Veteran film director Yonfan has seen his share of controversy —he directed Daniel Wu and Stephen Fung in the gay scenes in “Bishonen” (1998) and cast attention-seeking socialite Teresa Chang as a S&M queen in “Color Blossoms” (2004). This month he is releasing “Prince of Tears,” a film based on his childhood memories of Taiwan. He talks to Winnie Yeung.

I was born in Wuhan in 1947. Then in 1951 we relocated to Taiwan because my father got a job to teach in a university. I am the youngest kid.

I hung out with college kids even when I was around 8 years old. I grew up on a college campus so I didn’t really have a choice.

They liked having me around because I was their love messenger—a crying college girl asked me to pass a note to her boyfriend one day. I did it and they got back together. Aw. In return, they taught me photography.

When I was 9, I started to take the bus by myself into town to watch movies.
I only saw black and white films back then. My favorites were Jack Lemmon’s “Days of Wine and Roses” and “The Apartment.”

Of course, I was the only kid in the cinema because black and white films were not as popular as the color ones. Seeing black and white films made me feel superior.

Movies fulfilled my fantasies. In movies, fridges are always full of food. It was like an escape from reality—life in 1950s Taiwan was simple and not materialistic at all.

It was only after I grew up that I realized movies could do so much more. I could present my thoughts through this wonderful medium.

Movies are powerful because they are shown on big screens. That’s why I don’t like TV. The screen is too small.

I was studying and touring around America and Europe before returning to Hong Kong in 1973 to distribute French films.

I joined Golden Harvest studio to become a filmmaker. But I quit after they made me change my script four times.

I gave up my freedom at Golden Harvest. Working for a studio is not me. The only other job I have ever had was a bank job for three months.

So I became a photographer. I was only really doing it just to save up to make my first film.

In 1984, I spent $1 million to make “A Certain Romance.” People asked me how I could possibly make a film with such a small budget.

Until 1993, I made films that were more Hong Kong-focused, although I wouldn’t call them mainstream. They were popular and I even broke a box-office record once.

But after that I wanted to make films that were truly meaningful to me.

They called my films controversial, especially after “Bishonen.” But I’ve never ever made a film just to stir up controversy.

“Ahead of my time.” That’s one of the common criticisms I get. I think one day my films will be appreciated. Popular contemporary films are all dated anyway—give them time.

I resent people calling me an “aesthetic director,” like I make films just to look pretty. I’ve merely made films that come with the right details. I’ve never ever made a film based on the aesthetics alone.

“You love movies, but do movies love you?” Actress Brigitte Lin once asked me that.

I am fine with criticism. Yes, some criticism is personal, but if you don’t like my movie, you won’t see it anyway.

I never give up. And I never will.

Being an artist is like being a sponge. You absorb all you can and then find the right time to squeeze it out. That’s why I love going to museums, and I travel whenever I am free.

“Prince of Tears” is the story of my friend in Taiwan. I grew up during the White Terror period. That is why the film is presented through the eyes of three children—I just replaced the cynicism and paranoia toward politics with a rainbow-colored fairy tale.

“Prince of Tears” opened on Oct 22.