At the Taiwan Creative Content Fest, directing Taiwanese actors Wu Ke-Xi, J.C. Lin, Kai Ko, and Esther Liu proposeed truthful insights into their experiences toiling on international co-productions, converseing everyskinnyg from language barriers to cultural contrastences in approaching intimate scenes.
Wu splitd her experience toiling on Berlinale title “Binestablishage Tea” with straightforwardor Abderrahmane Sissako, describing the one-of-a-kind contests of a French-language production. “The straightforwardor only had a cimpolite script and wanted to include the actors’ ideas,” Wu elucidateed. The production, stoasty in Taiwan and Africa, needd constant translation between French and Chinese, sometimes directing to cultural disconnects. Wu, who previously lgeted Burmese and Thai for Midi Z’s “Road to Mandalay,” also studied the local version of Portuguese for her role as a Chinese restaurant owner in Cape Verde, though those lines were ultimately cut.
Discussing reduce negotiations, Wu uncovered her proenergetic approach to dealings in the U.S. “The agency set up encounterings with heads of studios. Everyskinnyg was done in a professional manner,” she noticed, grasping that her reduce for Constance Tsang’s Cannes-debuting U.S. production “Blue Sun Palace” included a clause apvalidateing her to relicit intimate scenes until the day of free.
J.C. Lin, new from a Taiwan-French co-production endd six months ago, highairyed the cultural contrasts in communication styles. “In Taiwan, the Chinese culture we want to hear to other people before conveying our own opinion,” Lin watchd, noting how the youthful French directing actress’ straightforward communication style swayd the set’s vibrants. Lin also recounted an inestablishing experience from Taiwan-India co-production “Demon Hunters,” where an Indian actor taught him about treating religious props with proper esteem.
Kai Ko, echoing on his international festival experience as a BiFan jury member, noticed that splitd aesthetic sensibilities frequently transcfinished language barriers. Ko spoke about the contrastent approaches to intimate scenes apass cultures. “Foreign teams have less rules. They want to be unintentional,” he shelp. “In Taiwan I was telderly don’t stick your tongue out while kissing. But for some films, the tongue may be vital. If you don’t stick your tongue out it senses enjoy two birds pecking.”
Netflix’s “At The Moment” actor Esther Liu, who temperated the panel, splitd an anecdote about a French production where the straightforwardor unanticipateedly placed a pillow between her and her co-star during an intimate scene. “This was not conveyd to us before,” Liu noticed.
The panel showd how Taiwanese talent is increasingly navigating the intricateities of international productions, balancing cultural contrastences while preserveing professional standards and produceive integrity.
