Fruit Chan Gor (traditional Chinese: 陳果), born April 15, 1959 in Guangdong, China, is an independent Hong Kong screenwriter, filmmaker and producer, who is best known for his style of film reflecting the everyday life of Hong Kong people. He is well known for using amateur actors (such as Sam Lee in Made in Hong Kong, Wong Yau-Nam in Hollywood Hong Kong) in his films. His name became familiar to many Hong Kongers only after the success of the 1997 film Made in Hong Kong, which earned many local and international awards.

On August 22, 2007, Chan announced that he will make a film focusing on Bruce Lee’s early years, specifically, the Chinese-language film, Kowloon City, will be produced by John Woo’s producer Terence Chang. The film will be set in 1950s Hong Kong.
Chan’s credits include Durian Durian. Also, Stanley Kwan stated that he was talking with Lee’s family to make a movie about the late action movie icon. Further, in April, Chinese… read more

Park Chan-wook

A versatile stylist with an aesthetic that straddles the line between the idiosyncratic and the mainstream, Park Chan-wook is best known for his 2000 film Joint Security Area, a powerful story about a murder along the Demilitarized Zone between North and South Korea that became the biggest box-office hit in the history of Korean cinema. (It was later supplanted by the action film Shiri, which also dealt with North-South relations.) Park’s interest in film began in college at Sogang University, where he started the “film gang” club and published a number of critical studies on contemporary cinema. After graduating from the Department of Philosophy, he began working in the film industry as an assistant director to Gwak Jae-young on A Sketch of a Rainy Day (1988). In 1992, he directed his first feature, The Moon Is…the Sun’s Dream, a gangster drama, and shifted gears into comedy with 1997’s Trio, a romp about three pals on the run from the law. Neither of these films gained much recognition… read more

A versatile stylist with an aesthetic that straddles the line between the idiosyncratic and the mainstream, Park Chan-wook is best known for his 2000 film Joint Security Area, a powerful story about a murder along the Demilitarized Zone between North and South Korea that became the biggest box-office hit in the history of Korean cinema. (It was later supplanted by the action film Shiri, which also dealt with North-South relations.) Park’s interest in film began in college at Sogang University, where he started the “film gang” club and published a number of critical studies on contemporary cinema. After graduating from the Department of Philosophy, he began working in the film industry as an assistant director to Gwak Jae-young on A Sketch of a Rainy Day (1988). In 1992, he directed his first feature, The Moon Is…the Sun’s Dream, a gangster drama, and shifted gears into comedy with 1997’s Trio, a romp about three pals on the run from the law. Neither of these films gained much recognition, but his next film, Joint Security Area, struck a nerve with Korean audiences, partly because it was released at a time when relations between the North and South Korean governments were beginning to thaw, but also because it’s a well-made, extremely moving film. Rather than following his success with something similar, Park once again changed direction with his next movie, the kidnapping drama Sympathy for Mister Vengeance (2002). With its heavy doses of excruciating violence and a set of characters bent on destroying one another, it’s a much more disturbing film than his previous efforts. While it is very different from Joint Security Area, it does make a similar point about how easily “normal” people can be driven to perform horrific acts. Even though he is now one of Korea’s most commercially successful directors, he still finds time to collaborate with other filmmakers, co-writing and co-editing Park Chan-ok’s 2002 debut feature, Jealousy Is My Middle Name.

(Source: http://www.allmovie.com/cg/avg.dll?p=avg&sql=2:293448~T1)

read less

Takashi Miike

A contemporary of such noted film experimentalists as Tetsuo: The Iron Man [1989, maverick Japanese workhorse director Takashi Miike became one of the most talked about filmmakers in the international festival circuit. Despite the derailed manic energy of the aforementioned films, it was the stark relationship drama turned sadistic nightmare Audition that found the director receiving increasing international exposure. Audition succeeded in pulling the rug from under viewers as it turned the age-old image of the submissive Japanese female on its head with a shocking and nearly unbearable finale that had many horrified viewers shell-shocked. Born in Osaka, Japan, in 1960, Miike spent his childhood growing up in Osaka, where he eventually opted to study filmmaking at the Yokohama Academy of Visual Arts. Inspired more by Bruce Lee than Seijun Suzuki, Miike’s distinctive style came more as a result of not studying the traditional rules of filmmaking than a conscious attempt to break them… read more

A contemporary of such noted film experimentalists as Tetsuo: The Iron Man [1989, maverick Japanese workhorse director Takashi Miike became one of the most talked about filmmakers in the international festival circuit. Despite the derailed manic energy of the aforementioned films, it was the stark relationship drama turned sadistic nightmare Audition that found the director receiving increasing international exposure. Audition succeeded in pulling the rug from under viewers as it turned the age-old image of the submissive Japanese female on its head with a shocking and nearly unbearable finale that had many horrified viewers shell-shocked. Born in Osaka, Japan, in 1960, Miike spent his childhood growing up in Osaka, where he eventually opted to study filmmaking at the Yokohama Academy of Visual Arts. Inspired more by Bruce Lee than Seijun Suzuki, Miike’s distinctive style came more as a result of not studying the traditional rules of filmmaking than a conscious attempt to break them.

Miike views himself more as an arranger than an author, and his willingness to let a film develop on its own path and constant encouragement of actors and other crew members to flex their creative muscles has resulted in some of the most dynamic films of the last decade. His refusal to succumb to the traditional temptation to produce a film that will please the masses has also been a key factor in the development of his distinctive style, and further refusal to bend to widely accepted narrative structure has earned him both harsh critics and a fiercely loyal fan base. Miike’s films are also frequently targeted for their excessive and often gratuitous violence, though the director sites that the inherent honesty in that violence is more sincere than what he feels is his contemporaries’ romantic misrepresentation of current culture, viewing cinema as an important outlet for such images. Following his directorial debut in 1991, Miike turned out an exhausting 24 films (including two television miniseries) between 1999 and 2002, confirming his status as one of the busiest directors in world cinema. And though Miike may not be a household name, the release of such enticingly quirky and curious efforts as the comedy/musical/horror The Happiness of the Katakuris hints at big things in store for the tireless auteur.

(From http://www.allmovie.com/cg/avg.dll?p=avg&sql=2:235203~T1)

read less