Latest update October 21st, 2015 12:41 PM
Producer Du Yang Talks About Making MY NEW SASSY GIRL In China
Poster of Making MY NEW SASSY GIRL
DU Yang, General Manager of Beijing Skywheel Entertainment, Vice President of Beijing Culture Group. Du is producer of MY NEW SASSY GIRL, MY OLD CLASSMATE, POLICE STORY 2013, SOPHIE’S REVENGE and THE MISSING GUN. The films she worked in have a total grossing over 2 billion RMB. Du used to work for China’s biggest private film studios Huayi Brothers and Wanda Media for years.
Over a decade ago, the Korean film MY SASSY GIRL moved millions of Chinese audience. My company Beijing Skywheel Entertainment thought it a good idea to remake this film into a Chinese rom com, so we talked to Shin Chul, producer of the original film to realize a really localized remake in China. You know, Korean films’ distribution in China tends to be lukewarm, though Korean directors deliver lots of great films – so we think it a win-win to shoot a relatable remake – somewhat like MISS GRANNY, which was made last year and did quite well at the local box office.
On casting Victoria
It is quite natural that we cast Victoria in MY NEW SASSY GIRL. Victoria enjoys high popularity both in South Korea and in China; this is a commercial film; her age also fits. Besides, her character is quite like that of the original sassy girl: a bit innocent, violent and tough.
On working with Korean screenwriter
The Korean screenwriter we worked with came to China to experience the life here and wrote the script. The first draft was actually quite Korean, so we offered our notes and then more drafts were sent to us. The film was then shot in Lijiang, China and in Gyeongsangnam-do, South Korea, in the hope of catering for both markets.
To shoot a film in China using a Korean script does not work, or Korean films can directly sell well here (which is not the case by the moment). Although our two countries are really close, we do have different habits in way of thinking, expression, and acting, etc.
On Chinese-foreign cooperation
Several years ago, when we go to the American Film Market, hoping to talk to American directors and producers, it was not easy – we could not attract much of their attention. But now, once we registered for AFM, those industry people would reach us to talk about business – because they could see our past records on IMDB. We are talking about people from big studios. So generally Chinese-foreign co-production is on the rise – the whole Chinese film industry has been activated. The huge market seems a luscious cake to all production compaines.
What we can learn from Korean filmmakers?
Korean filmmakers are very serious about their jobs – everyone we worked with was very professional and dedicated. They were so dedicated that sometimes it could cause quarrels – the Chinese are already very persistent, while their Korean counterparts are even more persistent – but I think it is OK to have arguments over artistic pursuits. Besides, Korean filmmakers are very tough – they can overcome all kinds of hurdles. Most importantly, they are fantastic storytellers.
Related:
Veteran Producer Du Yang Talks about Vision and Talents
Producer Josh Dong Leads The Trend In Chinese-Korean Co-productions
Kim Pil-jung Talks About KOFIC Beijing
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