From November 2-13, the Harvard Film Archive is screening four films by acclaimed Chinese director Zhang Yuan, one of the leaders of the freshest talents of what critics term the "6th Generation Directors." The series will include Seventeen Years, for which he won the award for Best Director at the Venice Film Festival. Zhang will be in attendance at a special screening of Seventeen Years Friday at 8:00 p.m. Zhang would like extend his invitations to all interested students.

(translated by Mr. Zhijie Jia and Teri Wang)

THC: You work mostly outside of the Chinese state-run film studios. As an independent filmmaker, what are your impressions of the American film industry?

ZY: I feel that all independent filmmakers worldwide face the same problems, or find themselves in the same situations. With regard to Chinese filmmakers like myself, there are two main problems: money, a problem shared by all filmmakers, but also censorship, which I face more heavily in China. The American independent film industry faces the same funding issues, but instead of censorship, they have to deal more with the market. Hollywood has a tendency to take over the world, in terms of market share. There are numerous Hollywood movies showing in China, many in theaters through official channels, other via pirated VCD's (video compact discs). You have Hollywood and then censorship; the market is small, and getting smaller. In spite of all this, the Chinese filmmakers are still making movies, but it's not a completely optimistic picture.

THC: How has your work with MTV and music video production/direction contributed to this impression?

ZY: It could be said that I am one of the earliest, and probably the earliest, music video producer/director in China. I didn't know anything about the industry at first, but at the time I was working with a musician friend, the composer and rock-star, Cui Jian, the Chinese counterpart of John Lennon. I was a huge fan of his music, and it was his wish that I help direct his video. I realized that the money that I made from these music videos could go toward funding my films, not a bad situation.

THC: Of your movie, which has had the most profound effect in your native China? Do the people welcome your candor with issues such as homosexuality?

ZY: I guess the most influential film has been Beijing Bastard, the first Chinese rock and roll film. Many young people saw it, in spite of the fact that it was never officially released in China, because of its release in Hong Kong and Japan. Of the seven movies that I have made up to this point, only my first film Mama was officially released in China. My two latest movies, Crazy English and Seventeen Years, are to be released very soon in China. But my other movies have never received any chance for release, essentially they were banned. It's truly a breakthrough for those two to be even slotted for future release.

THC: What types of pressures have you felt from the government concerning your films? Have they ever gone to the point of threatening deportation? Are there any films you wish you can make, but have felt a need to draw boundaries for yourself?

Translator: Well that wouldn't happen. China tends to keep everybody at home!

ZY: I would like to quote Milan Kundera's The Unbearable Lightness of Being. Kundera was from a socialist country like I am. It's difficult to make a good film without pressure, or perhaps that it's likely that pressure tends to lead to the production of more interesting work.

THC: What other influences have you had?

ZY: I have been thoroughly influenced by Chinese culture, but the things that have had a greater impact have been the Western writers.

THC: Did you always know that you wanted to be in film?

ZY: I was actually since age ten a painter by training.

THC: Have you ever considered relocating to the U.S. ? How important is it to you to be in an environment such as China, limiting as it may be to your artistic freedom?

ZY: I have a better understanding of the culture because I grew up there--lives, relationships among people. Ideally, China is the place that I would prefer to make my films.

THC: What is your view concerning the numerous Chinese actors who have found success here in the United States?

ZY: I feel that many Chinese actors, like Bai Ling, are excellent professionals. Yet I feel that, so far, they are still playing subordinate roles in Hollywood. Do you agree?

THC: Certainly, a comfortable niche hasn't yet been carved out. Do you feel a particular goal of your films is to make a greater impact on the world film industry for Asians?

ZY: Yes, without a doubt. I'm happy that Asian directors are increasing in notoriety.

THC: How do you feel about the fact that many of the most popular Asian films here are martial arts related--Chow Yun-Fat or Jackie Chan? Is therea need for more artistic endeavors?

ZY: They are indeed a part of the Chinese film history and repertoire. But they alone are insufficient, more variety is called for. The existence of those films adds to the color of the overall Chinese film industry. But it's more important to have films that focus on the day-to-day lives of the modern Chinese people.

THC: Mr. Jia, could you maybe tell us more about your film series at the Harvard Film Archive?

Translator: The goal is to expose the American audience to the quality works by Chinese directors and foreign directors in general, which is the goal of the Harvard Film Archive. Because of the prevalence of Hollywood, foreign directors like Zhang Yuan are not as widely known here as they are in Europe.

THC: What has your impression been of Harvard so far?

ZY: Well this morning, I walked around for 20 minutes. It's been ten years since I have graduated from college. I came upon a car accident, a minor one. I'm surprised how seriously they react here--there were five police cars and a fire engine.

THC: That wouldn't happen in China?

ZY: No, probably not.