Johnnie To Net Worth
Johnnie To Net Worth is
$3 Million
Johnnie To Bio/Wiki, Net Worth, Married 2018
Johnnie To (born 22 April 1955), also known as To Kei-Fung (杜琪峯), is a Hong Kong film director and producer. Popular in his native Hong Kong, To has also found acclaim overseas. Intensely prolific, To has made films in a variety of genres, though in the West he is best known for his action and crime movies, which have earned him critical respect and a cult following (which include Quentin Tarantino, who once said that he really loves to watch To's gangster films).To's biggest international successes include Breaking News, Election, Election 2 (aka Triad Election), Exiled, Mad Detective and Drug War; these films have multiple international film festival appearances, been distributed theatrically in France and the United States, and been widely sold to foreign countries.His films, often made in collaboration with the same group of actors, screenwriters and cinematographers, frequently explore themes of friendship, fate and the changing face of Hong Kong society. Sometimes described as "multifaceted and chameleonic" due to his ability to switch tones and genres between movies, To is nonetheless seen as having a consistent style, which involves mixing subdued realism and social observation with highly stylised visual and acting elements.To heads the Hong Kong-based production company Milkyway Image with his frequent co-director Wai Ka-Fai. | Date Of Birth | April 22, 1955 |
| Place Of Birth | Hong Kong |
| Profession | Producer, Director, Writer |
| Star Sign | Taurus |
| # | Trademark |
|---|---|
| 1 | Often casts Raymond Ho-Yin Wong |
| 2 | Frequently collaborates with writers Kin-Yee Au, Tin-Shing Yip, and Nai-Hoi Yau, his Milkyway Creative Team. |
| 3 | Frequently casts former TVB actor Shiu Hung Hui in supporting roles |
| 4 | Often casts Louis Koo |
| 5 | Frequently casts former TV director Tian-Lin Wang in supporting roles |
| 6 | Frequently casts Sammi Cheng |
| 7 | Frequently casts Ching Wan Lau |
| 8 | Frequently casts Ruby Wong |
| 9 | Frequently casts Anthony Chau-Sang Wong |
| 10 | Frequently collaborates with producer/presenter Charles Heung |
| 11 | Often casts Andy Lau in lead roles |
| 12 | Frequently collaborates with Ka-Fai Wai, another TV crew-member turned film director. |
| 13 | Often casts Suet Lam (19 films together as director and actor, as of 2007). |
| 14 | Frequently casts Simon Yam (9 films together as director and actor as of 2007). |
| # | Quote |
|---|---|
| 1 | I already wanted to bring together a film crew to work together on different and interesting movie projects; but collaborating with different people with different ideas and different ways to work on every new movie made it all very difficult. |
| 2 | Other gangster movies might have been of some inspiration, but from any worldwide gangster movies - only Hong Kong 's films might have been of some influence. Election is a kind of New Age Hong Kong gangster movie, looking back at the 1997 handover. Actually, while I was preparing - and later on - shooting the Election movies, I told my crew not to take any influence from the Godfather trilogy, or from any other gangster movies. I told them I wanted to create a real Hong Kong gangster movie. |
| 3 | We are aware about censorship, so alternative endings, such as the Malaysian one, are no real surprises for us. As concerning their 'Crime doesn't pay' slogan, this is a typical 'government' thought, and it doesn't reflect reality in any way. It's like good people, who take the risk to have a bad life after all; you never know what might happen and as a filmmaker (and storyteller) you don't have to give a clear answer about what should happen to your film characters. Censorship is the sole belonging to some authority decisions, but doesn't reflect filmmaker's decisions in any way. |
| 4 | My ultimate goal has always been to achieve top-notch quality Hong Kong movies. At the time of directing my very first movies, I already wanted to achieve this same goal, but I was unable to get what I really wanted. |
| 5 | I'm proud of all the movies I have done since I owe them my current position. |
