In the Mood for Love - crew, film crew
The entire team, the film crew of the film "In the Mood for Love"
花樣年華 (2000)
Timing:
1:39 (99 min)
8.089/10
3207
3207
7.913/10
71428
71428
8/10
187000
187000
Film crew
Director
Producer
Executive Producer
Jacky Pang
Executive Producer
Chan Ye-cheng
Executive Producer
Editor
Wong Ming-Lam
Editor
Chan Kei-Hop
Editor
Art Direction
Man Lim-Chung
Art Direction
Costume Design
Production Design
Makeup Artist
Kwan Lee-na
Makeup Artist
Original Music Composer
Michael Galasso
Original Music Composer
Associate Producer
Jacky Pang
Associate Producer
Director of Photography
Assistant Art Director
Fung-San Lui
Assistant Art Director
Property Master
Wong Chi-On
Property Master
Script Supervisor
Law Kam-Chuen
Script Supervisor
Electrician
Kwan Wing Kin
Electrician
Chan Hon-Sung
Electrician
Hairstylist
Samuel Wong Kwok-Hung
Hairstylist
Still Photographer
Shya Wing-Hong
Still Photographer
Sound Mixer
Leung Chi-Tat
Sound Mixer
Kuo Li-Chi
Sound Mixer
Screenplay
Lighting Technician
Wong Chi-Ming
Lighting Technician
Props
Ching-Geng Chan
Props
Tang King-Wah
Props
Story
Liu Yichang
Story
Production Controller
Jacky Pang
Production Controller
Gaffer
Wong Chi-Ming
Gaffer
Assistant Director
Johnnie Kong
Assistant Director
Kenneth Siao Wai-Keung
Assistant Director
Music
Michael Galasso
Music
Music Editor
Tang Siu-Lam
Music Editor
Focus Puller
Lai Yiu-Fai
Focus Puller
Second Unit Director of Photography
Joe Chan
Second Unit Director of Photography
Lai Yiu-Fai
Second Unit Director of Photography
Kwan Pung-Leung
Second Unit Director of Photography
Co-Executive Producer
Gilles Ciment
Co-Executive Producer
Assistant Makeup Artist
Lui Si-Wing
Assistant Makeup Artist
Sound
Sound Recordist
Kuo Li-Chi
Sound Recordist
Assistant Production Manager
Ivan Wong
Assistant Production Manager
Wendy Chan Wai-Si
Assistant Production Manager
Sound Effects
Kuo Li-Chi
Sound Effects
Ronny Ching Siu-Lung
Sound Effects
Wardrobe Master
Lu Ha-Fong
Wardrobe Master
Assistant Camera
Lau Tin Wah
Assistant Camera
Ho Ka-Fai
Assistant Camera
Ho Kin-Kwong
Assistant Camera
Presenter
Chan Ye-cheng
Presenter
What's left behind the scenes
- Initially, the film was titled "Summer in Beijing" (Beijing zhi xia) and was supposed to be filmed in China. However, the rules required submitting the script for approval to censors, who ultimately banned the filming. After this, the main setting of the film and the work on it were moved to Hong Kong, and the script itself was significantly reworked to reflect the changed conditions.
- In Bangkok, concurrently with "In the Mood for Love," Wong Kar-wai was filming "2046." Kar-wai himself later admitted that at a certain point, it was very difficult to combine work on the two films, as the events described in them were separated by a considerable amount of time.
- Director Wong Kar-wai finished shooting the ending and editing the film just a week before its screening at Cannes.
- Maggie Cheung appears in all scenes wearing different qipaos (traditional Chinese dresses). 46 qipaos were used during filming, but not all of them made it into the final cut.
- It took 5 hours each day to create Maggie Cheung’s hairstyle and apply her makeup.
- Filming took 15 months.
- Wong Kar-wai improvised and changed the overall tone of the film during shooting. Initially, it was intended to be a romantic film with the main characters exchanging witty banter and engaging in lovemaking several times. However, the director and the actors involved eventually concluded that it would be better to create something more refined than a typical romantic comedy.
- Originally, the film was titled "Summer in Beijing" (Beijing zhi xia) and was supposed to be filmed in China. However, the rules required submitting the script for approval to censors, who ultimately banned the filming. After that, the main setting of the film and the work on it were moved to Hong Kong, and the script itself was significantly reworked to adapt to the changed circumstances.
- While filming "In the Mood for Love" in Bangkok, Wong Kar-wai was simultaneously shooting "2046". Kar-wai himself later admitted that at a certain point it became very difficult to combine work on the two films, as the events described in them were separated by a considerable period of time.
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