One of the biggest Chinese movies of 2006 is likely to be internationally-produced war epic tentatively titled Battle of Wisdom (or The Battle of Wits), starring Andy Lau (House of Flying Daggers) and shot in Yixian, China. 

 

The film's source material is a popular 11-volume manga series from Japan titled Bokko, or Mo Zi in Chinese, and was written by Mori Hideki, Sakemi Kenichi and Kubota Sentaro. It was also popularly published in France under the title of Stratège.

 

The plot takes place during China's turbulent warring states period and centers around the exploits of Ge Li of the Mo family, known for their non-aggressive ideology. When the kingdom of Zhao invades the sparsely populated kingdom of Liang with a 15,000-strong army, Ge alone comes to the aid. 　

 

Below is an interview with director Jacob Cheung to tell us more about this much anticipated film: 　　

 

Q: Many people think that of you as an art house director. Why did you direct this action epic? 　

Cheung: Whether we classify this film as an action or epic, the film itself is about people's emotions, and this is dramatic. I love to ponder the dramatic things, the conflicts that move me and others. Film genre is just a superficial tag. 　　

 

Q: Where do you think the attractions of this film lie? 　　

Cheung: As a director and a storyteller, I have specific feelings at different times towards different stories. I've been granted the authority to shoot this film, and this means my passion will be put into this film for ten years. Although Mo Zi's non-aggressive ideology is not emphasized in my film, I do want to tell about the cruelty of war. Some invade others, some protect themselves and some help others. But in whatever name, the essence of war does not change. It is impossible to achieve peace and solve problems by launching wars. My way of approaching this is to deal directly with war, not passiveness. The film should make people sick of war. That's enough. 　　

 

The Story of Wisdom

　　

Q: Is this a film about wisdom? 　　

C: It's not easy to tell a story in a wise way. The investors have spent a lot of money and I've spent ten years of time. We won't let it fail. Storytelling needs simple and easy methods which can be easily accepted by ordinary viewers. We don't want viewers to feel too heavy. You know, film needs to entertain people. It is a principle that this film be acceptable by ordinary people.

 

Q: Could we say The Battle of Wits falls somewhere between The Assassination of Emperor Qin and Hero? 　　

C: I would not like to compare in this way. Every filmmaker has their own story to communicate to audiences. Each of us has his own perspective towards film. What I want to bring out is a more objective view, a balance between these stories. 　

 

Q: Will you emphasize the bloody scenes that appeared in the original animation? 　　

C: For me, I don't like to watch violent scenes. The bloody scenes are not nearly as horrifying as the moments leading up to them, as in a knife that has not yet stabbed, but remains pointed towards your eyes. The Battle of Wits allows room for the imagination about war and terror. The animated version spells it all out literally for you; this film tries to approach a more indirect route. 　　

 

The Cooperation of Wisdom 　　

 

Q: The crew is multinational, but you still take good care of them as a harmonious team. How does this relate to your own experience? 　　

C: It's a trend for big budget films to recruit talents from all around the world. We need different talents to gain from their advice, experience and ways of working. 　　

 

Q: What do you think Chinese mainland filmmakers are good at? 　　

C: In the arts, I think they provide deep meaning, especially some martial arts movies. 　　

 

Q: Can you be more specific? 　　

C: Take the architecture in our film as an example. It is an old and raw setting from many years ago. We need to recreate an image of life during ancient China's warring states era. How do we avoid modern aesthetics and give a grand scenario of that time? I think art designers from the Chinese mainland are good at controlling this. It is something very difficult for designers from Hong Kong and other places. Mainlanders also do a good job with costumes. 　　

 

People with Wisdom 　　

 

Q: Andy Lau says that Ge Li, his character in the film, is sort of erotic. Is that true? 　　

C: It's weird that Japanese animé always contains a sort of eroticism. However, I wouldn’t say that is so blatant in my film.

 

Q: Ge Li never changes his dress in the movie and there aren't any luxuriant costumes or designs. Do costumes and art direction guarantee an eye-catching film? 　　

C: Why should a film be magnificent or shining to draw audience's attention? Most audiences need to watch dramatic things, but this does not imply needing a change of clothes in order to capture a character. We expect a role to give us something and make us think; this does not necessarily require a gorgeous appearance. 　　

 

Q: Why are there specifically four peasants that show up in the film, not one or two? 　　

C: The "nobody" characters in movies are the loveliest ones. They represent many things that happen around us. Four peasants represent the diversity of people. Whoever they are, they all want to live in peace, without battles or wars. 　　

 

Q: This made me think about one of your previous films in which you shed light on people living in the lowest classes of society. 　　

C: That film came about by coincidence. One of my friends had suggested shooting a film about social problems. I always like to observe the "little potatoes" set against a big backdrop. We are all the same people. No matter which social class we belong to, we all need to eat and sleep. So, in The Battle of Wits, I am foremost interested in the dramatic elements, but I am still aiming to make it more humane. 　　

 

(CRI January 5, 2006)