Vincent & Sarah
Last Thursday, Sarah and I had the chance to meet Xue Bai, director and screenwriter of this year's Generation 14plus contribution »Guo Chun Tian« (»The Crossing«) in her apartment.
Xue Bai: Good question. Actually, I was six years old when we moved to Shenzhen. The city is very close to Hongkong. There is just one river in between. We speak the same language, we eat the same food, we drink the same water. As a child, I listened music, watched movies and saw TV programs from Hongkong. So, for me there has always been a deeper connection instead of a divide.
In 1997, Hongkong became a special administrative region of China. At that time I was 13 years old. The Chinese army came from Shenzhen to Hongkong to do that ceremony. We as students would be sitting on the roads to attend the ceremony. That was a very special moment for me.
How did you experience the societal differences between Hongkong and Shenzhen? Hongkong will officially completely be a part of China again in a couple of decades. How did you experience those political tensions?
Xue Bai: I think that the ideology and the cultural as well as the political background is very different between the two cities. But because all of us are speaking Cantonese, we still got some kind of connection with each other.
Hongkong used to be very powerful in economy and is kind of the financial center in Asia but in recent years the economical power of China is growing, so the difference actually changed in these years. Peoples' feelings are changing as well. For example, when Chinese people went to Hongkong years ago they ate noodle soups that would be very expensive but today it's just a noodle soup (laughs).
FGR: Why is it so lucrative to smuggle iPhones from Hongkong to China?
Xue Bai: In Hongkong there are no taxes for goods like these. But nowadays the price difference is decreasing so it's not as profitable as it used to be.
FGR: How did you approach the research for your film?
Xue Bai: I did a lot of research. I read thousands of pages full of information. I took a lot of photos and videos. Most importantly, I had to immerse myself into life in Hongkong because I haven't lived there before. I read many books about the history and social structure of the city and visited museums for example. I really wanted to do the best to get to know the whole society of Hongkong.
When I was focussing on these cross border children, I talked to different age groups of actresses who could play the leading role. Most of these smugglers are actually very young but it was honestly easier to write the script for an older girl who was capable of acting the leading role. And because in China young people can start working part-time at the age of 16, it made substantial sense as well.
This cross border child was a very special character for me to write because she is very embarrassed. She has a family in Shenzhen but no friends there. She has classmates in Hongkong but no home.
I found this very interesting, having to cross this border everyday to go to school. That's why I wanted to create this girl. I thought about what I would do if I was her. I would want to earn some money and I would want to do some bad things (laughs) to get through struggling to live this kind of life. So, this came up in my mind. I first thought the story may not work out.
FGR: Are you interested in making more movies about the topic of borders or...
Xue Bai: ...How do you know that? (we all have to laugh). My next movie is also about...yes.
FGR: Aha, no details allowed. I still want to know a bit more about that. What kinds of movies are you interested in making? Dramas or movies for young people e.g.?
Xue Bai: Actually, I think »The Crossing« is a drama film even though my characters are very young. I really like drama films.
FGR: At the Q&A of the European premiere of your film, we had the feeling that it especially resonated within the Chinese-speaking audience who asked many questions about it. How much is this topic talked about in China and especially Shenzhen? Is there maybe a lack of coverage about it?
Xue Bai: When we specifically talk about the story of »The Crossing«, many people in China aren't familiar with these kinds of children that are portrayed in the film. If we talk about the city movement in general, it has happened in China and all over the world in recent years more so than ever before. In China, there are a lot of people moving to big cities like Beijing, so they still got the same problem of identity Peipei, the main character in my film, does.
FGR: A couple of times throughout the movie, you stop the frame while playing a catchy bass-like sound. Why did you decide to do that? Is there a pattern behind it?
Xue Bai: This kind of thing is the editor's job and work. I was glad that he created this effect although I was quite shocked first to be honest with you. But when I decided to use this to tell the story, I realized that it portrays the three different psychological feelings of Peipei.It's like this (moves her arms)!
It reflects the different layers of Peipei and it's getting powerful one by one. So, I think it makes the changes of Peipe's feelings more clear. And it's just very cool as well (smiles). I am a young filmmaker so I want to make a fresh and cool film.
FGR: Was that maybe a reason for the electronical, beat-driven music as well or why did you choose that?
Xue Bai: I listened to these styles of music while writing the script. It also reflects the two main facets of Peipei, her two main emotions. On the one hand she is powerful and brave, on the other hand I or we feel sorry and sad about her.
FGR: You have worked with a big film production company...
Xue Bai: ...How do you know that?
FGR: Wanda Pictures. Many actually don't know that but it's a huge company, right?
Xue Bai: Yes, it's very famous.
FGR: First, how did you get in there and then did you have to adapt some of your script while working with them? Did you have to alter your script at some point, did you have to adapt to some guidelines of the company?
Xue Bai: Actually, no. Because in this big company my film is very small. They normally do commercial films, My film is a very special one, so they let me do it in my own way. To finance the film, we went to two financing platforms and Wanda picked up my script they found on one of these platforms. I was in the top five of the platform. So they approached me and I didn't have to ask directly. I'm lucky.
FGR: Thank you very much for the interview, Ms. Bai!
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