| 6 | When the British government ruled Hong Kong, there was no sense of democracy; the government leaders were British appointees. But they governed with an open hand, so whether in movies or other cultural events, they let creative people pretty much do what they wanted to do, so long as the films and events (like dragon dances, which could be fronts for protection money) weren't controversial or criminal in nature. Before the three-category film ratings system was introduced in 1988, it was impossible to feature any Triad-related language, gestures, or hand signs in movies. (John Woo's gangster movies, some of which were made before the system was introduced, didn't go into any specifics about Triad activity.) Once the ratings were in place the Hong Kong censorship board said that if a filmmaker wanted to depict any Triad-related rituals in a movie, that movie would automatically be rated Category III. |
| 7 | It's important to distinguish the pessimism of the future of the Election gangsters and pessimism over the future of Hong Kong. The end of the film may mark the end of the Triads, or the beginning of the end. Regarding Macau, it was already highly influenced by China long before it was handed over by Portugal. Its people work more cohesively with the mainland government. I think it will be fine. Hong Kong, however, has appointed politicians who engage in immature struggles, and the government of chief executive Tung Chee Hwa proved incapable of running itself. [About the Election films] |
| 8 | The existence of Triad societies has always been a problem for Hong Kong. There were Triad-led riots in 1957 and again in 1967, part of a long and complicated history. Gangsters have always been troublesome for the government. The Election films follow how the Triads have tried to transform and survive in the last twenty or so years, from 1983, when China started negotiating with the British government about the return of Hong Kong, to 1997. Before the handover that year, the mainland government, officially and unofficially, sent people down to Hong Kong to appease the gangsters, by working out deals with them. Regarding that film you mentioned [Triads: The Inside Story], at that time, in the late 1980's and 1990's, a number of film companies, like Win's Entertainment, had some connection to the Triad societies, which is one thing that the mainland government wanted to resolve. Despite the changing times that my films reflect, I should say that shooting in Hong Kong was interesting; within its boundaries, filmmakers and other creative people can still say and do as they please, even in this new day and age. |
| 9 | Hong Kong still remains a competitive city, like Shanghai, or even more than Shanghai, and everyday life is stable. But the Beijing government has decided that, while we're still talking about "one country, two systems" and Hong Kong not changing for fifty years and Hong Kong rule for Hong Kong people and all of that, it will rule Hong Kong, and rule Hong Kong more directly. I still think that Hong Kong will remain an important place as part of China. |
| 10 | For me, this interest in killers, no matter where they might exist in the world, does not really show the whole story. Hong Kong does have many "killer films," because we always use the character of a killer to tell a very specific story - it can be a love story, a story of friendship, or some heroic story. Why are there so many Hong Kong "killer films?" Of course, they're very similar to the martial arts film, and in Hong Kong, the major type of film, ever since the days of Shaw Brothers and then Golden Harvest (they are the ones who really developed this) has been of course the martial arts film. The killer idea always uses to some degree a martial arts framework. Maybe it's a good story, or maybe its not. But if we tell the story as a story of a killer, at least we can put some martial arts in it. And so then, generally speaking, the genre at least forces you to create some action and movement in the movie. Without of course being very specific, this might describe the history of Hong Kong filmmaking. But in the past ten years, Hong Kong has had too many killers in films, and the audience is now very tired of seeing this. It's become boring. |
