Heroes in Love introduces new faces both in front of and behind the camera. We cornered the three first-time directors and the film's producer for the low-down.

Jan Lamb explains how he came to produce Heroes in Love:
Jan Lamb: I was asked to start some projects, both books and movies, and decided to look for some fresh faces who I felt might be able to show the audience something new. For example, I chose Nicholas Tse because I noticed he wasn't just a singer; he also wrote songs and was involved in the production, so I had a gut feeling he could do something.

Why the guideline that each film had to be a love story?
Everybody loves love stories! I think teenagers today are more rebellious than when we were young; they have new ideas and thoughts about love. I thought these films could explore this.

What was the budget and was there any pressure to make it commercial?
The film cost HK$6 million I wanted it to be very independent, though I think the final result is probably something in-between. In the beginning we were very idealistic, but when the time came we played it safe and chose an experienced cinematographer. We got O Sing Piu because we were impressed by his work on Made In Hong Kong; he liked the idea of the project, he had the time and he reduced his price, so everyone was very happy! If in a few years time someone recalls the film then that's enough for me, and if we make any money it's a bonus, but of course, if I'm the boss I won't say that, so Gordon Chan [who co-produced the film] will think slightly differently.

Stephen Fung reveals how he teamed up with Nicolas Tse.
Stephen Fung: We often hang out at each other's home and when we get bored we often take out a camera and do these very short films which we then edit in the camera. Just for a laugh. Well, I was usually the one doing the operating, so when the company asked Nicolas to make the film he asked me to co-direct the film with him.

How did you come up with the idea?
At first it was to be a completely different story; something that Nic adapted from the internet, but the company were worried about the copyright, so we changed it to this story, which is actually something I wrote quite a while ago. The way we saw the thing was, we didn't think love has to be between man and woman or man and man or whatever; it could also be between man and object. When I was a kid I played guitar for something like six hours a day and while I wouldn't actually talk to it I would maybe embrace it. So that's also a kind of love.

How did the two co-director's get along?
We both had different ideas, of course, but as we're good friends we trusted each other. We had several short meetings over dinner beforehand and worked everything out, so when we got on set we basically just shot.

Is directing something you've been wanting to do for a long time, and in the future is it going to be Stephen Fung the director rather than Stephen Fung the actor?
When I'm making a film I always keep an eye on the cinematographer and director. As a kid I thought the cinematographer was the boss, because he had all the big machines, and it was only later I learned it was really the director who was in charge. I was also always amused by editing. I used to have a Beta and VHS VCR and I used to tape the Condor Heroes television series with Andy Lau and I would edit 60 episodes down to one 4 hour VHS tape, so I guess I already developed a passion for film as a kid, probably because my mom was an actress. I just finished directing a Karen Mok music video, but I'm also continuing my acting work. I'd really like to do both; if Hong Kong artists can do singing and acting, I don't know why I can't do acting and directing. I'm hoping by the end of the year I may have the opportunity to direct a feature.

Wing Shya believes his previous experience wasn't much help when directing his first film.
I've been designing CD's covers and posters, and I've directed some MTV for Karen Mok and Sammi Cheng as well as some commercials. I managed to get them all shot on 35mm because I wanted to learn how to make a film, but actually they are totally different. When I'm doing a music video I treat it just like a moving photo. But how do you a tell a story? It's very difficult. You have to forget about the visual part. For 3 minutes it can be purely visual but how can anyone stand it for 30 minutes? I didn't want it to be just a collage; I wanted to try and tell a story. There are so many things to learn; the lenses, the lighting... luckily we had a very experienced team to help.

How did the story evolve?
I have a lesbian working as a graphic designer in my office and whenever I see her with someone and listen to her talking on the telephone and it seemed to me her relationship was very intense, not like boy/girl which for me is "normal." Then I decided to use the idea of a kidnap. We shot in an old building on Kowloonside; the ceiling is so tight I thought this would reflect her world.

How did you cast your film?
My friend introduced them to me. We wanted to find new people to put in the film. In fact, the one thing all the directors agreed on was not to use movie stars, but otherwise all three films were completely independent.

Is the shot of the kiss meant to be a dream or reality?
GC Goo Bi snapped by Wing Shya: Of course, in the film, the first girl is not a lesbian, so the kiss is like a dream. I had the shot and thought it was important but didn't know where to put it, so finally the editor made the decision where it should so.

GC Goo Bi tells how did a DJ come to direct a film.
It just happened. I'd actually thought about making a film before and so when I was asked by Jan Lamb I agreed to participate. I didn't sit down and think about what to write; I just began with the word "love" and just waited to see what came into my mind. So I took two ordinary people who love each other very much. and told a simple story. I didn't want to use a dramatic story, and anyway, what can you do with 30 minutes? For me, love is old-fashioned, and simple, so that's how I decided to make the film.

Did you consciously set out to reflect the feelings of the youth of today?
I didn't set out to deliberately try to reflect the Hong Kong youths' attitude, but after I'd finished, everybody asked me this question. The reason is because after all, I am a youngster too. The youth today, they meet each other, and if the feeling is right they will start a relationship; it is explosive, and they won't try to know more about each other at first. I am the same. I get angry, just like in the film. In one scene they are so much in love, and in the next one she will be very harsh on him.. When William Cheung was doing the editing, he said it didn't feel right, and asked me, "Why would she act like that if she loves him so much? Are you like that? Are the youth like that?" Actually, the relationship between the two main characters is not intended to be reality. The reality, within the context of the film, is Lawrence and the girl in the 7-11, which is why at the end of the story, Charlene comes into the convenient shop and tells her friend that the boy she met on ICQ didn't come. The opening and the closing scenes are actually one but cut into two. What I want to say is, no matter who you are with, you will end up at the same place at the same time.

How do you achieve the shot inside the microwave?
We just made a big prop which could rotate, and put in a camera pretending it is the noodles, and blew smoke to give the impression it is hot water.