a couple of bucks; Tarantino could’ve saved himself a good 15 minutes of talking by not making two films out of one. But it is what it is, and I can live with it.

So which director wins the battle of Grindhouse? Just for sticking closer to the genre, making a better missing reel gag (not to say that Tarantino’s missing reel gag wasn’t amusing), and managing to overcome the gossips, I say Rodriguez actually triumphs over Tarantino this time. I think when the films are split up for international release, I dare say word-of-mouth will actually make Planet Terror a bigger success.

Since the weekend isn’t gonna bring much news, I’m moving the news reporting to the weekend entries.

Being Wednesday, hump is being used here as a noun, not a verb.

- Let’s start with some rankings. Today it’s the Japanese Oricon (To answer a question that has never been asked, I only go over the Oricon because it’s the most widely-known easy-access general ranking in Asian music. Of course, I’m only saying that because I know Japanese and I don’t know Korean. Plus, I don’t know much about Taiwanese music anyway to go over rankings there). It was a slow week on both fronts - on the singles side, Glay leads the chart with their latest single, selling only 67,000 copies. By that number, you can tell how badly the rest of the singles are selling.

The album chart was fairly weak this week as well, with rock-pop songstress YUI taking the top spot with her second album, selling 290,000 copies. It’s also her first number 1 album, thanks to weak albums sales overall this week. Unlike the crowded album market last month, only 4 new releases found its way on the top 10, and 3 of them are ranked 5th and below.

- In case anyone still cares, Hong Kong Tuesday numbers are out. Mr. Bean still ruled the Hong Kong Easter box office, and Super Fan still flopped.

Several follow-ups from previous reported news:

- In response to Eason Chan’s comments about Ayumi Hamasaki lip-syncing part of her way through her Hong Kong concert, fans in Hong Kong have suggested they boycott Eason’s albums. Excerpt from Chinese report below:

陳奕迅（Eason）因公然指濱崎步在演唱會「咪嘴」而惹步姐迷不滿，昨日就有網友發起罷買Eason的唱片。

Eason Chan’s claim that Ayumi Hamasaki was lip-syncing at her concert has angered her fans. Yesterday, netizens were initiating boycotts of Eason’s albums.

Eason心情未受影響。但談到步姐和網友發起罷買其唱片，他就顯得很避忌，不欲多談，只強調當日接受訪問，大讚步姐是個聲色藝俱全歌手，其他事情不作回應了，免得事件愈鬧愈大。

Eason’s mood did not seemed to be affected, but when the boycott issue was brought up, he appeared wanting to avoid the issue and refused to comment. He only emphasized that during the interview, he complimented Ayumi as an all-around talented singer. He didn’t want to respond to other issues as to not blow things out of proportion.

Original Chinese report is here.

This isn’t the first time he said the wrong thing anyway. A few years ago, he said among the four Heavenly Kings of Cantopop (Leon Lai, Andy Lau, Jacky Cheung, and Aaron Kwok), he only bought Jacky’s albums, which set off another media/fan storm that eventually blew over. As one of Hong Kong’s top pop acts, I don’t think Eason has to worry about any type of boycott.

- Yesterday, I reported that the United States formally filed a complaint with the World Trade Organization about China’s rampant piracy. In response, China pretty much gives the U.S. a very gentle middle finger.

- Park Chan-Wook’s latest I’m a Cyborg But That’s OK is finally coming to DVD on April 30th. I’ll assume that a Hong Kong edition (that will be wiped out by the legions of screaming Rain fans, including those that didn’t show up for the theatrical release) is coming soon after that as well.

- I hated Kim Tae-Kyun’s A Romance of Their Own. It represented everything that was bad about Korean teen cinema - the posing, the melodrama, the tragic twist. I barely made it to the ending. Asian Cinema - While on the Road has a review of his latest, and it seems like it’s more formulaic melodrama that I would hate. Shame, I thought Volcano High was a solid film.

- On that note, Korean films seemed to have hit a slump for March, taking only 21.6% of the market. But the fact that the big picture shows that Korean films is still enjoying a 55.3% share for the year, the reports may be blowing it out of proportion a little bit. Hong Kong would kill for that kind of number, people.