| 11 | As a producer, I always encourage directors to pursue their own styles, and I try not to alter or take over their works. I have been a director for many years and I have a lot of respect for those of my profession. |
| 12 | My only goal is to make movies I like. Whether they're for the commercial market or for the film festivals. I know I still have a lot to learn and to improve upon. What I hope is new directors coming along and re-inject creativity into the industry so there's more to HK films than me, Tsui Hark or John Woo. |
| 13 | Asians are gaining more and more weight. And getting taller! Now weight-loss has become a very important and popular concern now, and Love on a Diet has even coined a fitness catch-phrase. This kind of film can be successful because we made sure to aim for the middle-class audience. Before, something like a low-class movie was more popular - stories about people of the streets in Hong Kong. The middle-class did not used to be the major audience. Now you can see something in the stories, in the production values, and in certain creative concepts, Hong Kong cinema's recognition of an emerging middle-class audience. Only a few years ago, many movies in Hong Kong were, for example, films with a lot of dirty jokes or stories about gangsters. But now Hong Kong has changed very much, and in Asia I think something has changed too. For example, have you seen any recent Korean films? There has been a recent wave of Korean films, all alternative in a way because of their emphasis on a middle class setting. And in Japan, the films show more and more of the middle class, because of the economic changes there. The people have changed, and so movies have to change. |
| 14 | The future of Hong Kong films lies in the Mainland territory. The market there has traditionally supported HK films, and I'm sure we can expand the market there in the near future. Stylistically I think the importance is not whether if HK films will resemble or not resemble Hollywood films, but whether we as local filmmakers can create fresh ideas. HK films have been very inventive in the last 50 years, and I hope this trend will continue. |
| 15 | 2003 is going to be an important year for me and Milkyway Image, because we have decided to change our direction. This year audience will see new styles of films coming from us, and one of them may be a personal film akin to PTU. |
| 16 | I really believe in Wai Ka-Fai's creativity: his writing, his ideas, everything. Which makes it easy for me to handle the production. At the beginning, he controls the whole thing. I just put it into pictures: everything he writes becomes pictures. I can't find any one else in HK like him: his discipline, talent, his good budgeting sense. We enjoy making movies together. |
| 17 | ...Milkyway Image sets a clear direction in terms of what kind of films it wants to make. We separate our films into 2 categories: the commercial films and the personal films. As a film director, I have to be responsible to my investors and my audience. I hope critics can see films like Needing You and their success as a proof that Hong Kong audiences still very much support the local productions. |
| 18 | If we cannot rejuvenate the industry, give it support, and make it more exciting, then perhaps investors will have no interest in putting more money into it. Why does an investor want to put money into the Hong Kong film industry? To make a profit. At Milkyway Image, we aim for a balance between the kind of movies we like and the kind of movies audiences like. That is our goal. A few years ago, we only did the movies we liked. That would make the industry dead. |
| 19 | I enjoy shooting different kinds of movies. But of course you cannot always choose what kinds of movies you make: sometimes you must consider the market. If you ask what kind of movie I want to make, it is not the kind of movie that is commercially successful. I think I would prefer the other type, but I need more experience shooting different genres to find out. |
| 20 | ...we wanted a good quality movie created quickly. We needed a movie good enough to be called a Milkyway Image film. |
