Filmart, the annual film industry event in Hong Kong, has been a hub of activity as Chinese entertainment companies and provincial governments showcase their locations to the global film community. Amidst this bustling atmosphere, French editor Matthieu Laclau, a veteran of the Chinese film scene, reflects on his two-decade-long journey in Asia, particularly in the Chinese-language cinema industry.
Laclau's story began two decades ago when he moved to Beijing, a decision influenced by a cinematographer's advice that he had no chance in the film industry. Little did he know, this move would lead to a groundbreaking opportunity. He was soon collaborating with the renowned director Jia Zhangke on the critically acclaimed film 'A Touch of Sin' (2013), which won the Cannes' best screenplay award. This marked the beginning of Laclau's illustrious career in Chinese cinema.
Over the years, Laclau has worked with a diverse range of Chinese-language arthouse filmmakers, including Zihan Geng, Wei Shujun, Kok Rui Lau, Shangjun Cai, Xue Bai, Yang Zhang, and Midi Z. His unique position as one of the few successful foreign editors in the Chinese film industry has granted him invaluable insights into the evolution of the market for smaller productions.
In a recent interview, Laclau discussed his experiences and the state of the industry in China, the world's second-largest movie market. He highlights the rapid changes in the industry, particularly in the audience's taste and preferences. Despite these shifts, Laclau emphasizes that the fundamental process of filmmaking remains largely unchanged. He argues that the essence of storytelling, character development, and finding the film's language are timeless aspects of the craft, with technology serving as a tool to enhance the process rather than define it.
The rise of AI in filmmaking is a topic of interest at Filmart this year. Laclau acknowledges the convenience AI brings to the editing process, especially in providing basic information and feedback. However, he expresses caution about the potential dangers. He warns that if filmmakers start making changes based on AI-generated advice, such as predicting audience emotional responses, it could lead to a loss of artistic integrity. Laclau believes that while AI can be a useful tool, it should not dictate the creative process.
The global nature of filmmaking has evolved, and Laclau sees opportunities in Asia, similar to those he found when he first arrived. He praises the increasing interest in co-productions, which allow filmmakers to combine stories and resources from various countries, resulting in larger budgets and broader market reach. This trend is particularly evident in China, where a mix of genres is emerging, blending dark themes with heartfelt humor and the director's unique perspective. Laclau finds this development exciting, indicating a positive shift in the industry.
In conclusion, Matthieu Laclau's journey in the Chinese film industry is a testament to the evolving nature of cinema. His insights into the industry's changes, the role of AI, and the globalizing nature of filmmaking offer a comprehensive perspective on the challenges and opportunities faced by filmmakers in the world's second-largest movie market.
