(2019_AFA13) The 13th Asian Film Awards - House Program by Asian Film Awards Academy

T H E 13 T H ASIAN FILM AWA R D S

第十三屆亞洲電影大獎

Celebrating Excellence in Asian Cinema

2 019 0 3 . 17 SUN TVB CIT Y STUDIO ONE TSEUNG KWAN O HONG KONG 將軍澳電視廣播城一號錄影廠

Organiser 主辦機構

Founding Partners 創辦機構

Prime Sponsors 主要贊助商

Financial Supporters 資助機構

Jewellery Sponsor 珠寶贊助

Film Festival and Cultural Organisation Partners 電影節夥伴

Young Film Professionals Overseas Training Program Partners 電影專才海外訓練計劃夥伴

Honorary Legal Advisor 榮譽法律顧問

Honorary Auditor 榮譽核數師

Design Partners 設計夥伴

Hotel Partner 酒店夥伴

Glassware Sponsor 酒杯贊助

Makeup and Hairstyle 化妝及造型

Supporters 支持機構

Video and Technical Support 影片及技術支援

PR & Marketing 公關及市場推廣

Live Streaming Partners 網上直播夥伴

Live Broadcaster 現場直播

Media Partners 傳媒夥伴

HONG KONG

Broadcasting Partners 廣播夥伴

CONTENTS 目錄 W E LC O M E M E S SAG E S 4 Asian Film Awards Academy 8 B u san Inter n a t i on a l Fi l m Fes t i v a l 10 To kyo Inter n a t i on a l Fi l m Fest i v a l 12 18 22 2 6 30

J U RY- N O M I N AT I O N C O M M I T T E E - O R GA N I SAT I O N S J u r y P resid en t : Joa n CH E N Celebr it y Juror : WATA N A BE Ken J u r y Members No minatio n Com m i t t ee Of ficial Su b m i ssi on Org a n i s a t i on s

A S I A N F I L M AWA R D S AC A D E M Y 32 AFAA You t h A m b a ssa d ors: F ish LIE W, Joh n n y H UA NG Ji n g yu 36 Asian F ilm Aw a rd s 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54

AWA R D S B est F ilm B est Direct or B est New Di rec t or B est Acto r B est Actres s B est Su ppor t i n g A c t or B est Su ppor t i n g A c t ress B est Newc om er B est Screen p l a y B est E ditin g B est Cinema t og ra p h y B est Or igi n a l M usi c B est Co stu m e Des i g n B est P ro du c t i on Des i g n B est Visu al E f f ec t s B est So u nd

歡迎辭

亞洲電影大獎學院釜山國際電影節

東京國際電影節

評審-提名委員-機構

評審主席：陳沖

名人評審：渡邊謙評審團成員提名委員會

地區評選委員會

亞洲電影大獎學院

亞洲電影大獎青年大使：廖子妤、黃景瑜亞洲電影大獎

獎項

最佳電影最佳導演

最佳新導演最佳男主角最佳女主角最佳男配角最佳女配角最佳新演員最佳編劇最佳剪接最佳攝影

最佳原創音樂最佳造型設計最佳美術指導最佳視覺效果最佳音響

S P E C I A L AWA R D S 特別獎項終身成就獎： Lifetime Ac h i ev em en t Aw a rd : LE E Chang - d on g 李滄東 E xcellence i n A si a n Ci n em a Aw a rd : 卓越亞洲電影人大獎： YAKUSHO Koj i 役所廣司 AFA Next G en era t i on Aw a rd : A F A 新世代獎： KIM Jae -joong 金在中 70 2018 Highest - G rossi n g A s i a n Fi l m : 2 0 1 8 年最高票房亞洲電影： Operation Red Sea 《紅海行動》

56 62 66

73 74 75

BEHIND THE SCENES AFAA E xec ut i v e Di rec t or AFA13 Keya r t Desi g n AFA13 Phot og ra p her

76 78

A FA A O R GA N I SAT I O N A N D A FA 13 T E A M S P E C I A L T H A N KS

光影背後

亞洲電影大奬學院執行董事 AFA13主題美術設計

AFA13攝影師

AFAA機構及AFA13團隊特別鳴謝

A FA A EVENTS AND ACTIVITES 亞洲電影大獎學院節目及活動

YOUNG FILM PROFESSIONALS OVERSEAS TRAINING PROGRAM:

VFX, Sound and Colour Grading (Trixter and The Post Republic) 電影專才海外訓練計劃：視覺效果、音響及調光

LO C AT I O N : B E R L I N , G E R M A N Y 地點 : 德國柏林 2018 / 01 - 2018/ 05

YOUNG FILM PROFESSIONALS OVERSEAS TRAINING PROGRAM:

Film Restoration 1-month Program (L’Immagine Ritrovata) 電影專才海外訓練計劃：電影修復 — 1個月課程

LO C AT I O N : B O LO G N A , I TA LY 地點 : 意大利博洛尼亞 2018 / 09

JOURNEY TO THE FEST:

Student Visit to the Tokyo International Film Festival 東京國際電影節學生觀摩團

LO C AT I O N : TO KYO , J A PA N 地點 : 日本東京 2018 / 10

ASIAN CINERAMA:

Five Flavours Asian Film Festival 亞洲電影巡迴放映：華沙五味亞洲電影節

LO C AT I O N : WA R S AW, P O L A N D 地點 : 波蘭華沙 2018 / 11

0 1 / 2 0 18 - 0 1 / 2 0 19

YOUNG FILM PROFESSIONALS OVERSEAS TRAINING PROGRAM:

Sound and Colour Grading (Rotor Film) 電影專才海外訓練計劃：音響及調光

LO C AT I O N : P OTS D A M , G E R M A N Y 地點: 德國波茨坦 2018 /01 - 2018 /0 5

MASTERCLASS SERIES:

In Conversation with Tony CHING Siu Tung 大師班系列：與程小東對談

LO C AT I O N : LO N D O N , U K 地點: 英國倫敦 2018 /0 9

MASTERCLASS SERIES:

Face-to-Face with Fruit CHAN 大師班系列：與陳果對話 LO C AT I O N : TO KYO , J A PA N 地點: 日本東京 2018/10

ASIAN CINERAMA:

Hong Kong Asian Film Festival 亞洲電影巡迴放映：香港亞洲電影節 LO C AT I O N : H O N G KO N G 地點: 香港 2018 /11

YOUNG FILM PROFESSIONALS OVERSEAS TRAINING PROGRAM:

Film Restoration 3-month Program (L’Immagine Ritrovata) 電影專才海外訓練計劃：電影修復 — 3 個月課程

LO C AT I O N : B O LO G N A , I TA LY 地點: 意大利博洛尼亞 2018/06 - 2018/09

FILM CRAFT WORKSHOPS:

A Dialogue with Hans FROMM 電影技術工作坊: 與漢斯•弗羅姆先生對話 LO C AT I O N : H O N G KO N G 地點: 香港 2018 / 10

ASIAN CINERAMA:

Asian Film Festival Barcelona 亞洲電影巡迴放映：巴塞隆拿亞洲電影節

LO C AT I O N : B A R C E LO N A , S PA I N 地點: 西班牙巴塞隆拿 2018/10

FILM CRAFT WORKSHOPS:

LEE Sang-il From Literature to Cinema 電影技術工作坊：李相日從改編哲學到電影美學 LO C AT I O N : H O N G KO N G 地點: 香港 2018/11

INTRODUCTION ASIAN FILM AWARDS ACADEMY 亞洲電影大獎學院簡介

The Asian Film Awards Academy was founded in 2013 by Busan, Hong Kong, and Tokyo International film festivals. The AFA is a non-profit organisation that aims to promote and develop Asian cinema and its talents. Through the annual Asian Film Awards and several year-round initiatives, it strengthens the development of Asian film industry and culture to the world.

Members of the AFAA are drawn from past nominees and winners of the Asian Film Awards. Members vote for the Asian Film Awards and participate in various AFAA activities involving film professionals and audiences in Asia and around the world.

With financial support from Create Hong Kong and Film Development Fund of the Hong Kong SAR Government, the AFAA conducts events and activities year-round, including the Masterclass Series, Journey to the Fest – Student Visits to International Film Festivals, Asian Cinerama – Film Roadshows, and Young Film Professionals Overseas Training Programme. Supported by different film festivals and cultural associations, the Academy has pursued its mission to promote, educate, inform and develop knowledge, skills, and interest in Asian cinema among the industry, students and audiences in Asia and beyond.

The establishment of the AFAA is a testament to the increasing global importance and creative strengths of film industries across Asia. Our partners include the Edinburgh (UK), Pacific Meridian (Russia), Quezon City (Philippines), Cambodia, Kyoto HISTORICA (Japan), Hawaii (US), Kerala (India) and Chennai (India) International Film Festivals, Five Flavours (Poland), Barcelona (Spain) and Hong Kong Asian Film Festival, BAFTA (UK), Medienboard Berlin-Brandenburg (Germany), Nipkow Programm (Germany) and Taipei Golden Horse Film Festival (Taiwan).

亞洲電影大獎學院於 2 0 1 3 年由釜山、香港及東京

國際電影節共同創立。學院是非牟利機構，宗旨是推廣亞洲電影及培育電影人才。學院藉著舉辦一年一度的亞洲電影大獎及各類活動，加強亞洲電影業的發展，並向世界各地宣揚亞洲電影文化。

學院成員為歷屆亞洲電影大獎的入圍和得獎者，在每屆亞洲電影大獎中投票選出各個獎項，亦會參與學院於亞洲及以全球各地所舉辦的活動。

承蒙創意香港及電影發展基金贊助，學院每年均

會推出一系列的活動，包括大師班系列、學生電影節觀摩團、亞洲電影巡迴放映，以及電影專才海外訓練計劃等。在多個電影節及文化協會的大力支

持下，學院向亞洲及世界各地的電影工作者、學生

及觀眾推廣亞洲電影工業及文化，傳播相關資訊，令公眾對亞洲電影有更深入的認識。

電影大獎學院的成立印證了亞洲電影在國際間

的創造力和影響力正在迅速提升。我們的夥伴包括包括英國愛丁堡、俄羅斯海參崴、菲律賓奎

松市、柬埔寨、日本京都 H I S T O R I C A、美國夏威

夷、印度喀拉拉及清奈國際電影節、波蘭五味、西班牙巴塞隆拿和香港亞洲電影節、英國電影電視藝術學院（ B A F T A ）、德國柏林 —— 勃蘭登堡 M e d i e n b oa rd、德國 N i p kow P ro gra m m 及台北金馬影展。

WELCOME MESSAGE 歡迎辭

Dr. Wi lfred WONG, GBS, JP Chairman , Asi an Fi l m Awards Academy

王英偉博士, GBS, JP

亞洲電影大獎學院主席

This year, the Asian Film Awards will return to Hong Kong, where the very first edition was held 12 years ago. I’m thrilled to celebrate excellence in Asian cinema in our great city. It is my great honour and privilege to have iconic actress-director Ms. Joan CHEN as Jury President and Academy Award nominee Mr. WATANABE Ken as our Celebrity Juror this year. We are also pleased to invite Mr. Johnny HUANG Jingyu and Ms. Fish LIEW as Youth Ambassadors to promote Asian films to the younger generation. The theme of AFA13 is Film Restoration; we hope to spread a message about the importance of restoration so that young people can have the chance to appreciate timeless classics. Film education is one of the main objectives of AFA Academy. Last year, we sent six young talents to the renowned film restoration lab in Bologna, Italy for a three -month internship. I hope that prestigious film festivals and industry players from around the world will continue to encourage and nurture future generations of film talents. Last but not least, I would like to congratulate our founding partners Busan International Film Festival and Tokyo International Film Festival on this wonderful ceremony and extend my gratitude to our sponsors, partners and supporters, whose contribution has been integral to the development of Asian cinema.

今年頒獎典禮回到香港舉行，1 2 年前首屆亞洲電

影大獎始創於此城，所以年度亞洲各地最出色卓越的電影人再度雲集香江，實在非常有意義。

亞洲電影大獎學院很榮幸邀請到著名演員兼導演

陳沖女士出任評審主席，日本國寶級演員渡邊謙先生擔任名人評審。學院亦很高興邀請到影壇新

勢力黃景瑜先生及廖子妤小姐擔任青年大使，向年輕一代宣傳及推廣亞洲電影。

第 1 3 屆亞洲電影大獎主題為「電影修復」，藉以宣揚經典電影修復的重要性，讓新一代觀眾亦有機會觀賞歷久常新的經典之作。亞洲電影大獎學院一直以培育電影人才為己任，去年更與著名電影修復公司合辦訓練課程，送出六位業內年輕人遠

赴意大利博洛尼亞，進行為期三個月的實習。我希望全球的主要電影節及業界繼續鼓勵及培育有志向電影發展的新一代。

我亦在此感謝學院的創辦機構釜山國際電影節及

東京國際電影節，同時亦向各位贊助人、合作夥伴及支持者致謝。學院亦感謝所有合作夥伴的大力

支持，令學院能借此機會宣傳亞洲電影及發掘電影人才，推動亞洲電影業發展。

WELCOME MESSAGE 歡迎辭

M r. LEE Young-k wan Chairman , BU SAN Int ernat i o nal Fi l m Fest i val

李庸觀先生

釜山國際電影節主席

제13회 아시안 필름 어워드의 개최를 축하하며, 축제의 장에 초대된 모든 영화인을 진심으로 환영합니다. 부산국제영화제는 2013년 홍콩국제영화제와 도쿄국제영화제와 함께 아시아 필름 어워드 아카데미를 설립했습니다. 우리는 언 제나 시간과 공간의 장벽을 뛰어넘는 영화를 꿈꾸며, 아시아 영화를 널리 알리고 재능있는 아시아 영화인을 발굴할 책임을 안고 있습니다. 후보로 지명된 영화인들은 예술적 성취를 위한 노고를 아끼지 않았기에, 아시안 필름 어워드를 통해 인정받고 격려받 을 수 있을 것으로 기대합니다. 이제 ‘청소년기’를 맞이한 아시안 필름 어워드의 앞날이 무궁한 성장과 발전으로 가득하기를 바랍니다.