| 21 | ...I've answered many questions about this before. We want to keep making movies in HK. We want to develop projects in HK. But if a good opportunity arises to shoot a movie in the West, then that would be fine. Maybe Wai Ka-Fai and I would do it together: he would write a script for a Western movie, and I would direct it. But it wouldn't be a movie just for American audiences. In our movie-making future, it's not the goal of Fulltime Killer to bring us to Hollywood. |
| 22 | I want to put more time and energy into production. Of course I hope that Wai Ka-Fai and I can continue to plan projects and make new films. We especially want to support new directors, new writers, and new actors in our production company. This is our plan. I hope we can do it together for many years. |
| 23 | I don't like to follow any "trends" - I just want to do what I want to do. I don't care about the currents. Back in 1996, I really didn't think going to Hollywood would be a wise step for me - so I didn't leave the country. I have kept the same way of thinking up until now. |
| # | Fact |
|---|---|
| 1 | Alain Delon is his favorite actor. |
| 2 | Established Milkyway Image (H.K.) Ltd. in 1996 in partnership with frequent collaborator Ka-Fai Wai. |
| 3 | Established One Hundred Years of Film Co. Ltd. in 1999 alongside producer Charles Heung. A company dedicated to developing a huge library of content for Heung's company China Star Entertainment Group. |
Producer
| Title | Year | Status | Character |
|---|---|---|---|
| Baat Bou Bun | executive producer / producer announced | ||
| San ren xing | 2016 | producer | |
| Chu Tai Chiu Fung | 2016 | producer | |
| Office | 2015 | executive producer / producer | |
| Daan gyun naam yu 2 | 2014 | producer | |
| Man tam | 2013 | producer | |
| Yat gor fuk jaap gu si | 2013 | executive producer | |
| Du zhan | 2012 | producer | |
| Che sau | 2012 | producer | |
| Gao hai ba zhi lian II | 2012 | producer | |
| Dyut meng gam | 2011 | producer | |
| Bou ying | 2011 | producer | |
| Daan gyun naam yu | 2011 | producer | |
| Kei tung bou deui - Fo pun | 2009 | Video producer | |
| Yi ngoi | 2009 | producer | |
| Fuk sau | 2009 | producer | |
| Kei tung bou deui - Tung pou | 2009 | producer | |
| Kei tung bou deui - Ging lai | 2008 | Video producer | |
| Man jeuk | 2008 | producer | |
| Hu die fei | 2008 | producer | |
| Kei tung bou deui - Juet lou | 2008 | Video producer | |
| Kei tung bou deui - Yan sing | 2008 | Video producer | |
| San taam | 2007 | producer | |
| Mui dong bin wan si | 2007 | producer | |
| Tie saam gok | 2007 | executive producer / producer | |
| Gun chung | 2007 | producer | |
| Fong juk | 2006 | producer | |
| Triad Election | 2006 | producer | |
| Tin sun yut dui | 2006 | producer | |
| Hak se wui | 2005 | producer | |
| Lung fung dau | 2004 | producer | |
| Yau doh lung fu bong | 2004 | producer | |
| Dai si gin | 2004 | producer | |
| Daai zek lou | 2003 | producer | |
| Heung joh chow heung yau chow | 2003 | executive producer | |
| Kei fung dik sau | 2003 | producer | |
| PTU | 2003 | producer | |
| Baak nin hiu gap | 2003 | producer | |
| Ngoi zoi joeng gwong haa | 2003 | Short producer | |
| Ngo joh ngan gin do gwai | 2002 | producer | |
| Lik goo lik goo san nin choi | 2002 | producer | |
| Mou han fou wut | 2002 | producer | |
| Am zin 2 | 2001 | producer | |
| Chuen jik sat sau | 2001 | producer | |
| Sau sun nam nui | 2001 | producer | |
| Ngoi soeng ngo baa | 2001 | producer | |
| Chung Wu Yen | 2001 | producer | |
| Tian you yan | 2000 | producer | |
| Lat sau wui cheun | 2000 | producer | |
| Goo naam gwa neui | 2000 | producer | |
| Mo yan ka sai | 2000 | producer | |
| Cheung foh | 1999 | producer | |
| Tim yin mat yue | 1999 | producer | |
| Am zin | 1999 | producer | |
| Joi gin a long | 1999 | producer | |
| Chan sam ying hung | 1998 | producer | |
| Fai seung dat yin | 1998 | producer | |
| Am faa | 1998 | producer | |
| Hung bou gai | 1997 | producer | |
| Liang ge zhi neng huo yi ge | 1997 | producer | |
| Jat go zi tau di daan sang | 1997 | producer | |
| Zeio hau pun kyut | 1997 | producer | |
| Sip si 32 dou | 1996 | producer | |
| Tin joek jau ching 3: Fung fo gai yan | 1996 | producer | |
| Kung chong tin ngai | 1995 | producer | |