- Japanese production company Nikkatsu has announced its line-up for 2007-2008. The most notable films include the cgi-animated film of popular 70s toon “Gatchaman,” to be made by Hong Kong firm Imagi and directed by Kevin Munroe, who teamed up for the recently-released TMNT. They also announced the Death Note spinoff film based on the detective character L, which will be shot later this year and distributed by Warner Bros. Japan.

- Japan Probe offers a look at what shooting on Kill Bill Volume 1 might have been like. It even offers a Quentin Tarantino impersonator that’s close enough, as far as Japanese impersonation goes.

- The Hong Kong International Film Festival is coming to an end, with the Hong Kong Film Awards on Sunday (I’ll be watching it on Sunday night on the tape-delay broadcast by the local TVB channel in San Francisco), which means Professor Bordwell is leaving. But before he leaves, he shares a ton of pictures, and even mentions this blog! Thanks, Professor, I enjoyed your coverage of the HKIFF!

As mentioned yesterday, there aren’t many news coming out, even Variety Asia seems to be taking a break. But there are still news elsewhere, and I’ll just even them out for the weekend. I might even go into my own collection a do a bit of a feature.

Watched The Prestige on DVD, better known as Christopher Nolan’s break between the Batman movies. It’s a hell of a mind-bender about two magician’s relentless pursuit to top each other. You might expect them to eventually band together and become friends, but no such luck. They get dirty all the way to the end, and they really know how to duke it out. While there’s not much real thrills to be had (much of the thrills are in the complicated puzzle the Nolan brothers and novelist Christopher Priest put together), the movie moves at a constant pace, moving forward and backward in time enough that audience participation is guaranteed. The movie is well-shot, well-acted, well-written, and even most of the final twists work (even though the sci-fi twist was a bit of a stretch). It makes me wish Nolan would do another small personal film like this before spending 2 years of huge blockbusters.

- This weekend is kind of considered a holiday weekend here in the United States, although Easter is not an official holiday. But in Hong Kong, it’s a 5-day weekend, and that means a huge weekend at the movies too. At least 7 movies open this weekend - Mr. Bean’s Holiday (which dominated world box office last weekend), Danny Boyle’s Sunshine, Luc Besson’s Arthur and the Minimoys, Happily N’ever After, Disney’s Meet the Robinsons, The Reaping (which also opens in the US this weekend), and the sole Hong Kong entry is Eric Kot’s idol comedy Super Fans.

As far as ticket sales go, my unscientific research method is showing that Mr Bean is selling like hotcakes, and Sunshine seems to be doing moderate business (probably because it’s being put on smaller screens). Super Fans seems to be doing ok as well, although I doubt it’ll make a huge dent. We’ll know the results on Tuesday.

- China has this silly rule where they would block foreign films from opening in order to allow domestic films to thrive at the box office. This happened to The Da Vinci Code last year, although some say it was pulled because the government didn’t want to piss off the Catholics, which I wouldn’t be surprised at. This year, Spiderman 3 is lucky enough to squeeze in on May 1st before the July blackout period, and they’re gonna open it on a record 500 screens. That still won’t stop the millions of pirated disc soon to flood the streets of China, though.

- Are you ready for more Self-Defense Force Zombie? I am.

- Brian’s Asian Cinama - While on the Road has two entries of reviews. For chronological order’s sake, here’s his review of the Japanese hair scare thriller Exte.

- One reason for this film scholar to go to France this May? To see Martin Scorsese give a masters class in filmmaking at the Cannes Film Festival.

- Speaking of which, Hong Kong’s Oriental Daily (which means it should be taken with a grain of salt) reports that they have asked Jet Tone directly about the status of Wong Kar Wai’s My Blueberry Nights, and apparently the representative has responded it has been officially invited to open the festival, which would be an enormous honor for a Chinese director to go through. But apparently people are liking it so much that they think it should be going into competition, and that now it’s undergoing post-production. More as this develops, but it seems like no English media has picked this story up yet, so no idea how credible the report is yet.

