The creative sectors are among the most severely impacted by the pandemic. Cultural and art events are being postponed or cancelled worldwide. Film production has been halted and cinemas have been shuttered. The livelihoods of creative practitioners are imperiled as they are mostly self-employed or on short-term or project-based contracts. How can the creative industry restore confidence in audience to return to theaters? How to rebuild creative industry amid the COVID-19 pandemic in a sustainable way? To understand the sustainable ways to restore artists' livelihoods in the short and long term, China Daily Asia Leadership Roundtable organized a virtual roundtable with prominent speakers Mr. Albert LEE, executive director, Hong Kong International Film Festival Society; Mr. LOW Kee Hong, head of theater (performing arts), West Kowloon Cultural District Authority, Hong Kong SAR; Mr. TANG Fu Kuen, curator, Taipei Arts Festival; and Mr. Fred WANG, chairman, Salon Films (HK) Ltd. Mr. Teddy CHEN, producer and director, Sum-Wood Productions Ltd, shared his views on the topic in a pre-recorded video. Below are some of the key points they shared during the event: How the film festival and arts festival respond to the coronavirus crisis? Are there any amendments made?

 Albert LEE: Because of the COVID-19, Hong Kong International Film Festival had to be canceled for the first time in our history. We will try to actually schedule some screenings and some programs before the end of the year. But in the meantime, we have already started preparing for next year’s edition.

 TANG Fu Kuen: Taipei Arts Festival has been very blessed to be able to continue. All the theatres are opening at full capacity. We have created what we call a pandemic program that responds to the circumstances of non-travel. We are trying various kinds of models of working. Several of our shows are sold out. So, I think the audience is willing and hungry to come back.
 With social distancing and self-isolation becoming the new norm, how can the industry adapt to this “new normal” and keep business going?
 Albert LEE: Cinemas are in great difficulty at the moment because of reduced capacity owing to social distancing restrictions and all the stakeholders should work together to help the industry survive instead of relying solely on the government to bail it out of the crisis. The biggest expenditure of running a cinema in Hong Kong are the rentals, followed by staff salaries and film producers’ fees. Thus, a combined effort from everyone is needed to keep the cinemas afloat.

 LOW Kee Hong: The theater community has pushed the boundaries to try to engage the audience. What we’re doing is not just about a stopgap measure but, essentially, a combination of digital live (performances) and a presentation of other unusual platforms like gaming, and even analog space. Theaters around the world have demonstrated their creativity, introducing “pods” or “cubicles” accommodating four to five audience members to enjoy the show. There’re also drive-in cinemas, concerts and museums for visualizing exhibitions. 

TANG Fu Kuen: It is important to keep theaters’ physical spaces in use during a public health crisis, rather than just freezing all of them overnight. So long as theaters are running, it’ll keep the phase going. And it’ll still keep some livelihoods, some jobs and a sense of survival of the whole industry. How can the industry make good use of space amid the coronavirus crisis?

 LOW Kee Hong: I think while the health regulations are still in place, obviously within theaters where you have to deal with social distancing, we do have a lot of outdoor spaces. And this is perhaps one way in which we can also start to reimagine performances outdoors while embracing different restrictions that are in place.
 
 Fred WANG: The government has to take the lead. They should set up a good arrangement to have a good venue for the general public that not only allows them to enjoy the films, but also can be of multiple uses – for games, musical presentations or even for government lecturing and voting. What new opportunities can the film industry seize amid the pandemic? 
Albert LEE: All the new releases are on hold. So, I think there is certainly a good window for smaller local indie films. I don’t think that they will be excluded from any cinemas. But at the end of the day, it is a business. You have to look at the return. If the film, once it’s been released, if it’s being supported by the audience, it will get a run.

 Fred WANG: The film industry needed to try out new business models and observe whether the current environment can support these in a sustainable way. Even popular streaming platforms like Netflix are lacking in new content due to the pandemic. Content is king. Good content is needed before getting a mass distribution in the market. What is your view towards the rise of streaming platforms such as Netflix, Amazon Prime Video and Disney+ etc? Is it good for the development of the film industry?
 Teddy CHEN: The rise of streaming platforms is not necessarily a bad thing. I welcome the idea of people viewing films on multiple platforms like cinema hall, home theatre, live-streaming platforms and on television. Can digital shows replace physical ones?
 
