Wherever there are people, there are stories!

Jonathan Li Tsz Chun has been part of the Hong Kong film industry for over two decades, starting as a production assistant before working with notable directors like Derek Yee and Soi Cheang. His directorial debut, The Brink (2017), received critical acclaim.

What’s your earliest memory of creating/directing films?

Around 2005, I worked as an assistant director and wanted to transition into directing. I observed how other directors created stories on set. I collaborated with Soi Cheang, a well-known director, on the film Dog Bite Dog, where I participated in the scriptwriting process—this is one of my earliest memories. I vividly recall sitting in a room with the writers and the director, working together to build a scene and craft a character, exploring how to evolve it.

If you could collaborate with any artist, living or dead, who would it be and why?

I had the privilege of working with director Ringo Lam, who has since passed away. In 2015, I collaborated with him for just half a year on a film called Wild City, but I had to leave the production early to focus on my debut. He was a true master and mentor to me, and I regret not having the opportunity to work with him more. I always wished I could have learned more from him.

What’s the weirdest thing you’ve ever used as a medium/tool/platform in your work?

I wouldn’t call it a weird medium; instead, it’s an out-of-the-box approach or a unique design choice for the film. In Dog Bite Dog, I used a Super 8 camera for the flashback scenes to add texture to the visuals. In another instance, while shooting a gunfight scene where prop guns were not allowed, we painted the actors’ hands black to mimic the color of a gun, and they had to shape their hands to form a gun during filming.

What’s the most unusual source of inspiration you’ve ever had?

When I hit a bottleneck, the ideal solution would be if the answer fell from the sky— obviously, that would be best. I believe the best approach is to step away from it. Walking, enjoying a meal, or meeting with friends can be incredibly helpful. Sometimes, the answer might come from another script or the one I’m currently working on, but either way, it’s beneficial to take a break and get some fresh air. I also find reading very useful. While the answers may not come directly from the book, reading can inspire new ideas. When I’m waiting for an idea, I meditate on

it and explore different paths. If I don’t find the answer, I simply go back and try another direction. Eventually, the solution will reveal itself.

If you could only use three colors/ instruments/software for the rest of your life, which would you choose?

Phone, light, and camera. After all, without a camera and lights, we wouldn’t be able to make a film, as the fundamental elements of filmmaking are light and shadow. Similarly, we need our phones to communicate with others. I couldn’t connect with people or share their stories without a phone. Most importantly, I couldn’t call anyone to come to work without a phone.

Black, white, and gray. These colors form the beginning of films and can be used to create different layers and textures with light and shadow. Without any one of them, you wouldn’t be able to create a story.

What film do you take the most pride in and why?

I wouldn’t say I take pride in it, but I am most passionate about my second film, Dust to Dust, because I truly poured myself into it. I even told the producer, “I’m going to make a film that probably won’t make any money. Are you okay with it?” Thankfully, the producers fully supported me. My first film was an action movie, but I chose to make a drama for my second. I actually prefer creating dramas over action films.

The Hong Kong Film Festival returned to Dubai as the Hong Kong Film Gala Presentation (HKFGP) with an eclectic selection of Hong Kong’s most captivating cinematic masterpieces in November 2024 at Cinema Akil, Alserkal Avenue, Dubai. Jonathan Li’s work was part of the event, and the audiences connected with Hong Kong’s finest talent, including him, through three post-screening Q&A sessions and more.

Do you have any quirky rituals or habits when you’re in your creative zone?

Before filming begins, I visit a specific temple (Ji Gong Temple) to pray for safety and smooth production and to seek guidance through fortune-telling. Part of this ritual involves drawing a fortune stick, and the number on the stick serves as an answer or direction to the question I’m praying about. This practice is quite common in Southern Chinese culture.

If your life had a soundtrack, what would be the top three songs on it?

Instead of songs, I would choose instruments. As a child, I learned to play the recorder, and in my teens, I picked up the guitar. Now, I would choose the harmonica. These three instruments represent the different stages of my life.

What’s the most memorable reaction someone has had to your work?

In Dust to Dust, there’s a scene where the older brother’s character is committing murder, and the younger brother is behind him, worried because he doesn’t want his brother to commit this act. It’s a very serious moment, yet at that point, the audience unexpectedly laughed, and I still don’t know why.

If you could turn any book into a film, which one would it be?

I don’t have one yet.

What would you be doing if you weren’t a director?

I wouldn’t be doing anything if I’m not a director.

Can you describe your directing style in three words?

I don’t think style is something I can impose on myself; instead, it’s something that others project onto me. However, if I had to choose a style I like, it would be realism.

What’s your favorite part about the process of directing?

The creative aspect of the entire process presents various challenges and obstacles at every step. You must collaborate with different people to find solutions.

If you could have your work displayed anywhere in the world, where would it be?

Anywhere with people. Wherever there are people, there are stories, and I want to make films that move and connect people.

What’s one thing people would be surprised to learn about you?

I was once a private detective.