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| Chou plays the lead actor in the film. (China Daily) |
Artistically, Chou has been praised for his taste. His music background has given him not just the ear but the eye for fluid storytelling. Although the story, which he wrote, is not strong or original and the different genre elements fail to merge seamlessly, his directing is assured with many strokes of genius.
"Everyone who wants to be a director has a desire to act, but he may not be a good actor. I know what I want from an actor and have a way of getting the result, but left on my own I may not be able to act it out," he says. Coincidentally, the China Film Directors Association echoed his self-appraisal in a rare candid post on its micro blog account: "He may not be a good actor; but he is absolutely a good film director!"
That means, we may expect greater things from the boy next door who can play a dozen musical instruments and ooze cool mumbling words unintelligible to most people. In a way, The Rooftop feels like a midway stop as he explores the uncharted waters of narrative art. It is a unique challenge in genre choice because the musical is extremely difficult to pull off and, without creating much of a hoopla, it has climbed over the 100-million-yuan ($16 million) mark in box-office returns in the Chinese mainland, a first for a musical film. This in a country where Les Miserables, for all its fantastic word-of-mouth, grossed no more than half that amount.
"I'm glad that people mention Les Mis in the same sentence as The Rooftop. I hope my work can be a new signpost when people talk about Chinese-language musicals," Chou says. "But I have bigger ambitions."
The story for The Rooftop was set in the 1970s partly for the purpose of bridging a generation gap. Chou, never shy about admitting his closeness to his mother, a single parent who brought him up, wants his mother's generation to love this movie as much as he wants the younger generation to embrace it. It also gave him an opportunity to create a highly stylized world in which the rooftop represents a poor man's paradise. Although he, or rather the male lead he plays, ends up getting the girl, he designs a rival who is not only much more wealthy but possesses better looks. That person turns out to be the lesser of two villains but the immediate rival for his love interest. In Secret, this role is a competitor in a piano playoff.
Chou says he identifies with the social underdog because he himself used to be a struggling artist, having to sleep in the recording studio when riding his motorbike home was too exhausting. "Even now, I don't have many friends from wealthy backgrounds," he says, explaining that his passion for vintage cars is more a matter of personal taste than one of money.
Artistically, Chou has been praised for his taste. His music background has given him not just the ear but the eye for fluid storytelling. Although the story, which he wrote, is not strong or original and the different genre elements fail to merge seamlessly, his directing is assured with many strokes of genius.
"Everyone who wants to be a director has a desire to act, but he may not be a good actor. I know what I want from an actor and have a way of getting the result, but left on my own I may not be able to act it out," he says. Coincidentally, the China Film Directors Association echoed his self-appraisal in a rare candid post on its micro blog account: "He may not be a good actor; but he is absolutely a good film director!"
That means, we may expect greater things from the boy next door who can play a dozen musical instruments and ooze cool mumbling words unintelligible to most people. In a way, The Rooftop feels like a midway stop as he explores the uncharted waters of narrative art. It is a unique challenge in genre choice because the musical is extremely difficult to pull off and, without creating much of a hoopla, it has climbed over the 100-million-yuan ($16 million) mark in box-office returns in the Chinese mainland, a first for a musical film. This in a country where Les Miserables, for all its fantastic word-of-mouth, grossed no more than half that amount.
"I'm glad that people mention Les Mis in the same sentence as The Rooftop. I hope my work can be a new signpost when people talk about Chinese-language musicals," Chou says. "But I have bigger ambitions."
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