 Teddy CHEN: Watching movies in the cinema is a kind of social behavior. Despite having good audio electronics and a 100-foot screen at home, watching movies with few people at home can’t replace the experience of the cinema – where you share the joy with hundreds of people, and the intense atmosphere while watching thriller movies. The feelings are different.

 TANG Fu Kuen: We (Taipei Arts Festival) are very lucky as audience and artists are able to enter the theaters. I have rejected all kinds of online programs, which means that I resist this whole digital fatigue. Instead, we are combining the digital element with the performance in order to lift the overall quality.

 LOW Kee Hong: One of the big limitations of digital performance, obviously is that the performers cannot see the audience or cannot interact with them. I think the use of different types of newer modes of mediums, like Virtual Reality and Augmented Reality, can point us to possible directions.

 Fred WANG: Nowadays, everything is digital. Films can be distributed in multiple languages, multiple formats and multiple locations. This really makes the film industry not just for entertainment, but also for changing our lifestyle. The industry itself today welcomes all sorts of new things with an open mind. However, none of these will become mainstream in a short period of time. You need a strong production company to make use of them and the infrastructure ready for distributing your programs. Then, you need a marketing team that can draw a lot of audiences to your programs. How can those in performing arts survive the pandemic? Any innovative ways to help their shows go on? 

LOW Kee Hong: Now is the time for us and the artists to discover more possibilities to maintain our presence. Meanwhile, we need to engage with different audiences continuously. In the longer term, we need to start thinking about different financial models. We need to rethink the choices of platforms and how we can monetize different platforms so that artists and staff can be paid fairly. It is really essential to acknowledge that art is not for free. TANG Fu Kuen: Some of the artists in the industry will remain sunk into melancholia for the better days of the past. They may not be able to cope with the future, while others will have the will and wisdom to move on. And they will be the ones who will renovate and innovate for survival. What is your forecast about the recovery of the creative industry? 

Teddy CHEN: The pandemic has had a big effect on the film industry and other industries. The audience can feel 100 percent safe to watch movies in the cinema only after the coronavirus vaccines are released for public use. Because cinema is a closed area, the customers may not feel 100 percent safe regarding the ventilation system.

 Albert LEE: The film industry needs three to four years for recovery. We need to recalibrate the entire industry and make changes in order to adapt to the “new normal”. It will be a long recovery process. I am concerned about the short-to-medium term development of the film industry. However, I am still hopeful about the prospects of the film industry in the long run.

 Fred WANG: I foresee a bright future for the film industry. The new blood will develop a new business models to support its future development. We should let the market try a lot of new things. The film industry should not only care about the quality of films and revenue earned. It should care more about how to bring up the whole population’s standard on the film appreciation so that the society can be a better one.

 TANG Fu Kuen: Let’s say we have not seen the fullest impact of COVID-19. If we are lucky, a vaccine should be found by the middle of next year. Then, hopefully, things can go back to the routine. But the question is: do we want to return to the old ways (of the performances)?