- New York Times has a guide to Hong Kong, although it’s certainly a little to bourgeois for my taste. But hey, if it rocks your boat, go for it.

That’s it for today, hopefully more tomorrow.

There might be less news in the next few days because the Ching Yeung Festival got mixed in with the Easter holiday in Hong Kong, so they’re pretty much on public holidays all the way until the 10th. What does that mean? No Thursday and Sunday numbers from mov3.com, and maybe less news from Variety Asia, so look for fairly short entries from tomorrow til next week.

- Let’s face it, my knowledge of Japanese animation and comics are quite minimal. I’ve heard of the name Tetsujin 28 here and there, including the live-action adaptation that opened when I was studying in Japan. But apparently a new Tetsujin 28 film opened this past weekend, but since it’s a relatively small production, the distributor decided to play it at one theater in Tokyo (followed by a tour around Japan, perhaps of the same print) for only a week with 5 showings a day, then decreasing to one morning and one late show a day after that. What they didn’t expect was that the film managed to attract 1291 people the first 2 days for the 133-people auditorium. At 5 shows a day, that means each show attracted 129.1 people, that’s full capacity right there. Apparently, a lot of the audience, primarily late 20-30s male who were fans of the anime, bought advanced tickets, which convinced the theatre to add matinee shows for one week. So now that it’s a hit, what now?

- As reported last week, the president of KTV, the broadcaster behind the drawn-out natto scandal, has resigned, but that only means that he’s now a director without voting rights on the board. What does that mean? It means he still gets paid, under lower salary, and with less power.

- I also mentioned a few days ago the Andy Lau fan madness saga. Anyone that wants a fairly comprehensive wrap-up and a look at the next step for the mentally unstable Yang family shouldn’t hesitate to look at the always informative EastSouthWestNorth blog. Yikes.

- After watching Love@First Note, the Gold Label-produced stinker with the equally overrated Justin Lo (that’s right, I went there), I placed Dennis Law so high up my director’s blacklist that I still can’t get myself to watch Fatal Contact yet. Then again, he did produce the Election movies, which may just mean good things for his latest producing gig - Herman Yau’s Gong Tau. But somehow I can’t help but think Twitch’s expectations for it may be a tad too high.

- New on the list of “not very good producers” is RTHK, who refused to allow Yan Yan Mak’s film “August Story” to screen at the Hong Kong International Film Festival because Mak put together the 62-minute “long version” from a 22-minute short film that RTHK commissioned her to do. At first, RTHK refused the existence of the film because Mak never received official permission to make it, then they said she can show only the 22-minute version along with 2 other films in the series of short films, and now the film festival people just flat out decided to pull it because RTHK won’t budge. With RTHK in hot waters lately, I’m not so sure if they should be making any more enemies these days.

- Am I the only that thinks the Pang Brothers should take a step back and chill? I’m already behind on 4 Pang films - Recycle, The Messengers, Diary, and Forest of Death, all of them are thrillers with maybe some horror mixed in. Do something else, guys - comedy (I know you did one of those), romance, dramas, something else other than horror, and do them slowly. Looks like I’ll be behind on a 5th one, if the film in this sales flyer is coming out anytime soon.

- I mentioned two or three days ago about Rules of Dating director Han Jae-Rim’s latest The Show Must Go On. Well, now Variety has an English review of it all the way from Hong Kong International Film Fest.

- Jackie Chan is looking for a successor that isn’t named Jaycee, and he’s looking hard. You can try too.

That’s it for today. Remember, no Hong Kong numbers for the weekend, but I can predict how the Easter box office will go tomorrow.

- Let’s start with those Oricon rankings today. On the singles side, Kobukuro scored their first number 1 single with Tsubomi, the theme song for Tokyo Tower the drama (it’s a good song worth checking out, just don’t tell anyone I sent you), which jumped up from last week’s second place debut. Meanwhile, new singles from Shibasaki Kou and Bonnie Pink debuted only at 8th and 9th place, respectively. Next week, it looks like Glay’s latest single will come up and dethrone the pop duo, but let’s worry about that next week.

