Top 447 Hong Kong Quotes & Sayings - Page 5

I think one day I can make a book about coffee shops in Hong Kong. I spent almost most of my time in coffee shops, in different coffee shops.

The original communitarianism of Chinese Confucian society has degenerated into nepotism, a system of family linkages, and corruption, on the mainland. And remnants of the evils of the original system are still found in Taiwan, Hong Kong, and even Singapore.

American diplomats meet with formal government officials, we meet with opposition protesters, not just in Hong Kong or China. This literally happens in every single country in which an American embassy is present.

It was such an idyllic time when I grew up in Hong Kong. It was a British colony and very much geared towards buying the best of Britain. My childhood does have a huge influence on how we design. There must be a little bit of that nostalgia - childhood is so special.

In the 1950s, Hong Kong was a place where millions of people could go, from the mainland, to start in jobs like sewing shirts, making toys. But, to get on a process of increasing income, increasing skills led to very rapid growth there.

I've been able to go so many places. I had the opportunity to go to Hong Kong when I was thirteen years old which is crazy. I lived there for three months. It was amazing. I couldn't ask for a more enriched life so far.

One overseas diner told me that he was not going to come back to Hong Kong, but after visiting my restaurant he saw that there was more to our city than he originally thought, and he would therefore be back. That made me proud.

Each piece that I put in the street is unique. I never make the same piece twice. For Hong Kong, like for every city where I have worked, I try to adapt my work to the culture and the 'colors' of the city.

Chinese people have that superstitious fix - people always do feng shui when they are opening a shop; even the Hong Kong Shanghai Bank pays people to do feng shui for them.

My generation, the so-called post-'90s generation that came of age after the territory was returned to China, would have the most to lose if Hong Kong were to become like just another mainland Chinese city, where information is not freely shared and the rule of law is ignored.

Every case involving cybercrime that I've been involved in, I've never found a master criminal sitting somewhere in Russia or Hong Kong or Beijing. It always ends up that somebody at the company did something they weren't supposed to do. They read an email, went to a website they weren't supposed to.

The Olympic medal gave me a lot of confidence, and I went and won my first Super Series in Hong Kong. So in that regards, what Rio did was give me extra motivation and the confidence that now anything can happen.

I was a regular on 'Holby City,' and I did daytime; that's how I started off. Off in Hong Kong doing stuntman stuff, then coming back to England doing daytime soap operas.

People in both parties from the congressional intelligence committees - all these co-opted officials who play cheerleader for spy agencies - go on these Sunday shows and they say: "Snowden was a traitor. He works against Americans. He works for the Chinese. Oh, wait, he left Hong Kong - he works for the Russians."

After the Tiananmen Massacre, I felt compelled not only to continue writing but to actively resist the restrictions placed on freedom of speech. I set up the publishing company in Hong Kong, with offices in Shenzhen in mainland China, and managed to publish works of fiction, philosophy, and politics by unapproved authors.

Winning in Berlinale, in Hong Kong, and then to get such an amazing response, reviews, and now to be India's official entry for Oscars... My mother is right up there and keeping a check on me. Her blessings are always going to be with me, I know.

A good choreographer is one that's going to collaborate, teach, guide - everything. The wonderful thing on 'Brotherhood of the Wolf' was that we had Philip Kwok - he choreographed John Woo's 'Hard Boiled,' and in the '70s, he was a martial arts actor, stunt man, fighter, choreographer in Hong Kong.

I grew up in Hong Kong, and London used to seem very gray: the sky was gray, the buildings were gray, the food was incredibly gray - the food had, like, new kinds of grayness specially invented for it.

Increasingly, the real estate developers can't get bank loans for their project financing in China. They're now going into the Hong Kong market to raise money in the bond market at very, very high rates, as high as 15, 20 percent.

Most Americans have a sense of what the blues is. But in Hong Kong, they have no sense of the blues.

As we open the gates to Hong Kong Disneyland Resort, we know that millions of guests will open their hearts to this fantasy world where characters and stories spring to life, where dreams come true and where families will have fun together.

I love the sense of belonging in Hong Kong. I love that it is such an international city. I love our food and our language. The people are energetic and passionate. I just really love this city.

With universal suffrage, every chief executive candidate must face the seven million people of Hong Kong, explain his or her political platform and mission, and win over the people by addressing their interests and concerns.

If you look at some of the smaller capital markets in Asia, when they want funding, they either come here to Hong Kong or they go to California, the mecca of the Internet, because they can capture the liquidity and then move on and do what they want to do, which is develop a business.

In Hong Kong, particularly, we craft this art for decades. The action choreographer actually is the action director. He takes over and he choreographs with - by himself or with his team, and place the camera where he feels cinematic effect to bring out that choreography.

I arrived in New York in 1986, when I was 28. The market here was nothing. In the Union Square farmers' market, it was a couple of potatoes, everything from California. So the only place I was comfortable shopping was in Chinatown, because it all came from Hong Kong.

Hong Kong and Macau are both very dynamic cities. I am always inspired about the culture, people and food in these two cities. There is always so much to do and so much to explore!

I've never been invited to do an exhibition or do a talk in England, except once, about 10 years ago. I've given talks all across Canada, many in the United States, South Africa, Singapore, Hong Kong, Japan - but not England.

Among other things they picked out a detail that Charles had been offered the Governorship of Hong Kong in its dying days by Thatcher in return for shutting up about the inner cities. He quite rightly in my view led the paper on this story.

I did everything the wrong way round. I started in an odd place, with the wrong skill set and arguably worked backwards. I began my television career in Hong Kong, making longer format films from around Asia, then I went to the other extreme - presenting local London news.

