CRH_001

Christmas at the Royal Hotel

Writer-director Craig McCourry talks about his new historical drama.

Christmas at the Royal Hotel chronicles the story of a small group of individuals whose lives are caught up in the devastation and turmoil of the Japanese invasion of Hong Kong during the Second World War. We talk with writer-director Craig McCourry about working on his latest feature, battling typhoons, and reliving one of the darkest moments in the history of the former British colony.

Updated (August 10, 2018): The following interview originally took place in June, 2018. We’ve updated the information at the bottom of the article ahead of the film’s screenings at the Hong Kong Film Archive Cinema in August and September, 2018.


EastIndie: How long have you been in Hong Kong and how has it influenced you as a storyteller and a filmmaker?

Craig McCourry: I moved here three years ago from the United States. I love it here. Hong Kong is one of the best cities in the world. It has what I call ‘texture’—from the back alleyways of Sham Shui Po to the rooftops of Mongkok to the hyper-activity in Causeway Bay, the trams, boats, sidewalks, and buses—it’s a cinematic journey every time you venture into the chaos. It also sits on the fault lines of the past and the future. This makes it a fantastic setting for documentary and feature films. Most other cities seem dull in comparison. It’s like a faltering Rome—dancing on the edge, but a paradise for a storyteller.

EI: Your upcoming feature is called Christmas at the Royal Hotel. What’s it about?

CM: The film is about the impact of war on two Chinese women and the self-sacrifice of a foreign soldier who came to the defense of Hong Kong during World War II. The movie shows how lives become entangled in history, fighting for freedom, fighting to survive, in a mad churning river of war.

CRH_002
Fighting to Survive (left to right): Nick Daryanani (as Charlie) and Harry Oram (as Tom) in the World War II feature film, Christmas at the Royal Hotel.

EI: Why did you want to tell this particular story?

CM: Most war films focus on heroes with semi-overt nationalistic themes. I wanted to tell a story that showcased the impact of war on the individuals who become trapped within its claws. As for those who died in the Battle of Hong Kong, sacrificing their future so that we may have our future, the least we can do is to remember their service.

EI: Why was the battle such a pivotal moment in Hong Kong’s history?

CM: During the 1930s, the Chinese mainland had been repeatedly attacked and occupied by Japanese forces. An ongoing Chinese civil war between the Nationalists and Communists was also being waged throughout the country. The turmoil of war had devastated China. By comparison, Hong Kong was a safe city, a place of refuge in war-torn Asia. The British were primarily concerned with fighting the Germans and Italians in Europe and limited military resources were available to defend the colony. But, as the Japanese advanced deeper into China, it became apparent that even Hong Kong was under threat. In a last ditch effort to shore up defenses, two battalions of Canadian troops arrived in Hong Kong in November, 1941. Three weeks later, the Japanese launched a surprise attack on the city and a bloody battle ensued. It was the darkest moment in the city’s history with the final surrender of the colony taking place on Christmas Day.

EI: Where did the idea for the film come from?

CM: In December 2016, I attended the St. Andrew’s Christmas Eve church service in Hong Kong with my wife and some friends. As I looked out over all of the people, my mind started to think about the power of traditions and how they bring people together. At the service were Hongkongers, Europeans, Americans, Indians, and many other nationalities, all representing the diverse background of Hong Kong. It suddenly hit me to tell a war story about the fall of Hong Kong. I quickly sensed the emotional pull of the story—individuals cast away on foreign soil, an unexpected battle that destroys families, losing touch with people we love—a true Christmas noir.

CRH_003
Preparing for Battle: Lydia Lee Tang (as Mayling) in Craig McCourry’s latest film, Christmas at the Royal Hotel.

EI: Why did you decide to use a hotel as the primary setting for the story?

CM: From the outset, I was excited by the backdrop of old Hong Kong—a place filled with refugees, spies, and war profiteers, all providing a rich swamp of despicable characters for the film. So, much like Rick’s Café Américain in Casablanca, I decided the film’s story would revolve around the slightly defunct hotel as the main watering hole where all these characters would circulate.

EI: How long did you spend working on the project and what was the process like?

CM: I wrote the script in April 2017. We started filming in August of that year, shooting one or two days a week until early November. The film was in post-production from December to April 2018. So, it took about a year to complete.

EI: What was the most interesting part for you about working on the project?

CM: I loved creating a film that allowed the actors a platform to showcase their talents. There are so few opportunities for actors to receive good acting roles in movies. So, I really enjoyed creating a film that allowed some of Hong Kong’s most talented actors to display their craft to the world.

CRH_005
Refugees, Spies, & Profiteers: Wil Cheung (as Mr. Cheung) in the upcoming feature film, Christmas at the Royal Hotel.

EI: What was the biggest challenge in putting the film together?

CM: Due to limited space, we could only build one set at a time. So, the breakdown for each week was to spend four days building each set, shoot all the scenes for that set in one or two days, tear it down the next day, then repeat the entire process the following week. The film required nine sets, so the entire process took about ten weeks of continuous building, shooting, and tearing down each one. We also had three typhoons hit Hong Kong during our shoot which created a scheduling mess.