| Dai lo bai sau | 1995 | producer | |
| Dak ging 90 III - Zi ming jat tin ngaai | 1995 | TV Movie producer | |
| Jin doi hou hap cyun | 1993 | producer | |
| Tin joek jau ching 2: Tin coeng dei gau | 1993 | producer | |
| Dong fang san xia | 1993 | producer | |
| Tin joek jau ching | 1990 | producer | |
| Dak ging 90 II - Zi mong meng tin ngaai | 1990 | TV Movie producer | |
| Dak ging 90 | 1989 | TV Movie producer |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| Ah Long dik goo si | 1989 | ||
| Seng fat dak ging | 1988 | as To Kei Fung | |
| Baat seng bou hei | 1988 | ||
| It's No Heaven | 1988 | TV Movie | |
| Qi nian zhi yang | 1987 | ||
| Kai xin gui zhuang gui | 1986 | ||
| Suet san fei wu | 1985 | TV Mini-Series | |
| Love and Passion | 1982 | TV Mini-Series | |
| The Wild Bunch | 1982 | TV Mini-Series | |
| She diao ying xiong zhuan | 1982 | TV Series 1 episode | |
| Jok gor juk | 1981 | TV Mini-Series | |
| Chin wong kwun ying wui | 1981 | TV Series 1981 | |
| Bi shui han shan duo ming jin | 1980 | ||
| Ging wah cheun mung | 1980 | TV Series 1980 | |
| Die xue huang pu tan | 1978 | TV Movie | |
| Baat Bou Bun | announced | ||
| San ren xing | 2016 | ||
| Office | 2015 | ||
| Daan gyun naam yu 2 | 2014 | ||
| Man tam | 2013 | ||
| Du zhan | 2012 | ||
| Gao hai ba zhi lian II | 2012 | ||
| Dyut meng gam | 2011 | ||
| Daan gyun naam yu | 2011 | ||
| Fuk sau | 2009 | ||
| Man jeuk | 2008 | ||
| Hu die fei | 2008 | ||
| San taam | 2007 | ||
| Tie saam gok | 2007 | ||
| Fong juk | 2006 | ||
| Triad Election | 2006 | ||
| Hak se wui | 2005 | ||
| Zi xing wo lu | 2005 | Short | |
| Lung fung dau | 2004 | ||
| Yau doh lung fu bong | 2004 | ||
| Dai si gin | 2004 | ||
| Daai zek lou | 2003 | ||
| Heung joh chow heung yau chow | 2003 | ||
| PTU | 2003 | ||
| Baak nin hiu gap | 2003 | ||
| 1:99 Shorts | 2003 | TV Movie | |
| Ngo joh ngan gin do gwai | 2002 | ||
| Lik goo lik goo san nin choi | 2002 | ||
| Am zin 2 | 2001 | ||
| Chuen jik sat sau | 2001 | ||
| Sau sun nam nui | 2001 | ||
| Chung Wu Yen | 2001 | ||
| Lat sau wui cheun | 2000 | ||
| Goo naam gwa neui | 2000 | ||
| Cheung foh | 1999 | ||
| Am zin | 1999 | ||
| Joi gin a long | 1999 | ||
| Chan sam ying hung | 1998 | ||
| Am faa | 1998 | uncredited | |
| Shi wan huo ji | 1997 | as To Kei Fung | |
| Tin joek jau ching 3: Fung fo gai yan | 1996 | ||
| Mou mei san taam | 1995 | ||
| Dak ging 90 III - Zi ming jat tin ngaai | 1995 | TV Movie | |
| Jin doi hou hap cyun | 1993 | ||
| Chai gong | 1993 | ||
| Chik geuk siu ji | 1993 | ||
| Dong fang san xia | 1993 | ||
| Sam sei goon | 1992 | as Kei-fung To | |
| Lucky Encounter | 1992 | ||
| Zi zeon mou soeng II - Wing baa tin haa | 1991 | ||
| Sa tan zai jyu zau si nai | 1991 | ||
| Ngoi di sai gaai | 1990 | ||
| Gat seng gung ziu | 1990 | ||
| Dak ging 90 II - Zi mong meng tin ngaai | 1990 | TV Movie | |
| Dak ging 90 | 1989 | TV Movie |
Writer
| Title | Year | Status | Character |
|---|---|---|---|
| Dak ging 90 III - Zi ming jat tin ngaai | 1995 | TV Movie story | |
| Ngoi di sai gaai | 1990 | ||
| Suet san fei wu | 1985 | TV Mini-Series screenplay | |
| The Wild Bunch | 1982 | TV Mini-Series | |
| Chin wong chi wong | 1980 | TV Series |
Assistant Director
| Title | Year | Status | Character |
|---|---|---|---|
| Zhong hua zhan shi | 1987 | second unit director | |
| Kai xin gui zhuang gui | 1986 | assistant director | |
| Wong ga jin si | 1986 | second unit director |
Miscellaneous
| Title | Year | Status | Character |
|---|---|---|---|
| Push | 2009 | production services: Hong Kong - as Johnny To | |
| Sip si 32 dou | 1996 | presenter | |
| Gat seng gung ziu | 1990 | planner |
Actor
| Title | Year | Status | Character |
|---|---|---|---|
| Sha Sha Jia Jia zhan qi lai | 1991 |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| Mo ngai: To Kei Fung dik din ying sai gaai | 2013 | Documentary | Himself |
| TV Festival Du Cannes 2011 | 2011 | TV Movie | Himself |
| Johnnie Got His Gun! | 2010 | Documentary Himself | |
| Días de cine | 2009 | TV Series | Himself |
| TV Festival Du Cannes 2009 | 2009 | TV Movie | Himself |
| Sous le nom de Melville | 2008 | TV Movie documentary | Himself |
| 2006 Asian Excellence Awards | 2006 | TV Special | Himself - Presenter |