Hong Kong’s theater business has gone through a proactive model transformation, hoping to stay afloat amid the coronavirus pandemic, and the reopening of cinemas today after being shut for around six months is a day that’s long anticipated. When the theater drapes and stage curtains are raised again, it will thrill not only avid local movie fans, but also those in the creative industries. Industry leaders espoused their views at a webinar on Thursday, organized as part of the China Daily Leadership Roundtable’s Tipping Point series titled “Taking the show back to the theaters in the time of COVID-19”, in which key players share their thoughts on ways of restoring artistes’ livelihoods in the long and short term. Albert Lee, executive director of the Hong Kong International Film Festival Society, which organizes the annual Hong Kong International Film Festival, hailed the Hong Kong government’s decision to reopen cinemas that were forced to close as the third wave of COVID-19 infections struck the city, saying the organization is very reliant on screening revenues. The sad news is that this year’s 44th HKIFF has been put off by the pandemic. “It’s the first time in history the festival has been postponed,” he said. Engage the audience The stringent social distancing measures in place to curb the spread of the coronavirus have inflicted an indelible wound on the creative sector, with live performances scrapped or put on ice, and theaters shut. People in show business have borne the brunt of the scourge. On the bright sight, however, the creative business has leveraged its creativity and resilience, securing promising answers to the conundrum. The theater community has pushed the boundaries to try to engage the audience, said Low Kee-hong, head of theater (performing arts) of the West Kowloon Cultural District Authority — Hong Kong’s world-class arts and culture hub. “What we’re doing is not just about a stopgap measure but, essentially, a combination of digital live (performances) and a presentation of other unusual platforms like gaming, and even analog space,” he said. Theaters around the world have demonstrated their creativity, introducing “pods” or “cubicles” accommodating four to five audience members to enjoy the show, said Low. “There’re also drive-in cinemas, concerts and museums for visualized exhibitions.” Tang Fu Kuen, curator of the Taipei Arts Festival, told the webinar that global performance producers are also inspired to experiment with multiple forms and formats, and a new medium of communication between artists and audiences. He highlighted the importance of keeping theaters’ physical spaces in use during a public health crisis, rather than just freezing all of them overnight. “So long as theaters are running, it’ll keep the phase going. And you’ll still keep some livelihoods, some jobs and a sense of survival of the whole industry.” Tang called on all governments to exert the will, and put in place a set of policies to protect these physical spaces. Make better use of theaters Fred Wang, chairman of pan-Asian facilities and movie services group Salon Films (Hong Kong) Ltd, believes the pandemic offers a good opportunity to rethink the question of how to make better use of well-located theaters, especially in a densely populated city like Hong Kong. Unlike 50 years ago, when opening theaters was seen as the main business for Hong Kong property developers, the theater business today is taking a back seat, he said. “But the general public should have a good venue that not only allows them to enjoy the films, but also can be multiple-purposed, whether it’s for games, musical presentations or even for government lecturing and voting,” said Wang, who founded the company in 1969 and had worked with various major Hollywood film and television companies in setting up projects in Asia. “Nowadays, everything is digital. Films can be distributed in multiple languages, multiple formats and multiple locations. This really makes the film industry not just for entertainment, but changing our whole lifestyle,” he said. The industry itself today welcomes all sorts of new things with an open mind. However, Wang pointed out that none of these will become “mainstream in the short time”. The sheer power of new technologies is only part of the story. “You also need a strong production company to make use of them and the infrastructure ready for distributing your program. Then, you need a marketing team that can draw a lot of audiences to see your program. “That’s why I said we should let the market try a lot of new things. But we also call for combined support from all parties that can sustain to essentially build up a new industry,” said Wang. Physical irreplaceable sophisticated technology has brought the virtual alternatives to a higher plane. The incorporation of virtual reality and augmented reality has more than emulated the physical viewing experience. It has enhanced it to be more immersive, interactive and individualized. And the experience is easily accessible from the comfort of home, without even stepping out of the house. Despite the immersive satisfaction and great ease, physical shows can never be substituted by the digital answers, said Hong Kong film director and producer Teddy Chen. He said there’s a nuance between watching a movie or performance in a physical venue and enjoying it virtually. The difference lies in the “social bond” created by social gatherings. “Young people like watching a movie together after work. … The movie provides a common topic for them to discuss, through which their relationship is getting closer.” Contact the writers at jenny@chinadailyhk.com