Collectively, we must find points of leverage in order to convince China to improve their treatment of Uighurs, Tibetans, and other minority groups, to ensure the autonomy of Hong Kong, and to continue to protect democracy in Taiwan, among other issues.

My mother has a very big family in Shanghai, so I have, like, almost 40 cousins, so we stayed together all the time. So by the time I get to Hong Kong, I become the only child and the only one surrounded by adults, you know.

Dubai is a vibrant city: Big cars, big buildings... it reminds me of my home town, Hong Kong. People are always on the move here, and there's a lot going on. There are some wonderful architecture and some not-so-wonderful.

We are the first atheistic and global, all-embracing civilization. You cannot tell whether you are sitting at an airport in Hong Kong or in a hotel in Alaska. Everything is instrumentalized, subjected to a short-term purpose. It is quite possible that in such a situation any sense of a deeper meaning gets lost.

American stuntmen are smart - they think about safety. When they do a jump in a car, they calculate everything: the speed, the distance... But in Hong Kong, we don't know how to count. Everything we do is a guess. If you've got the guts, you do it. All of my stuntmen have gotten hurt.

After I finished high school I went to Hong Kong and Thailand and spent some time there. Just to get that whole experience of being out of the bubble that I was in from high school in Vancouver, to be able to travel around and be on your own was an amazing experience.

And I managed to arrange to get some research support and to stay in Hong Kong for another year and a half, interviewing people coming out of China, both Westerners and Chinese. And that was my first real research study on thought reform or so-called brainwashing.

The former police chief of Houston once said of me: "Frank Abagnale could write a check on toilet paper, drawn on the Confederate States Treasury, sign it 'U.R. Hooked' and cash it at any bank in town, using a Hong Kong driver's license for identification."

We enjoy a considerable net inflow of capital and I am sure that a condition of its coming, and staying, is that it is free to flow out again. It is also important for Hong Kong's status as a financial centre that there should be a maximum freedom of capital movement both in and out.

I put together an iPhone app called TrimIt and released that in July 2011. About a month later, the private fund of the Hong Kong billionaire Li-Kashing cold emailed me and expressed an interest to invest, but they didn't realize I was 15. They thought it was a U.K. company with a team.

I've been round Japan, Hong Kong, Korea, and China in the last few months and the message that I've been taking is that New Zealand is building an up market dynamic into a connected economy. And that we are not the old-fashioned, ship mutton kind of product the people associate their export in work.

I've been to McDonald's in Spain, Greece, Turkey, Ireland, Norway, Denmark, Holland, Scotland, Hong Kong, Japan, Canada and Singapore. Despite that, I'm still without a fast food endorsement, which hurts a bit because you're not really somebody unless someone is paying for your McDonald's.

You will miss out on some near soul mates. This goes for friendships, too. There will be unforgettable people with whom you have shared an excellent evening or a few days. Now they live in Hong Kong, and you will never see them again. That’s just how life is.

For 'Around the World in 80 Plates' we got to travel all over, having what was like a cross between a culinary competition and races. And in each country we had a chef Ambassador. We went to London, Barcelona, Bologna, Hong Kong, Thailand, Morocco... It was amazing.

Barcelona is one of the best cities in the world. I love it there. I love Big Sur. It's stunning and you get a therapeutic experience there. The drive up the coast is one of the most beautiful I've ever done. Also, Hong Kong. I could easily live there!

My first break was in a Hong Kong movie that I shot in China - I was going out there and working as a western stunt man, if you like, but at the same time in England I was working in daytime soap stuff. Eventually I put the two together.

In the West, audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.

It's a remake of a film called Inferno Affairs. It's a Hong Kong film, and if we come anywhere close to what they did in the original, we're going to have a hot property on our hands, because Inferno Affairs is a great piece.

I have been fighting for democracy since I was 15 when I organised a strike to oppose the Hong Kong government's plan to introduce the Chinese patriotic school education; 100,000 people surrounded a government building with students asking for democracy for every citizen.

For Fleur de Chine, I imagined the romantic and mysterious women from Asia's cinematic past-from the '30s femme fatale in a cheongsam and dark lipstick, to the'60s Hong Kong heroine of In the Mood for Love. I wanted to capture that fascinating, exquisite and slightly scandalous femininity.

The Chinese government promised Hong Kong '50 years, and change.' And 50 years later, after 1997, will be 2046; I think, 'Well, that's a very interesting promise.' So I want to make a film about promise.

I think that compared to other politicians who have been put in jail in the past, compared to the human-rights activists in history who have had to face political prosecution, the activists in Hong Kong nowadays are already quite lucky compared to that.

Ten years before Matrix, ten years before Crouching Tiger - I wanted to do a Hong Kong action movie.

In the West audiences think I am a stereotyped action star, or that I always play hitmen or killers. But in Hong Kong, I did a lot of comedy, many dramatic films, and most of all, romantic roles, lots of love stories. I was like a romance novel hero.

The big businesses are less willing to take risks. I talked to some young people in Hong Kong, and they said they are lost. Young people indeed have fewer opportunities than before. But is it true that there are no more opportunities for them? No!

Growing up I watched a lot of Hong Kong movies, I watched big stars like Chow Yun Fat, Andy Lau, and Tony Leung on the big screens.

If I don't commit to fighting for the future, 20 years later, 30 years later, after the end of the expiration date of the joint declaration, Hong Kong will be more at risk and in greater danger.

Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.

It is my earnest hope that all parties across the political spectrum will bear Hong Kong's long-term interests in mind, apply their political wisdom, and seek a consensus through open and rational communication with people of different views.

Growing up in Malaysia, there wasn't really a problem with representation. We saw faces like ours on screen because Malaysia, Thailand, Singapore, China and Hong Kong all have their own film markets. It was only until I went back to the U.K. when I realized, 'Where did all these faces go?'