| B 360º | 2005 | TV Series | Himself |
| Hong Kong Superstars | 2001 | TV Movie documentary | Himself |
Archive Footage
| Title | Year | Status | Character |
|---|---|---|---|
| Katanas yakuzas y cintas de video | 2004 | TV Movie documentary |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2014 | China Film Media Award | Chinese Film Media Awards | Best Director | Du zhan (2012) |
| 2014 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Du zhan (2012) |
| 2012 | Golden Deer | Changchun Film Festival | Best Director | Dyut meng gam (2011) |
| 2012 | China Film Media Award | Chinese Film Media Awards | Best Director | Dyut meng gam (2011) |
| 2012 | Golden Horse Award | Golden Horse Film Festival | Best Director | Dyut meng gam (2011) |
| 2012 | Leopard Career Award | Locarno International Film Festival | ||
| 2012 | Golden Mulberry Award | Udine Far East Film Festival | ||
| 2008 | Orient Express Section Grand Prize | Fantasporto | Best Film | Tie saam gok (2007) |
| 2008 | Black Dragon Audience Award | Udine Far East Film Festival | San taam (2007) | |
| 2007 | Golden Bauhinia | Golden Bauhinia Awards | Best Director | Fong juk (2006) |
| 2007 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Fong juk (2006) |
| 2007 | Orient Express Award - Special Mention | Sitges - Catalonian International Film Festival | San taam (2007) | |
| 2007 | Audience Award | Tokyo FILMeX | Fong juk (2006) | |
| 2006 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Hak se wui (2005) |
| 2006 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Hak se wui (2005) |
| 2006 | Carnet Jove Jury Award | Sitges - Catalonian International Film Festival | Fantastic | Fong juk (2006) |
| 2005 | Golden Deer | Changchun Film Festival | Best Director | Dai si gin (2004) |
| 2005 | Best Director | Sitges - Catalonian International Film Festival | Hak se wui (2005) | |
| 2005 | Carnet Jove Jury Award | Sitges - Catalonian International Film Festival | Fantàstic | Hak se wui (2005) |
| 2005 | Time-Machine Honorary Award | Sitges - Catalonian International Film Festival | ||
| 2004 | Special Jury Prize | Cognac Festival du Film Policier | PTU (2003) | |
| 2004 | Golden Bauhinia | Golden Bauhinia Awards | Best Director | PTU (2003) |
| 2004 | Golden Horse Award | Golden Horse Film Festival | Best Director | Dai si gin (2004) |
| 2004 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | PTU (2003) |
| 2004 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | PTU (2003) |
| 2004 | Best Director | Sitges - Catalonian International Film Festival | Dai si gin (2004) | |
| 2003 | Asian Trade Winds Award | Seattle International Film Festival | PTU (2003) | |
| 2000 | Best Asian Film | Fantasia Film Festival | Am zin (1999) | |
| 2000 | Golden Bauhinia | Golden Bauhinia Awards | Best Director | Cheung foh (1999) |
| 2000 | Golden Horse Award | Golden Horse Film Festival | Best Director | Cheung foh (1999) |
| 2000 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Cheung foh (1999) |
| 2000 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Cheung foh (1999) |
| 1999 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Chan sam ying hung (1998) |
| 1999 | Audience Award | Udine Far East Film Festival | Chan sam ying hung (1998) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | Golden Horse Award | Golden Horse Film Festival | Best Director | San ren xing (2016) |
| 2016 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Hua li shang ban zu (2015) |
| 2015 | Best Film | London Film Festival | Official Competition | Hua li shang ban zu (2015) |
| 2014 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Du zhan (2012) |
| 2013 | Golden Horse Award | Golden Horse Film Festival | Best Director | Du zhan (2012) |
| 2013 | Grand Prix | Osaka Asian Film Festival | Du zhan (2012) | |
| 2013 | Big Screen Award | Rotterdam International Film Festival | Du zhan (2012) | |
| 2013 | Focus Asia Award | Sitges - Catalonian International Film Festival | Du zhan (2012) | |
| 2013 | Maria | Sitges - Catalonian International Film Festival | Best Motion Picture | Man tam (2013) |
| 2012 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Dyut meng gam (2011) |
