Wong Kar-wai Net Worth, Age, Height, Weight

March 10, 2018

Wong Kar-wai Net Worth

Wong Kar-wai how much money? For this question we spent 17 hours on research (Wikipedia, Youtube, we read books in libraries, etc) to review the post.

The main source of income: Directors
Total Net Worth at the moment 2019 year – is about $30 Million.



Wong Kar-wai information Birth date: July 17, 1958 Birth place: Shanghai, China Height:6 ft (1.83 m) Profession:Screenwriter, Film Director, Film Producer, Actor, Filmmaker Nationality:China Spouse:Chan Ye-cheng Children:Qing WongAwards:Hong Kong Film Award for Best Director, Palme dOr Nominations:Hundred Flowers Award for Best Director

Height, Weight

:How tall is Wong Kar-wai – 1,89m.
How much weight is Wong Kar-wai – 61kg


Wong Kar-wai Net Worth
Wong Kar-wai Net Worth
Wong Kar-wai Net Worth
Wong Kar-wai Net Worth


Wong Kar-wai, BBS is a Hong Kong Second Wave filmmaker, internationally renowned as an auteur for his visually unique, highly stylised, emotionally resonant work, including Days of Being Wild, Ashes of Time, Chungking Express, Fallen Angels, Happy Together, 2046 and The Gran…
Biography,Early life and career beginnings (1958–1989)Hong Kong in 1965, shortly after Wongs family emigrated there from ShanghaiWong Kar-wai was born on 17 July 1958 in Shanghai, the youngest of three siblings. His father was a sailor and his mother was a housewife. By the time Wong was five years old, the seeds of the Cultural Revolution were beginning to take effect in China and his parents decided to relocate to British-ruled Hong Kong. The two older children were meant to join them later, but the borders closed before they had a chance and Wong did not see his brother or sister again for ten years. In Hong Kong, the family settled in the Tsim Sha Tsui district, and his father got work managing a night club. Being an only child in a new city, and speaking only Mandarin, Wong has said he felt isolated during his childhood, he struggled to learn Cantonese and English, only becoming fluent in these new languages when he was a teenager.As a youth, Wong was frequently taken to the cinema by his mother and exposed to a variety of films. He later said: The only hobby I had as a child was watching movies. At school he was interested in graphic design, and earned a diploma in the subject from Hong Kong Polytechnic in 1980. After graduating, Wong was accepted onto a training course with the TVB television network, where he learned the processes of media production. He soon began a screenwriting career, firstly with TV series and soap operas, such as Dont Look Now (1981), before progressing to film scripts. He worked as part of a team, contributing to a variety of genres including romance, comedy, thriller, and crime. Wong had little enthusiasm for these early projects, described by film scholar Gary Bettinson as occasionally diverting and mostly disposable, but continued to write throughout the 1980s on films including Just for Fun (1983), Rosa (1986), and The Haunted Cop Shop of Horrors (1987). He is credited with ten screenplays between 1982 and 1987, but claims to have worked on about fifty more without official credit.[11] Wong spent two years co-writing the screenplay for Patrick Tams action film Final Victory (1987),[12] for which he was nominated at the 7th Hong Kong Film Awards.[13]As Tears Go ByAndy Lau starred in Wongs debut, the crime film As Tears Go By (1988)By 1987 the Hong Kong film industry was at a peak, enjoying a considerable level of prosperity and productivity. New directors were needed to maintain this success, and – through his links in the industry – Wong was invited to become a partner on a new independent company, In-Gear, and given the opportunity to direct his own picture. Gangster films were popular at the time, in the wake of John Woos highly-successful A Better Tomorrow (1986), and Wong decided to follow suit.[12] Specifically, unlike Hong Kongs other crime films, he chose to focus on young gangsters.[14] The film, named As Tears Go By, tells the story of a conflicted youth who has to watch over his hot-headed friend.[note 1]Because he was well acquainted with the producer, Alan Tang, Wong was given considerable freedom in the making of As Tears Go By.[14] His cast included what he considered some of the hottest young idols in Hong Kong: singer Andy Lau, Maggie Cheung, and Jacky Cheung. As Tears Go By was released in June 1988 and was popular with audiences. It was also a critical success, as several journalists named Wong among the Hong Kong New Wave.