A Quote by John Lanchester

The first ATM in Hong Kong was actually at the foot of the bank. I remember my father using it. And I find it absolutely terrifying that - something about the way the machine just kind of coughed up money with no difficulty.
When I look at 'Fallen Angels,' I realize it is not a film that is truly about Hong Kong. It's more like my Hong Kong fantasy. I want Hong Kong to be quiet, with less people.
Hong Kong people say Hong Kong needs to preserve its uniqueness. I say Hong Kong's uniqueness is in its diversity, its tolerance of difference cultures... China does not want to see Hong Kong in decline. I have full confidence in its future.
I hope Hong Kong isn't just named Hong Kong but it can still be the Hong Kong we desire.
There was the Cultural Revolution just over the border, and Hong Kong felt quite dodgy. My younger brother's wife actually swam from China to Hong Kong to escape. I realised in the '60s that I had to get out.
While we were shooting the movie, we shot in the actual hotel in Hong Kong where it all went down, the Mira Hotel. Laura Poitras was coming to Hong Kong to do a screening of Citizenfour, and she ended up staying at the Mira Hotel. It was her first time back in Hong Kong, and I ran into her in the elevator. Literally I had just finished shooting one day, and I came back to the hotel and she was in the elevator.
Hong Kong compatriots will surely display great love for the motherland and for Hong Kong and take it as their utmost honor to maintain long-term prosperity and stability in Hong Kong and safeguard the fundamental interests of the country.
Asian horror is really setting a trend. The Pang brothers are from Hong Kong, so they just bring a whole different sensibility to a horror movie. In Hong Kong, they're actually doing stuff that's very artistic and pushing boundaries.
I have always wanted to make a film about my parents' generation, which tried every way to escape from the deadly shadow of war and finally settled down in Hong Kong in the '50s to build a home from nothing. Arguably, they are the first generation of Hong Kong people to turn this remote island into a modern city.
I still remember 2002. It's a very hard time for Hong Kong industry, no movies in Hong Kong, and also at this moment I start my new company, so many people said, 'You're crazy.'
I went back to Hong Kong for the first time in 17 years and I was culture shocked in Hong Kong.
I grew up mainly in the Far East, where my father worked for the Hong Kong and Shanghai Bank, which was then a small, well-run colonial institution and not the global colossus it is today.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
Bo Innovation is there for anyone who comes to Hong Kong and wants to learn about Hong Kong in the shortest amount of time.
I remember the first time we stood in this spot. We were on the deck of a boat in the middle of what was then Penny's Bay, envisioning what could be, what would be, what will be. Six years later, through our dream partnership with Hong Kong government, the creative dream is now a reality. Hong Kong Disneyland stands before us as a living symbol of the creativity and imagination that are the heart and soul of Disney.
Hong Kong is the bellwether. If the Chinese stick to their agreement to let Hong Kong go its own path, then China will also go that way. If they don't, that is a very bad sign. I'm optimistic.
People in Hong Kong are stylish and fashionable, which is one of the many reasons making Hong Kong itself such an energetic place.
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