Filmmakers are convinced that holding a film festival online will not work, although the coronavirus pandemic continues to hold back public activities, according to the head of the renowned Hong Kong International Film Festival. Albert Lee, executive director of the Hong Kong International Film Festival Society, believes that the beauty and charm of appreciating a film in a cinema can’t be replaced by online streaming. The HKIFF, which made its world debut in 1977, normally screens hundreds of movies from across 50 countries and regions within a space of two weeks annually. But as it marks its 44th anniversary this year, all such activities have been canceled due to the pandemic, while the competition’s judging process has been moved online. In an interview with China Daily, Lee said the HKIFFS had studied the possibility of moving the entire festival online, but no filmmaker agreed. The moviemakers produce films for the big screen, using plenty of time and financial resources — some are Hong Kong or even international premieres. It just doesn’t work for them to have an online film festival, Lee explained. Despite the convenience of watching a film at home in front of a TV set, or simply on an iPhone, what the HKIFFS is trying to promote is film as an art form in a cinema, as well as the experience of appreciating a film in a cinema with hundreds of other people, he said. However, the organization does not own any screening facility, so the festival has to rely completely on screening venues. Because of the pandemic, the HKIFFS has lost box office income as well as sponsorships. The contracts of about 40 young temporary employees have also been affected, Lee said. But it will still be hard to evaluate how much the organization has lost financially until the end of the year, he said. Nevertheless, Lee noted that compared to filmmakers and distributors, a film festival is probably the least affected in the ecosystem as it can always go back to showing classic films from the past. On the other hand, the COVID-19 outbreak in Hong Kong has pushed the HKIFFS to improve its operations faster. These include scaling down the number of screening venues each year and concentrating most of them in the Tsim Sha Tsui area to make it easier for people to move from one movie to another, Lee introduced. If the Hong Kong government continues to enforce social distancing measures in theaters next year, the HKIFFS will no longer be able to stick to its free-seating policy, but to adjust the ticketing systems by assigning seats for each screening. Lee said if that’s the case, it would be a big technical challenge, as the film festival programs some 200 films among more than 300 screenings in two weeks. With the pandemic unlikely to go away in the short term, he stressed that the movie industry has to cooperate and figure out ways to readjust itself with all the social distancing measures in place. The industry is new, with a history of less than 150 years, and is always evolving and innovating, said Lee. New things are being added, such as televisions, videos and, now, online streaming platforms. Even so, the global film industry made a record-breaking $100 billion last year, according to a report by the US-based Motion Picture Association. Despite the hindrances and temporary shutdowns, Lee believes the theatrical industry will not fade away. heshusi@chinadailyhk.com

With the COVID-19 pandemic still raging globally, forcing live theater or public space experiences to be replaced by digital art performances, Hong Kong artists and curators are beginning to reimagine the relationship between digital and physical space while making multiple explorations. “When we re-imagine in the digital space during these unprecedented times, it’s not about one discussion, but the idea that the digital space becomes a part of how we think about live performances,” said Low Kee Hong, head of theater (performing arts) at the West Kowloon Cultural District Authority, which manages the city’s cultural and arts hub, West Kowloon Cultural District. Amid the stringent social distancing measures in place to curb the spread of the coronavirus, the arts hub has teamed up with Edward Lam Dance Theatre to produce a series of short films called On Empty Theatre. Some 30 Hong Kong-based artists from various backgrounds were invited to place themselves in the empty Freespace’s black box theater to present a short unrehearsed monologue. “The idea was to draw from these artists’ voices about their own feelings of the theater and the current situation,” said Low. The team tried not to prepare the actors as much as possible before they entered the theater so they could respond immediately and intuitively when facing an empty auditorium. The film series was released online in August, drawing an overwhelming global response. “I think the feelings, emotions and thoughts the project has brought could resonate with lots of people worldwide,” he said. The world public-health crisis has wreaked havoc across all industries, and the cultural and arts sector is no exception as audiences stay away from theaters. With no one in a position to predict when the pandemic will end, Low said the industry is pondering over how to coexist with the “new normal”. When the third wave of COVID-19 infections hit Hong Kong, Low and his team immediately turned to the WKCD’s digital assets that can be deployed online to engage audiences. At the same time, the artists and curators began organizing livestreams to engage audiences and share tips on pandemic prevention. Although the WKCD has relied heavily on digital platforms to connect with audiences during the pandemic, Low argued that going digital can never replace live performances, especially for the arts hub, which runs theaters and curates programs at its venue. In between the second and third waves of coronavirus infections in Hong Kong, when most art performances and exhibitions returned to normal, Low said admission tickets sold well not only for WKCD, but also for other venues in the city. “We could see the audience was eager to get back to the theaters for physical social interaction,” Low said, and he expects artists to get back to the stage and interact with the audience face-to-face soon with safety measures in place. Having gone through tough times, the industry would definitely be able think about multiple formats for performances at the same time, while engaging different types of audiences when the theaters reopen, he said. In Low’s view, 2020 is the year for Hong Kong to heal and recover considering what it has been through in the past year. Besides, he believes the pandemic has provided an opportunity for artists to explore the local cultural heritage deeper. pamelalin@chinadailyhk.com

