Hong Kong acting legends Tony Leung and Andy Lau have reunited on-screen for the first time in 22 years in crime drama The Goldfinger. Inspired by a true story, the film follows the downfall of a multinational corporation, headed by enigmatic businessman Ching Yat-yin (Leung) and ICAC officer (Lau), who has been assigned to investigate Ching’s criminal empire.
Katie Smith-Wong spoke to the two film icons as part of a roundtable interview about their decades-long friendship, their work on The Goldfinger and who they would want to play them in a Hollywood remake.
The responses have been lightly edited for clarity.
Q: It’s been 40 years since you first started working together and 22 years since Infernal Affairs. In your first film together since then, I wanted to ask whether your off-screen friendship has changed your on-screen dynamic and if so, how?
Andy Lau: Since TVB artiste training class [from the 1984 series The Duke of Mount Deer], our life before entering the training class might be slightly different, but since we joined the training class, all the way through from television to film, and until now, at this stage, we had similar experiences, and we could feel what each other feels. The chemistry or understanding between us is based on our trust and, I personally think, dependence, because I am an actor who needs a good acting partner.
Tony Leung: Our chemistry was built during our collaborations. We are friends but we didn’t have much chance to see each other. We have gotten more mature over the years and have gained more life experience and acting experience. Hence, compared with Infernal Affairs, our collaboration in The Goldfinger is more mature/developed.
Lau: This time, regardless of our acting skills and the way we handle the scenes, the performance is more all-round and richer. On the other hand, we are still in tune and work comfortably and happily together.
Q: Why did it take over 20 years for you two to get back on screen together – were you waiting for the right script to make it happen?
Lau: Waiting for the right script is one of the reasons. Actors and actresses are more passive; we are waiting for the right script, right director, a right opportunity to put us together, to make this happen. I always long for working with Tony but it is based on “chance.”
Leung: Sometimes it is not for us to plan it. We can only wait for the right opportunity.
Q: What was the most challenging scene or aspect for making the film?
Leung: For me, every scene, playing this role is challenging because I haven’t never played someone this flamboyant. So this character is the most challenging for me.
Lau: The story is about justice, what my character represents. Tony playing this flamboyant role is essential for the existence of my character, making it reasonable.
Q: How did you prepare for a film with so many jumps in chronology? And with regards to the de-aging process, was itt all make-up and wigs or was there any digital enhancement?
Leung: The jumps in chronology didn’t affect us much. We had the full script, so we could plan ahead for our performances or ways of acting for each specific time. As for makeup, I mainly have three different styles according to the three different stages of the character, two with wigs, one without, and makeup to help (create the character).
Lau: When I watched the film, I didn’t see much de-aging digital technology being applied. In opposite, for the later part where we get older, I have to credit the make-up team for the hair and face – they didn’t put latex or something like that to make me look older, just normal makeup, just aging signs on there more obvious [chuckles].
This made me feel more comfortable. And the animation inside the film is storytelling – I felt that the style of the film is quite unique.
Q: What do you admire about each other as actors? What roles do you like from each other?
Leung: His passion and taking a job seriously. When we first worked together, I saw a passionate/professional actor, taking his job seriously.
Lau: What I admire about him, apart from his passion and professionalism, is his calmness and such handling things deliberately and at ease. Easy? Very calm and deliberate, right?
Leung: I don’t focus on or calculate the outcome, just enjoy the process. I like him in Infernal Affairs.
Lau: I like his scene in Days of Being Wild. I really like it. I still find it a performance hard to be transcended.
Q: If Hollywood does a remake of this film, whom do you want to play your role?
Leung: I wonder what it will be like if Leonardo DiCaprio plays my role again after Infernal Affairs (in The Departed)…
Lau: Is it still possible [for] Daniel Day-Lewis to play my role? [Laughs].
Q: How has your craft changed, and how have Hong Kong stories changed in these 20-odd years?
Leung: I am lucky to be able to work with different teams and I was able to learn something new each time, to improve my acting. Recently, there are more Hong Kong films about what is happening there, and can resonate with audiences. There are more local stories.
Lau: Because of the change of demand, we cannot just produce crime thrillers. This time we want to make a change too. Apart from focusing on crime, there is something new. It doesn’t only focus on the villain and the cop – it also shows who else can be there when there is a loophole in the operation, so ICAC appears. I hope there will be more legendary films like ANITA, more international, while at the same time keeping the local elements. This is what we need in the future.
We have worked in the industry for more than 40 years – we hope that a new generation of actors and actresses can have chance to work on big productions, to let audiences see our new blood, including producers as well.
Q: What are your thoughts on the current state of the Hong Kong film industry?
Lau: For me, I think, because of streaming platforms and the trend of short clips, I think Hong Kong films should have a universal and unique theme and visual shooting style. As in The Goldfinger, this time it has some special scenes using CGI – I hope the creative technology can be well-integrated with more films in the future.
Leung: I think Hong Kong films need to reach more markets because there are more competitors, and the film market seems to be shrinking. Recent Hong Kong films focus more on local social issues and topics, yet we have fewer productions. Hope that streaming platforms can expand the market and generate more money for different projects soon.
Katie Smith-Wong is a British-born Chinese female film critic who wishes to increase Asian representation in Western cinema. Smith-Wong is also a member of the OAFFC, OFCS, and London Film Critics Circle.