Congratulations on the 13th anniversary of Asian Film Awards and a warm welcome to all filmmakers invited to this celebratory occasion. In 2013, Busan International Film Festival joined Hong Kong International Film Festival and Tokyo International Film Festival to establish the AFA Academy. We’ve always dreamt of cinema that is universal, transcending borders of time and space. We also believe that we have a mission to promote Asian cinema and discover Asian talents. The nominees have worked tirelessly to overcome artistic challenges. They deserve encouragement and recognition for their contribution to Asian cinema. As the Awards now enters its ‘teenage’ years, we sincerely hope the years ahead are filled with growth and prosperity.

誠意祝賀亞洲電影大獎邁進第 1 3 年，熱烈歡迎所有出席是次慶祝活動的電影工作者和嘉賓。

2 0 1 3 年，釜山國際電影節聯同香港國際電影節及東京國際電影節，創建了亞洲電影大獎學院。我們一直追尋夢想，製作衝破地域界限、超越時空的電影，也同時擁有推廣亞洲電影和發掘亞洲人才的使命。榮獲提名的電影人奮力不懈地克服藝術挑戰，他們對亞洲電影的貢獻值得鼓勵和認可。

隨著頒獎典禮進入「青年」的年代，我們真誠地希望在未來歲月裡燦爛成長和繁榮發展。

WELCOME MESSAGE 歡迎辭

M r. HIS AMATSU Takeo Festival Direc tor , Tokyo International Film Festival

久松猛朗先生

東京國際電影節總監

第１３回アジア・フィルム・アウォードが開催できることを嬉しく思います。 AFAがこうしてアジアの優れた作品や才能を顕彰し、世界に紹介し続けていることは、大変意義深いことで、近年の著しいアジアの映画産業の成長に大きく貢献していると思います。東京国際映画祭としても、第１３回AFAの成功を祈念すると共に、AFAのメンバーとして、皆様と協力しながら、アジア映画の更なる発展に貢献していきたいと思います。

We are very pleased to co-host the 13th Asian Film Awards. We believe that, by recognising excellence in film and filmmakers, the AFA has made meaningful contributions to the development and remarkable recent growth of the Asian film industry. We at the Tokyo International Film Festival extend our best wishes for the success of the 13th AFA. As a member of the AFA, we would like to continue working with our colleagues to promote the development of Asian cinema. 非常高興能夠合辦第 1 3 屆亞洲電影大獎。

我們相信，亞洲電影大獎表揚亞洲出類拔萃的電影和電影工作者，其意義非常深遠，近年在推動亞洲電影工業發展方面，貢獻良多，成績有目共睹。

東京國際電影節誠意祝賀第 1 3 屆亞洲電影大獎舉行成功，作為亞洲電影大獎的成員，我們與大家共同協力，繼續為推動亞洲電影發展作出貢獻。

P H OTO BY K AO N

Joan CHEN 陳沖

One of the most iconic Asian actresses in world cinema, Joan CHEN made her film debut at the age of 14 in XIE Jin’s Youth (1977). She won Best Actress at the 3rd Hundred Flowers Awards for her performance in Little Flower (1980), only her second film. CHEN later moved to the United States to study at California State University, Northridge. During her time in the US, she landed a small role in Wayne WANG's Dim Sum (1985) and a starring role in Tai-Pan (1986). After her performance as Empress Wanrong in Bernardo BERTOLUCCI’s The Last Emperor (1987) put her in the global spotlight, CHEN also wowed audiences around the world as Josie Packard in David LYNCH's Twin Peaks (1990). In 1993, she returned to Chinese -language cinema with an audacious performance in Clara LAW's Temptation of a Monk . CHEN’s performance in Stanley KWAN’s Red Rose, White Rose (1994) earned the actress her first Golden Horse Award for Best Actress. In 1998, CHEN made her first foray into directing with Xiu Xiu: The Sent Down Girl . The film won seven Golden Horse awards, including Best Screenplay, Best Director and Best Film. In 2007, she won both the Golden Horse Award and the Australian Film Institute Award for Best Actress for Australian drama The Home Song Stories . In the same year, she won the Asian Film Award for Best Supporting Actress for JIANG Wen’s The Sun Also Rises . CHEN returns to the director’s chair this year with Chinese -language film English .

當代影壇最具代表性的亞洲女演員陳沖，十四歲時初登銀幕，主演謝晉的《青春》( 1 9 7 7 )。接著主演第

二部電影《小花》( 1 9 8 0 )，即榮獲第三屆百花獎最佳女主角。其後移居美國，在加州州立大學北嶺分校

深造。在美國期間曾參演王穎導演的《點心》( 1 9 8 5 ) 及主演冒險大製作《大班》( 1 9 8 6 ) 等影片。她接著在

貝托魯奇的《末代皇帝》( 1 9 8 7 ) 中飾演皇后婉容，因表現出色備受國際影壇注目；在大衛連治的電視劇《迷離劫》( 1 9 9 0 ) 中的演出亦讓全球觀眾讚歎。1 9 9 3 年她回歸華語影壇，主演羅卓瑤

執導的《誘僧》，憑大膽出色的演技令觀眾留下深刻印象；其後在關錦鵬的《紅玫瑰與白

玫瑰》( 1 9 9 4 ) 中以優秀表現首奪金馬獎最佳女主角殊榮。1 9 9 8 年首次執導電影《天浴》即奪得金馬獎最佳編劇、最佳導演及最佳電影等七項大獎。2 0 0 7 年主演澳洲電影《意》獲金馬獎最及澳洲電影學院大獎最佳女主角。同年主演姜文執導的《太陽照常升起》獲

第二屆亞洲電影大獎最佳女配角。她今年再執導筒，最新作品為華語電影《英格力士》。

INTERVIEW 訪問

As the Jury President of AFA13, what criteria will your jury have when picking the winners? And what do you think is unique about the AFA? When I serve as a jury member at a film festival, I look for films that can move me, offer me something new, excite me, inspire me and break existing barriers. Having the intuition for that is the most important thing to have as a viewer. As for the Asian Film Awards, I look forward to discovering stories from around the region, because they’ll be different from those from Europe and North America. Many film festivals are centred around European and American traditions, so we should seek out stories from other places. Film has a way of attracting people into new realms, showing them different lives, people and stories. I hope to see things that I haven’t seen before.

As an international filmmaker, how do you see the future of Asian Cinema? I believe that the global audience have been paying more attention to Chinese and Asian cultures mainly due to geopolitics. As for art, even South Korea’s Burning (2018) and Japan’s Shoplifters (2018) were released in arthouse cinemas in the US because there is still an audience for them. It didn’t seem so long ago that China’s Fifth Generation directors had just begun to bring their films overseas, when those films seemed so hip and fresh at the time. That’s not the case anymore; audiences now appreciate Asian films as films rather than as hot commodities. Global audiences need films like this to make them see that humanity is universal. I believe many things that humanity will face in the future transcend national borders.

What are your thoughts about film restoration? There are a countless number of films produced every year, but only few of them are truly great. I think those great films should be preserved for a long time, like putting them in a time capsule. Restoring old films, such as BERTOLUCCI’s The Last Emperor (1987), actually make them new again because it gives young people the chance to see the colours of those eras and the way people moved within them.

P H OTO BY K AO N

What has motivated you to keep working in films? Making movies is fun. It’s an amazing thing that has saved me many times. I didn’t start out wanting to make movies; my school chose me for it. I never dreamt of doing it. If I’m a young person now, there’s a chance that I wouldn’t be making movies. I never had that motivation, nor did I feel that I was particularly suited for it. Nevertheless, I was tasked to do it, and I eventually found it to be a good way to express myself. I’m an introvert who doesn’t like to express my emotions. Film saved me; it gave me a chance to express myself. Even being in a cinema allows me to relax and openly experience emotions. I’m actually quite reserved when I’m with people, so film not only gave me a medium of expression; it also gave me a way to enjoy others’ expression of emotions. That’s why I think film is an amazing thing.I’m an introvert who doesn’t like to express my emotions. Film saved me; it gave me a chance to express myself. Even being in a cinema allows me to relax and openly experience emotions. I’m actually quite reserved when I’m with people, so film not only gave me a medium of expression; it also gave me a way to enjoy others’ expression of emotions. That’s why I think film is an amazing thing.

Which do you enjoy more – directing or acting? I like both. Directing is a little more tiring because it’s an all-encompassing job even though it gives me a chance to express more things. Actually, I’ve come to enjoy acting more since I became a director. First of all, it made me more understanding of my directors. Secondly, it gave me a better idea of what my characters should contribute to stories and their place within them.

What advice do you have for young filmmakers? I don’t believe in offering advice or warning. Young people don’t need older people to advise them – they should just be themselves. If you have something you truly want to make, then it must be a dream of yours. In that case, you should make it in a film language that you like the most. No matter how you tell a story, it’ll find an audience. Every filmmaker can only make what he or she likes. You can say that only certain kinds of stories can attract an audience, but if you don’t feel anything for a story, then it’s not going to be good. You can’t make something to pander to a certain group of audience; you have to like what you’re making first. The world will always confuse you and stop you from being yourself. I think the only way to success is to do what you think is best.

作為第 1 3 屆亞洲電影大獎的評審團主席，你評選電影準則是什麼？你認為亞洲電影大獎有哪些特色？

無論在哪一個電影節當評審，我都會挑選一些動人的電影，或者具有創意，有某種令我感到興奮、能夠啟發我的東西。這份觀影的直覺很重要。

對於亞洲電影大獎，我期待去發現更多在亞洲地區所發生的故事，因為這跟歐美的故事不同。許多電影

節都聚焦於歐美電影上，所以我們應該發掘其他地方的電影。電影本能將觀眾帶進新的領域，讓他們了解不同地方的故事和風土人情，我希望見到一些前所未見的事物。

作為國際電影人，你對亞洲電影的未來有何看法？

我認為由於地緣政治的關係，全球觀眾對中國和亞洲文化有更大的興趣。例如韓國電影《燒失樂園》 ( 2 0 1 8 ) 和日本的《小偷家族》( 2 0 1 8 ) 等電影，也會在美國的藝術影院內上映，而且有不少觀眾捧場。當年中國第五代導演將他們的作品帶到海外時，觀眾都覺得非常新鮮，當作一種潮流。現在不同了，觀眾將亞

洲電影視為電影，而非一件熱門商品。世界各地的觀眾可藉著電影來感受人性共通之處。我認為人類將來面對的事情是超越國界的。

你對修復電影有什麼看法？

每年都有無數的電影製作，但是出類拔萃的可能寥寥可數，這些精品應該被妥善保存，有如放入時間囊內。將貝托魯奇的《末代皇帝》( 1 9 8 7 ) 修復後，它又變成一部新電影了。年輕人可以藉此看到那個時代的色彩與演出。

有什麼令你對電影的熱情保持不變？

我覺得拍電影很好玩。電影是很神奇的東西，多次挽救了我。我並非自願去拍電影，是學校將我選出來的，我做夢都沒有想到要拍電影。如果我現在是個年輕人，可能不會拍電影了，因為我沒有這種動力，也

不覺得合適。但被選中後，我透過工作發現這是表達自己的大好機會。我性格內向，不喜歡表露自己的情感，所以其實電影拯救了我，給我一個表達自己的機會。我在看電影的時候，可以很放鬆的去感受其中

的情感，反而在人前卻羞於表達自己的感受。電影不但是我表達自己的工具，也讓我體驗別人表達情感，我覺得電影很神奇。

你喜歡當導演還是演員？

兩樣我都很喜歡，做導演要兼顧各方面，因此較為吃力，不過卻有機會表達更多東西。做過導演以後再做回演員，我對表演會更加享受。首先會懂得體諒導演。其次，我會更清楚角色在戲內位置和作用。

對年輕電影人有什麼忠告？

我覺得沒有必要給別人忠告，年輕人不需要年長的人給他們忠告，他們做自己就夠了。如果你很想將某些東西拍出來，那就將之當作你的夢想，要以自己最喜歡的方式把它拍出來。不管你怎樣講這個故事，都會有觀眾的。每個電影人都只能拍自己喜歡的東西，若能將自己喜歡的東西拍出來，一定會有觀眾的；如果你對題材沒有感受的話，一定不會拍得好，觀眾也不會喜歡。

這個世界有很多東西令人困惑，令人無法做自己，我覺得只要你做好自己，你就成功了。

名人評審

WATA N A B E Ke n 渡邊謙

WATANABE Ken first gained worldwide recognition for his role in Edward ZWICK’s The Last Samurai (2003), opposite Tom CRUISE. For his performance as honorable warrior Katsumoto in the film, WATANABE received Oscar, Screen Actors Guild Award, Golden Globe, and Critics’ Choice Award nominations. Since that breakthrough film, WATANABE has remained active in Hollywood, working with world-renowned filmmakers such as Clint EASTWOOD, Christopher NOLAN, Gus VAN SANT and Wes ANDERSON. In 2006, WATANABE starred and executively produced Memories of Tomorrow , for which he earned an Asian Film Awards nomination for Best Actor, as well as multiple Best Actor awards back at home in Japan. His most recent Japanese -speaking role in Rage (2016) was also praised by critics. WATANABE will next be seen on the big screen in Godzilla: King of Monsters (2019) and Detective Pikachu (2019).