新聞稿 即時發佈 中國日報網上論壇探討疫情下 文化娛樂業的新常態和新機遇 中國日報香港 8 月 27 日電 中國日報亞洲領袖圓桌論壇今日在香港 舉辦題為“疫情下文化娛樂業的新常態和新機遇”的網絡研討會。 香港國際電影節協會總監利雅博，香港西九文化區管理局表演藝術 主管(戲劇)劉祺豐，台北藝術節策展人鄧富權，以及香港沙龍電影 有限公司董事長汪長禹應邀參與討論。著名導演陳德森亦作為特別 嘉賓錄製短片分享了對疫情下電影業生存發展的看法。 突破重圍需要眾人努力 利雅博指出，電影院現在因為人流量受限而處於非常艱難的時期。 維持影院的運作不能單靠政府的努力，因為政府的資金是有限的。 香港影院最大開支是租金，其次是支付給電影製作人和影院員工的 薪金。因此，維持影院的生存需要大家的共同努力。 “我們和藝術家們要思考如何探索更多可能性來維持存在感，同時 與不同觀眾保持互動，”劉祺豐說，“從長遠角度來看，我們要開 始盡可能地思考不同的商業模式，包括重新思考平台的選擇，以及 思考如何通過不同平台來獲得收益，從而讓藝術家和工作人員們獲 得正常的報酬。我們也需要認識到，藝術家們的表演不是免費的， 我們需要認可他們的工作，並認識到他們的工作帶來的價值。” 目前社交距離措施仍在延續，人們在劇院中也必須保持社交距離。 劉祺豐表示，西九龍文化區有很多的戶外場地，大家可以利用這些 空間，在遵守防疫措施的前提下，重新想像和規劃文化藝術的表演方式。而汪長禹則認為，政府需要帶個好頭，更合理地利用現在因 為疫情而空置的電影院和戲院。這些場所不僅僅是用來欣賞電影的， 也可以是多用途的(例如用作選舉投票或者是比賽)。我們應該把 影院變成具有社會功能的地點，而不僅僅是一個電影院。 鄧富權說:“對於台北藝術節來說，我們是很幸運的。因為觀眾和 藝術家可以進入劇院，所以我們沒有舉辦任何線上活動。我們拒絕 為觀眾帶去數字化疲勞，取而代之的是，我們運用了一些數碼元素 以提升表演的質量。” 電影行業的新常態和新機遇 利雅博認為，處於暫停發行狀態的新電影，為本地小成本的獨立電 影提供了一些機會。但歸根結底，電影屬於商業活動，我們必須考 慮回報。目前來講，在疫情爆發之前已經投資了很多電影，而這些 電影很多尚未發布。因此他們現在是非常謹慎的，他們將在了解疫 情后觀眾對於回歸電影院的反應以及對新電影的評價以後，再決定 下一步計劃。 面對疫情，串流影音平台發展強勁，利雅博認為這對影院來說並不 是一件壞事，因為串流影音平台是另外一種創建和觀看內容的平台， 電影內容可以在戲院、家庭影院、在線平台和電視等多平台播放。 