Hong Kong music artist Tyson Yoshi (Cheng Jun-yin) unveiled his latest project, the micro-film Chasing the Wind (追 CHASING THE WIND), on Wednesday evening, a cinematic prequel to his hit track “1994.” The premiere drew a constellation of supporting actors and industry friends, including Derek Tsang, Louis Cheung, and cast members Wong Yau-nam, Nancy Kwai (Gui Zhuoyao), German Cheung (Zhang Wen-jie), and Chu Kin-yin, highlighting the artist’s burgeoning commitment to visual storytelling.
The screening event at the cinema immediately turned playful when Yoshi and co-star German Cheung recreated an intensely face-to-face scene from the film for photos. The dramatic tension prompted shouts from fans urging a kiss, with Wong Yau-nam jokingly pushing Yoshi closer to Cheung, generating laughter and nearly leading to an unintentional embrace.
Cranking Up the Cinematic Investment
Yoshi’s serious engagement with film is underscored by his financial commitment. Following the HK$1 million investment in the music video for “1994” last year, he nearly doubled down, self-funding Chasing the Wind with HK$1.5 million for production. Despite the higher overall cost, Yoshi humorously noted that on a per-minute basis, the prequel movie was actually more budget-friendly than its predecessor.
Looking ahead, Yoshi outlined ambitious plans, including the launch of a comic book series, though he stressed that he would not rush production for the upcoming animation and comic book convention at the expense of quality. The artist confessed to harboring aspirations for a full-length feature film based on the story, contingent upon securing necessary investment.
When asked whether he had attempted to leverage actor Wong Yau-nam’s connections to solicit funding from movie mogul Louis Koo, Yoshi shared a frank exchange. “I showed Mr. Koo the ‘1994’ MV, and he asked, ‘Are you filming that tired, old plotline again?’” Yoshi recounted. He explained that Koo’s current preference for sci-fi, mecha, and special effects-heavy projects meant there was little interest in Yoshi’s 90s-style dramatic narrative. Despite the rejection, Yoshi remains confident: “I told him that young people today love this kind of storytelling. It’s becoming a new trend.”
Yoshi also addressed comparisons of his shooting style to the 1990s aesthetic popularized by superstars like Andy Lau. Acknowledging the compliment, he confirmed his admiration: “I am a fan of his. Ask him to collaborate? How is that even possible?”
Stunt Work and On-Set Dynamics
Newcomer Nancy Kwai, who plays the female lead, was praised by Yoshi for her pure and fitting portrayal of the character. Yoshi revealed that the initial script included a miraculous recovery for the heroine after a severe injury, but the director ultimately decided that the character’s tragic death would evoke stronger emotional resonance. “If we make the movie version, perhaps we’ll change the heroine’s ending,” Yoshi quipped.
The sensitive topic of on-screen intimacy was also raised. Yoshi confirmed that the brief “kissing” scenes were shot using camera trickery (a cheating-out technique) and plans to release behind-the-scenes footage to prove it. He emphasized that he was reluctant to film a genuine kissing scene and had received prior approval from his wife. However, he joked that he would be comfortable kissing his co-star, German Cheung.
Chu Kin-yin and German Cheung discussed their exciting but challenging stunts, including high-speed car chases. Cheung, who delivered a powerful, non-injurious slap in one scene, credited his extensive action film background: “I know how to achieve the effect without hurting my partner.” The car chase sequence inspired both actors; while they filmed on a tow truck due to not possessing motorcycle licenses, Cheung is now actively pursuing his motorbike certification.
Veteran actor Wong Yau-nam expressed his gratitude for the significant role, urging Yoshi to press on with the feature-film plans. “The crucial thing is whether Tyson genuinely wants to make it; he keeps finding excuses, but he just wants to gauge the public reaction,” Yau-nam stated. “If everyone says the film is great, then we’ll have more work to do.”
Tyson Yoshi’s escalating investment in high-production cinematic accompaniments signals a trend among major musical artists who are blurring the lines between music promotions and genuine filmmaking, setting a new standard for album launches and visual storytelling in the Asian market.