The cashed-up southern Chinese enclave of Macau, which boasts an annual inflow of US $33.5 billion is looking to establish itself as a set for major film and television productions.
“We hope that coverage of movies and TV series in magazines and newspapers as well as on other TV programs will help to generate more interest in Macau,” said Lew Hwan-kyu of the Macau Government Tourist Office (MGTO) in South Korea.
“It is an indirect but effective approach in promoting the city.”
Macau served as the backdrop for the recent big-budget blockbuster “The Thieves,” the second most successful South Korean film in history after 2006’s “The Host.” The enclave hopes to attract more productions in the film’s wake.
Watched by more than 12.9 million people in its homeland, “The Thieves” follows the trail of Korean and Chinese gangs as they plot a diamond theft.
The $9 million budget film has so far taken an estimated $82.6 million at the box office.
Directed by Choi Dong-hun, the film has been labelled “Korea’s Ocean’s 11” after the 1960 Hollywood hit starring Frank Sinatra and Dean Martin, which triggered a slew of productions including its 2001 remake starring George Clooney and Brad Pitt.
For the people behind “The Thieves,” the bright lights and massive casino resorts of Macau offered an extra touch of realism to a caper boasting a line-up of Asian stars including Korean heartthrobs Lee Jung-jae (“The Housemaid“), Jeon Ji-hyun (“My Sassy Girl“) and veteran Hong Kong star Simon Yam (“Election“).
“Macau was chosen for its cinematic and exotic atmosphere,” said producer Ahn Soo-hyun, adding that the contrasts between its newly built casinos and the city’s dim-lit and outdated buildings added to the film’s tone. She said the geography helped drive the script. “It was nice to have a natural path, where Korean and Chinese thieves gather up in Hong Kong, go to Macau for the job, and after the failed attempt, come to Korea for revenge.”
More than 28 million people visited Macau last year, a record for the city that is home to just 600,000 people. This year visitor numbers are set to eclipse that figure, exceeding 30 million, as casino resort developments continue to expand to meet demand. Last month saw the opening of the 4,000-room Sheraton Macau, which was followed by news that developer Sands China would add a further 2,000 rooms to the “Cotai Strip” area of the city by 2016.
Macau now boasts more than 30 casino resorts, among them the 3,000-room Venetian Macao-Resort-Hotel and the City of Dreams complex, which offers a combined 1,400 rooms across three hotels.
While the majority of visitors to Macau are drawn from “Greater China” — mainland China, Hong Kong and Taiwan accounted for nearly 90 percent of last year’s total — it is increasingly looking to draw more international tourists.
Last year visitors from South Korea were up 20 percent to nearly 400,000, while “the Americas” accounted for more than 300,000 visitors, a rise of 4.5 percent, according to the MGTO.
“South Korea has strong cultural influences across the world nowadays,” said Lew, adding that the Macau government has promoted the enclave through Korean TV dramas such as “Princess Hours” (2006) and “East of Eden” (2008).
In the past month “The Thieves” has opened across Indonesia, Hong Kong, and Singapore with other Asian territories to follow.
Last week North American rights for the film were picked up by the Well Go USA company, which will release the film in that market on Oct. 12, while there are hopes for a wider international release after the film screens this week at Asia’s largest film event, the Busan International Film Festival in South Korea.
One problem facing international filmmakers is that Macau has little in the way of a domestic film industry to support visiting productions.
The former Portuguese-administered city has recently been the focus of a series of films from that country, including director Joao Pedro Rodrigues’ “The Last Time I Saw Macao” (2012).
Hong Kong veteran Johnnie To has used the city to great effect in his critically acclaimed thrillers “Exiled” (2006) and “Vengeance” (2009), but when it comes to other international productions the city has had a somewhat chequered past.
Hollywood first came calling back in 1952, shooting stock scenes for the Robert Mitchum-Jane Russell vehicle “Macao,” while the visit of future Oscar-winner Sean Penn in the early 1980s for the shooting of “Shanghai Surprise” (1986) — alongside then wife Madonna — became infamous in the movie world.
Penn later claimed he was arrested for the attempted murder of a photographer while in the city, saying he had dangled the man off the balcony of his hotel, but had escaped custody and jumped on a jet foil to Hong Kong.
The actor said in interviews for his biography, “Sean Penn: His Life and Times,” that he was later pardoned by the then-ruling Portuguese administration.
Management at the massive City of Dreams casino-resort complex which features prominently in “The Thieves” said allowing the filmmakers to use their property was part of a concerted effort to increase its international exposure.
“The enormous success of the movie helps promote City of Dreams to a wider international audience,” said Sunny Yu of Melco Crown Entertainment Limited.
Korean producer Ahn said she expects more international filmmakers to follow suit.
“Macau definitely has its unique colors, and filmmakers who are looking for that sort of uniqueness will continue to head to the city,” she said.
Cash-rich Macau looks to lure movie makers
Cash-rich Macau looks to lure movie makers
Alia Bhatt, Sigourney Weaver talk love for authenticity, strong women
JEDDAH: On the seventh day of the ongoing Red Sea International Film Festival, two actresses — set apart by geography and time — spoke of their love for telling authentic stories and depicting strong women.
Bollywood superstar Alia Bhatt and Hollywood great Sigourney Weaver, on their respective In Conversation panels, reflected on their varied careers and the choices that led them to enduring success.
From a teenager stepping onto her first film set to a respected actress in her early thirties, Bhatt’s journey is a testament to the power of curiosity and instinct.
“When I started out, I was ... maybe 17, 18,” she said. “I was way more enthusiastic and full of beans, trying really hard because I was just starting out.”
Her approach has evolved, but the core remains unchanged. “I’m still enthusiastic, still full of beans, but the approach is more silent. It comes with a little more sense of intent,” she said.
“I approach my work truly through pure instinct. The way I choose a part is like, ‘Oh, I've done this. Now I want to do this.’”
This approach, she said, led her to take creative risks — from “Highway” to “Udta Punjab” to Gangubai Kathiawadi” — always seeking variety.
Turning producer with Eternal Sunshine Productions was a natural progression of that curiosity. “I have a real strong passion for stories, so I like to get into it.
“And I like to think, ‘Okay, this has this potential, or this has that potential,’ and either I’m in it or I’m not, but I like to assess the initial stages of a story which is just a synopsis or first draft on paper.”
Weaver said she never set out to become an action hero. Initially shy and unsure, she was drawn not to specific roles but compelling stories.
When “Alien” came along, she approached the script with an open mind, unaware she was about to redefine female characters in science fiction.
“We were just trying to make a good, small movie,” she recalled. “The writers had cleverly crafted a script with a mixed-gender crew of “dirty space truckers,” deliberately subverting expectations by making the young woman the survivor and hero.
Weaver did not see it as a feminist statement at the time, but as a natural storytelling choice. Her character, Ellen Ripley, represented the idea that women could be self-reliant.
“She reminds us all that we can rely on ourselves and we don’t need a man to fly in and save us,” said Weaver.