汪長禹說，我們應該讓市場去嘗試新的電影形態，但也要觀察現時 環境和各支援領域是否可以支撐新行業的誕生和可持續發展。 “我認為疫情后，人們或許不會去電影院看電影了。但可能會有上 億人一同坐在家裡觀看 3D 或者 AR 電影。這必須有一個強大的電影 公司去實現這些，例如擁有資金和專業製作團隊的華特迪士尼公司。 Netflix 等新串流平台的確是後起之秀，但在疫情下也缺少新節目， “內容為王”是關鍵。在大型電影分銷前，市場始終需要好的內容。 後疫情時代，電影業必能再創輝煌 “受疫情打擊，我認為整個電影行業在三四年內才能恢復到疫情前 的發展水平。我們需要重新審視整個行業，適應疫情下的'新常態'， 並做出很多改變，這將是一個很漫長的恢復過程。儘管我很憂心電 影業中短期內的發展，但從長遠來講，我仍舊看好電影產業。”利雅博說。 汪長禹認為，未來電影行業發展的前景是非常光明的。傳統的電影 產業已經很成熟並在快速發展。他相信年輕的後起之秀們也會創造 出新的商業模式來支撐行業的進步。他指出，電影業不僅應該關注 影片質量和收益，更應關注普羅大眾。電影投資者應該多關注全民 的電影鑑賞水平，從而將社會變得更好。 有人說，電影院將逐漸消失。而導演《十月圍城》等影片的陳德森 認為，看電影是一種社交行為，因此居家觀影是無法替代在影院看 電影的。 “舉一個例子，比如富裕一些的家庭，在家里布置了一個放映院。但問題是，就算音響很好，畫面 100 尺，單單幾個人一起 坐在家裡看，與幾百個人的影院裡一起分享笑聲、分享驚悚片緊張 的感覺，兩者的氣氛和情緒都是不一樣的。人們在黑暗空間裡產生 的共鳴，與自己在家看電影的感覺不同。”他說。 “一些文化藝術工作者會仍會因為懷念疫情前的境況而感到沮喪， 但我相信，會有一批擁有創新精神的文化藝術界人士帶著意志力和 智慧繼續前進。”鄧富權說。 關於中國日報 中國日報是中國國家英文日報，創刊於 1981 年，擁有報紙、網站、移動客戶端、臉譜、推特、 微博、微信、電子報等十余種媒介平台，全媒體用戶總數超過 2.2 億。中國日報微博粉絲數超 過 5500 萬;微信訂閱人數 830 萬，客戶端全球下載用戶超過 3200 萬，是中國唯一下載量過千 萬的英文新聞客戶端;臉譜賬號粉絲數超過 9200 萬，位居全球媒體賬號粉絲數第二位;推特賬 號粉絲數 437 萬。 關於中國日報亞洲領袖圓桌論壇 亞洲領袖圓桌(www.cdroundtable.com)，旨在搭建一個由亞洲國家和地區的政、商、學界領 袖和社會精英參與的高端對話和交流平台，圍繞亞洲地區經濟、商業、產業和社會發展等具有 戰略影響的重要議題展開討論和分享見解，以增進中國與亞洲和西方國家的交流理解。

