Renowned Hong Kong cinema figure, Derek Yee, recently underlined the critical role of nurturing the next generation of filmmakers during a forum at the Shanghai International Film Festival. He stressed the importance of guidance and maintaining an optimistic perspective in the challenging landscape of filmmaking. This event, focusing on Hong Kong's "Director's Succession Scheme," brought together a diverse group of emerging talents, including Stephen Fung, T. Keane Wong, Wong Hoi, Norris Wong, and Nick Cheuk, showcasing the industry's commitment to continuity and development.

T. Keane Wong, whose film "Afterpiece" premiered as the opening feature of the Shanghai International Film Festival, stands as a prime example of Yee's mentorship philosophy. Wong began his cinematic journey at the young age of 19, serving as Yee's script supervisor on "I Am Somebody." Yee recounted his observations that many assistant directors often conclude their involvement once filming ends, missing out on the crucial post-production phase. He actively encouraged Wong to see each project through its entirety, from inception to completion, thereby gaining a holistic filmmaking experience. This dedication, Yee noted, positioned Wong perfectly for opportunities arising from the "Director's Succession Scheme," leading to Yee prompting Wong to develop his own screenplay when he felt Wong had reached a mature stage in his craft.

Yee also reflected on the mutual benefits of working with younger collaborators. He acknowledged that as he ages, his memory occasionally falters, and his younger team members, particularly Wong, have become invaluable in tracking intricate details. He highlighted the rapid assimilation of new technologies, especially AI, by the younger generation, indicating a reversal of roles where he now seeks their insights. Wong, in turn, expressed profound gratitude for the opportunity provided by "Afterpiece" opening the festival, playfully mentioning that his only disagreements with Yee were during the meticulous script-editing phase, where Yee scrutinized every punctuation mark. Wong humbly expressed his hope that his work brought no discredit to his mentor.

The veteran director articulated his preference for collaborating with young people, stating that it allows him to relive the youthful ambition and passion for cinema. This interaction, he explained, rekindles the dream of achieving something significant in the film industry. Stephen Fung shared an anecdote illustrating Yee's supportive, yet subtly influential, presence on set during the production of "Afterpiece." Fung humorously described Yee sitting discreetly in a corner, coffee in hand, yet radiating an palpable aura of pressure. Yee confessed that his presence was intentional, aimed at ensuring the actors respected the new director's authority. Furthermore, Norris Wong and Wong Hoi elaborated on their collaborative project, "Good Trip," another initiative under the "Director's Succession Scheme," featuring acclaimed actors Nick Cheung and Cherrie Chung Suet Ying. They highlighted the advantages of having a director like Mabel Cheung Yuen-ting as executive producer, who understands creators' needs and encourages boundless imagination, despite financial constraints.

Nick Cheuk, a participant in SIFF Asian New Talent with his Yee-produced film "Time Still Turns the Pages," further benefited from Yee's guidance through SIFF ING, a training program for emerging filmmakers. Cheuk recounted Yee's profound insights into cinema, defining it as a commercial commodity with artistic merit and an artwork with commercial value. This perspective, Cheuk realized, stemmed from Yee's deep sense of accountability to investors and the extensive capital required for filmmaking, a stark contrast to solitary art forms. This lesson instilled in Cheuk the importance of responsibility towards all stakeholders in a film project.

Acknowledging the challenges of securing funding, Yee encouraged aspiring directors to remain resilient through difficult periods, viewing them as cyclical. He also emphasized the importance of professional networking and self-promotion, citing Peter Chan as a prime example of effective marketing. Ultimately, Yee's overarching message was one of maintaining a healthy and positive mindset. Norris Wong shared that completing her debut feature, driven by a clear directorial vision, boosted her confidence, enabling her to self-fund her second film. Cheuk urged directors to cultivate and leverage their unique creative identities, questioning what distinguishes their work. When asked why he continues to make films after five decades, Yee simply stated, "Because you have something to say." He concluded by noting that cinema, while powerful, rarely offers definitive solutions to the profound questions it poses, with only a select few films truly catalyzing real-world change, underscoring their unique and lasting impact.