[12] While it was a conventional crime film,[15] critic David Bordwell said that Wong [stood] out from his peers by abandoning the kinetics of comedies and action movies in favour of more liquid atmospherics.[16] As Tears Go By received no attention from Western critics upon its initial release,[14] but was selected to be screened during Directors Fortnight of the 1989 Cannes Film Festival.Developing style (1990–1994)Days of Being WildI could have continued making films like As Tears Go By for the rest of eternity but I wanted to do something more personal after that. I wanted to break the structure of the average Hong Kong film.—Wong on the transition from his first film to Days of Being Wild (1990)[12]For his follow-up film, Wong decided to move away from the crime trend in Hong Kong cinema, to which he felt indifferent. He was eager to make something more unusual, and the success of As Tears Go By made this possible.[12] Developing a more personal project than his previous film,[17] Wong picked the 1960s as a setting – evoking an era that he remembered well and had a special feeling for.[18] Days of Being Wild focuses on a disillusioned young adult named Yuddy and those around him. There is no straightforward plot or obvious genre,[19] but Stephen Teo sees it as a film about the longing for love.[18] Andy Lau, Maggie Cheung, and Jacky Cheung rejoined Wong for his second film, while Leslie Cheung was cast in the central role.[20] Hired as cinematographer was Christopher Doyle, who became one of Wongs most important collaborators, photographing his next six films.[21]With its popular stars, Days of Being Wild was expected to be a mainstream picture, instead it was a character piece, more concerned with mood and atmosphere than narrative.[22] Released in December 1990, the film earned little at the box office and divided critics.[12] Despite this, it won five Hong Kong Film Awards, and received some attention internationally.[23] With its experimental narrative, expressive camerawork, and themes of lost time and love, Days of Being Wild is described by Brunette as the first typical Wong Kar-wai film.[24] It has since gained a reputation as one of Hong Kongs finest releases.[25] Its initial failure was disheartening for the director, and he could not gain funding for his next project – a planned sequel.[26]Ashes of TimeStruggling to get support for his work, in 1992 Wong formed his own production company, Jet Tone Films, with Jeff Lau.[27] In need of further backing, Wong accepted a studios offer that he make a wuxia (ancient martial arts) film based on the popular novel The Legend of the Condor Heroes by Jin Yong.[28] Wong was enthusiastic about the idea, claiming he had long wanted to make a costume drama. He eventually took little from the book other than three characters,[29] and in 1992 began experimenting with several different narrative structures to weave what he called a very complex tapestry.[30] Filming began with another all-star cast: Leslie, Maggie, and Jacky Cheung returned alongside Brigitte Lin, Carina Lau, Charlie Young, and Tony Leung Chiu-wai ? the latter of which became one of Wongs key collaborators.[31]Set during the Song dynasty, Ashes of Time concerns a desert-exiled assassin who is called upon by several different characters while nursing a broken heart.[32] It was a difficult production and the project was not completed for two years, at a cost of HK$47 million.[33] Upon release in September 1994,[28] audiences were confused by the films vague plotting and atypical take on wuxia.[34] Film scholar Martha P. Nochimson has called it the most unusual martial arts film ever made, as fast-paced action scenes are replaced with character ruminations and story becomes secondary to the use of colour, landscape, and imagery.[35] As such Ashes of Time was a commercial failure,[31] but critics were generally appreciative of Wongs refusal to be loyal to [the wuxia] genre.[30] The film won several local awards, and competed at the Venice Film Festival where Christopher Doyle won Best Cinematography.[17][36] In 2008, Wong reworked the film and re-released it as Ashes of Time Redux.[note 2]Breakthrough (1994–1995)Chungking ExpressTony Leung Chiu-wai, Wongs frequent leading manDuring the long production of Ashes of Time, Wong faced a two-month break as he waited for equipment to re-record sound for some scenes.