A catastrophic apartment building fire in Hong Kong tragically led to the immediate cancellation of the national Paralympic and Special Olympics Games opening ceremony, scheduled just days after the deadly incident. Celebrated Hong Kong director Andrew Lau Wai-keung, who served as the executive producer for the massive event, recently detailed the extensive efforts and emotional fallout surrounding the unforeseen decision following the devastating blaze at Hung Fuk Court in Tai Po. The director revealed the intense preparation involved and the profound impact the tragedy had on him and the hundreds of participants.
The opening ceremony for the 12th National Paralympic Games and 9th National Special Olympics Games was set for November 8. Lau, speaking on RTHK’s “Old Footsteps” program, shared that the production, themed “Hand in Hand,” had been in development for nearly six months and involved significant investment of time and resources. Prominent artists, including Gigi Leung and George Lam, were slated to perform alongside numerous children and athletes with disabilities.
Months of Preparation Halted
Lau recounted that the decision to cancel the event was reached after urgent, multi-party consultations involving the Guangzhou municipal government, the organizing committee, and the entire production team, all of whom acknowledged the necessity of the step given the gravity of the mass casualty event. Immediately following the decision, the team convened all participants at the Tianhe Sports Center to formally announce the cancellation.
“Everyone understood why, but it was deeply disappointing,” Lau stated. He noted the immense effort put in by performers, revealing that some young participants, having trained meticulously for four to five months, occasionally practicing until the early hours of the morning, could not hide their sadness and were visibly distraught upon hearing the news. To express gratitude for their resilience and understanding, Lau personally embraced each participant.
A Community in Mourning
Lau was in Guangzhou when news of the fatal Hung Fuk Court fire broke. He described a sleepless night spent glued to his phone following the horrific reports. The following day, upon returning to Hong Kong, he immediately traveled to the scene of the tragedy to pay his respects. He expressed deep empathy for the victims’ families, saying, “You could feel the anguish suffered by the injured and the deceased. I hope the families can find peace.” He urged the community to unite and support one another through the period of shared mourning.
Beyond the impact of the tragedy, Lau offered insights into broader societal and industry needs. Ahead of the Legislative Council elections, the director expressed hope that new lawmakers would focus on equitable governance and address pressing livelihood issues such as inflation, and the welfare of the elderly and students.
Supporting Hong Kong Cinema
Lau also highlighted the persistent challenges facing the local film industry. He specifically pointed to the complicated and often rigid application process for the Film Development Fund, advocating for more flexibility in policy. He proposed a more relaxed funding mechanism, suggesting that development costs should be released earlier to allow filmmakers crucial time to refine scripts without undue financial pressure.
“Not everyone has an office,” he remarked, underscoring the everyday struggles of creatives who often work in public spaces. “Many write their scripts in cha chaan tengs, where even a cup of milk tea costs more than twenty dollars.”
While currently reading multiple scripts and focusing on producing, Lau reaffirmed his commitment to nurturing the next generation of Hong Kong directors. He rejected claims that local cinema is fading, insisting, “Don’t say Hong Kong films are dead. Many filmmakers, particularly young directors, are still dedicated to their craft.” He encouraged aspiring filmmakers to gain foundational experience by starting in roles like screenwriting before advancing to directing.
