“Once Upon a Time in China”
John Woo’s “A Better Tomorrow”
“Flying Swords of Dragon Gate”
The “Infernal Affairs” trilogy

… I’m sure they all ring a bell.

These are all films produced by Hong Kong’s loved and celebrated film producer, Nansun Shi.

This year is an exciting year for Shi, as she received the Officier de I’Ordre des Arts et des Lettres for her contributions to cultural promotion between Asian cinema and France. This month, she will be receiving the Raimondo Rezzonico Prize for Producer of the Year at the Locarno Film Festival. Now, we have the opportunity to learn more about what goes on behind-the-scenes.

Claudine Ying: During your lifetime in cinema, you have witnessed many of the changes to China’s film industry. What have been the most significant changes?
Nansun Shi: The last ten years have seen China's film industry grow at an exponential rate in every aspect. This is due to a number of government initiatives beginning in 2001 and 2002. The number of cinemas grew from just over 1,000 screens, to more than 20,000 screens today. The box office has experienced double-digit growth and the number of films made each year has multiplied ten-fold. China is now the second largest market in the world for film and is expected to take over the United States in the foreseeable future.

CY: From a business perspective and a creative perspective, can you share your thoughts on what the scene is like today?
NS: Due to its rapid growth, the market is a bit of a 'wild east' situation. There has not been enough time to develop industry norms as seen in developed film markets. These infrastructures, such as accounting and finance, as well as legal and intellectual property issues are all essential to sustainable growth.

Creatively, many interesting ideas are evolving out of China, but many restrictions are still in force. Many filmmakers don’t think much about the international market, but I believe we should think more about it. Not just for the financial rewards, but also for the soft power that could help the world in understanding China.

CY: You started your own production company, Film Workshop, in 1984. How do you envision the future of the business?
NS: Film Workshop will continue to make commercially entertaining films that maintain artistic merit. I have three guidelines that help me decide whether I should make a film or not. Do not lose money, do not lose face and the film should be ‘worth’ making.

CY: What are some of your defining qualities that have allowed for you to stay competitive in the industry?
NS: I am always open-minded and I never believe there is only one way of doing something. I am always curious and notice all kinds of things, big and small. I am quite a positive and happy person, which I find always helps. I have many friends from all walks of life and many places who have helped me have a better understanding of the world. I also aimlessly read a lot.

^{Claudine Ying, Nansun Shi, Brigitte Lin, Arnaud and Elisa Barthélémy}

CY: Why do you love film?
NS: Films embrace every aspect of life. The emotions: love, hate, anger, jealousy; life: birth, death, sickness; the arts: design, fashion, architecture, writing, music, cinematography; and the sciences: the technical issues when making a film. For me, watching a film is often a cathartic experience and whether it be a comedy, tragedy or science fiction, I always come out feeling I have gained something.

CY: How do you define your success?  And what is your motivation?
NS: I don’t consider myself a success. My mother always taught me to be ready to help and to be a responsible person. I guess that's a lethal combination, because whenever something needed to be done, I felt I had to offer to help. But once the task was mine, I felt duty-bound to do the best I could. Before I knew it, I was doing many things; not all done well, but I got a lot of experience very quickly.

CY: What is next for Nansun Shi?
NS: Hong Kong and film have basically given me everything I have. Hong Kong hasn’t been in the greatest state as of late, so I want to do what I can to help. In terms of film, I have the resources and experience to help many of the region’s up and coming talents, which is a big focus of mine now.

CY: Finally, what legacy do you want to leave behind?
NS: A legacy of good films and ones that make a positive contribution to society!