[38] He was in a negative state, feeling heavy pressure from his backers and worrying about another failure,[39] and so decided to start a new project: I thought I should do something to make myself feel comfortable about making films again. So I made Chungking Express, which I made like a student film. Conceived and completed within only six weeks, the new project ended up being released two months before Ashes of Time.[40]Chungking Express is split into two distinct parts – both set in contemporary Hong Kong and focusing on lonely policemen (Takeshi Kaneshiro and Tony Leung Chiu-wai) who each fall for a woman (Brigitte Lin and Faye Wong).[41] Wong was keen to experiment with two crisscrossing stories in one movie[40] and worked spontaneously, filming at night what he had written that day. Peter Brunette notes that Chungking is considerably more fun and lighthearted than the directors previous efforts, but deals with the same themes.[38] At the 1995 Hong Kong Film Awards it was named Best Picture, and Wong received Best Director.[42] Miramax acquired the film for American distribution, which according to Brunette catapulted Wong to international attention.[17] Stephen Schneider includes it in his book 1001 Movies You Must See Before You Die with the summary: While other films by Wong may pack more emotional resonance, Chungking Express gets off on sheer innocence, exuberance, and cinematic freedom, a striking triumph of style over substance.[43]Fallen AngelsWhereas Chungking was sunshiny and suffused with bright, lovely daytime colors, Fallen Angels is more about neon, and night time, and grunge.Chungking Express and Fallen Angels together are the bright and dark of Hong Kong.—Journalist Han Ong conversing with WongWong continued to work without break, expanding his ideas from Chungking Express into another film about alienated young adults in contemporary Hong Kong. Chungking had originally been conceived as three stories, but when time ran out Wong developed the third as a new project instead: Fallen Angels.[44] Although it contained new characters, Wong conceived both films as complementary studies of Hong Kong, he later said, to me Chungking Express and Fallen Angels are one film that should be three hours long.Fallen Angels is broadly considered a crime thriller, and contains scenes of extreme violence, but is atypical of the genre and heavily infused with Wongs fragmented, experimental style.[45] The loose plot again involves two distinct, subtly overlapping narratives, and is dominated by frantic visuals.[46] The film mostly occurs at night and explores the dark side of Hong Kong, which Wong planned intentionally to balance the sweetness of Chungking: Its fair to show both sides of a coin. Takeshi Kaneshiro and Charlie Young were cast again, but new to Wongs films were Leon Lai, Michelle Reis and Karen Mok. Upon release in September 1995, several critics felt that the film was too similar to Chungking Express and some complained that Wong had become self-indulgent.[47] Film historians Zhang Yingjin and Xiao Zhiwei commented: While not as groundbreaking as its predecessors, the film is still different and innovative enough to confirm [Wongs] presence on the international scene[48]Widespread recognition (1996–2000)Happy TogetherLeslie Cheung, star of Happy Together (1997) and two other Wong filmsWhile his reputation grew steadily throughout the early 1990s, Wongs international standing was thoroughly consolidated with the 1997 romantic drama Happy Together (1997).[49] Its development was influenced by the Handover of Hong Kong from Britain to China, which occurred that year. Wong was widely expected to address the event in his next film, instead, he avoided the pressure by choosing to shoot in Argentina.[50] The issues of the Handover were nevertheless important: knowing that homosexuals in Hong Kong faced uncertainty after 1997, Wong decided to focus on a relationship between two men.[51][note 3] He was keen to present the relationship as ordinary and universal, as he felt Hong Kongs previous LGBT films had not.[55]Happy Together tells the story of a couple (Tony Leung Chiu-wai and Leslie Cheung) who travel to Buenos Aires in an effort to save their relationship. Wong decided to change the structure and style from his previous films, as he felt he had become predictable. Teo, Brunette, and Jeremy Tambling all see Happy Together as a marked change from his earlier work: the story is more linear and understandable, there are only three characters (with no women at all), and while it still has Doyles exuberant photography it is more stylistically restrained.