Lieh Lee is one of the most versatile and renowned filmmakers in Taiwan’s film industry. She was a house-hold name in the 1980s for playing a number of ingénue roles in films and TV shows. Later on, she transitioned to TV production and talent management in her career path. In 2008, she ventured into the film business with her first feature, Orz Boys, directed by Ya-Che Yang. It was a surprise hit as a film on children’s friendship, earning more than $1.1m at the Taiwanese box office. Her second production Monga is an action drama set in Taipei in the 1980s about five teen gangsters seeing their youthful days end as they become embroiled in a gangland turf war. This film’s revolutionary marketing strategies changed the rules of Taiwan’s film market by starting promotional activities since the early stage of pre-production, marking an unprecedented first-week box office record of over $3.5m. Her latest production Jump Ashin! created a whirlwind across Taiwan and grossed over $2.6m at the domestic box office. This critically-acclaimed film also garnered multiple nominations and awards in Taipei Film Festival, Golden Horse Awards, and Asian Film Awards.
In 2005, Huang co-founded Yi Tiao Long Hu Bao International Entertainment Co. In addition to producing episodic telvision, he also engages enthusiastically in feature film projects such as Taiwan-Japan co-production Rainy Dog by famed director Takashi Miike, Double Vision (co-produced with Columbia Pictures,) 20 30 40 (selected into official competition of 2004 Berlinale,) Formula 17, Exit No.6, and Su mi ma sen, Love.
In 2011, he invited Lieh Lee to co-produce Jump Ashin!, in which the eponymous protagonist’s courage and tenacity was so uplifting and inspirational that it became a national sensation. It earned over $2.6m at the domestic box office and received considerable acclaim. It won Best Supporting Actor, the Audience Award and the Media’s Choice Award at 2011 Taipei Film Festival, and later obtained 4 nominations of the Golden Horse Awards, including Best Leading Actor (Eddie Pen,) Best Supporting Actor (Lawrence Ko,) Best Screenplay and Best Original Film Song (Ascent Chen.) Lawrence Ko went on to win Best Supporting Actor at Hong Kong’s Asian Film Awards.
As one of the most anticipated rising director in his generation, Arvin Chen apprenticed under renowned Taiwanese director Edward Yang (Yiyi) before studying at the USC School of Cinematic Arts. His thesis production Mei won the 2007 Silver Bear in Berlin’s International Short Film Competition. Chen went on to work on his first feature length film, Au Revoir Taipei, which won the NETPAC Award as the Best Asian Film at 2010 Berlinale and found box office success in domestic market. In 2011, he joined 10+10, the omnibus film project initiated by Taipei Golden Horse Film Festival Executive Committee, and directed the segment LANE 256. His unique observation on everyday life in Taiwan is infused with a romantic personal touch and magical-realistic style.
Will You Still Love Me Tomorrow? focuses on an ordinary middle-class family where its members constantly deal with the dilemma of accepting the status quo or embracing new changes in their everyday life. Their expectations and hesitations are depicted with both dramatic conflict and a vivid sense of realism.
The story of Will You Still Love Me Tomorrow? originated with a personal anecdote from a gay friend of mine living in Taiwan. Though almost forty, he almost exclusively dates men in their twenties, so, partially joking, I asked him if he just really preferred younger men. He replied that he would actually love to find someone closer to his own age, but there were very few available – most of them have gone back into the closet, and were already married with families. For Asia, Taiwan seems to be relatively more tolerant towards homosexuality, and I couldn’t really understand why some men would choose to live in the façade of a straight marriage and sacrifice their happiness for the sake of others’ approval. Perhaps “sacrifice” was not something so rare, especially in Taiwanese society, and I started to think how I could develop this premise into a story.
During the shooting, however, I found that the film became more than just a story about a middle aged man coming out, but more about “relationships”. What kind of sacrifices would we make for our loved ones and families? If there is any limit to how much we can sacrifice for them? These inquiries posed a new challenge to me. The film was initially meant to be a romantic comedy, but in the process of making it, the film became much more emotional, and more personal for me than my debut film Au Revoir Taipei. I will always remember the last scene before we wrapped up the shooting. Richie and Mavis were fully engaged in their emotions as the characters and story, as the whole crew was so moved to tears by their performances.