渡邊謙於 2 0 0 3 年與湯告魯斯合演由愛德華史威克導演的《最後武士》，從此廣為全球觀眾認識，憑片中飾演德高望重的武士勝元盛次囊括奧斯卡、金球獎、美國演員工會、影評人協會大獎等多項提名。他憑《最後武士》晉身國際影壇後，分別與多位著名導演合作，包括奇連依士活、基斯杜化

路蘭、吉斯雲遜及韋斯安德遜等。渡邊謙於 2 0 0 6 年主演和監製的日本電影《明日的記憶》，獲亞洲

電影大獎最佳男主角提名及日本國內多項男主角殊榮。他在日語近作《怒》中的表現，亦獲得好評

如潮。2 0 1 9 年他演出的荷李活大製作包括《哥斯拉 I I：王者巨獸》及《 P O K É M O N 神探 P i k a c h u 》。

INTERVIEW 訪問

Arguably the most well-known Asian actor working in world cinema today, WATANABE Ken has starred in multiple hit Hollywood films, including two Christopher NOLAN blockbusters and Academy Award-nominated animated feature, Isle Of Dogs (2018). He’s also a prolific stage actor, having recently wrapped up the West End run of The King and I , for which he became the first Japanese actor to receive a Tony Award nomination. Paul WEITZ, director of Bel Canto (2018), WATANABE’s most recent film, has high praise for the actor: “WATANABE has a lovely sense of humour and a physical grace.” This year, Asian Film Awards is honoured that the prestigious actor has joined the jury as the Celebrity Juror. This is the first time for the self-professed film buff to serve as a juror of a film award: “This is the first time I've seen films from a juror's perspective. However, I want to enjoy it as much as possible as a member of the regular audience too.” WATANABE worked closely with Jury President Joan CHEN, an actress who, like WATANABE, leads a successful career in Hollywood while actively working in her home country’s productions as well. WATANABE has nothing but praise for his Jury President: “Joan CHEN is a wonderful actress, and I think she has a unique point of view as a female director. Her distinctive vision has left a deep impression on me. I'm so grateful to work with her on the Asian Film Awards jury.” Every person has a different taste in film. What criteria does a film have to meet for WATANABE to consider something he’s seen to be a great film? “A great film keeps your eyes on the screen while

it’s playing and it stays in your mind even after the curtain falls. A great film will keep you in its world for half your day.” As a bilingual actor with an active career in both Japan and the US, WATANABE works all over the world with film crews and actors from different countries. Even though it keeps him busy yearround, he admits to enjoying the jet-setting career: “It allows me to experience various cultures. I'm sometimes intrigued to see differences between cultures whilst working in different countries.” With an acting career that began in 1978, WATANABE has spent 40 years honing his craft and accumulating life experiences. He offers a succinct and meaningful advice for young aspiring actors: “Be passionate about seeing new things and meeting new people. Maintain a passion for making great films.”

渡邊謙無疑是一位世界知名的亞洲演員，參演過多部全球賣座的荷李活電影，包括兩部基斯杜化路蘭的作品及為獲奧斯卡提名的動畫電影

《犬之島》( 2 0 1 8 ) 配音，他亦是舞台劇演

員。除了在日本演出外，亦曾在英國演出舞

台劇《國王與我》，並憑此劇獲得東尼獎最

佳男演員提名，成為首位獲東尼獎提名的

日裔男演員。他最近主演由保羅韋茲執導的《美聲人質》( 2 0 1 8 )，導演對他深表讚賞：「渡

邊謙不但幽默風趣，而且舉手投足優雅動人。」今年亞洲電影大獎很榮幸請到這位著名演員加入

評審團，擔任名人評審。他表示：「這是我首次以評審的身份看電影，不過，我會盡量保持一個普通觀

眾的態度去去欣賞每一部入圍作品。」無獨有偶，與渡邊謙緊密合作的評審團主席陳沖，除了是亞

洲電影界翹楚外，亦同樣活躍於荷李活影壇。渡邊謙對評審團主席陳沖讚不絕口：「陳沖是一位非常優秀的演員，同時也是眼光獨到的導演，令我留下深刻的印象，能與她一同擔任亞洲電影大獎的評審，我感到十分榮幸。」

每人的電影品味各有不同，對渡邊謙來說，怎樣才

是一部好電影？「一部好電影會讓你目不轉睛地注視大銀幕，直到電影放映完畢，即使離開戲院後仍念念不忘，讓你沉醉於電影的世界良久。」

渡邊謙同時活躍於日本與美國影壇，跟來自全球各地的電影工作者合作，雖然經常要前往不同昀

地方工作，他卻樂在其中：「在不同的國家拍攝，讓我體驗不同的文化和風土人情，對我來是非常有趣的事。」

從 1 9 7 8 年展開演藝事業以來，入行 4 0 年的渡邊謙是經驗豐富的頂尖演員。對於新演員，他有這樣的

意見和建議：「熱心留意新事物和認識新朋友，並保持希望拍出好電影那股熱情。」

JURY MEMBERS 評審團成員 Sabrina BARACET TI 薩畢蓮娜•芭勒察蒂

President , Udine Far East Film Festival and Centro Espressioni Cinematografiche

烏甸尼遠東電影節及 Centro Espressioni Cinematografiche主席 I TA LY 意大利

Sabrina BARACETTI is a founding member and president of Udine Far East Film Festival and president of cultural organisation and arthouse exhibition company Centro Espressioni Cinematografiche (C.E.C.), head of acquisitions of the distribution company Tucker Film, co-founder and consultant for Ties That Bind and member of the Board of Directors at Friuli Cinematheque. She served as a jury member on various film festivals dedicated to Asian Cinema. 薩畢蓮娜•芭勒察蒂是意大利烏甸尼遠東電影節的創辦人兼主席、文化機構 C e n t r o E s p r e s s i o n i Cin ematograch e（C. E. C.）主席、發行公司 Tu cke r F i l m 的採購部主管、T i e s T h at Bi n d 聯合創辦人兼顧問，以及Friu li Cine m at h e qu e 董事會成員。她曾於多個亞洲電影的電影節擔任評審。

ISHIZAK A Kenji 石坂健治

Programming Director , Tokyo International Film Festival

東京國際電影節節目總監 J A PA N

日本

ISHIZAKA Kenji is the Programming Director of Tokyo International Film Festival. He is a film critic. He was Film Coordinator at the Japan Foundation and serves as Dean/Professor at the Japan Institute of the Moving Image (a.k.a. Imamura Shohei Film School). 石坂健治是日本東京國際電影節節目總監，是一位影評人，曾於日本國際交流基金會任電影統籌，現為日本電影大學（即今村昌平電影學院）教授及院長。

Jennifer JAO 饒紫娟

Vice Chairman and Director , Taipei Film Commission

台北市電影委員會副主席暨總監 TA I WA N

台灣

Jennifer JAO obtained her M.A. from University of Colorado Boulder of U.S.A. JAO joined the Central Motion Picture Corporation at the management department and participated in more than 60 films. JAO worked as a producer of Taipei Factory I & II and Torokko . Now she is also the Vice President of Asian Film Commissions Network, Vice Chairman and Director of Taipei Film Commission, and members of several other film related organisations. 饒紫娟，美國科羅拉多大學影劇碩士。曾任職台灣中央電影公司製片、海外發行部門主管，參與影片逾

6 0 部；曾多次受文化部邀請擔任金馬獎等國內外影展評審；於《台北工廠 I & I I》《軌道》擔任製片；現任亞洲電影委員會（A FC N et）副主席、台北市電影委員會（T FC）副主任委員兼總監、電影事業發展基金會董事、台灣電影文化協會理事等職。

NAM Dong-chul 南東喆

Programmer , Busan International Film Festival

釜山國際電影節節目策劃 SO U T H KO R E A

南韓

NAM Dong-chul worked as a staff writer of Korean weekly film magazine Cine21 from 1995 and promoted to editor in chief since 2004. Began to serve as General Manager of Asian Film Market from 2008 to 2013. From 2013, worked as Programmer of Busan International Film Festival, in charge of Korean films. 於 1 9 9 5 年起在韓國電影周刊《C i n e 2 1》擔任作者，自 2 0 0 4 年升任總編。2 0 0 8 年至 2 0 1 3 年，於亞洲電影市場擔任總經理。2 0 1 3 年起至今，擔任釜山國際電影節節目策劃，負責韓國電影。

JURY MEMBERS 評審團成員 Briccio SANTOS 畢列治奧桑托斯 President , Film ASEAN

Film ASEAN主席

THE PHILIPPINES

菲律賓

Briccio SANTOS is a painter, director and a writer, known for his films Manikang Papel ‘Damortis’(2008), Ala Verde Ala Pobre (2006). He chaired the Film Development Council of the Philippines for six years (2010-2016) establishing the first national film archives during his tenure. He continues to exhibit his paintings and has published books on poetry and photography. He is currently the president of Film ASEAN. 畢列治奧桑托斯是畫家、導演與作家，電影作品包括《M a n i k a n g Pa p e‘ l Damortis’》（2 0 0 8）與《A l a Verde, A la Pobre》（2 0 0 6）。他於 2 0 1 0 至 2 0 1 6 年擔任菲律賓電影發展局主席，更於任內成立首個國家電影資料館。他現任電影組織 F i l m A SEA N的主席。

Jacob WONG 王慶鏘

Director , Hong Kong Asia Film Financing Forum and Film Industry Services, HKIFF Delegate for East Asia of the Berlin International Film Festival 香港國際電影節協會的香港亞洲電影投資會兼電影工業辦公室總監柏林國際電影節東亞地區代表 H O N G KO N G

香港

Jacob WONG is Director of the Hong Kong Asia Film Financing Forum and the Film Industry Services Office of the Hong Kong International Film Festival Society. He is also the Delegate for East Asia for the Berlin International Film Festival. 王慶鏘是香港國際電影節協會的香港亞洲電影投資會兼電影工業辦公室總監,也是柏林國際電影節的東亞地區代表。

J a n e t W U Ya n y a n 吳妍妍

Director, China Film Foundation – Wu Tian Ming Film Fund for Young Talents CEO , Bright East Films CEO , Heaven Pictures 中國電影基金會吳天明青年電影專項基金總監東方天明（北京）電影有限公司總裁天畫畫天（北京）影業有限公司總經理 MA I N L A N D C H I N A

中國大陸

Janet WU Yanyan has been working on feature films, TV series and co-production projects in China and the US, many of which had box office success and recognition at major international film festivals. She has also been Producer for Bright East Entertainment Inc. and Heaven Pictures Inc., and the director of China Film Foundation - Wu Tian Ming Film Fund for Young Talents. 吳妍妍曾於中國及美國參與多部劇情片、電視連續劇及中美合拍影視劇的製片工作，曾出品多部賣座鉅

片，並受國際影展注目。現兼為東方天明（北京）電影有限公司和天畫畫天（北京）影業製片人，以及中國電影基金會吳天明青年電影專項基金總監。

第十三屆亞洲電影大獎提名委員會 T H E 13 T H A S I A N F I L M A W A R D S NOMINATION COMMIT TEE

P H OTO BY K AO N ( E XC E P T O N D A YAS U KO )

(From L to R) KIM Young-woo (South Korea) Programmer , Busan International Film Festival Norman WANG (Hong Kong) Film Consultant Kiki FUNG (Hong Kong) Programmer , Hong Kong International Film Festival JEONG Yeong-beom (South Korea) President , Star J Entertainment (由左至右 )

金泳佑 (南韓 ) 釜山國際電影節節目策劃王為傑 (香港 ) 電影顧問

馮嘉琪 (香港 ) 香港國際電影節節目策劃鄭永範 (南韓 ) Sta r J娛樂主席

(From L to R) YATABE Yoshi (Japan) Programing Director , Tokyo International Film Festival Alex JIA (Mainland China) Vice President & CCO , WD Pictures DAN Kyoko (Japan) Film Coordinator, Marketing Consultant SHAN Dongbing (Mainland China) Managing Director , Delight Consultancy ONDA Yasuko (Japan) Staff Writer, Yomiuri Newspaper (由左至右 )

矢田部吉彥 (日本 ) 東京國際電影節節目總監

賈志傑 (中國大陸 ) 無敵影業副總裁及創意總監旦匡子 (日本 ) 電影統籌、市場推廣顧問單東炳 (中國大陸 ) 愉悅諮詢執行董事恩田泰子 (日本 ) 讀賣新聞記者

Quotes from Nomination Committee 提名委員會成員語錄 “The nomination list of AFA13 demonstrates how dynamic and diverse Asian films were in 2018 and a recognition of these artists’ achievements. It is a well-balanced mix of art and industry; mainstream and Indie films; and veterans and promising new talents. It reflects the state of Asian cinema today.”

「第 1 3 屆亞洲電影大獎展示亞洲電影在 2 0 1 8 年充滿活力而且多元化，並表揚眾位電影人的成就。這項活動將藝術與工業、主流與獨立製作、經驗豐活的人與新秀匯聚一堂，反映今日亞洲電影的面貌。」

KIM Young-woo

金泳佑

“Asian Film Award started 13 years ago as a dream of seeing Asia as a whole. We hope there are more chances for filmmakers from Asia to continue this dialogue.”

「亞洲電影大獎於 1 3 年前創立，期望能匯聚亞洲電影的力量。我們希望亞洲電影人能有更多機會繼續彼此交流。」

Norman WANG 王為傑

“We are proud to champion artistic visions realised in various forms. It is also wonderful to see the diversity of cultural expressions reflected in the nominations this year.”

「能夠表揚各種藉不同形式表現的藝術視野，令我們深表高興。今年入圍的作品反映精采的多元文化角度，令人讚歎。」

Kiki FUNG 馮嘉琪

“AFA13 is an event not to be missed. Once every year, Asian cinema comes together for an unforgettable awards night.”

「第 1 3 屆亞洲電影大獎是不容錯過的盛事。亞洲電影人每年一度在這頒獎典禮中濟濟一堂，令人難忘。」

JEONG Yeong-beom 鄭永範

“I am very proud of this year’s nominations. They reflect a fruitful year for great Asian artists and the professional collaborative spirit among members of the nomination committee.”

「我對今年的入圍名單非常滿意，因為它反映了亞洲優秀電影人過去一年的豐碩成果，同時亦體現了提名委員會各位成員的專業合和作精神。」

YATABE Yoshi 矢田部吉彥

“I'm glad to see the names of great masters on the nomination list, but the newcomers nominated this year are also formidable. Check them out if you haven't done so.”

「很高興見到入圍名單上有多位傑出大師的名字，但今年獲提名的新秀表現亦令人佩服。若你未曾看過他們的作品，現在就要留意了。」

Alex JIA 賈志傑

“AFA provides a great platform for Asian Cinema and its people to gather and celebrate achievements in the past year. It gives us the chance to remember the people who worked so hard on Asian films - both mainstream and independent films – in 2018.”

「亞洲電影大獎讓亞洲電影人共聚一堂，表揚過去一年來傑出的電影與表現優秀的電影人。希望我們會記住 2 0 1 8 年內，各國主流及獨立電影中曾經付出努力的人。」

DAN Kyoko 旦匡子

“It is an honor to be part of AFA. It promotes artistic and creative films with commercial and social values as well as technical achievements. We hope the AFA will help Asian films become well-received in mainstream cinemas around the globe.”

「很榮幸能參與亞洲電影大獎。這項活動推廣電影的藝術與創意之餘，亦重視其商業

及社會價值，以及技術上的成就。我們希望亞洲電影大獎能將亞洲電影推廣，受到全球主流電影業的歡迎。」

SHAN Dongbing 單東炳

“One of the good things about AFA is it recognises achievements in various fields of expertise. As I was selecting the nominees, I realised again that films are wonderful works created by many professionals. A great film excels in every aspect!”

