Off his star turn in the 2024 Hong Kong box office and critical hit “Twilight of the Warriors: Walled In,” Terrance Lau Chun-him might just be that elusive creature Hong Kong audiences have been waiting for: a generational movie star and leading man.
Rising to prominence as a schizophrenia sufferer in “Beyond the Dream” (2019), Lau won Best Actor at the Hong Kong Film Critics Society Awards for that role. At this year’s Asian Film Awards he also received the Rising Star Award.
Lau will appear next in the police/gangster epic “Cold War 1994.”
After the massive global success of “Twilight of the Warriors: Walled In,” how has the international appetite for Hong Kong action changed your approach to your career? What kinds of trends are you seeing in Hong Kong?
Haha, honestly? I don’t really have a “strategy.” As an actor, you’re usually just waiting for the phone to ring. But I think because of “Twilight of the Warriors,” people realized, “Oh, he can actually handle action.” So I’ve been getting more offers for those types of roles.
Mostly big commercial stuff is being made. It feels like investors are more confident when they have data to back up a project. They’re much more willing to put money into something if they think the numbers already add up.
You moved from the psychological depth of “Beyond the Dream” to physical roles in “Stuntman.” Is there a commercial pressure for HK actors to prove themselves in the action genre?
Not at all. I studied theater in university, and when I’m picking a movie to watch, I usually go for something more artsy, literary, or indie. I never actually thought I’d be doing action movies. I don’t have that “action star” background; I just have a little bit of a dance foundation to lean on. For me, it’s just about being ready for whatever project lands in my lap.
You work extensively in both Hong Kong and Taiwan. Is there a difference in terms of production culture?
Besides the language, it’s all about the vibe and the pace. Hong Kong is obsessed with efficiency. On a HK set, everyone is moving at lightning speed because filming here is so expensive – you have to get it done fast. Taiwan is a bit more relaxed. They take their time to let the creative side simmer. There’s a lot more prep time, like table reads and rehearsals, which gives us actors more space to really get into character.
You played Leslie Cheung in “Anita.” “Stuntman” specifically deals with the decline of the HK film industry. Is there a reason you gravitate towards these roles? Does it come from a sense of responsibility to rejuvenate a HK film industry that lost a generation or more of filmmaking talent in the 90s and beyond?
You’re right – the industry here is facing some tough challenges. We used to be the “Hollywood of the East” because we put out so much stuff. But these days, with the economy being what it is, investors are playing it safe.
We aren’t making nearly as many movies as we used to. My generation of filmmakers has been dealing with this for a while now, and honestly, there’s a real sense of “what can we even do?”
To be fair, I don’t have much room to be picky. There aren’t many films getting made, and we all have to make a living. It’s very reactive.
That’s actually why I just finished writing a script of my own. I’m hoping to get it off the ground and filmed so I can help take Hong Kong stories even further.
There’s an age gap in Hong Kong leading men, particularly between the stars of the 80s/90s and now, with many tentpole films still having to be headlined by stars now in their late 50s or 60s. Do you feel the industry is finally investing in your generation as the new leading men?
It’s tough, to be honest. Plenty of actors in my age group are getting lead roles, but whether the investors or the audience truly see us as “the ones” is another story.
Everyone wants to give the next generation a shot, but the market is just so small right now. There aren’t enough opportunities to go around. I get it, though – you’ve got several generations all fighting for a spot in a market that keeps shrinking. It’s hard to make sure everyone stays employed.
What is the one trend in Asian cinema that excites you, and the one that concerns you?
It’s great that Asian movies are finally getting the global recognition they deserve. The quality is amazing. My concern, though, is that because everyone is so focused on data and making things “global,” it’s starting to mess with the scripts. They don’t feel as punchy or as unique as they used to. Everything is starting to look a bit the same, and we’re losing that strong, personal voice from the creators.
English (US) ·