[56] After a difficult production period – where a six-week shoot was dragged out to four months – the film was released in May 1997 to great critical acclaim.[57] It competed for the Palme dOr at the Cannes Film Festival, where Wong became Hong Kongs first winner of the Best Director Award[58] (an achievement he downplayed: it makes no difference, it’s just something you can put on an ad.)In the Mood For LoveMaggie Cheung, star of In the Mood For Love and three other Wong filmsIn his 2005 monograph, Brunette gives the opinion that Happy Together marked a new stage in [Wongs] artistic development, and along with its successor – In the Mood For Love (2000) – showcases the director at the zenith of his cinematic art.[59] The latter film emerged from a highly complicated production history that lasted two years. Several different titles and projects were planned by Wong before they evolved into the final result: a romantic melodrama[60] set in 1960s Hong Kong that is seen as an unofficial sequel to Days of Being Wild.[61][note 4] Wong decided to return to the era that fascinated him, and reflected his own background by focusing on Shanghainese emigres.[63][64]Maggie Cheung and Tony Leung Chiu-wai play the lead characters, who move into an apartment building on the same day in 1962 and discover that their spouses are having an affair, over the next four years they develop a strong attraction. Teo writes that the film is a study of typical Chinese reserve and repressed desire,[65] while Schneider describes how the strange relationship is choreographed with the grace and rhythm of a waltz and depicted in a dreamlike haze by an eavesdropping camera.[66] The shoot lasted 15 months, with both Cheung and Leung reportedly driven to breaking point.[67] Wong shot more than 30 times the footage he eventually used, and only finished editing it the morning before its Cannes premiere.[68] At the festival, In the Mood For Love received the Technical Grand Prize and Best Actor for Leung.[69] It was named Best Foreign Film by the National Society of Film Critics and nominated in the same category by BAFTA.[70] In subsequent years it has been included on lists of the greatest films of all time.[71][72] Wong said after its release: In the Mood For Love is the most difficult film in my career so far, and one of the most important. I am very proud of it.[73]International work (2001–2007)2046While In The Mood For Love took two years to complete, its sequel – 2046 – took double that time.[74] The film was actually conceived first,[75] when Wong picked the title as a reference to the final year of Chinas One country, two systems promise to Hong Kong.[note 5] Although his plans changed and a new film developed, he simultaneously shot material for 2046, with the first footage dating back to December 1999. Wong immediately continued with the project once In The Mood For Love was complete, reportedly becoming obsessed with it.[75] In Bettinsons account, it became a behemoth, impossible to finish.[76]2046 continues the story of Chow Mo-wan, Leungs character from In the Mood For Love, though he is considered much colder and very different.[74][77] Wong found that he did not want to leave the character, and commenced where he left off in 1966, nevertheless, he claimed Its another story, about how a man faces his future due to a certain past.[78] His plans were vague and according to Teo, he set a new record in his own method of free-thinking, time-extensive and improvisatory filmmaking with the production.[79] Scenes were shot in Beijing, Shanghai, Hong Kong, Macau, and Bangkok.[61] Actresses Zhang Ziyi and Gong Li were cast to play the women who consume Mo-wan, as the character plans a science fiction novel titled 2046. The film premiered at the 2004 Cannes Film Festival, but Wong delivered the print 24 hours late and still was not happy: he continued editing until the films October release.[80] It was Wongs most expensive and longest-running project to date.[81] 2046 was a commercial failure in Hong Kong,[82] but the majority of western critics gave it positive reviews.[83] Ty Burr of The Boston Globe praised in as an enigmatic, rapturously beautiful meditation on romance and remembrance,[84] while Steve Erikson of Los Angeles Magazine called it Wongs masterpiece.[85]Eros and My Blueberry NightsSinger Norah Jones starred in Wongs English-language film, My Blueberry Nights (2007)Before starting on his next feature, Wong worked on the anthology film Eros (2004), providing one of three short films (the others directed by Michelangelo Antonioni and Steven Soderbergh) that centre on the theme of lust. Wongs segment, titled The Hand, starred Gong Li as a 1960s call girl and Chang Chen as her potential client. Although Eros was not well received, Wongs segment was often called the most successful.