「亞洲電影大獎表揚不同專業部門的成就，當我選擇入圍者時，我知道一部出色的電影是由眾多不同專才創作出來的。一部精彩的電影在各方面皆有出類拔萃的表現。」

ONDA Yasuko

恩田泰子

T H E 13 T H ASIAN FILM AWARDS OFFICIAL SUBMISSION ORGANISATIONS 第十三屆亞洲電影大獎地區評選委員會 Association of Indonesian Film Producers

Directorate of Film Industry Development (Indonesia)

Movie Producers and Distributors Association of Hong Kong

Badan Perfilman Indonesia

Federation of National Film Association of Thailand

Myanmar Motion Picture Development Department

印尼電影製作人協會印尼電影協會

Bangladesh Film Development Corporation 孟加拉電影發展委員會

Cambodia Film Commission 柬埔寨電影委員會

China Film Directors’ Guild 中國電影導演協會

Cinema Department, Ministry of Culture (Lebanon) 黎巴嫩文化部電影署

Cinema Department, Ministry of Culture, Sports and Tourism (Vietnam)

越南文化、體育及旅遊部轄下電影署

Culture and the Arts Department, Ministry of Culture, Youth and Sports (Brunei) 汶萊文化、青年及體育部文化及藝術事務署

印尼電影業發展董事會泰國國立電影協會聯盟

Film Development Board, Nepal 尼泊爾電影發展委員會

Film Development Council of the Philippines 菲律賓電影發展局

Gulf Film Festival 海灣電影節

Hong Kong Motion Picture Industry Association 香港影業協會

Jerusalem Film Festival 耶路撒冷電影節

Kazakhfilm Film Studios 哈薩克電影製片廠

Lao P.D.R (Lao Cinema Department) 老撾文化信息部電影局

Ministry of Culture and Fine Arts, Cambodia

柬埔寨政府文化藝術部電影署

香港電影製作發行協會緬甸電影發展事務署

National Film Corporation of Sri Lanka 斯里蘭卡國家電影公司

National Film Development Corporation Ltd., India 印度國立電影發展委員會

National Film Development Corporation Malaysia

馬來西亞國立電影發展委員會

Royal Film Commission (Jordan) 約旦皇家電影委員會

Singapore Film Commission 新加坡電影委員會

Taipei Film Commission 台北市電影委員會

UniJapan

日本電影發行協會

Fish LIEW 廖子妤

Malaysian-born model-turned actress Fish LIEW had her breakthrough with a Hong Kong Film Awards Best New Performer nomination for Doomsday Party (2014). She was then starred in the PANG Ho Cheung produced Lazy Hazy Crazy (2015), which premiered in Tokyo International Film Festival. Her moving performance in Sisterhood (2016) earned her the Most Promising Talent Award at the Osaka Asian Film Festival and a Best Supporting Actress nomination at the Hong Kong Film Awards. In 2018, she played dual roles in No. 1 Chung Ying Street (2018) and she will be next seen in Soi CHEANG’s thriller, Limbo. 生於馬來西亞的廖子妤，在香港由模特兒轉型成演員，2 0 1 4 年憑《末日派對》獲香港電影金像獎提名最佳新演員，翌年主演由彭浩翔監製的《同班同學》於東京國際電影節世界首映。2 0 1 6 年主演《骨妹》榮獲

大阪亞洲電影節頒發「最有前途影星獎」及獲提名香港電影金像獎最佳女配角。2 0 1 8 年在趙崇基執導的

《中英街一號》內一人飾演兩角，她的新作為鄭保瑞導演的懸疑片《智齒》。

P H OTO BY K AO N

Johnny HUANG Jingyu 黃景瑜

Johnny HUANG Jingyu became an overnight sensation with provocative web series Addicted in 2016. In the following year, he had a major role as a sniper in Dante LAM’s Operation Red Sea (2018), the biggest box office hit in China and the highest-grossing Asian Film of 2018. His latest web series, Moonshine and Valentine, in which he took one of the leading roles and had remarkable performance, was also a major hit earning over 2 billion views in 2018. The up-and-coming superstar is part of the ensemble cast of author and rally racer-turned-director HAN Han’s latest film, Pegasus (2019). 憑主演 2 0 1 6 年熱爆全中國及東南亞的網劇《上癮》一夜成名，並出演林超賢的《紅海行動》( 2 0 1 8 )，演釋神槍手備受矚目，影片為 2 0 1 8 年度全國票房總冠軍及全球最賣座亞洲電影。他主演的另一部奇幻愛情

網劇《結愛·千歲大人的初戀》去年 5 月於騰訊上架以來獲超過二十億點擊率，而黃景瑜在劇中的演技亦備受賞識。最新電影作品為職業賽車手、作家兼導演韓寒的 2 0 1 9 年賀歲電影《飛馳人生》。

INTERVIEW 訪問 L: Fish LIEW

H: Johnny HUANG Jingyu

Thoughts On Being AFA13 Youth Ambassador L: It’s a real honour because I believe that the

term ‘ambassador’ carries great weight. The title of ‘youth ambassador,’ in particular, represents a great deal of responsibility. It makes me feel like I have an obligation to promote Hong Kong and Asian cinema to my peers and even students that are much younger than myself. I hope that I can do this job well.

H: First of all, I’d like to thank Asian Film Awards

for the opportunity to participate in this major film industry event. I am truly happy to have the chance to meet elder colleagues that I have deep respect for as well as my favorite actors.

Thoughts On Film Restoration L: I’m a huge fan of WONG Kar Wai’s films. I used

to watch the original film prints of his works, which is why I believe all his films should be restored. I’ve seen the restored version of foreign films, and I could see that the restored prints reveal more details than the original prints. I truly look forward to revisiting restored classic films so that I can find details that I never picked up before. I hope more Hong Kong films can receive the restoration treatment.

H: There are many different forms in Asian films. Films from China, Japan, South Korea, India and other Asian countries have their respective ways of artistic expression. But I think Asian films excel in handling delicate emotional expressions that resonate with audiences. Chinese films in particular have been improving in many aspects. Advice For Newcomers In The Film Industry L: If you don’t have a passion for films, then leave. The film industry is very alluring, but it’s also fraught with difficulties. If you’re hoping to make a lot of money, then go do something else. But if you like to dream and express your thoughts to audiences around the world; if you have a unique way of thinking or if you want to create a dream in a fictional world with a team of people and bring that dream to an audience, then welcome to the film industry. H: I’m still a newcomer myself, and I’m still at a stage

of exploration and learning. It is better to be more pragmatic; to feel life in order to truly understand the emotions of the characters. That’s how an actor can interpret a story more precisely and lively.

H: I am quite curious about some of China’s earliest

films. I can’t quite recall the names, and there is no way to see them. But if they can be restored, I would love to see them and understand how stories and art were conveyed back in the day. I’ve seen Titanic (1997), which was restored some time ago. I’ve also seen the restored versions of Edward YANG’s A Brighter Summer Day (1991) and some older Hong Kong film.

Thoughts On Asian Cinema L: Being from Malaysia, I’ve seen many films

from Southeast Asia. I’m very familiar with Thai, Singaporean and Malaysian films, in addition to Japanese, Taiwanese and Hong Kong films. Hong Kong cinema influenced me immensely, especially in showing me how Asian people express emotions, which is relatively subtle compared to people in the West. P H OTO BY K AO N

廖：廖子妤

黃：黃景瑜

獲任命青年大使的感想

給予電影界新人意見

量很重，這名銜代表一份責任。擔任青年大使，讓

這行業有異常的吸引力，但又真的苦。如果你想賺

我年齡相若的人，甚至是更年輕的觀眾。希望今年

夢，想將自己的看法帶給觀眾，或者你想創造虛構

廖：我覺得很榮幸，因為「大使」這兩字對我來說份

我覺得自己有責任將香港以及亞洲電影介紹給與我會做得稱職。

黃：首先非常感謝亞洲電影大獎讓我有機會參與這項電影界盛事，與自己尊敬的前輩和喜愛的演員見面，實在令人高興。

對電影修復的想法

廖：我很喜歡王家衛導演的電影，很久以前看的都

廖：如果你不是很熱愛電影的話，就應盡快離開。

很多錢的話，不如快點離開。但假如你很喜歡做

的世界，製造一個夢與觀眾分享的話，我歡迎你進入電影圈。

黃：我也是個新人，還在摸索和學習的階段。我覺

得做演員要踏實，能感受生活的氣息，才能體會角色人物的悲歡喜樂，才會準確而生動地詮釋電影故事。

是原裝菲林版本，我覺得他所有電影都要進行修

復。我曾在戲院看過一些重新修復的外國電影，經修復後的畫面比原版清晰，可以看出更多細節。我也非常期待可以重溫一些經典，尤其是看修復版本會重新發現以前沒看到的東西。我好期待有更多香港電影被修復。

黃：我還對中國最早期的電影感到好奇，我不知道這些電影的名稱，也無法看得到。如果可以修復的話，可以藉此了解舊時代的故事和藝術形式。我看

過早前修復的《鐵達尼號》( 1 9 9 7 )、楊德昌導演的

《牯嶺街少年殺人事件》( 1 9 9 1 )，還有一些早期的香港電影。

對亞洲電影的看法

廖：我來自馬來西亞，看過很多東南亞電影，對

泰國、新加坡和馬來西亞的電影非常熟悉，還有日本、台灣和香港電影，而香港電影對我影響最

深。相對於西方國家，亞洲人表達情感的方式比較含蓄。

黃：亞洲電影其實有很多不同形式，中國、日本、韓

國、印度等，每個國家的電影都有不同的藝術表現手法以及內容。但我覺得亞洲電影在處理細膩的

情感方面，尤其讓人有共鳴。而近年中國電影亦不斷進步和改變。

Introduction ASIAN FILM AWARDS 亞洲電影大獎簡介

Inaugurated in 2007, the Asian Film Awards celebrates excellence in Asian cinema through the annual presentation of awards to talents and films that make up the dynamic film industries of Asia. Awards night is a spectacular gathering of stars, industry professionals and media organisations that celebrates the year’s achievements in Asian cinema. The 13th Asian Film Awards returns to the multicultural cosmopolitan city of Hong Kong. In the future, the Award will be held in different Asian cities to reflect its broad reach across Asia and to celebrate the accomplishments of films from across the region. 亞洲電影大獎於 2 0 0 7 年創辦，旨在表揚傑出的亞洲電影作品和人

才，並展示亞洲電影的多元文化和活力。在一年一度的舉行的頒獎典禮上，電影業界台前幕後的精英以及傳媒機構聚首一堂，共同嘉許該年度成績卓越的電影作品和電影工作者，是電影業的盛事。