As for the monthly singles chart (for the month of March), the pesky Flower boys continue their invasion of the consuming public with its two theme songs taking over the charts. As expected, Utada Hikaru’s Flavor of Life is number one with nearly 500,000 copies sold, while Arashi’s Love So Sweet is at second place.

On the albums side, Ai Otsuka’s compilation album “Ai Am Best” (ha ha, I get it) knocked Mr. Children of its high horse by selling 350,000 copies, while Mr. Children gets knocked down to second place. Compilation albums don’t have a history of staying strong, so expect it Ai’s to slide down the rankings fairly quickly. Meanwhile, M-Flo’s latest album “Cosmicolor” debuts with an OK 76,000 copies for its first week. Next week, expect young rockster YUI’s album to hit number one.

For the month of March, Mr. Children was obviously the winner, selling 693,000 copies of its latest album. The rest of the top 10 were no slouches, either - Ayumi’s double CD compilation managed to sell a combined 1.3 million copies (roughly 620,000 each), Exile’s latest sold 389,000 copies, and even Shiina Ringo’s latest sold 155,000 copies, about 2000 more than Mika Nakashima’s latest.

- What else do we have from Oricon on this fine day? Those drama satisfaction ratings! The Flower boys are number one with 81.8 points, the long-running 5th series Aibou is in 2nd place with 80.2 points, the family epic/ratings winner Karei Naru Ichizoku is at a close 3rd with 79.5 points, sleeper hit Haken no Hinkaku is in 4th with 77.5 points, and the rest of the ranking is here.

- Korea Pop War returns with the Korean box office from this past weekend, where the 300 ruled again.

- I meant it when I said we have a lot of pictures to look at today. For one, we have three posters/promo materials from Twitch. First, we have the poster for Feng Xiaogang’s The Assembly, which looks…..kinda cheap. Then we have the sales flyer for the Benny Chan-helmed Nicholas Tse-starrer Invisible Target, which looks extremely cool. Lastly, we have Joe Ma (Is this “Love Undercover” Joe Ma Wai-ho?) and his Japaense/Hong Kong co-production of Sasori.

- Speaking of pictures, we also have a picture of Taiwanese pop star Rainie Yang apologizing again for remarks she made about the Sino-Japanese war on a Taiwan TV show, which angered those pesky Chinese netizens. Of course, then she takes it too far and starts reading the history book that was given to her at the press conference. Er…..

- Hong Kong is not only passing out awards at its International Film Festival, where the Malaysian film “Love Conquers All” got the big prize, but also the RTHK award for the best films in light of the 10th anniversary of the handover. Infernal Affairs got best film and best screenplay, while Johnnie To won best director for The Mission (!!!!!). More details over at Variety Asia.

- Hoga News has a report on two new films, one of which is Yuko Takeuchi’s first film after her divorce with kabuki bad boy Shido Nakamura.

- The NHK special I mentioned on Miyazaki showed here in the US on TV Japan last week. It was an episode of the “The Professonials” series where NHK cameras follow a professional something for a while, and this episode happened to be on Mr. Miyazaki. The last 15 minutes I watched featured him watching son Goro’s Tales from Earthsea (which he opposed to Goro directing), complimenting that it was “well-directed in a straightforward manner,” walking out of the screening for a smoke, go to the country to brainstorm his latest (while smoking some more, of course), then as of the beginning of March, drawing Ponyo on the Cliff (his latest film).

Why am I mentioning this? Because Goro’s much-hated (though it made about $80 million in Japan alone) Tales From Earthsea is coming to DVD in Japan in July. What about the US, you say? It’s stuck because the Sci-Fi Channel (the schlockmasters that bring us cheap sci-fi flicks and Stargate episodes) holds the right to the story until 2009, so it won’t be until after 2009 that Studio Ghibli’s Tales From Earthsea can be seen.

- I like Media Asia because they released Isabella and Exiled, two of my favorite films from 2006 that both sadly flopped. But then they also released 2 Become 1 and Confession of Pain, which makes them not one of my favorite film studios in HK. Sadly, because of their wish to be makes of huge blockbuster, they are now losing money and now being bought out by another firm that’s owned by the same guy. Now they’ll become a private company, and maybe make better movies?