EI: How has working on the film affected you personally?

CM: The film has provided me the confidence that I can lead a detailed, complicated feature film production on a very tight budget and still perform miracles of film-making efficiency. That said, it does help that I’ve worked for over thirty years as a filmmaker—so I do understand the production process from start to finish.

EI: Can you offer any advice to other filmmakers looking to develop similar projects?

CM: Doing a historical drama feature film is especially difficult in Hong Kong, as the city has limited locations that can reflect a historical era. So, pre-production planning is essential, as every detail needs to be covered—locations, film sets, props, wardrobe. If you leave it to the last second, you’ll have to spend a lot more money on the production due to bad planning.

CRH_006
Holding on to Hope: Ashley Leung (as Lily) in the upcoming historical drama, Christmas at the Royal Hotel.

EI: What is your plan for the film now that it has been completed?

CM: During the upcoming months I’ll be working hard on building awareness of the film. Film festivals, film distributors, cinemas, community screenings, and eventual streaming and DVD release will all be a part of the rollout—tailored for the needs of each market.

EI: Lastly, what are you planning to work on next?

CM: I have a documentary film going into post production soon titled, The Endless Winter. The documentary follows the last vestiges of the steam railways into the wind-swept coal towns and grasslands of Northeastern China… a place with an odd serenity in the dead of winter. I also have another historical drama feature film that I’m developing.


Watch the trailer for Christmas at the Royal Hotel online here (VPN required if you’re in Mainland China). Also, check out more from McCourry Films on their official website right here.

Updated (August 10, 2018): The Hong Kong Film Archive Cinema is set to host a series of screenings of Christmas at the Royal Hotel in late-August and September. Check the links below for tickets.

Date & Time: 27 August 2018 at 7PM
Tickets: www.urbtix.hk/internet/eventDetail/36325

Date & Time: 12 September 2018 at 7PM
Tickets: www.urbtix.hk/internet/eventDetail/36328

Date & Time: 26 September 2018 at 7PM
Tickets: www.urbtix.hk/internet/eventDetail/36328

CRH_poster

Michael Thede

Michael Thede

Founder & Contributor

Michael Thede is a Canadian screenwriter and story consultant. He studied Film & Philosophy at the University of Western Ontario and is a graduate of the Writing for Film & TV program at Vancouver Film School. He came to Asia nearly 15 years ago and is currently based in Shanghai, where he is also the founder and organizer of the Shanghai Screenwriters Workshop. WeChat: michaelthede78

3 Comments

  1. Dave Hall
    Dave Hall
    15 June 2018 at 19:35 Reply

    The story of the Battle of Hong Kong fascinates me. This movie looks interesting and I look forward to seeing it.

  2. Tide Swell
    Tide Swell
    8 July 2018 at 00:11 Reply

    As a military historian specialising in the battle for Hong Kong and the subsequent Occupation, I have studied the subject in detail. I shall obviously wait until the film comes out before passing comment, but from what I have read of the sypnopsis and seen of the trailer, I have a VERY bad feeling about this film.
    I suspect it will bear about as much resemblance to reality as I do to the Queen of Sheba.
    The Director obviously knows the square root of diddly squat regarding British military voice procedure on the radio.
    He obviously has the same total ignorance regarding British military intelligence in Hong Kong in 1941.
    This film, to me, already appears to be an insult to the brave men – and women – who fought here during those dark days of 1941 and the subsequent Occupation.
    Shame on you, McCourry.

  3. Bill Lake
    Bill Lake
    27 July 2018 at 00:37 Reply

    Dear Mr. Tide Swell you did promise us that you would wait before passing comment, we wish you kept to your word.
    You say you are a military historian that specialises in the battle for HK, I am surprised then that you think that the director knew diddly squat about military radio voice procedures. Number 1, there were no military radio's shown or used in the film. What were used were the Field Telephones and they were still being used when I joined the British Army. And as such there are no radio procedures or protocols that have to be used as when using a military radio.
    What the director accomplished on a (very) limited budget when telling this story was amazing, and for you to state that he has insulted the brave men and women who fought during the battle is really preposterous. This film screening (along with the Battlefield Tour and my presentation on the Battle for Hong Kong) was a collaboration between the Hive Sai Kung, Craig McCourry and the Hong Kong Ex Servicemen's Association. Those same people that you say have been insulted??? The Chairman of the HKESA was actively involved by helping me lead the Battlefield tour two weeks prior to the screening, and he and I do represent the HKESA in this screening and associated events. Not only that, the Director kindly elected to use this event to raise funds for the Ex Servicemen, so it is not Craig McCourry that should apologise, IT IS YOU Mr. Tide Swell. We are waiting. Oh…..and Shame on you too.
    By the way, I have been researching the Battle for HK for more than 20 years and most of the historians involved in telling the story of the Battle and the 3 Years & 8 Months know each other. It is the first time I have heard of another historian arriving on the scene.

Post Comment