What makes you watch "Ho Linh Trang Si", even though you yourself say you are not "addicted" to this movie?
- I think, with what appears on screen, few people can do what the producer did with "Ho Linh Trang Si".
The form-related disadvantages that Vietnamese historical films have often encountered are all handled relatively well in this film.
We have encountered many problems. From armor, weapons, costumes to the use of inappropriate horses, fight scenes like pretending, disguise looking very "disguised", to landscapes without identity.
Those seem to be very small external things, but in reality, there have been films that have suffered very strong reactions, even having to stop broadcasting because of such details.
Ho Linh Trang Si" does well in terms of image, costumes, props... making both praiseers and critics of the film disagree on many things, but almost all agree to appreciate the level of investment in the stages that have long been underestimated in the visual aspect.
According to your assessment, which part of the work has the producer done well?
- If you look at a film project in the entire complex of the cultural industry, I think Ho Linh Trang Si is a certain upgrade.
Previously, we have seen a movie that could accidentally turn a tree into a "check-in" point, or turn a battle that was in the textbook into an emotional touch point of the whole community.
But here, I see that the producer has a different ambition. They have practical experience and proactively focus resources on an interdisciplinary film project, in which history, art, culture and human values are placed in the same ecosystem. And this is not something that can be done just by thinking it out.
Such ambitious film projects require extremely many resources. Up to this point, I think the producer has done that part well.
A large-budget film is not guaranteed to conquer the audience. How do you assess the controversies surrounding the film?
- I think arguing about a movie is normal, even necessary.
What is worrying is not the opposing opinions, but the way people go from arguing to accusing each other. Praising is considered "PR", criticizing is considered malicious, "seeding".
At that time, debate no longer helps us understand the film better, how to make films better, but only pushes everyone to two opposing sides.
The consequence is not only that producers are under pressure. Filmmakers can also become cautious in the face of already very difficult topics such as ancient costumes and history. I myself once asked myself: Will I dare to make historical films again later?
And the most regrettable thing is that the audience loses their very natural right when watching a work: to be moved in their own way, to like, not to like, to be praised and to be criticized.
A film industry that wants to grow must first have a space wide enough for both filmmakers and audiences to have the right to see different perspectives.
You once said you "don't love movies but respect producers". What makes you think so?
- I admire the way they respond to the audience with honesty.
While outside is facing each other, they are not sitting facing each other. They listen and act almost immediately. I think they understand very well that the audience comes for love, and it is also because of high expectations that they are disappointed and angry.
Ho Linh Trang Si" creates a very special community by "doing it real". Artists put in real effort; audiences wait real, eagerly, and on the day the movie is released, they spend money to buy real tickets. I call it a "real waiting, real spending" community.
When expectations are real, disappointment and anger are also real.
What I appreciate is that the crew did not avoid that anger. They listened to reasonable suggestions and decided to remake the film.
As a filmmaker, I know it's extremely difficult. Not only shortening a film, but also completing procedures, re-exporting DCP, and replacing the film at the cinema system in a very short period of time.
But the hardest thing, in my opinion, is that filmmakers have to accept looking back at their own works.
That's what convinced me to go back and buy tickets to watch the cut.
Have you ever been disappointed after watching the 155-minute film?
- Yes. After watching the 155-minute version, I went home and talked for a long time with a friend who is also a director. Finally, we both agreed with one thing, Mr. Binh (director Nguyen Phan Quang Binh) is "unique".
Both the good and the bad are Mr. Binh, unmistakable. That is both the determination to invest in artistic enthusiasm and the determination to please the general public.
If in the future Mr. Binh really doesn't work as a director anymore but only wants to be a design artist, then I earnestly hope that one day he will be a design artist for my films.
If the word "Ho Linh Trang Si" had to draw one thing for Vietnamese legendary films later, what would you say?
- "Ho Linh Trang Si" is really an interesting case in the film industry.
They may not have enough skills to "drain" you. But no matter what, shouldn't we still cherish those who are sincere?
Thank you!