- Jason Gray has a tidbit on a part of Japanese cinema that I know nothing about (the films of Tanaka Noboru) and the recently-revived Yubari Film Festival.

- I couldn’t resist a movie with a name like this: Self-Defense Force Zombies.

- Meanwhile, the Korean Film Council seems determined to continue cultivating new talents. Way to go, South Korea! Oh, they want them overseas? Maybe not so good…

- Professor Bordwell is back with another entry from Hong Kong, where he praises Wo Hu as better than Protege and Dog Bite Dog…..whhaaaaa? It’s OK, he’s still awesome.

- China is seeing its first series about homosexuals, good for them! But it might not make it past the censors, although it will broadcast online. I honestly don’t know who would expect them to get past the mainland censors when even Hong Kong people couldn’t accept public broadcaster RTHK’s 30-minute documentary on homosexuals. Good try, though.

- There are two reviews out there for Danny Boyle’s Sunshine, which opens this week in some countries including Hong Kong. One calls it terrific and extraordinary, the other calls it an atmospheric thriller that’s gripping for two-thirds of the voyage.

- Variety also has reviews of the Death Note saga (which I generally agree since he’s watching it at a non-fan perspective like I did) and Bubble Fiction: Boom or Bust, which played at the Hong Kong International Film Festival.

- Hong Kong’s mov3.com finally posted the Sunday numbers, and as predicted, those TMNT made a comeback after its dismal opening on Thursday to make HK$630,000 on 32 screens for a 4-day total of HK$1.84 million. Those 300 Spartans hold on to second place with HK$420,000 on 32 screens, but tied with the Smith family and their Pursuit of Happyness, which also made HK$420,000, but on only 16 screens. 300 has made an impressive HK$13.4 million after 18 days, and Pursuit has made HK$3.65 after 11 days.

As the only Hong Kong film left in the top 10, Danny Pang’s Forest of Death barely hangs on to a 4th place with HK$230,000 on 24 screens for a HK$2.85 million 11-day total. In limited release, Pan’s Labyrinth continues to play strongly with HK$60,000 on 4 screens on Sunday for HK$1.16 million after 18 days, while those screaming Rain fans realize I’m a Cyborg But That’s OK might just not be their cup of tea as it only earned HK$80,000 on 9 screens for HK$890,000 after 11 days.

- Speaking of box office, Eiga Consultant has declared Sakuran a relative success with 600 million yen after 28 days of release on 126 screens. Meanwhile, Hoga News has some results for other Spring break films as well.

- NHK dramas are not huge phenomenons in Japan, but really something that people watch out of habit. That’s why the daily 15-minute morning drama has scored fairly strong ratings over the years since people simply tune in everyday. But now even that staple is running into hard times as its latest drama (not clear if this is the daily morning one) scores record low ratings for its debut. Nothing is sacred these days, I tell you.

- I went to Tokyo Disneysea during my trip to Japan this past Christmas, and I was frozen. But I guess it’s comparatively warmer, otherwise it wouldn’t have attracted all these people.

- I wrote about Ping Pong director Fumihiko Sori’s new film, the animated Vexville, a while ago. Now Twitch has found some brand-new footage. Too bad I don’t care for animation much.

- Turning our attention over to South Korea, it seems like after the screen quota for Korean films was removed, the evil giant U.S. conglomerate has decided to also rape its TV industry as well by taking away the cap Korea has on foreign ownership in a broadcaster, among other things. Free trade, my ass.

- Meanwhile, Twitch has a review of the Korean blockbuster from 2006 - Tezza: The High Roller, which I’ve heard great things about, but keep managing to miss.

