#Streaming jan dara 2 skin#
“We can’t wait for the streamers to finance a show, judge it with their algorithms and test screen things,” says Chan, who is also keen to retain some skin in the game for his filmmakers. Then, with the rise and decade-long opening of the Chinese film industry from 2012 onward, Chan spent much of his time exploring the rocky path between the mainland Chinese and Hong Kong industries.Ī key part of Changin’ Pictures’ modus operandi will be to develop and, if necessary, produce its shows before engaging with the platforms. These included “The Eye” and “Jan Dara,” which were innovative and fresh enough to play festivals, spawn mini-franchises and get remade, and yet were local enough to enjoy decent box office around East Asia.
His benchmark examples include not only “Squid Game,” which was conceived locally in South Korea and became a world- wide phenomenon via Netflix, but also Apple TV+’s “Pachinko.” The Asia-set multilingual drama was not made specifically for Korean or Japanese viewers, but it was authentic enough to work for global audiences including those in both countries.Ĭhan has a fine track record, helming hits “The Warlords” and “American Dreams in China,” producing “Bodyguards and Assassins” and exec producing Oscar-nominated “Better Days.” But his place in history arguably comes from launching the pan-Asian co-production movement at the beginning of the century.Ĭalling on his Thai-Chinese-Hong Kong heritage and (incomplete) education in the U.S., Chan and his Applause Pictures worked with filmmakers including Kim Jee-Woon, Park Chan-wook, Miike Takashi, Hur Jin-Ho, Nonzee Nimibutr and the Pang Brothers on a slate of independently produced Asian movies.
0 kommentar(er)
