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Another unparalleled strength of Fujifilm, according to Wong, is its excellence in delivering the cold colours blue and green, which effectively enhance the unnerving atmosphere in A Chinese Ghost Story. “This is an absolute advantage for the movie. On this basis, we added a lavender hue to the green colour of the Black Mountain to enrich the overall tone,” he says.
In many ways, A Chinese Ghost Story is “a dream come true” for Wong. When he made the 1990 version, while there was no censorship concern since mainland China was not the key target market, technical limits abounded.
“Many actions, changes of colours and computer-generated imagery (CGI) we see in the latest version were simply impossible in the old days. Today the technical boundary is almost unlimited,” he says.
But he reiterates the importance of striking a balance between special effects and storytelling. For AChineseGhostStory2011,Wong believes the balance is perfect, with the technical elements being not a bit less and not a bit more.
“You don’t use special effects for the sake of using them. The money is worth spending only if the effects can enhance storytelling. I know some of the CGI companies are fed up with me because I always tell
them there’s no need to add CGI to this or that. But I am slightly different. I am a believer of less is more.” SHIRLEYLAU
A Chinese Ghost Story was originated on 35mm Fujicolor ETERNA Vivid 500T 8547 REALA 500D 8592 and ETERNA 250D 8563
“FUJIFILM GOES
VERY WELL WITH
THE SKIN TONE OF
ASIAN FACES.”
Photos main and above: scenes from A Chinese Ghost Story; inset left: DP Arthur Wong HKSC on location
FUJIFILM MOTION PICTURE • THE MAGAZINE • EXPOSURE • 19