- One piece of news and one piece of editorial from Ming Pao:

News: Quentin Tarantino, the graverobber of Asian films, so to speak, is apparently planning to remake the martial arts classic The One-Armed Swordsman. The Chinese text as follows:

著名導演昆頓塔倫天奴上月底宣布，下一部電影將會是中國功夫片，會起用很多中國演員，雖 然會用英語對白，但肯定會配上中文字幕。他表示很久以前看過很多邵氏經典電影，對這些影片推崇備至，尤其是《獨臂刀》等作品，喜歡那種獨特的節奏感和故事 的張力。不過若他翻拍的話，會加入一些自己和現代結合緊密的元素。

Renowned director Quentin Tarantino announced last month that his next film will be a Chinese martial arts film with many Chinese actors. Even though the dialogue will be in English, he’ll definitely put on Chinese subtitles. He said that he’s seen many classic Shaw Bros. films and admire them, especially the “One-Armed Swordsman” series and its unique pacing and plot tensions. But if he is remaking it, he will infuse his own modern elements.

The original Chinese text is here.

Can’t this guy come up with his own martial arts movie without doing “homages?”

Ming Pao also has an editorial about the status of screenwriters - one of the most overlooked jobs in Hong Kong cinema. Excerpt are as follows:

這幾年有過不少港片市場調查，觀眾多指票房不好因劇本不濟。本地編劇待遇欠佳，不被尊重是劇本不濟的主因之一。要提高劇本水準，不是不停訓練人才就行。

There have been many market research regarding Hong Kong films in recent years, and audiences points that box office gross are low because the scripts are no good. Local scriptwriters not being treated well is one of the reasons are scripts are bad. To improve the quality of scripts, cultivating new talents is not the only solution.

編劇在電影行業中是弱勢社群，雖說是主創崗位，但酬勞往往比攝影、美術、製片還低，不兼任其他工作，可能沒法生活。

Screenwriters are weaklings in the film industry, despite their important creative role. But their wages are often lower than the cinematographer, production designers, and even production crew. If they don’t take on other careers concurrently, they wouldn’t be able to survive.

單提高劇本費是沒用的，政府應做的，是完善劇本的版權保障機制，令編劇將來可得到合理的報酬。

Just raising screenwriters’ fees isn’t enough. The government should improve the protection of script copyrights, allowing screenwriters to get fair reward.

對編劇來說，最重要不是劇本費有幾多，是劇本創作出來如何受到基本保障，無人偷他們的橋段，兼且可保留電影以外的版權，又有健康的分紅制度，就算零劇本費，也會吸引很多人參與。

To a screenwriter, the screenwriters’ fees isn’t the most important thing, but rather how the script can get basic protection after its creation. Ensuring that ideas aren’t stolen can protect copyrights and allow for a healthy bonus system. Even if the fee is zero, it would attract many more people to participate (in screenwriting).

在不公平的制度下，怎可能叫人用心創作？

How can people create under an unfair system?

好劇本不必然是用錢買的，優良創作環境，才最重要。

A good script isn’t bought simply with money. A good creative environment is really the most important thing.

Original Chinese text is here.

I hate to rely on sources for news, but that’s what happens when you have limited resources. This means when mov3.com doesn’t update their Sunday numbers on Monday HK time, I’m stuck Monday afternoon with no numbers to report.

- But good thing Box Office Mojo came through with their Japan numbers, which isn’t particularly hard, since they only have the top 6. Rest assured, you’re not missing much. The rankings stayed roughly the same, as all the films enjoyed only very small drops. Happy Feet actually gained more audience to beat The Holiday in the attendance rankings, but, as it is the case with kids films, it brought in less money than The Holiday because kids tickets are quite a bit cheaper than adult tickets. Such is life.

- Meanwhile, The Host enjoyed a healthy 4th week at the American box office, as Magnolia expanded the film again by another 22 screens for a small 4.8% increase in grosses. Of course, that means per-screen average has gone down to a not-very-good $2,437 (down $400 from last week), but at least it’s hanging in there.

- During Filmart last week (with the deal finalized a week later, as in yesterday), Sponge, a small Korean distributor that specializes in importing small foreign films, acquired the Quentin Tarantino-Robert Rodriguez double feature Grindhouse in its biggest deal ever. No word, however, on whether Sponge will split the two films up (as it was announced to be done for the international market) or release both films together.