| 2012 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Dyut meng gam (2011) |
| 2012 | Grand Prix | Osaka Asian Film Festival | Gao hai ba zhi lian II (2012) | |
| 2012 | Golden Marc'Aurelio Award | Rome Film Fest | Du zhan (2012) | |
| 2011 | Gold Hugo | Chicago International Film Festival | Best International Feature | Daan gyun naam yu (2011) |
| 2011 | Golden Lion | Venice Film Festival | Dyut meng gam (2011) | |
| 2009 | Palme d'Or | Cannes Film Festival | Fuk sau (2009) | |
| 2009 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Man jeuk (2008) |
| 2009 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Man jeuk (2008) |
| 2008 | Asia Pacific Screen Award | Asia Pacific Screen Awards | Achievement in Directing | Man jeuk (2008) |
| 2008 | Asia Pacific Screen Award | Asia Pacific Screen Awards | Best Film | Man jeuk (2008) |
| 2008 | Golden Berlin Bear | Berlin International Film Festival | Man jeuk (2008) | |
| 2008 | Hong Kong Film Award | Hong Kong Film Awards | Best Picture | Gun chung (2007) |
| 2008 | Hong Kong Film Award | Hong Kong Film Awards | Best Picture | San taam (2007) |
| 2008 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | San taam (2007) |
| 2008 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | San taam (2007) |
| 2008 | Grand Prize | Tallinn Black Nights Film Festival | Man jeuk (2008) | |
| 2007 | Asian Film Award | Asian Film Awards | Best Director | Fong juk (2006) |
| 2007 | Hong Kong Film Award | Hong Kong Film Awards | Best Picture | Fong juk (2006) |
| 2007 | Hong Kong Film Award | Hong Kong Film Awards | Best Picture | Hak se wui yi wo wai kwai (2006) |
| 2007 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Fong juk (2006) |
| 2007 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Hak se wui yi wo wai kwai (2006) |
| 2007 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Hak se wui yi wo wai kwai (2006) |
| 2007 | Golden Lion | Venice Film Festival | San taam (2007) | |
| 2006 | Golden Horse Award | Golden Horse Film Festival | Best Director | Fong juk (2006) |
| 2006 | Best Film | Sitges - Catalonian International Film Festival | Fong juk (2006) | |
| 2006 | Golden Lion | Venice Film Festival | Fong juk (2006) | |
| 2005 | Palme d'Or | Cannes Film Festival | Hak se wui (2005) | |
| 2005 | Golden Horse Award | Golden Horse Film Festival | Best Director | Hak se wui (2005) |
| 2005 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Dai si gin (2004) |
| 2005 | HKFCS Award | Hong Kong Film Critics Society Awards | Best Director | Yau doh lung fu bong (2004) |
| 2005 | Best Film | Sitges - Catalonian International Film Festival | Hak se wui (2005) | |
| 2004 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Daai zek lou (2003) |
| 2004 | Best Film | Sitges - Catalonian International Film Festival | Dai si gin (2004) | |
| 2003 | Golden Horse Award | Golden Horse Film Festival | Best Director | PTU (2003) |
| 2002 | China Film Media Award | Chinese Film Media Awards | Best Director - Hong Kong/Taiwan | Am zin 2 (2001) |
| 2002 | Hong Kong Film Award | Hong Kong Film Awards | Best Picture | Sau sun nam nui (2001) |
| 2002 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Sau sun nam nui (2001) |
| 2001 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Goo naam gwa neui (2000) |
| 2000 | Golden Bauhinia | Golden Bauhinia Awards | Best Director | Am zin (1999) |
| 2000 | Golden Bauhinia | Golden Bauhinia Awards | Best Director | Joi gin a long (1999) |
| 2000 | Hong Kong Film Award | Hong Kong Film Awards | Best Picture | Cheung foh (1999) |
| 2000 | Hong Kong Film Award | Hong Kong Film Awards | Best Picture | Am zin (1999) |
| 2000 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Am zin (1999) |
| 1998 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Shi wan huo ji (1997) |
| 1996 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Mou mei san taam (1995) |
| 1990 | Hong Kong Film Award | Hong Kong Film Awards | Best Director | Ah Long dik goo si (1989) |
3rd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2000 | Best Asian Film | Fantasia Film Festival | Cheung foh (1999) |
Known for movies
Hak se wui (2005)
as Producer
Fong juk (2006)
as Producer
Du zhan (2012)
as Producer
Am zin (1999)
as Producer