Vivian Tsang - Interview

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Two films that have marked your life for better or for worse…

Bridget Jones’s Diary will be for the better and The pursuit of happyness will be for the worse. 

What do you think about Acting/ filmmaking schools?

There are both pros and cons to this situation. On the positive side, it offers a great opportunity to connect with other filmmakers and professionals from different fields, such as sound specialists, through networking. Building connections is crucial in this industry. Additionally, you have access to supportive teachers who can provide valuable critiques and feedback on your work, helping you improve both your creativity and craftsmanship. Furthermore, there are plenty of resources available, such as school rental stores where you can borrow equipment and cameras for specific periods.

On the downside, attending filmmaking schools can be very expensive, making it inaccessible for some. It also requires a significant investment of time to study and develop your skills. Moreover, you might have to take extra classes that are not directly related to filmmaking, which could feel unrelated to your goals.

Have you ever hated your ambition?

No, I haven’t. I would say studying at university helped me discover what I want to do in the future. I studied animation and realized that I strongly dislike 3D animation. As a result, I focused on 2D animation for my final year project, creating my undergraduate graduation film. At the very least, I now understand my strengths and weaknesses and know how to use my abilities to achieve my ultimate goal.

Francois Truffaut used to think that "Film Lovers are sick people”… was he right? 

I don’t agree with his statement. He explains that film lovers are like addicts, spreading their obsession and influencing others in a negative way. However, I wouldn’t use the term “sick people” to describe film lovers, as it seems to disrespect them. Instead, I would describe them as individuals who are deeply passionate about and thoroughly enjoy films.

Close your eyes…if I say “Cinema” what do you see?

I see imaginative and entertaining sequences of pictures filled with great craftsmanship and deep creativity. Moreover, they reflect humanity and the foundation of civilization through the art of cinema.

Who’s the Director\Actor\Writer that taught you the most? 

Michelle Yeoh.

About your job, tell us your biggest dream and your worst nightmare…

My biggest dream is to be able to direct a film full of infectious energy and impact, working with lovely people. My worst nightmare is collaborating with people who are hard to deal with, don’t listen to others, or refuse to cooperate with others. My worst-case outcome is having to drop the entire project or replace certain crew members.

How important is to have a good Cinematographic Culture?

I believe it is very important to have a strong cinematographic culture. Filmmaking is all about teamwork, creativity, craftsmanship, technical skills, storytelling, and sustainability. These elements are essential for producing high-quality films, developing new talent, and using updated equipment to train the next generation of crew members. Moreover, adopting paperless processes and going green in production will enhance efficiency and accelerate the completion of films. This will ensure that filmmaking continues for centuries to come.

What would you like to improve as a Filmmaker\Actor\Writer?

I should push myself to be more active, step out of my comfort zone, challenge myself to learn new things, and be more attentive to others’ needs.

A big producer gives you the chance to direct\to play (in) the remake of one of your favourite black and white Movie (if you have one)… what film do you choose? 

Roman Holiday.

Film Industry it’s a tough place and sometimes is normal to feel lost and discouraged… who’s the person that keeps you motivated?

My father is the person that keeps me motivated. He always encourages me to do what I love: find my passion, make the most of opportunities, and achieve my goals. He remains me to always believe in myself, take one step forward at a time, and keep pushing forward.

Alfred Hitchcock said: "To make a good film you need 3 things: The script, the script and the script".  Do you agree with him?

I would say that it depends on the type of movie you are going to produce or film. For narrative films, it’s better to have a script to work with. If you are working on documentaries, a script may not be necessary. Some directors, like Wong Kar Wai, didn’t use scripts. However, it might take ages to complete your film without one. It is also quite challenging for your crew to follow and coordinate the scenes to shoot if you don’t have a script on hand.

What’s your most ambitious project for the future?

I’m still working on what to do with my most ambitious project. I’m thinking of documenting local communities in UK. I am considering creating a documentary about pole dancing, fitness, and well-being in the UK, inspired by the Netflix film Strip Down, Rise Up.

Do you think that sadness or at least melancholy let be more creative?

I would say that this demonstrates the actor’s ability to portray a sad character convincingly, as well as the director’s skill in guiding and shaping such an emotionally intense story. It showcases creativity, as the actor must express deep emotions, which is no easy task. Furthermore, it reflects the actor’s talent and professionalism. I think it’s rare to see performers take on roles that demand such emotional depth. This definitely makes the movie more engaging, as it allows the audience to appreciate the actor’s imaginative performance. It is also the director’s responsibility to develop the sadness in the film effectively and help the actor immerse themselves fully in the story.

What do you wish to yourself as a Filmmaker\Actor \Writer?

I wish to myself as a filmmaker to help others, learn from the experience, and connect with people through networking, hoping it will lead to future opportunities. For example, as a documentary filmmaker, I aim to give a voice to the individuals I document. I make an effort to understand and listen to their needs, providing them with the platform to share their stories and perspectives as interviewees in the documentary.

So freedom is very important to your work?