- At the risk further damaging my credibility, I’ll admit that I’ve never seen a Kim Ki-duk film. I’ve read about quite a few, and I’ve been turned off enough by fish hooks and plastic surgeries to stay away from them. Nevertheless, I have followed his career, including his public denouncement of Korean media and Korean cinema. I guess he must’ve taken it back, because he has yet another new film coming that he shot in just under two weeks. Wow.

- China isn’t the only place in Asia with strict censorship. India has banned Fashion channel FTV for two months for indecency. This isn’t the first time, as AXN, Asian’s answer to Spike TV, was also banned for two months. Man, wait ’til they watch American TV, there’s plenty to ban there.

- When you have a soon-to-be-defunct TV tower and a huge Hollywood blockbuster to promote, what do you do? Nagoya has found the answer.

- I’m looking more and more to Yau Nai-Hoi’s Eye in the Sky. Why? Because of that review from LoveHKFilm that I just linked to and this review.

- But you can quench your thirst with teasers today - one for Eye in the Sky, and the other for Feng Xiaogang’s latest The Assembly.

- While I’m reading Haruki Murakami’s Kafka on the Shore (I’m about halfway through, thanks to my newfound discovery of the ability to read at the gym), I just found another book with a killer concept: A real-life Yakuza princess. Unlike Nakama Yukie, I don’t think she’d make much of a high school teacher.

Another short entry today, but can’t help it if the news world is quiet as usual.

Another month, another new beginning. If you noticed, the profile has been updated.

- The Hong Kong customs have been desperate in catching those Bittorrent pirates. They’ve been trying to save time and money by implementing a new automated system to catch who’s uploading and who’s downloading. This is the result.

- While Johnnie To’s Election series is a masterpiece unto itself, I don’t know why Tartan bought it and thought people would like the second film better. It asks for more patience, it moves slower, and it requires character background. The first film is a mixture of a tight thriller and involving look at triad politics, and it’s a better blend of commercial and the arts. Anyway, it seems like Tartan has decided to release both films at once, at least in New York, where out of five showings, one will be for Election 1, and the other 4 for Election 2.

- Twitch went to the AFI Dallas Film Festival, and Peter Martin has a slew of reviews from it.

- Professor Bordwell has checked in with two new reports - one is film-oriented, the other is not. Both are equally interesting.

- DJ Ozma is known in Japan as the man who managed to make Kohaku (the annual singing extravaganza on New Year’s Eve for who-knows-how-many-years-running) show entertaining by getting all his female dancers into naked body suits and wearing a dildo on stage (more details, including video, here). Apparently, this year the parks of Tokyo are selling said body suits during Hanami (the yearly period when people gather to look at blooming sakura and get trashed like it’s 1999).

- Grindhouse is coming out next week, and the faux-trailer by Hostel director Eli Roth is already online.

- An official release date for the modern-day pink film The Glamorous Life of Sachiko Hanai has been announced.

I took this shot from a TV just above the streets of Shinjuku on my trip. I thought it was weird how they had a random cell phone ad of Cameron Diaz talking on the phone. I mean, considering how much Cameron got paid for the commercial, I’m not surprised why she took it. I guess people would want to use Softbank phones more if Cameron Diaz uses it?

Anyway, Tokyo Times offers another shot, this time on a billboard and I’m guessing that’s Akihabara.

Next, best of the week, and a special song of the day

Thanks to TVB, whose English channel showed the Asian Film Awards, I’m watching the TVB USA broadcast of it right now. The award, done completely in English, is hosted by actor/VJ David Wu, Hong Kong pop star Fiona Sit, and at one point, also by actress/singer Karen Mok. All three of these people speak fluent English, which I guess means they meet the most basic requirement. But while I’m sure that David Wu is a perfectly competent VJ on TV in Taiwan, he has this annoying need to end a lot of his sentences with fillers like “OK?” or “alright?” Yeah, kind of like what Quentin Tarantino does when he does interviews. While his fillers, which makes him sound like he’s speaking in a normal conversation, works better when Fiona shows up and does the co-hosting thing, his monologue skills is something left to be desired.