第 1 3 屆亞洲電影大獎重返香港這個文化大都會，並計劃未來繼續到

亞洲不同地區舉行，顯示大獎在區內具有廣泛的代表性，同時表揚亞洲電影的各種成就。

AWA R D S 獎項

BEST FILM 最佳電影

BEST DIRECTOR 最佳導演

BEST NEW DIRECTOR 最佳新導演

BEST ACTOR 最佳男主角

BEST ACTRESS 最佳女主角

BEST SUPPORTING ACTOR

BEST ORIGINAL MUSIC

BEST SUPPORTING ACTRESS

BEST COSTUME DESIGN

BEST NEWCOMER

BEST PRODUCTION DESIGN

最佳男配角最佳女配角最佳新演員

BEST SCREENPLAY 最佳編劇

最佳原創音樂最佳造型設計

最佳美術指導

BEST EDITING

BEST VISUAL EFFECTS

BEST CINEMATOGRAPHY

BEST SOUND

最佳剪接最佳攝影

最佳視覺效果最佳音響

B E ST F IL M 最佳電影

Burning

Dying to Survive

South Korea 南韓

Mainland China 中國大陸

燒失樂園

我不是藥神

Jinpa

Sanju

Shoplifters

Mainland China 中國大陸

India 印度

Japan 日本

撞死了一隻羊

一代巨星 San j u

小偷家族

B E ST DI R ECTOR 最佳導演

LEE Chang-dong 李滄東

Pema Tseden 萬瑪才旦

South Korea 南韓

Mainland China 中國大陸

Burning

燒失樂園

Jinpa

撞死了一隻羊

Rajkumar HIRANI 拉庫馬•希拉尼

KORE-EDA Hirokazu 是枝裕和

Fruit CHAN 陳果

India 印度

Japan 日本

Hong Kong 香港

Sanju

一代巨星 S a n j u

Shoplifters 小偷家族

Three Husbands 三夫

B EST N EW DI R ECTO R 最佳新導演

YEO Siew Hua 楊修華

Rima DAS 李瑪達絲

Singapore|France|Netherlands 新加坡 |法國 |荷蘭

India 印度

A Land Imagined 幻土

UEDA Shinichiro 上田慎一郎

One Cut of the Dead 屍殺片場 Japan 日本

Bulbul Can Sing 貝貝愛唱歌

Oliver CHAN Siu Kuen 陳小娟 Still Human 淪落人

Hong Kong 香港

Phuttiphong AROONPHENG 普天蓬亞隆彭 Manta Ray 幻海異色

Thailand|France|Mainland China 泰國 |法國 |中國大陸

BAI Xue 白雪

The Crossing 過春天

Mainland China 中國大陸

B E ST AC TOR

最佳男主角

YOO Ah-in 劉亞仁

South Korea 南韓

Burning

燒失樂園

XU Zheng 徐崢

Mainland China 中國大陸

Dying to Survive

Project Gutenberg

我不是藥神

Ranbir KAPOOR 蘭比爾 • 卡浦爾 Sanju

一代巨星 S a n j u

Aaron KWOK 郭富城

Hong Kong Mainland China 香港 |中國大陸

無雙

India 印度

YAKUSHO Koji 役所廣司

The Blood of Wolves 孤狼之血

Japan 日本

B E ST ACTR E SS

最佳女主角

ZHAO Tao 趙濤

Mainland China 中國大陸

Ash is Purest White 江湖兒女

Samal YESLYAMOVA 莎瑪•葉斯利亞莫娃 Ayka

小傢伙

ANDO Sakura 安藤櫻 Shoplifters 小偷家族

Russia Germany Poland Kazakhstan Mainland China 俄羅斯 |德國 |波蘭哈薩克斯坦 |中國大陸

Japan 日本

HAN Ji-min 韓志旼

South Korea 南韓

Miss Baek 白小姐

Chloe MAAYAN 曾美慧孜

Hong Kong 香港

Three Husbands 三夫

B E ST S U P P OR T ING AC TOR 最佳男配角

ZHANG Yu 章宇

Mainland China 中國大陸

Dying to Survive 我不是藥神

KWON Hae-hyo 權海虓

South Korea 南韓

Hotel by the River

Sanju

一代巨星 S a n j u

Japan 日本

Killing

江邊旅館

Vicky KAUSHAL

TSUKAMOTO Shinya 塚本晋也斬、

India 印度

River HUANG 黃河 Tracey 翠絲

Hong Kong 香港

B E ST SU PPO R TIN G ACTR E SS 最佳女配角

JIN Seo-yeon Believer

毒戰寒流

DING Ning 丁寧

South Korea 南韓

Taiwan 台灣

Cities of Last Things

Shoplifters 小偷家族

Mainland China 中國大陸

Hidden Man

幸福城市

MATSUOKA Mayu 松岡茉優

XU Qing 許晴邪不壓正

Japan 日本

Kara WAI 惠英紅

Hong Kong 香港

Tracey 翠絲

B E ST N EWCOME R 最佳新演員

KARATA Erika 唐田英里佳

Japan 日本

Asako I & II

燒失樂園

Taiwan 台灣

Cities of Last Things

The Crossing 過春天

Johnny HUANG Jingyu 黃景瑜 Operation Red Sea

幸福城市

HUANG Yao 黃堯

South Korea 南韓

Burning

睡著吻別醒來抱擁

XIE Zhang Ying 謝章穎

JUN Jong-seo 全鐘瑞

Mainland China Hong Kong 中國大陸 |香港

紅海行動

Mainland China 中國大陸

CHAN Charm Man 陳湛文 Three Husbands 三夫

Hong Kong 香港

B E ST S CR E E N PL AY 最佳編劇

Ash is Purest White 江湖兒女

JIA Zhangke 賈樟柯

Mainland China 中國大陸

Burning 燒失樂園

LEE Chang-dong 李滄東

OH Jung-mi

Dying to Survive 我不是藥神 South Korea 南韓

吳政美

莊文強

文牧野

ZHONG Wei

Mainland China 中國大陸

鍾偉

HAN Jianu 韓家女

Project Gutenberg 無雙

Felix CHONG

WEN Muye

Sanju 一代巨星 S anj u Hong Kong Mainland China 香港 |中國大陸

Rajkumar HIRANI 拉庫馬•希拉尼

Abhijat JOSHI

India 印度

B E ST E D I TING 最佳剪接

Killing 斬、

TSUKAMOTO Shinya 塚本晋也

Operation Red Sea 紅海行動

CHOI Chi Hung 蔡志雄

LAM Chi Hang 林志恆

Project Gutenberg 無雙 Mainland China Hong Kong 中國大陸 |香港

Shadow 影

ZHOU Xiaolin 周肖林

Japan 日本

Curran PANG 彭正熙

Hong Kong Mainland China 香港 |中國大陸

The Spy Gone North 北寒諜戰 Mainland China 中國大陸

KIM Jae-bum 金宰範

KIM Sang-bum 金尚範

South Korea 南韓

B E ST CIN E M ATO GR A PH Y 最佳攝影

Burning 燒失樂園

HONG Kyung-pyo 洪坰杓

South Korea 南韓

Jinpa 撞死了一隻羊

LU Songye 呂松野

Manta Ray 幻海異色 Mainland China 中國大陸

Shadow 影

ZHAO Xiaoding 趙小丁

Nawarophaat RUNGPHIBOONSOPHIT

Thailand France Mainland China 泰國 |法國 |中國大陸

Tumbbad 村魔 Mainland China 中國大陸

Pankaj KUMAR

India 印度

B E ST O RI GINA L M USIC

最佳原創音樂

Believer 毒戰寒流

Dalparan 康起榮

Jinpa 撞死了一隻羊

LIM Giong 林強

Point HSU

Sanju 一代巨星Sanju Mainland China 中國大陸

許志遠

Shadow 影

Loudboy 撈仔

South Korea 南韓

A.R. RAHMAN Atul RANINGA Sanjay WANDREKAR

India 印度

Shoplifters 小偷家族 Mainland China 中國大陸

HOSONO Haruomi 細野晴臣

Japan 日本

B E ST CO STU M E D E SIGN

最佳造型設計

Hidden Man 邪不壓正

DONG Zhongmin 董仲民

Uma WANG ZHANG Shuping

Mainland China 中國大陸

張淑平

Project Gutenberg 無雙

MAN Lim Chung 文念中

Punk Samurai Slash Down 龐克武士 Hong Kong Mainland China 香港 |中國大陸

Shadow 影

CHEN Minzheng 陳敏正

SAWATAISHI Kazuhiro 澤田石和寬

Japan 日本

The Spy Gone North 北寒諜戰 Mainland China 中國大陸

CHAE Kyung-hwa 菜京華

South Korea 南韓

B E ST P R O DU CTIO N DESIGN 最佳美術指導

Burning 燒失樂園

SIHN Jeom-hui 辛点希

Hidden Man 邪不壓正

LIU Qing 柳青

Shadow 影 Mainland China 中國大陸

Shoplifters 小偷家族

MITSUMATSU Keiko 三松惠子

South Korea 南韓

MA Kwong Wing 馬光榮

Mainland China 中國大陸

Tumbbad 村魔 Japan 日本

Rakesh YADAV Nitin Zihani CHOUDHARY

India 印度

B E ST VIS U A L E F F E CTS

最佳視覺效果

2.0

Srinivas MOHAN

India 印度

Hidden Man 邪不壓正

WANG Shaoshuai 王紹帥

YANG Yuejuan

Operation Red Sea 紅海行動 Mainland China 中國大陸

楊月娟

林洪峯

李仁浩

KANG Tae-gyun 姜泰均

Project Gutenberg 無雙

Alex LIM Hung Fung

LEE In-ho

Mainland China Hong Kong 中國大陸 |香港

Punk Samurai Slash Down 龐克武士 Hong Kong Mainland China 香港 |中國大陸

ONOUE Katsuro 尾上克郎

Japan 日本

B E ST S OUND 最佳音響

2.0

Resul POOKUTTY Amrit PRITAM

Burning 燒失樂園

LEE Seung-chul 李承哲

Killing 斬、 South Korea 南韓

Operation Red Sea 紅海行動

Nopawat LIKITWONG Sarunyu NURNSAI

India 印度

KITADA Masaya 北田雅也

Japan 日本

Shadow 影 Mainland China Hong Kong 中國大陸 |香港

YANG Jiang 楊江

ZHAO Nan 趙楠

Mainland China 中國大陸

終身成就獎

LEE Chang-dong 李滄東

LEE Chang-dong began his career in stage productions in his 20s and later became a novelist. He made his debut as a feature film director with Green Fish (1997), a unique Korean film noir that also explored traditional genre conventions. He followed up his stunning debut with Peppermint Candy (1999), a film that experimented with traditional storytelling by employing a reverse chronology, and Oasis (2002), which used a stripped-down neorealism style to tell an unlikely tale of true love. The latter two films solidified LEE as one of Korea's most acclaimed filmmakers, earning accolades both at home and abroad. Oasis , in particular, earned LEE and lead actress MOON So-ri the Silver Lion for Best Direction and the Marcello Mastroianni Award, respectively, at the Venice Film Festival. In 2002, LEE served as South Korea’s Minister of Culture and Tourism. After leaving the position, he directed Secret Sunshine (2007), which won Best Film, Best Director and Best Actress at the 2008 Asian Film Awards. The drama also earned JEON Do-yeon the Best Actress award at the 60th Cannes Film Festival. LEE's fifth film, Poetry (2010), earned LEE both the Best Director and Best Screenplay awards at the 5th Asian Film Awards, in addition to many awards from around the world. Last year, LEE returned to directing with Burning (2018), which won the FIPRESCI prize at the 71st Cannes Film Festival and is nominated in eight categories at this year's Asian Film Awards.

李滄東 2 0 多歲時開始參與劇場製作，後來成為小說家。他於 1 9 9 7 年首次執導的《黑道初哥》，拍出自別樹一幟的韓式黑色電影。第二部作品《薄荷糖》( 1 9 9 9 ) 則藉電影對人生進行探索，同時以逆時序方式講

故事，對傳統敘事方式進行實驗。2 0 0 2 的《愛的綠洲》以樸實的新寫實主義風格講述如何排除萬難尋找

真愛的故事，這兩部電影奠定了他成為韓國重要導演的地位，為他在國內及海外贏得不少讚譽，特別是

後者在威尼斯影展獲最佳導演及最佳新女演員兩項殊榮。他於 2 0 0 2 年擔任大韓民國文化及觀光部長，卸任後執導《密陽》( 2 0 0 7 )，於 2 0 0 8 年榮獲亞洲電影大獎最佳電影、導演及女主角等獎項，全度妍亦因

在本片的出色演技而贏得第 6 0 屆康城影展最佳女演員獎。李滄東第五部作品《詩》( 2 0 1 0 ) 同時於亞洲電

影大獎及康城影展奪得最佳編劇及最佳導演殊榮，又於多個國際影展獲獎無數。八年後執導的《燒失樂

園》( 2 0 1 8 ) 在第 7 1 屆康城影展勇奪 F I P R E S C I 國際影評人聯盟獎，並在本屆亞洲電影大獎獲八項提名。

INTERVIEW 訪問

Congratulations on your Lifetime Achievement Award. What does it mean to you? A lifetime achievement award is very burdensome for me. I ask myself whether I deserve this award. I ask myself what I have achieved, and how valuable it is to the audience and filmmakers. I still have a long way to go and a lot of work to do. I see this award as a sign that I should work harder.

What are the essential qualities that a new director should have? I want young directors to feel that they are special. It is necessary for a director to feel that he or she is one of a kind. Become a special director first, though no one knows if a special director will become a great director or not. What makes a great director? I don't know. I think only great directors can answer that question.

After years of filmmaking, what does cinema mean to you now? For me, cinema is a means of communicating with people. I think the director is a person who communicates with the audience through film. I think of myself as a storyteller who makes film. I want to find interesting, meaningful stories and tell them to the audience through film. The subject of a story reveals itself when one is drawn to the story. I don't go looking for a story with a pre -set theme, but if my films seem to have a recurring theme, it's probably because I think about it a lot in my life. I did not set out to make films about social issues; I just ask questions about our lives and the world in which we live.

You used to write your scripts on your own until recently, why? I've been searching for my films’ stories on my own. It can be both good and bad to film one’s own script. While there is the advantage that the director understands the script better than anyone else, the director may also become confined in his or her own thoughts and images. After Poetry (2010), I decided to collaborate with another screenwriter for the first time and Burning (2018) is the result. [Cowriter] OH Jung-mi made me feel what I couldn’t feel, and she saw what I couldn’t see. I don't think I could have made Burning if I had stuck to writing scripts alone.

What do you think is the importance of film restoration? I did a digital restoration of Peppermint Candy (1999) last year. Advances in digital technology allow for restoration to replicate the original intended image as closely as possible, and it can even improve colour or brightness. The importance of digital restoration is indescribable. Not only does it prevent the damage of countless films, it also revives films that exist only in warehouses or in fading memories; it gives them the chance to meet today's audience.

Is there any film you wish to see restored? The film I’d like to see restored the most is LEE Manhee's Manchu (Late Autumn) (1966). The film’s print isn’t in South Korea at the moment, but rather in North Korea. I want to restore films whose prints can only be found in North Korea. It’s a project that many Korean filmmakers have been waiting for.

As the former Minister of Culture and Tourism, can you tell us about the South Korean Government’s effort in film restoration? Since 2007, the Korean Film Archive (KOFA) has restored about 60 films under the governmentsupported digital restoration project. KOFA initially outsourced these projects, but it has since been able to do the restoration in-house since the opening of the new Archive Centre in 2016. It aims to restore about 30 films a year in the future.

Do you have any plans to make films outside Korea? I’ve received offers from Hollywood, but I haven't found a project that I'm sure I can do well or that I think is worth doing. I don't think American, nonAsian and Asian films have characteristics that are easily distinguished. Also, Asian and Korean films cannot easily be boxed into a single category. Even within the category of Asian films, there are plenty of films that are not so different from Hollywood films in many ways.

Audience from around the world understand your films with the assistance of subtitles. Do you think your vision are lost or compromised in the process of translation? The speed of speaking is different from the speed of an audience member reading the subtitles, so it’s normal that the dialogue is omitted and shortened in subtitle form. In this regard, misinterpretation of subtitles is inevitable. I did not check how much the Chinese subtitles differ from the English subtitles in Poetry , but I can imagine that the translation is quite difficult, especially since there are poems in the dialogue. Anyway, subtitling tends to be overlooked in post-production. In fact, subtitles are much more important than we think, given that Korean films have consistently garnered attention and love from film lovers around the world over the past 20 years. Subtitles have a decisive effect on how foreign audiences understand films.

Please tell us more about filming the dance of Great Hunger in Burning I want actors to not express the emotion of the character, but to rather live in the film as a person. This belief applied to Burning . The scene in which Hae -mi did the Great Hunger dance in the sunset particularly required freedom and improvisation. I wasn’t just worried about the movement of the actress, but also the movement of the camera behind her. The actress practiced pantomime and the Great Hunger dance of the Bush people. During filming, I let her move as freely as she could according to her emotions, and the camera followed her movement without missing the sunset.

