The executive director of Hong Kong International Film Festival Society on legendary producer Nansun Shi, the gamechanging Infernal Affairs and the future of the business.
Fred Tsui is the executive director of Hong Kong International Film Festival Society, assuming the role in late September and overseeing the festival and industry programmes.
He brings more than 30 years of experience across television, film and media, including two decades working at Media Asia Film, serving as general manager and head of international sales and co-production.
In 2022, Tsui founded the Hong Kong-based sales agency and consultancy Moebius Entertainment.
What is your office like?
I was only there for two days before departing for China’s Pingyao film festival so it’s still a bit stark and empty. I’ve requested a coat rack and am looking forward to bringing more personal touches to make it feel like home.
What’s the first thing you do at your desk each morning?
Fill my Berlinale cup with some ice‑cold water, charge my iPhone, wake up my computer and dive into the day.
What was your first job in the industry?
My first gig was as a standards and practice officer at Asia Television. I came back to Hong Kong from the United States, telling my parents that I wanted to get some work experience before heading back to study law.
Who helped you most when you first started out?
Looking back on my early days in television, I realise I didn’t always listen as much as I should have. Everything changed when producer Nansun Shi took a chance and invited me to join Media Asia. That was the turning point, where I started to grow and find my footing as a film executive.
Who do you look up to in the industry?
Oh, definitely Nansun Shi. Even though she was a total powerhouse with all the clout in the world, she actually listened, which is rare. She had this uncanny ability to spot talent in the wild, and somehow she managed to spot a little bit in me.
What are you most proud of professionally?
Everything about [Andrew Lau and Alan Mak’s 2002 film] Infernal Affairs. I had vouched for that script even when nobody else did and predicted it had remake potential. Then fighting to get my English title approved by the management, bringing 35mm prints to Hollywood to sell the remake rights to the studios, and watching [The Departed] win best film at the 2007 Oscars.
What do you like best about your job?
I love getting to watch so many amazing films and connect with filmmakers and executives who are just as passionate about movies as I am.
With whom would you most like to take a meeting?
Martin Scorsese. I want to see if I can survive a conversation without getting out-talked by his legendary machine-gun pace.
What would you do if you didn’t work in film?
[Maybe] a writer, though my books could still be adapted into films.
What is your favourite festival, aside from Hong Kong?
Cannes, without a doubt. There is just something about the energy. I appreciate its film selections, my friends working tirelessly behind the scenes, and yes, even the glorious disorder and snobbery of it all.
What excites you about the future of the business?
It’s the absolute uncertainty of it all. Sure, we’re facing the rise of AI, younger audiences drifting away from the cinema and media oligarchs making it tougher for independent voices. But I believe in the power of storytelling to adapt and thrive.
What was your favourite film in your youth?
Growing up in Hong Kong, I used to love those big Hollywood blockbusters like Gone With The Wind. But everything changed overnight when I saw Bertolucci’s The Conformist while I was in the US. It completely opened my eyes.
What books are you reading?
Butter by Asako Yuzuki and John Of John by Douglas Stuart.
How do you unwind?
Depending on the time of day and where I find myself, I love unwinding with a nice glass of wine, a cold beer, a fun cocktail or a dram of whiskey.
Who would direct the biopic of your life?
Johnnie To and Peter Chan know me better than any other director. Either of them could do an amazing job capturing who I really am… depending on what kind of film it is.
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