Hong Kong director Ho Chiu Tin, who won the best new director award at the Hong Kong Film Awards for his debut feature “The Sparring Partner,” is making his television directorial debut with the HOY sitcom “Your Security Guard Li Bao An.” The series, a spin-off from his 2022 film “Death at 44,” arrives during a downturn in the local film industry. Ho is approaching the small-screen challenge with a sense of fun and determination despite limited resources and the relentless pace of shooting one episode per day.
From Film to TV
The sitcom was originally planned as a 20-episode run but was expanded to 50 after Ho revived a proposal he had first pitched to HOY years earlier. Following a management shake-up at the network, he revisited the project and secured approval after talks with HOY executive Yan Jia Nian in May. The cast is led by veteran actor Li Shangzhen as the security guard protagonist, along with comedians Lu En and Mai Peidong. Ho says Li’s extensive knowledge has been a valuable learning resource.
The series aims to blend foreign and Hong Kong sitcom styles while keeping a distinctly local flavor. Ho has stressed that the most important element is enjoyment: If the crew is unhappy, there is no way to make the audience happy.
Working on a Shoestring
Despite the expanded episode count, resources have remained extremely tight. Ho says some student productions have bigger budgets than his show. The crew writes and films simultaneously, often choosing to avoid writing scenes that would require expensive sets. Initially limited to a single camera, the production recently received a modest budget increase to add a second.
Ho insists on high comedic standards. “Sometimes after shooting, if it’s not funny enough or doesn’t meet my standards, I’ll reshoot it,” he says.
The series leans into whimsical elements including UFOs and the supernatural but also touches on social issues, though not as its main focus.
Redefining Ratings and Using AI
Ho says he feels little pressure over traditional television ratings, which rely on a small sample of set-top boxes. He believes the real competition is now between streaming platforms and their subscriber numbers. “Using set-top boxes to count viewers? Meaningless,” he says.
In production, Ho uses artificial intelligence to generate visuals for animals, snowy mountains, and spaceships, but emphasizes that anything that can be done manually still is. For scriptwriting, he treats AI as a brainstorming and research tool, using its suggestions as inspiration rather than copying its output.
Career Path and Teaching
Ho’s journey to directing was gradual. He found his passion for film after feeling unchallenged in high school, inspired by trips to the cinema with his mother. He earned an associate degree at Hong Kong Baptist University and studied at the Hong Kong Academy for Performing Arts. He spent eight years as an assistant to action director Dante Lam before finally directing his first feature, which won him the best new director award. His second film, “Death at 44,” followed a year later.
Now 39 and preparing to turn 40, Ho also teaches filmmaking. He does not shy away from discussing the industry’s harsh realities with students. “They already know how tough it is,” he says. “Things keep changing. By the time they graduate, it could be a completely different world.”
Advice for Aspiring Filmmakers
Ho encourages students to remain adaptable and gain experience wherever they can. He points out that commercials, music videos, and TV are all forms of drama. What matters, he believes, is whether the work is good, whether the creator enjoys making it, and whether the audience enjoys watching it.
“The environment is always shifting,” Ho says. “Even if there is no chance to make films right now, you can still shoot commercials, music videos, or television. These are all learning experiences. Different formats are still drama. The most important thing is whether the work is good, whether you are happy making it, and whether the audience is happy watching it.”
Ho’s pragmatic yet upbeat approach reflects a new generation of Hong Kong filmmakers navigating a changing media landscape with versatility, resourcefulness, and a focus on joy.