INTERVIEW 訪問

恭喜你成為終身成就大獎得主，請分享一下感想。

你以往都是獨自編劇，近年為何會與其他編劇合作？

是否值得此項殊榮，究竟有什麼成就？對觀眾和電

寫的劇本，這樣做有好處也有缺點。導演拍攝自己

終身成就大獎對我來說是莫大的負擔，我會自問

影工作者作出什麼貢獻？從各方面看，似乎還有遙遙長路要走，還有很多事情要做，所以我會以此獎來勉勵自己繼續努力。

可否與年輕新導演分享一些經驗之談？

我希望年輕導演感到自己絕不平凡，你必須認為自己是世上獨一無二的導演。沒有人會知道不平

我一直自己尋找拍電影的故事題材，拍攝自己撰寫的劇本會比其他人更了解劇情，但導演會不自

覺地沉浸於自己想像的世界裡。拍完《詩》( 2 0 1 0 )

之後，我首次嘗試與其他編劇合作，而《燒失樂園》 ( 2 0 1 8 ) 則是合作的成果。編劇吳政美讓我接觸到一些我感受不到和看不見的事，若是我獨自寫劇本的話，相信就不會拍出《燒失樂園》了。

凡的導演最終否能成為偉大的導演，但首先要做

你對修復電影有什麼看法？

我不知道答案，只有真正偉大的導演才有答案。

先進的數碼技術，令影片回復本來面目。我甚至可

個與別不同的導演。若問我怎樣才是偉大的導演？

從事電影工作多年，你對電影有什麼體會？

在我以言，電影是我與世人溝通的方式，身為導演，就是以電影築起與觀眾溝通的橋樑。我以說故

事者的身份去拍電影，會找一些趣味和有意義的故事來拍。我從來都不會預設主題，往往都是以故事為主，然後主題自然會呈現出來。有人認為我的

電影經常重複一個主題，那可能是因為我經常對此作出思考；我沒有刻意描寫社會實況，只是對我們生活其中的世界提出問題。

我去年剛為《薄荷糖》( 1 9 9 9 ) 進行數碼修復，多得以調校顏色和光暗，令畫面質素提升。我認為電影數碼修復的重要性非筆墨可以說明，不僅可以保

存無數影片，令它們不至腐壞，甚至乎令很多在倉庫內封塵多時的好電影重生，再次與觀眾見面。

有沒有希望修復的電影?

我最希望可以修複導演李晚熙的《晚秋》( 1 9 6 6 )，

世界各地的觀眾都是透過字幕欣賞你的電影，你認為字幕翻譯會否影響電影的原意？

貝。我希望把那些在南韓已經沒有拷貝，而仍然可

異，所以做字幕時經常將原來的對白刪減，因此觀

這部片的拷貝現時不在南韓，但我知道北韓有拷以在北韓找到的電影帶回來修復，這是韓國電影工作者的願望。

你是大韓民國前文化觀光部長，可否介紹南韓政府的電影修復政策？自 2 0 0 7 年開始，透過政府資助，韓國影像資料院到

目前為止已經為超過 6 0 部電影進行數碼修復。起初都是找外國公司進行修復，到 2 0 1 6 年我們全新

的電影資料館中心開幕後，則開始在國內進行修復工作，現時更以每年修復 3 0 部電影為目標。

有沒有計劃到海外拍電影？

荷李活一直都有向我提出拍電影的計劃，但我暫

時尚未找到一部值得拍的電影。我認為美國電影、非亞洲以至亞洲電影好不容易才拍出獨特的風格，而亞洲電影和韓國電影不應該被包括在同一

類型之內。雖然很多亞洲電影，甚至是韓國電影，在某程度上與荷李活電影都差不多。

由於演員說對白的速度與觀眾看字幕的速度有眾透過字幕看電影時，不免會出現誤解。我沒有將

《詩》的中英文字幕作比較，但我相信這部電影的字幕翻譯是非常艱鉅的，特別是片中以詩詞寫成

的對白。無論如何，我認為在後期製作過程中，字幕是最被忽略的環節，但其實翻譯字幕比大家想

像的更為重要。過去 2 0 年來，韓國電影在世界各地廣受歡迎，而海外觀眾能否了解一部韓國電影，很多時就取決於其字幕的好壞。

《燒失樂園》內的「大飢餓之舞」是如何拍成的？

我要求演員要活在電影內，而不是抒發情緒的，

《燒失樂園》就是以這方法拍成的。女主角海

美的「大飢餓之舞」一幕安排在日落拍攝，特

別需要自由和即興的發揮，要顧及的不僅是女演員的動態，還要控制攝影機。那一場戲事前

需要很多準備功夫和綵排，女演員要接受默劇和非洲叢林人「大飢餓」舞的訓練；到了真正拍攝時，我讓她盡情隨著感情去發揮，然後讓

攝影機跟隨著她，把舞姿和日落攝入鏡頭內。

YA KU S H O Ko j i 役所廣司

YAKUSHO Koji won the Mainichi Film Award Best Actor prize in 1995 for HARADA Masato’s Kamikaze Taxi. He solidified his place as one of Japan’s best actors over the following several years, earning praise for his performances in Shall We Dance? (1996), IMAMURA Shohei’s Palme d’Or-winning film The Eel (1997), KUROSAWA Kiyoshi’s Cure (1997) and Cannes FIPRESCI and Ecumenical Award winner Eureka (2001). In 2009, YAKUSHO made his directorial debut with Toad’s Oil . In 2012, he was bestowed the Medal of Honour Purple Ribbon for his contribution to arts, and he was awarded the Cut Above Award from New York’s Japan Society and a Career Achievement Award from the Hawaii International Film Festival. YAKUSHO continues to receive international accolades for his distinguished body of work, most recently with the 2017 Nippon Honour Award from Nippon Connection – a film festival in Germany dedicated to Japanese cinema – and the Cinema Legend Award from the Singapore International Film Festival. In recent years, YAKUSHO has appeared in hit films such as HARADA Masato’s period epic Sekigahara (2017) and KORE-EDA Hirokazu’s The Third Murder (2017). This year, the acclaimed thespian is nominated for Best Actor at the Asian Film Awards for his performance as a detective in SHIRAISHI Kazuya’s The Blood of Wolves (2018). YAKUSHO’s forthcoming films include Wings Over Everest - a China-Japan co-production by Fay YU set for release this year – and KOIZUMI Takashi's Touge – Saigo no Samurai (Original Japanese title), expected to be released in 2020.

役所廣司於 1 9 9 6 年主演原田真人執導的《神風七十二小時》，獲日本每日電影獎最佳男主角。其後主

演《談談情、跳跳舞》( 1 9 9 6 ) 及今村昌平的康城金棕櫚得獎電影《鰻魚》( 1 9 9 7 )，以及黑澤清的《 X 聖治》( 1 9 9 7 ) 與康城影展 F I P R E S C I 國際影評人聯盟獎及 E c u m e n i c a l 獎得主《 E U R E K A 》( 2 0 0 1 ) 等電

影，奠定日本優秀演員的地位。2 0 0 9 年，他首次執導電影《蛤蟆的油》。2 0 1 2 年，獲紐約日本協會頒贈

C u t A b o v e 獎，同年獲夏威夷國際電影節頒贈事業成就獎以及紫綬褒章，表揚他在藝術上的成就。役所廣司憑多部出色的作品，獲得多個國際獎項及榮譽，2 0 1 7 年獲專門推廣日本電影的德國 N i p p o n Con nection電影節頒贈 Ni ppon Honou r獎，以及獲新加坡國際電影節頒贈電影傳奇人物獎。

近年役所廣司亦參演多部賣座電影，例如原田真人的古裝電影《關原之戰》( 2 0 1 7 ) 以及是枝裕和的《第三度殺人》。今年這位備受讚譽的演員在白石和彌的《孤狼之血》內飾演偵探，以出色的演

技獲亞洲電影大獎最佳男主角提名。他的最新作品包括中、日合作，由余非導演的《冰峰暴》以及

小泉堯史執導的《峠最後的武士》( 日本片名）；前者將於本年推出，後者則預期於 2 0 2 0 年上映。

卓越亞洲電影人大獎 P H OTO BY S U E TA K E K A Z U TO

INTERVIEW 訪問

Acclaimed Japanese actor YAKUSHO Koji has appeared in variety of films, including blockbuster comedy Shall We Dance? (1996), Cannes Palme d’Or winner The Eel (1997), KUROSAWA Kiyoshi’s Cure (1997) and Cannes FIPRESCI and Ecumenical Award winner Eureka (2001). This year, he earned his third Asian Film Awards nomination for his ferocious performance in police drama The Blood of Wolves (2018) and is also the recipient of this year’s Excellence in Asian Cinema Award. When asked what makes a great actor and what the essential qualities to achieve excellence in cinema are, YAKUSHO says, “Actually, I’d like someone to tell me the answer to that." The actor continues, “What I believe is that whether you’re a veteran actor or a rookie, you should maintain an interest in people; make the effort to observe more, and never stop exploring. I’ve always believed that attractive performances come from those who don’t neglect this kind of effort.” YAKUSHO has also participated in Western productions, but he’s never worked in other Asian countries before. “I’ve always dreamt of collaborating with my brethren in Asian cinema to create a film that we’d be proud to present to the world,” YAUKUSHO says. That dream came true in 2018, when he co-starred with China’s ZHANG Jingchu on Wings Over Everest , his first Chinese production. The disaster action film, directed by Fay YU, was largely shot on location on snowcapped mountains under sub-zero temperature. "It was my first time working with a Chinese film crew and Chinese actors, and it was made under incredibly difficult conditions with a lot of hard work," YAKUSHO says, “Even though we came from different countries, we all shared similar core values, such as care for our fellow human beings. Both on and off the set, everyone in the crew, my fellow actors and myself transcended language barriers and got along swimmingly. This was a truly rare and unforgettable experience.”

In 1985, YAKUSHO had a supporting role in classic film Tampopo . Three years ago, the film was digitally restored and screened again around the world, including New York City in the United States. YAKUSHO had this to share about the benefits of film restoration: “Film technology has continuously improved in ways that constantly surprises. However, technology wasn’t the only element that created the classic works that are perceived as masterpieces today; these were produced by people who had the right vision. These films feel fresh to anyone who watch them in any era, no matter how many times they see it. These masterpieces are our textbook and assets.” When asked about which Japanese film he would like to see restored, YAKUSHO chose YAMANAKA Sadao’s Humanity and Paper Balloons (1937): “He made this masterpiece at the young age of 28. Unfortunately, he died during the war, and most of the films he made were lost during that time as well. The Japanese film industry tragically lost a young promising talent.” YAKUSHO also has this advice for aspiring actors: “Enjoy collaborating with the crew and your fellow actors because they support and care about you. Don’t be afraid of failure and embarrassment; leap into your role with courage.”

T H E B LO O D O F W O LV E S 《孤狼之血》

W O R L D O F K A N A KO 《渴罪》

著名日本演員役所廣司曾演出多部電影，包括賣

座喜劇《談談情，跳跳舞》( 1 9 9 6 )、康城影展金棕

CURE

論是否在拍攝現場，我與整個製作組及其他演員

均努力溝通，因而彼此能互相了解，融洽相處，超

櫚獎得獎電影《鰻魚》( 1 9 9 7 )、黑澤清的《 X 聖治》越了語言不通的障礙。這確實是令人難忘的體驗。」 (1997)以及康城影展FIPRESCI國際影評人聯盟

獎及 E c u m e n i c a l 獎得主《E U R E K A》( 2 0 0 1 ) 等多

役所廣司曾參演 1 9 8 5 年的經典電影《蒲公英》，

部佳作。今年他憑偵探懸疑片《孤狼之血》( 2 0 1 8 )

這部電影三年前經數碼修復後，在世界各地重新

今年卓越亞洲電影人大獎的得主。

有很多好處，他說：「電影科技不斷進步，也不斷為

內精彩的演出第三度獲亞洲電影大獎提名，亦是當役所廣司被問及，一個優秀的演員要有些什麼

特質，才能在電影中表演出色時，他表示：「其實我也希望有人能將答案告訴我。我認為無論是資深

演員還是新秀，都應該對人保持興趣；努力去作更

多觀察，不斷去探索。我一直深信，重視這種努力並且甘之如飴的人，才會有動人的演出。」

役所廣司曾參演多部西方電影製作，但卻未曾參

與過其他亞洲地區的製作。他說：「我一直夢想能與亞洲電影同業合作，拍出一部我們深感自豪的

作品，呈獻給全球觀眾。」這個夢想於 2 0 1 8 年終於

公映，包括美國的紐約市。役所廣司認為修復電影

觀眾帶來驚喜。可是，一部電影能成為經典傑作，科技並非唯一的元素。擁有偉大視野的人才會拍

出經典之作。無論任何年代的人觀看這些作品，無

論看過多少次，這些電影都會令人感到歷久常新。這些經典電影是我們學習的對象，也是我們的財

產。」當被問及他希望哪一部日本電影會被修復

時，役所廣司選了中山貞雄導演的《人情紙風船》 ( 1 9 3 7 )，他說：「中山貞雄於28歲時拍出這部經典

之作，可惜於戰時逝世，而他當年拍的電影大部分亦已散失。這位有才華的導演英年早逝，是日本電影業的損失。」

成真，與張靜初合演中國電影《冰峰暴》，這也是他

對於有志演藝事業的演員，役所廣司給他們的忠

導演，全片大部分都在氣溫零度以下的冰封雪山

光，因為他們關心並且支持你，不要害怕失敗和尷

首次參與演出中國電影。這部災難動作片由余非

上拍攝。役所廣司表示：「這是我首次與中國的攝製隊和演員合作，而且是在一個非常嚴苛的環境

告是：「盡情享受與製作隊及其他演員相處的時尬，鼓起勇氣全情投入角色中吧。」

下進行拍攝，過程十分艱辛。雖然我們來自五湖四

海，但擁有相同的價值觀，例如會關心其他人。無

A FA 新世代獎

KIM Jae-joong 金在中

KIM Jae -joong is an internationally renowned vocalist and actor. As a singer, he is best known for his unique rock style, characterised by deep emotions and a powerful voice. His first solo mini album was released in January 2013, followed by another mini album and two full-length albums. KIM began his acting career with a starring role alongside HAN Hyo-joo in the South Korean-Japanese co-production Heaven’s Postman (2009). The hit film was followed by performances in many TV dramas and movies, including Fuji TV drama series Hard to Say I Love You (2010); SBS TV series Protect the Boss (2011), for which he won the New Star Award at SBS Drama Awards; Dr. JIN (2012), which earned him Best New Actor at the MBC Drama Awards; and the film Code Name: Jackal (2012), co-starring SONG Ji-hyo and OH Dal-su. KIM also received the Top Excellence Actor Award at the 7th Korea Drama Awards for his role in MBC TV series Triangle (2014).