All in all, it’s an impressive effort, considering it’s the first time Hong Kong is in charge of a global award show like this (they’ve never done well with foreign presenters at the Hong Kong Film Awards either). It’s also great to see Professor David Bordwell get an award, Josephine Siao Fong Fong getting the only standing ovation of the night (why isn’t she in films anymore anyway? If the Hui brothers can still stage a pseudo-comeback these days, I think she’s due for another great performance), and Sandy Lam doing famous film songs in their original languages. But I think I can see a teleprompter in their future, because it’s really distracting seeing people reading into cards in their hands. It was also funny to see people sitting there not applauding (like when Andy Lau got his award, Tony Leung Chiu-Wai is caught just smiling politely when everyone else is applauding), Professor Bordwell snapping a picture of Jia Zhangke when he won his best director award, and people talking on cell phones even when the camera is on them.

So next year, get Michelle Yeoh (or at least have consistenly 2 hosts at the same time) to be the host, get everyone to at least appear to be prepared, and try to actually fill up the place with more than just idol fans and celebrities.

Watched Ridley Scott’s A Good Year last night. It’s basically an adult escapist fantasy about a rich guy, played by Russell Crowe, who inherits his deceased uncle’s beautiful French vineyard where he spent a big chunk of his childhood. He means to sell it so he can go back to his super stockbroker job in modern London, but first he has to fix it up. Considering it’s from the man who made Alien, Blade Runner, and Gladiator, A Good Year is obviously a pretty minor effort. It’s also Ridley Scott’s rare attempt at a full-on comedy; it even features the Crowe man falling into a pool of dirt and dead leaves.

The result is a very relaxed and minor effort. The whole thing, like Gordon Chan’s Okinawa Rendezvous, feels like an excuse for the cast and crew to spend a few months at a beautiful French villa. But that’s OK, because Scott has a sure handed approach on the material, making what could’ve been a mediocre “city guy learns about the simple life” story into a classy but somewhat uneven piece of filmmaking. Then again, maybe I’m predisposed to like everything Scott and Crowe do. Or it’s just nice to see Crowe not taking on heavy roles, he might just throw less things at people in real life.

Not much news out there today, but let’s try and get through this anyway.

- Japan Times has two notable reviews for the weekend - first, the latest film from the man who is supposed to be the next Miyazaki (blasphemy!!!), Makoto Shinkai’s latest: Byosoku 5 Centimeters. Second, one of the great discoveries of 2006, the high school-noir film Brick.

- The Weinstein Company’s “Dragon Dynasty” line is an attempt to make up for the cinematic crimes they’ve done to Asian movies over the years. Of course, a line of DVDs isn’t gonna make up for what they’ve done, but it’s a good step. Twitch has a look at their line-up for the rest of 2007, which includes a 2-disc edition of Hard Boiled, City of Violence, and even Fist of Legend! Took them long enough, no?

- Celebrity fandom hit a tragic note this week with the story of Yang Lijuan. She spent the last 13 years obsessing over Asian superstar Andy Lau by not having a steady job nor much of an education. Her parents loved their daughter so much that they supported this habit, even to the point of spending the family fortune to accompany her to Hong Kong to meet him. She shows up at a fan club activity, takes a picture with the man, and was sent away. However, it wasn’t enough because she wasn’t able to spend more time with the man. Out of disappointment and a strange sense of anger, the father commits suicide, leaving a letter blaming Andy Lau for not meeting his daughter.

Now the family’s out of money, and Andy Lau still won’t meet her, even though he has sent his staff to help her out any way they can. But apparently Ms. Yang’s mother has taken this opportunity to blame Andy Lau for her husband’s death and demands half a million RMB from Lau himself. How sad.

- I like Bae Doona. Even though she sometimes looks a bit like an alien, I’ve always enjoyed her performances. Korea Pop Wars has written an entry about her recently released photo album, which chronicles her travels in London. I’m actually kind of interested in the Tokyo one too.

- The date for the announcement of this year’s San Francisco International film Festival’s lineup is inching closer, and Twitch has a preview of the films that will be shown. Too bad I’m not interested in any of those films yet.

I know it ain’t much, but that’s all I got today, alright?