說故事的人

王婉霖在中學經歷過一段心情極低落的時期：不想面對現實，於是看了一部部中外電影，當中一些故事治癒了她，「所以我很想投身創作，以此影響他人。」

她立志做編劇，入讀新傳後與同學一次次拍攝、度橋、剪片，「急速成長了很多」；又協助師兄姐拍攝鮮浪潮等項目，在他們介紹下累積工作網絡，現為自由身編劇、電影副導演，同時以執導廣告、節目撰稿等商業項目「養活理想」。她坦言這行危機感和焦慮很大，「我認識的這代創作者，大多以兩個方向為目標：或得獎、去影展，或幫老闆賺錢。假如兩者都做不到，你就是沒有價值的人，不會有下部作品。」

「現在的環境其實對他們很不公平。」陳慶嘉入行正值香港流行文化的黃金時代，契機是新傳三年班，如廁時遇到師兄介紹他兼職寫廣播劇，自此口耳相傳，編劇工作不絕，「那時候電影業很好，八十年代很需要劇本。」他入行逾四十年，創作的電影多不勝數，形容寫劇本是他的「興趣」，「創作是令我很開心的過程，就像脫離了現實中的自己，還可以主宰筆下的世界。」

時代不同，創作者面對的挑戰各異，但同樣有失落的時候。王婉霖坦言有時會感到灰心，甚至想過轉行，除了因為待遇「難以養家」，作品能否面世講求天時地利人和，「作為編劇，控制到的事很少，為什麼要奮鬥下去呢？」但她想到那些年的自己，又咬緊牙關繼續，「從小到大看了這麼多港產片，我覺得香港很有魅力，很想將我眼中的香港呈現出來。」

陳慶嘉則分享自己頗滿意有份編劇的《江湖告急》，惟電影在港反應冷淡。他笑說：「當時見觀眾都笑得幾開心吖，但就是票房不高。」最後因杜琪峯一句話而釋懷：「好電影會留下來的。」

現時他在大學任教電影編劇，也為新導演的電影擔任監製，望為行業培育下一代。他笑言當年儘管「經常走堂」、「差點畢不了業」，但記得本科老師講過，大學並非職業培訓，著重的不是裝備技能，而是教育新聞準則和信念，將來成為決策者時，以此帶領傳媒機構向前。這番話於他畢生受用，如今他教學生要有「思考的高度」，「你要當自己是作家，而非為導演服務，當你寫得到，你甚至有機會執導。你是表達訊息的人，看事情要有高度。」

簡介：
陳慶嘉，1981年香港中文大學新聞與傳播學本科畢業，憑《三人世界》、《野獸刑警》獲香港電影金像獎最佳編劇，現身兼電影監製、導演、編劇，並於新傳教授「劇本寫作」科目。

王婉霖，2018年香港中文大學新聞與傳播學院本科畢業，現為自由身編劇，作品包括《季前賽》、《下流上車族》等。

The Storytellers

During secondary school, Mary Wong Yuen-lam went through a period of deep emotional distress, feeling unwilling to confront reality. She lost herself in films—local and foreign productions that gradually healed her wounds. “That’s why I really wanted to get into creative work, to touch other people’s lives the way those films touched mine.”

Her dream was to become a screenwriter. At the School of Journalism and Communication, she threw herself into countless shootings, brainstorming sessions, and editing projects with her classmates. It was a period of rapid growth. She also assisted senior students with projects like Fresh Wave, building her professional network through collaborations. Today, she works as a freelance screenwriter and assistant film director, supporting her artistic ambitions through commercial work—directing advertisements and writing for TV programs. But she’s candid about the industry’s brutal realities. The anxiety and constant sense of crisis can be overwhelming. “Most creators in my generation are chasing one of two goals: either winning awards and getting into film festivals, or making money for their bosses. If you can’t do either, you’re worthless. There won’t be another project for you.”

Chan Hing-ka, a veteran of the industry, sees how unfair the current environment has become. He entered the business during Hong Kong cinema’s golden age, when opportunity could strike anywhere—even in a university restroom. That’s where a senior student approached him during his third year of journalism school, offering him part-time work writing radio dramas. Word spread quickly, and screenwriting jobs kept coming. “The film industry was booming then. The 1980s were hungry for scripts.” After over forty years in the business and countless films to his name, he still calls scriptwriting his greatest passion. “Creation brings me tremendous joy. It’s like stepping outside of myself and having complete control over the world I’m building.”

Every generation of creators faces unique challenges, but the sting of disappointment remains constant. Wong admits there are times when she feels completely defeated, even considering leaving the industry altogether. The pay makes it nearly impossible to support a family, and whether your work ever sees the light of day depends on perfect timing and countless factors beyond your control. “As a screenwriter, there’s so little you can actually influence. Sometimes I wonder why I keep fighting.” But then she remembers her younger self, and something keeps her going. “I’ve been watching Hong Kong films my whole life. There’s something magical about this city, and I want to capture the Hong Kong I see through my own eyes.”

Chan has his own stories of projects that didn’t quite land as expected. He’s particularly proud of his work on Jiang Hu ~”The Triad Zone”, though the film received a lukewarm reception in Hong Kong. “I could see the audience enjoying themselves, laughing at all the right moments. But the box office numbers just weren’t there.” What gave him peace was something director Johnnie To told him: “Good films survive.”

These days, Chan teaches film screenwriting at university and produces films for emerging directors, hoping to nurture the next generation. It’s ironic, he admits with a laugh—he was hardly a model student himself, frequently skipping classes and nearly failing to graduate. But he vividly remembers something one of his teachers said: university isn’t job training. It’s not about learning technical skills, but about understanding journalistic principles and developing strong convictions. When you become a decision-maker, these values will guide you in leading media organizations forward. Those words have stayed with him throughout his career, and now he passes on similar wisdom to his students. He encourages them to think with depth and ambition. “See yourself as a writer, not just someone serving directors. When you master the craft of writing, you might even get the chance to direct. You’re the one with something to say—make sure you’re seeing the world with the perspective it deserves.”

Profiles:
Chan Hing-ka graduated with a bachelor’s degree from the School of Journalism and Communication at The Chinese University of Hong Kong in 1981. He won the Hong Kong Film Award for Best Screenplay for Heart to hearts and Beast Cops. He currently works as a film producer, director, and screenwriter, while teaching “Script Writing and Screenplay” at the School of Journalism and Communication.

Mary Wong Yuen-lam graduated with a bachelor’s degree from the School of Journalism and Communication at The Chinese University of Hong Kong in 2018. She currently works as a freelance screenwriter, with works including We Got Game and Get on a Flat.