[86]Following the difficult production of 2046, Wong wanted his next feature to be a simple, invigorating experience.[87] He decided to make an English-language film in America,[88] later justifying this by explaining: It’s a new landscape. It’s a new background, so it’s refreshing.[89] After hearing a radio interview with the singer Norah Jones he immediately decided to contact her, and she signed on as the lead.[note 6] Wongs understanding of America was based only on short visits and what he had seen in films, but he was keen to depict the country accurately.[87][90] As such, he co-wrote the film (one of the rare times a screenplay was pre-prepared) with author Lawrence Block.[88] Titled My Blueberry Nights, it focused on a young New Yorker who leaves for a road trip when she learns that her boyfriend has been unfaithful. Cast as the figures she meets were Jude Law, Natalie Portman, Rachel Weisz and David Strathairn.[88]Filming on My Blueberry Nights took place over seven weeks in 2006, on location in Manhattan, Memphis, Ely, and Las Vegas.[88] Wong produced it in the same manner as he would in Hong Kong,[92] and the themes and visual style – despite Christopher Doyle being replaced by cinematographer Darius Khondji – remained the same.[93] Premiering in May 2007, My Blueberry Nights was Wongs fourth consecutive film to compete for the Palme dOr at Cannes.[94] Although he considered it a special experience,[88] critics were not enamoured by the results. With common complaints that the material was thin and the product uneven, My Blueberry Nights emerged as Wongs first critical failure.[95][96]Commercial success (2008–present)The GrandmasterWongs next film was not released for five years, as he underwent another long and difficult production on The Grandmaster (2013) – a biopic of the martial arts teacher Ip Man. The idea had occurred to him in 1999 but he did not commit to it until the completion of My Blueberry Nights. Ip Man is a legendary figure in Hong Kong,[97] known for training actor Bruce Lee in the art of Wing Chun, but Wong decided to focus on an earlier period of his life (1936–1956) that covered the turmoil of the Second Sino-Japanese War and World War II.[98][note 7] He set out to make a commercial and colourful film.[99] After considerable research and preparation, filming began in 2009.[99] Tony Leung Chui-wai rejoined Wong for their seventh film together, having spent 18 months being trained in Wing Chun, while Zhang Ziyi played Gong Er.[100] The gruelling production lasted intermittently for three years, twice interrupted by Leung fracturing his arm, and is Wongs most expensive to date.The Grandmaster is described by Bettinson as a mixture of popular and arthouse traditions, with form, visuals, and themes consistent with Wongs previous work.[101] Three different versions of the film exist, as Wong shorted it from its domestic release for the 2013 Berlin Film Festival, and again for its US distribution by the Weinstein Company.[99][note 8] Described in Slant Magazine as his most accessible film since his debut,[103] The Grandmaster won twelve Hong Kong Film Awards, including Best Film and Best Director,[104] and received two Academy Award nominations (Cinematography and Production Design).[105] Critics approved of the film,[106] and with a worldwide gross of US$64 million it is Wongs most lucrative film to date.[99][107]Wong at the 2008 Toronto International Film FestivalUpcomingIn June 2016, it was announced that Wong will direct a two-season, 18-episode television series, to be aired online in 2019. Details of the story are unknown.[108] Regarding his next film, the Asian media has reported that it will be titled Blossoms and based on a book by Jin Yucheng, which focuses on numerous characters in Shanghai from the 1960s to the 2000s.[109] When asked about his career in 2014, Wong told The Independent, To be honest with you, I feel I’m only halfway done.Personal lifeWong and his wife, Esther, have one child – a son named Cheng. The director is known for always appearing in sunglasses, which James Motram of The Independent says adds to the alluring sense of mystery that swirls around the man and his movies.


Wikipedia Source: Wong Kar-wai

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