金在中是國際知名的南韓男歌手及演員，以獨特的搖滾風格著稱，深情的歌聲和雄厚的嗓音深受樂迷

愛戴。自 2 0 1 3 年推出首張迷你專輯後，共推出一張迷你專輯及兩張個人專輯。金在中於 2 0 0 9 年與韓孝周合演日韓合拍作品《天國的郵遞員》，隨後陸續演年多部影視作品，包括日本富士電視台連續劇

《無法坦誠相對》( 2 0 1 0 )、S B S 電視台連續劇《守護老闆》( 2 0 1 1 ) 並憑該劇獲得 S B S 演技大賞

「最佳新人獎」；2 0 1 2 年再以劇集《D r. J I N》在 M B C 演技大賞中榮獲「最佳新人獎」，同年作品亦有與宋智孝和吳達秀合作的喜劇電影《胡狼來了》。2 0 1 4 年，金在中憑 M B C 劇集《Tr i a n g l e》於第 7 屆韓國電視劇節榮獲「男子最優秀演技獎」。

INTERVIEW 訪問 How do you feel about the 'rebirth' of classic films?

你對經典電影「重生」的看法是什麼？

雖然最近有很多舊電影被新導演以全新方式重拍，

Many old films are being remade these days with new directorial styles. But as time goes by, more and 但隨著歲月流逝，更多觀眾明白經典電影作品是無 more people realise that these classic films can’t be 法被取代的。因為經典電影反映時代氛圍氣息、人物 replaced because they reflect the atmosphere, the 的言行舉止、衣裳服飾等等。「重生」一詞對我來說別 way people behaved and the way people dressed back in the day. The word ‘rebirth’ is also especially 有意義，也有鼓勵的作用；我在 2 0 1 7 年的亞洲巡迴 meaningful and empowering to me because my 演唱會亦以「Rebirth of J」為名，提醒自己首次踏上 2017 concert tour was named ‘Rebirth of J’. It 舞台的感受。這主題是我在2017年服完兵役後構思 reminds me of how I felt when I stepped onto the stage for the first time. I came up with the title after 出來的，獻給所有一直很關心我的樂迷。我希望「重 I fulfilled my military service in 2017; it’s dedicated 生」以後，能夠不斷地愛護我的眾多粉絲。 to my fans, who have always shown their love and care for me. My hope is after the ‘rebirth’, I can 由於你翻唱已故日本歌手尾崎豐的經典金曲 continue to protect my fans. 《毋忘我》，現在歌迷都認識這首歌的原曲，

Thanks to your cover of Forget-me-not , a song by the late OZAKI Yutaka, many music fans are rediscovering the original song. How did that come about?

I first heard Forget-me -not in an old Japanese drama series because it was its theme song. I performed this song last year in Japan and really felt the emotion of the song, and I especially related to its sadness. I think that sadness convinced me to cover it, and it’s now one of my favorite songs. The ideas of resurrection and restoration, which are also AFA13’s themes, have great significance for a musician; every musician hopes that his or her music will live forever. As a musician myself, I find that the ideas of ‘identity’ and ‘time’ are closely linked.

Do you have a favorite remake or film series? I’m obsessed with the Batman franchise. I own all the films on DVD. It’s been rebooted many times, but I still look forward to every new one. I’ll continue to collect new Batman films for sure.

Name three of your most favorite films: 1. Life Is Beautiful (1997) 2. Titanic (1997) 3. Moulin Rouge! (2001)

What are your aspirations for the 2019 Asian Film Awards? For the past 16 years, I’ve been working hard and performing all over the world (I’m currently also preparing for my 2019 Southeast Asia concert tour). I think that music and cinema share a very interesting relationship in that they influence each other. I hope to use the Asian Film Awards as a platform to encourage filmmakers to make more musicals for Asian audiences. After all, the genre has been hugely popular around the world in recent years.

為什麼會想到這樣做？

尾崎豐的《毋忘我》是一套舊日劇的主題曲，我去年在日本演唱這首歌時，感受到曲中澎湃的情感

和其中的哀愁，因此我決定重唱此曲。對一位歌手來說，再生和修復意義重大，也是第 1 3 屆亞洲電

影大獎的主題；歌者的身份與「時間」有深厚關係，因此每個歌手都希望自己的音樂可以永遠流傳下去。

有喜歡的重拍或系列電影嗎？

我對《蝙蝠俠》電影系列很著迷，擁有整個系列的光碟。電影曾經多次重拍，但我對未來推出的新作仍非常期待。相信我會繼續收藏未來推出的《蝙蝠俠》電影作品。

請說出你最喜歡的三部電影。 1 .《一個快樂的傳說》( 1 9 9 7 ) 2 .《鐵達尼號》( 1 9 9 7 )

3 .《情陷紅磨坊》( 2 0 0 1 )

對 20 1 9 年亞洲電影大獎有什麼展望？

過去十六年來我在世界各地努力演出（我正在準

備 2 0 1 9 年的東南亞巡迴演唱會），發覺音樂和電影之間的關係很微妙，彼此互相影響。我希望藉亞洲電影大獎呼籲電影人製作更多歌舞片給亞洲觀眾欣賞，因為這是全球近年十分熱門的電影類型。

2 0 18 H I G H E S T - G R O S S I N G A S I A N F I L M 2 0 18 年最高票房亞洲電影

Produced by Bona Film Group, Emperor Motion 由博納影業、英皇電影、中國人民解放軍海 Pictures, the PLA Navy Government TV Art Central 政電視藝術中心、星夢工場等聯合出品的賣 of China, Star Dream Studio and Film Fireworks, war epic Operation Red Sea (2018) grossed over 座動作片《紅海行動》全球票房總收入高達 RMB 3.9 billion (US$580 million) worldwide, 3 9 億人民幣 ( 約 5 . 8 億美元 )，單是中國內地票 including RMB 3.87 billion (US$576 million) in 房收入合共 3 8 . 7 億人民幣 ( 約 5 . 7 6 億美元 )， mainland China alone. Not only is it China’s third 《紅海行動》不但是中國歷來第三最高票房的 highest-grossing film of all time, it’s also by far the 電影，同時亦是 2 0 1 8 年全球最賣座亞洲電影。 highest grossing Asian film of 2018. Directed by Dante LAM, Operation Red Sea is loosely based on an evacuation mission conducted by the People’s Liberation Army during the 2015 Yemeni Civil War. The film was shot on location in Morocco over the course of five months with the full support of the PLA, who lent weaponry, aircraft cruiser, armoured vehicles and helicopters to the production.

影片根據 2 0 1 5 年也門撤僑行動真人真事改編，由

In addition to commercial success, Operation Red Sea received Best Film prizes at the China Huabiao Awards, the People’s Hundred Flowers Awards, Beijing College Student Film Festival and the Changchun Film Festival. It has also earned four nominations at this year’s Asian Film Awards – Best Editing, Best Sound, Best Visual Effects and Best Newcomer (Johnny HUANG Jingyu).

中國長春電影節金鹿獎等多個中國主要電影頒

香港導演林超賢執導。攝製隊遠赴摩洛哥拍攝五

個月，獲中國人民解放軍全力支持，借出武器、航

空巡洋艦、坦克裝甲車及直升機等裝備供拍攝。電影獲得了票房成功，同時獲 2 0 1 8 年中國電影華表獎、大眾電影百花獎、北京大學生電影節及獎禮頒發最佳電影殊榮。此外，本片亦獲本年度

亞洲電影大獎四項提名，包括最佳剪接、最佳

音響、最佳視覺效果及最佳新演員（黃景瑜）。香港土生土長的導演林超賢亦在無數國內電影頒獎禮中獲最佳導演殊榮，成為中國內地享負盛

More importantly, Operation Red Sea earned director Dante LAM multiple Best Director 名的香港導演。他亦是國家電影局去年舉辦的 accolades at film awards across the country and 「電影新力量」論壇上唯一受邀出席的香港 solidified his position as the most successful Hong 電影人。 Kong-born filmmaker working in the mainland China film industry. LAM was also the only Hong Kong filmmaker invited to last year’s China New 林超賢先後憑 2 0 1 6 年的《湄公河行動》及 Film Power forum, organised by China Film 《紅海行動》成為中國最炙手可熱的動作片 Administration. 導演，其新作《緊急救援》正進行拍攝，將挑戰更具

Now China’s most successful action director with Operation Mekong (2016) and Operation Red Sea , LAM changes up his style with his new film, The Rescue . Budgeted at RMB 605 million (US$90 million) and made with the support of China’s Ministry of Transport, the film will showcase the prowess of China’s Coast Guard. Currently in production, the film is set for release during the Chinese New Year holiday in 2020.

難度的製作。此片投資 6 . 0 5 億人民幣 ( 約 9 0 0 0 萬美元 )，由中國交通運輸部全力支持，講述中國海岸

防衛隊的英勇事蹟，預定在 2 0 2 0 年農曆新年公映。

JOSIE LIN Executive Director of AFAA

連佩蔙

亞洲電影大獎學院執行董事

DESIGN OUTHERE A F A 13 K e y a r t D e s i g n A F A 13 主題美術設計

KAON CHAN A F A 13 P h o t o g r a p h e r

陳嘉安

A F A 13 攝影師

JOSIE LIN 連佩蔙 Executive Director of Asian Film Awards Academy 亞洲電影大奬學院執行董事

Memorable moments during her early days with the Academy I left the investment banking field for Asian Film Awards Academy (AFAA) in 2015. This bold decision was coincided with my EMBA graduation, which has inspired me with continuous exploration and creation to approach life like filmmaking. Thankful that I met Dr. Wilfred WONG - a full of guts “Director” who hired a newcomer like me, guided me to explore new topics and creating new chapters for AFAA in order to bring new experiences to our audiences. No matter how good a “movie” is, the preparation work is always the key to success. My predecessors at AFAA have all made excellent contributions to build AFAA today, those are great examples for me to follow, to learn and to build on. In my four years with AFAA, the most unforgettable thing is overcoming doubts from others, strengthening the team, and working together to earn support from both the industry and sponsors.

The Significance of AFA to the Asian Cinema AFAA is a non-profit organization founded by the three major film festivals in Asian – Busan, Hong Kong and Tokyo. Every year, representatives from the three festivals and other industry professionals select films that carry Asian visions and cultural significance. Through AFA, the lives of these films are extended and expanded to bring influences to and beyond Asian regions. Some outsiders wish to see more popular and commercial films selected by AFA, so as to draw more attention from the general public. However, it is AFA’s responsibility to display the visions of Asian filmmakers and the unique stories of Asian people portrayed through the lens, which may also attract attention from overseas markets.

Challenges and Expectations AFA is relatively young compared to other existing film awards and it is fortunate to have a team of film lovers from diverse backgrounds. I believe most management behind similar events are facing the same challenges in balancing and incorporating advises from different parties. On this point, Mr. Roger GARCIA is a perfect role model, showing us how to work harmoniously as a close -knit team. In the future, we will strive to reach out to more people through more platforms and start a new chapter in Asian Cinema.

加入學院之初最難忘的經歷

在機緣巧合下，於 2 0 1 5 年，離開從事多年金融活動管理，轉至亞洲電影大獎學院（下稱學院）。當時此舉是大膽嘗試，但剛完成工商管理碩士課程，在思維上有所啟發，清楚人生應如同電影一樣，需不斷

探索和創作。慶幸在我人生舞台上，遇上一位有膽

識的“ 導演 ”—— 王英偉先生。他起用了我這新人，指導該如何不斷揣摩，尋找合適學院的題材，務求如電影一般有所突破，給觀眾帶來嶄新體驗。當然一部戲再好，也須前期功夫充足，而過去歷屆各方

的參與，就搭建了今天學院的初型，去讓我借鏡，學習再努力。當中最難忘的經歷，是外間對我們能

力存疑，到底如何穩定團隊，一起共同策建。從大家對學院的懷疑到後來的觀察，以至得到業界及贊助商的支持。這一點一滴都存感恩。

亞洲電影大獎對亞洲電影的意義

正因學院是由亞洲三大影展（釜山國際電影節、香港國際電影節及東京國際電影節）共同創辦的非

貿利機構。故此，我們每年都會邀請三大影展代表人，及其他電影界專才，一同選出具有亞洲文化視野和意義的電影，去延伸其電影生命力，產生對亞洲以至世界的影響。有時候，外間會想學院早點接軌到大同世界，希望能多選出一些通俗片，去吸引公眾的眼球，但出席我們典禮的人仕，都是業界以

至國際上，甚有名望和權威的人仕。因此，我們更深感有自當責任，在學院平台上，理應彰顯亞洲電

影人的視野和內涵，把有關亞洲人的故事及想法，透過電影鏡頭，一一呈現出來，從中亦可吸引海外市場的注意。

亞洲電影大獎的挑戰與寄望

相比其他同類型典禮，亞洲電影大獎無疑是相對較

年輕。而我們學院內有一群，熱愛電影工作者，他們有不同文化背景，對電影亦有相當認識和抱負。有

時候，如何在成長過程中，聽取八方聲音，融合整理合適的意見，過濾一些雜音或糾正錯誤，便成了

大多管理層，或同類典禮皆有的情況。幸而，在這

方面上，有高思雅先生，給我們作好榜樣，學習如

何包容，聯系各方力量，持續做好每一點，多一點。日後，我們會透過更多不同渠道，與大家接觸，為亞洲電影帶出新的一頁，還望各界能多加關注。

DESIGN OUTHERE A F A 13 K e y a r t D e s i g n AFA13 主題美術設計

AFAA invited DESIGN OUTHERE to design the key art for AFA13. Inspired by this year’s AFA theme of "film restoration", Hong Kong graphic designer Ferrous WONG employed gold and blue as primary colours. There are two shades used for each colour, conveying the concept of "old meets new". With advancements in film restoration technology, classic films can now be preserved for a new generation of cinemagoers and home viewers. The golden circle is split into half by a blue dashed line. The left half, outlined by numerous lines, represents film. The right half, in solid gold, represents the human eye. The two blue dashed lines represents the art of editing, which is how images are stitched together as a film that comes to life in front of our eyes. Founded in 2006 by WONG, DESIGN OUTHERE specialises in visual and multimedia designs. Its previous works include the animation of AFA12 promotional videos, the Hong Kong Independent Film Festival and visual designs for Eason CHAN's Another EASON’S Live world concert tour.

