Basic HTML Version
timeout
42
What makes you proud about Viet-
nam’s cinematography?
In foreign countries, those films
which are rich in human values and
truly reflect human fates have touched
people’s hearts and been warmly re-
ceived; however, it is the films that are
made simply for entertainment that set
records despite low critical acclaim. Vi-
etnam is seemingly different.
I divide Vietnam’s cinematography
into two periods: a period of making
films for money and a period of making
films for no financial gain. Most of the
work that brought glory to Vietnam’s
cinematography industry was made in
the period when the artists made films
for no money. That was the state sub-
sidy period.
That period taught us one lesson:
that artistic value never exists if you run
after money when creating art. If film
makers run after money when produc-
ing films, even though they can earn
several million dollars, they still do not
create real cinematography.
Do you think there is quality in the new
generation of young film directors?
Of course. Some young directors
want to get out of the money-making
circle through making films of artistic
value. However, they face multiple chal-
lenges. Still, I am happy that more than
a few young directors are committed to
making films of true artistic value.
What are true artistic films in your
view?
Films that can touch hearts and
move people. Of course, people’s feel-
ings for a film vary, but that which can
stir our hearts and move us is true art.
In retrospect, what has satisfied you
most in terms of your own work?
Not the domestic and international
awards, but the audience’s reactions
and emotions. People know me every-
where I go. They often recall dialogue
from my film,
When the Tenth Month
Comes
. When I was still working I was
distant from my audience so I did not
know their feelings. Now I have retired,
so I am happy when people remember
me and my films whenever I go out.
Do you have any regrets?
There is nothing to regret, but
there are things that make me anx-
ious. Firstly, Vietnam’s admission into
the World Trade Organization (WTO)
means there is no quota on films. Con-
sequently, foreign titles have flooded
Vietnam. Furthermore, as a result of
the Law on Cinematography which was
ratified in 2006, every cinema has the
Dang Nhat Minh
,
one of Vietnam’s
most awarded film
directors, talks to
Timeout
about his
career and the state
of film in his country.
A life in