For Immediate Release PRESS RELEASE Creative Industry Insiders Discuss Survival Strategies in Pandemic Times Aug 27, 2020, HK: The fifth Tipping Point Webinar organized by China Daily, themed “Taking the Show Back to the Theaters in the Time of COVID-19”, was held today with an aim to help artists and creative professionals gain new insights and opportunities in the current challenging environment. People associated with and interested in the future of cinema, theater and live shows from across the world attended the online event. The webinar featured four creative industry insiders and key players – Mr. Albert LEE, executive director, Hong Kong International Film Festival Society; Mr. LOW Kee Hong, head of theater (performing arts), West Kowloon Cultural District Authority, Hong Kong SAR; Mr. TANG Fu Kuen, curator, Taipei Arts Festival; and Mr. Fred WANG, chairman, Salon Films (HK) Ltd – who shared their insights into finding sustainable ways to restore artists' livelihoods in the short and long term. Mr. Teddy CHEN, producer and director, Sum-Wood Productions Ltd. shared his views on the topic in a pre-recorded video. A Combined Effort is Needed to Get through This Tough Time Albert LEE pointed out that cinemas are in great difficulty at the moment because of reduced capacity owing to social distancing restrictions and all the stakeholders should work together to help the industry survive, instead of relying solely on the government to bail it out of the crisis. He said the biggest expenditure of running a cinema in Hong Kong are the rentals, followed by staff salaries and film producers’ fees. Thus a combined effort from everyone is needed in order to keep the cinemas afloat. “Now is the time for us and the artists to discover more possibilities to maintain our presence. Meanwhile, we need to engage with different audiences continuously,” said LOW Kee Hong. He added that “in the longer term, we need to start thinking about different financial models. We need to rethink about the choices of platforms and how we can monetize different platforms so that artists and staff can be paid properly. It is really essential to acknowledge that art is not for free.” “Since the social-distancing measures are still in place, people going to the theaters need to follow the health regulations,” said Low, drawing attention to the vast outdoor spaces in West Kowloon that could be utilized for staging live performances while complying with the social-distancing measures. Fred WANG felt the onus was on the government to take the lead and support the cinemas and other cultural venues which had stopped operation temporarily when social-distancing measures were enforced. He advocated turning theaters into multipurpose venues – using them to hold elections and games, for example. We need to turn cinemas into venues hosting different functions of society, he said. TANG Fu Kuen said, “We (Taipei Art Festival) are very lucky as audiences and artists are able to enter the theaters. I have rejected all kinds of online programs which means that I resist this whole digital fatigue. Instead, we are combining the digital element into the performance in order to lift the overall quality.” The New Normal and New Opportunities of the Film Industry Albert LEE pointed out that since all new big international releases were on hold, it had opened a window for showing local independent films in Hong Kong cinemas which were kept open when much of the world was under lockdown. In response to a question from one of the moderators as to whether it might be possible to create a space to show such small-budget homegrown films in a post-coronavirus scenario, Lee said, at the end of the day, “film is a business – which means returns are an important consideration.” He mentioned that a number of films made before COVID-19 struck were awaiting release. So investors are going to be very cautious with making any new investments. They will consider the audience response to the reopening of cinemas and reviews of newly-released films before making further decisions, he added. LEE said the rise of streaming platforms was not necessarily a bad thing. He welcomed the idea of people viewing films on multiple platforms like cinema hall, home theatre, live-streaming platform and television. Fred WANG said the film industry needed to try out new business models and observe whether the current environment can support these in a sustainable way. “In a post-COVID world, people may not watch films in the cinemas. There may probably be billions of people watching 3D or augmented reality films at home,” said Wang, noting only a very few film studios like Disney has the money and production expertise to make good use of such technology. Even popular streaming platforms like Netflix are lacking in new content due to the pandemic, he pointed out, adding, “Content is king. Good content is needed before getting a mass distribution in the market.” The Film Industry is Going to Achieve Higher Growth post-COVID World Albert LEE predicted the recovery of the film industry in three to four years. He said it was necessary to recalibrate the entire industry in order to adapt to the “new normal”. It will be a long recovery process. He said he was still very hopeful about the prospects of the film industry in the long run while being concerned about its short-to-medium term development. Fred WANG saw a bright future for the film industry. He envisioned the traditional film business developing rapidly and maturely, and believed injection of new blood in the industry will develop a new business model in order to support the improvement of the whole industry. He pointed out that the film industry should not just care about the quality of films and revenue earned but also about raising the standard of film appreciation in society. Teddy CHEN, director of hugely-popular films such as Bodyguards and Assassins, said in a pre-recorded video played at the webinar, going to the cinema was a social act and an experience that watching movies online at home cannot replace. “Take rich households as an example. They will have a screening appliance at home. The problem is, despite having good audio electronics and a 100-foot screen, watching movies with few people at home cannot replace the experience of the cinema – where you share the joy with hundreds of people, and the intense atmosphere while watching thriller movies. The emotions are different,” said CHEN. “Some of the artists in the industry will remain in melancholia for the better days of the past. They may not be able to cope with the future, while others will have that will and wisdom to move on. And they will be the ones who will renovate and innovate for survival,” said TANG Fu Kuen. 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