亞洲電影大獎學院今年邀請了DESIGN

OUTHERE設計工作室為第13屆亞洲電影大獎

擔任主題設計。今年大會主題為「電影修復」，設計師 F e r r o u s W O N G 以金色和藍色作為主色，每種顏色均有深淺兩種色調，代表著新舊交融，尤如經典電影透過電影復修技術得以被保存，讓新一代的觀眾認識。

主題設計內的金色的圓環被深藍色的直線分為兩

半。左半環由多道直線條勾劃出來，代表菲林。而金色實色的右半環代表人的眼睛。深藍色的線條代表菲林經過剪接後，呈現在我們眼前。

DESIGN OUTHERE 設計工作室由香港設計師 F e r r o u s W O N G 於 2 0 0 6 年創立，專門從事視覺

和多媒體設計。工作室曾為第 1 2 屆亞洲電影大獎宣傳片製作動畫，亦曾為香港獨立電影節，以

及陳奕迅Another EASON's LIVE世界巡迴演唱會影像設計。

KAON CHAN

陳嘉安

A F A 13 P h o t o g r a p h e r AFA13 攝影師

AFAA has invited Hong Kong-based photographer KAON as the official photographer of Jury President Joan CHEN, Youth Ambassador Fish LIEW, and the AFA Nomination Committee for AFA13 House Programme. Stars who have been photographed by KAON include CHOW Yun Fat, Tony LEUNG Chiu Wai, Andy LAU, Aaron KWOK, CHANG Chen, ZHANG Ziyi, Carina LAU, Michele REIS, SHU Qi, Kelly CHEN and Cherie CHUNG. KAON also does photography work for advertisements, magazines and album covers. In 2001, KAON began his photography career as a freelance photographer's assistant. In 2008, he established his own studio, R Workshop. When asked about unforgettable shooting experiences, KAON said, "I’ve had to chance to photograph some of my favourite actors, such as CHOW Yun Fat and Cherie CHUNG. Imagine your idols becoming your photography subject; it’s simply amazing. Another unforgettable experience was back in 2012, when I joined a four-day trip to Shandong Province as a volunteer photographer. It was done in a documentary style, meaning I got to photography people inside civilian homes and even an operation room during an eye surgery. This journey fulfilled a long-held ideal of mine: To spend money that I earned on people and things that I want to record.” KAON suggests that aspiring photographers should work hard on mastering techniques and frequently upload their works on social media platforms. If the work is good, they will surely attract the attention and opportunities from the staff of magazines, advertising agencies and marketing departments of various brands.

陳嘉安(KAON)應邀為第13屆亞洲電影大獎頒獎典禮場刊擔任攝影師，為評審主席陳沖、青年大使廖子妤及提名委員會拍攝大會官方照片。他曾與多

位著名藝人合作，包括周潤發、梁朝偉、劉德華、郭富城、張震、章子怡、劉嘉玲、李嘉欣、舒淇、陳慧琳

及鍾楚紅等。現時專為廣告、雜誌及唱片封面攝影。 2 0 0 1 年，K A O N 於雜誌社做暑期實習生，後來

轉任攝影助手。他於 2 0 0 8 年創立自己的工作室 R W o r k sh o p。

當被問及工作時有什難忘的經歷，KAO N 說：「可以為一些自己喜歡的演員例如周潤發、鍾楚紅等拍

照。試想一下：當你的偶像變你的拍攝對象，真是

一種很奇妙的經驗。此外，2 0 1 2 年我隨奧比斯到山東省作義務攝影，以紀實方式拍攝。我們不但走進民居，更到手術室拍攝眼科手術的過程。我在那趟旅程中實踐自己的理想：將賺到的錢用於我想拍攝的題材上，藉此將有意義的人和事保留下來。」

K A O N 認為，隨著互聯網及 F a c e b o o k 與

I n s t a g r a m 等社交平台的普及，年輕人若想成為攝影師，不但要在攝影上用功，也要經常將作品上載到互聯網上公開展示，只要作品出色，定會受到雜誌社、廣告公司、不同品牌的廣告市場部人員留意，從而得到合作的機會。

A FA A O R G A N I S A T I O N A N D A FA 13 T E A M AFAA機構及AFA13團隊 BOARD OF DIRECTORS

董事局

CHAIRMAN

主席

Wilfred WONG, GB S, JP 王英偉博士，G BS，JP Chairman As ia n F ilm Awards Ac a d emy 亞洲電影大獎學院主席

T H E 13 T H ASIAN FILM AWARDS TEAM

第十三屆亞洲電影大獎團隊 Rog e r GARCI A 高思雅

Advisor 顧問

J osi e LIN 連佩蔙

Executive Director

MEMBERS

會員

Pe ter LAM, GB S 林建岳博士，G BS Chairman M e d ia Asia Group 寰亞傳媒集團有限公司主席

L EE Yong-kwan 李庸觀 Chairman BU SA N In ter n ation al F i l m Fest i v a l 釜山國際電影節主席

S H I I NA Yasu shi 椎名保 CEO, TIF F COM Vice President , UNIJ APA N

東京國際影視展（ T I F F C O M ）行政總監、日本電影發行協會副會長

H I S AMATSUA Takeo 久松猛朗 Festival Director Tok y o In ter n ation al F il m Fest i v a l 東京國際電影節總監

Fred WANG 汪長禹先生 Chairman S alon F ilm s Group & H o no r a r y Secret a r i a t 沙龍電影有限公司主席

行政總監

EVENTS TEAM

項目及活動統籌 Le m on L I M 林燕

Head of Events & Marketing 活動統籌及市場推廣主管 J e n n y CHENG 鄭樂賢

Senior Programme Of ficer 高級項目主任

Ady CHAN 陳亦孜 Events Executive

項目及活動統籌主任 J a d e C HAN 陳鈺儀

MARKETING TEAM

市場推廣

L emon L I M 林燕

Head of Events & Marketing 活動統籌及市場推廣主管 Terri CHAN 陳諾恆

Marketing Of ficer 市場推廣主任

L ois S I T 薛芷穎

Marketing Assistant 市場推廣助理 Xenia S I N 冼敏儀

Marketing Assistant 市場推廣助理

L inda XI AO 肖伊

Marketing Assistant 市場推廣助理

HOSPITALIT Y TEAM (NOMINEES)

嘉賓事務（入圍者） Rebec c a HUANG 黃婉甄

Senior Hospitalit y Of ficer 高級嘉賓事務主任

Events Assistant

L I N Ting Yu 林庭伃

H e i di KO 高茵茵

WONG King Wai 黃瓊慧

項目及活動統籌助理

Events Assistant

項目及活動統籌助理 Iri s TAM 譚夢芙

Events Assistant

項目及活動統籌助理

Senior Hospitalit y Of ficer 高級嘉賓事務主任

Hospitalit y Executive 嘉賓事務主任

HOSPITALIT Y TEAM (PRESENTERS)

嘉賓事務（頒獎嘉賓） N a na N G 吳嘉宜

Senior Hospitalit y Manager 高級嘉賓事務經理 Eva LIU 廖詠賢

Hospitalit y Manager 嘉賓事務經理

M a t the w LO 羅希賢

Hospitalit y Coordinator 嘉賓事務聯絡主任 Shi r l ey A U 歐尚卿

Hospitality Assistant 嘉賓事務助理

Barry CHAN 陳頌堯

Hospitalit y Assistant 嘉賓事務助理

Sara CHENG 鄭雅婷

Hospitalit y Assistant 嘉賓事務助理

Sophie CHENG 鄭德融

Hospitalit y Assistant 嘉賓事務助理

Kimmy LI 李健美

Hospitalit y Assistant 嘉賓事務助理

Bay LIN 林貝珊

Hospitalit y Assistant 嘉賓事務助理

C h l o e YA N 甄樂怡

Hospitalit y Assistant 嘉賓事務助理

HOSPITALIT Y TEAM (GUESTS) 嘉賓事務（嘉賓） Son i a YU 余蒨蘅

Senior Of ficer

高級嘉賓事務主任

TRANSPORTATION

交通

Raymond L AM Transpor tation Assistant 交通事務助理 Hong Thai Travel S er vic es L imited

Ge of f LE E 李焯煇

HOUSE PROGRAMME PRINTING

Hospitality Assistant 嘉賓事務助理

場刊印刷

ADMINISTRATIVE TEAM A d el i n e CH A N 陳玉蘭 Administrator 辦公室行政人員

AFA CREATIVE TEAM

亞洲電影大獎創作團隊

W i l l i a m C H AN G Suk Ping 張叔平

Trophy Designer 獎座設計總監

Pe t e r KAM 金培達

Phoenix Communic ations L imited

TROPHY PRODUCTION

獎座製作

Zinger (H.K.) S por ts Company

SIMULTANEOUS & CONSECUTIVE INTERPRETATION

即時及接續傳譯

Quadra Tec hnic I CS L imited

Theme Music Composer 音樂總監

PR & MARKETING

DE SIGN O U TH E RE LTD .

公關及市場推廣

AFA13 Keyar t Design

B ravos Pic tures L imited

AFA13 主題美術設計 DE SIGN O U TH E RE LTD . Phoe n i x C om m un i cations L imited

Graphic Design & House Programme Design 平面設計及場刊設計

Te l e v i si on Broa d casts L imited (TVB )

Production Design 製作團隊

Bra n d N e w Da y Li mited

Stage & Lighting Design 舞台及燈光設計

Proj e ct m a n C o.,Lt d

Video and Technical Suppor t 影片及技術支援

SPECIAL THANKS 特別鳴謝 FOREIGN REPRESENTATIVES S an lin g CH A N G ( Ta i w a n) P ico JUN G Cha ng - k i ( Sou t h Kore a ) Bran dy K I M J u ng - y u n ( So ut h Kore a ) K ENJO A zu s a ( J a p a n) KO NISH I H a r u f u m i (J a p a n) NA K A J I M A Yu u m i (J a p a n) K AWA KUB O Fu m i (J a p a n) S A ITO H i d e ko ( J a p a n) S HEN Ya ng ( Chi na ) D A N Ky oko ( J a p a n)

ASIAN FILM AWARDS ACADEMY FOUNDING PATRONS P e t e r L A M K i n N g ok , G B S Fran çoi s L A UR E N T (Ta l i k a) Jo h n LE E Sa m Yu e n S imo n SUE N Si u M a n Wilf re d W O N G , G B S, J P

ASIAN FILM AWARDS ACADEMY FOUNDING PARTNERS Empire H ote l s H s in Chong Cons tr u c ti on Group S alo n F i l m s ( H ong Kong ) Li m i t e d ( Fre d WA N G )

ACKNOWLEDGMENT

INDIVIDUALS

A Re a l l y H a p p y Fi l m (HK) L imited Aoi Pro In corp ora t i on Av e x Pi ct ure s Bi t t e rs E n d , In corp o ration Bl ock 2 Pi ct ure s In c orporation Broa d wa y C i n e m a t heque C e l e st i a l Pi ct ure s Li mited C h a n g he Fi l m s Li m i ted C J Entertainment Di r t y M on ke ys St udios E d ko Fi l m s Li m i t e d E m p e ror M ot i on Pi c tures Fi l m U n l i m i t e d Prod uc tion L imited Fi n e cut C om p a n y Li mited Fl yi n g Ri v e r Fi l m s Focus Fi l m s Li m i t e d Fuj i Te l e v i si on N e t work GAGA C orp ora t i on Gol d e n Sce n e C om pany L imited H on g Kon g Fi l m Archive Kore a n Fi l m Arch i v e L’Im m a g i n e Ri t rov a t a Asia Lyca Prod uct i on s Private L imited M-Li n e Di st ri b ut i on Me g a t on E n t e r t a i n ment My Wa y Fi l m C om p any L imited N i ce t op In d e p e n d e nt L imited N i kka t su C orp ora t i on O n e C ool Pi ct ure s Limited O n e C ool Prod uct i on L imited RH Fi l m s LLP Sh a n g h a i In t e rn a t i o nal Film & TV Events Center Si l -M e t rop ol e O rg anisation L imited Soh um Sh a h Fi l m s Sup e r C l a m p Bros The M a t ch Fa ct or y GmbH Toe i C om p a n y Li m i t ed U n i v e rse Fi l m s Di st ribution Company L imited V i si t Fi l m s Wa n d a Pi ct ure s

CHAN Ka Fai KAON CHAN Patric k CHAN CHAN Tai L ee Titus CHAN Toby CHAN Oliver CHAN B ede CHENG D on CHU CHU S iu Fung Josie CHOU Hugo FOK FUKAZAWA Hiroshi Kiki FUNG FUNG Mei L ing Zero HOU Hilar y HUEN KAWAKUB O Fumi KENJO Azusa KONI S HI Harufumi Kim KEUNG Colun L AI Will L AI Vic ky L EONG Kit t y L EUNG Jun L I Calmen L UI Kevin MA G ar y MAK Mai MEKS AWAN Foto MO Kobe MOK NAKA JI MA Yuumi G rac e NG Humphrey NG D avide POZZI S AI TO Hideko Johnnie TO, MH Winnie TS ANG Alvin TS E Cat WONG Ferrous WONG YONFAN Alic e Y U

The Government of the Hong Kong Special Administrative Region provides funding suppor t to the project through the Film Development Fund. The funding suppor t bears no relationship whatsoever to the content of, or views expressed in this project. 香港特別行政區政府透過電影發展基金向本項目提供財政支援。有關財政支援與本項目的內容或在本項目中所表達的意見並無關連。

地址 : 香港銅鑼灣軒尼詩道513號維寶商業大廈 3樓全層 (崇光百貨側，希慎廣場對面) 熱線: 2506 3506 電郵: Info@makeupforeveracademy.com.hk 營業時間: 12PM-9PM (星期一至六) 12PM-8PM (星期日及公眾假期) MAKE UP FOR EVER ACADEMY HONG KONG

The Network of Movers and Shakers in Asia and the World

China Daily Asia Leadership Roundtable 中國日報亞洲領袖圓桌論壇

@cdroundtable

(2019_AFA13) The 13th Asian Film Awards - House Program

Articles inside

AFA13 Photographer

AFA13 Keyar t Design

AFAA Executive Director

AFA Next Generation Award

Excellence in Asian Cinema Award

Lifetime Achievement Award

Nomination Committee

Asian Film Awards Academy

Official Submission Organisations

Best New Director

Busan International Film Festival

Jury Members

Jury President: Joan CHEN

ASIAN FILM AWARDS ACADEMY