Absolutely. And since I’ve realized that I’m always operating within a power discourse—whether in high art or entertainment—and can never be completely free in my work, I often find liberation by discovering new fields of power and changing the discourse. Right now, I’m fascinated by diving into the world of the mainstream, moving large audiences, and experiencing crowded cinemas. These are entirely new experiences for me. My abstract works found an audience too, of course, but this energy—the vibrancy of a packed cinema—is something entirely different and enjoyable to witness. That doesn’t exist in "high art" in the same way.  At the BIFFF premiere in Brussels, the entire audience enthusiastically chanted “Anneliese”, the name of the monster. It was eye-opening and deeply moving. This simple, raw energy was so refreshing. Freedom is crucial to me, both personally and creatively.

It’s noticeable that the screenplay has a very typical, classic dramaturgical structure, which is unusual for your work. The hero’s journey, with its stages and archetypes, is meticulously crafted and cohesive. This gives the story high entertainment value—it’s fast-paced without any dull moments. Everything feels tightly planned and well-coordinated. At the same time, there are so many allusions, deeper layers, and references in the details. How did the writing process unfold?

“Keep your Secret!” co-director and co-producer Ezra and I developed the plot together. We planned the story scene by scene, following the classic structure of the hero’s journey. Then, I wrote it, sticking precisely to our plans. In the details, I allowed myself to dive deep, adding allusions and references where they felt right to me. Some are very obvious, others less so.

In the art school context I come from, storytelling was entirely frowned upon. Anyone who attempted narrative work was essentially written off. But these are the lingering effects of an artistic rebellion that has long since solidified into a rigid system—a new kind of dogma. Art, which once represented a break from the entertainment system and was full of vitality, has become its own stiff system. I was so eager to rebel against this system by embracing a classical, clean narrative structure, entertainment against the tradition of German auteur cinema—just to see what happens. 

I felt such joy in surrendering to the simplicity of just telling a story people might want to experience. To simply do it. After finishing art school, it felt liberating and cheeky to defy what they had spent years trying to suppress in me. It was a creative liberation.

Do you regret your studies at the art academy?

No, not at all. Otherwise, I would have lived my whole life with the illusion that there are people who truly live the freedom of pure art. And perhaps I even took this freedom seriously and lived it for a certain time—I definitely did. But in the end, it also has its mechanisms to exclude the masses, to differentiate itself, to establish its principles of exclusion. This ultimately makes it a lie; it can no longer fulfill its promise of being free art, not today. But I had to go through this long process to understand that. I needed that journey, and I love my abstract works for the joy of creation itself, without judgment as to whether they please others or not. I value that period of my life, just as I value the present time. 

After the naivety of simply wanting to tell a story has faced rejection within certain artistic discourses for such a long time, I now find myself deliberately returning to it. To Peter Pan’s Neverland, to utopia, to what remains unbroken. That excites me greatly. Of course, the reflection of brokenness is hidden in the details everywhere. But a crowded cinema, the simplicity of laughing at mischievous little monsters creating havoc—that childlike joy—it’s healing for me. This return to a naive viewing of film, which, from the creators' perspective, is anything but naive and instead deeply professional and structured—that's something I'm fully aware of. But striving for a naturalism that is, in essence, considered old-fashioned and outdated, telling a story in the best possible way, which is practically scandalous from where I come from—that's something I find beautiful. Wanting to return to that kind of naivety. And it works. Audiences embrace that naivety; they want immersion, being able to dive into a story. They seek simplicity. And it moves me deeply. 

Your perspective is truly fascinating. Could you share more about the quotes within your work? Why did you choose Goethe's „The Sorcerer's Apprentice“? Was it simply because he’s THE German writer, or were there other reasons? You also reference the pet names “Honeybunny” and “Pumpkin” from „Pulp Fiction“. What other quotes are included?

Yes, Goethes work is embodied by a magical incantation in German as our vampire lady Lilith enchants the broomstick to stab the vampire novice. Translating Goethe would be impossible. In the famous „The Sorcerer’s Apprentice“, the apprentice enchants a broomstick to make his work easier while the master is away. Similarly, in our scene, a broomstick is enchanted. The scenarios are somewhat alike, and using it as a magical formula felt very fitting—except that in our story blood flows instead of water. 

The act of enchanting the broomstick also ties in with the vampire mythos, as a vampire can only die by being staked through the heart with a wooden stake. 

We referenced „Pulp Fiction“ in a modified way: the boy is now called “Honeybunny” and the girl “Pumpkin”. This ties into the theme of feminism. The protagonist, a woman, wants to accept a place to study medicine in Göttingen but became pregnant by accident. Due to her socioeconomic background and lack of financial resources, she’s forced to choose between education and the child. She opts for social rising over the child. As an aspiring doctor dealing with abortion, this deliberate staging of a highly sensitive, contradictory inner conflict was intentional. The pet name reversal—where the boy becomes the “cute bunny” and the girl wears the proverbial pants in the relationship—points to feminist themes, deconstructing the traditional role of women as mere adornments for men.

There are also biblical quotes, character names, and elements in the story that allude to the central theme of the film: the exploration of good and evil, ethics, and morality, as well as subthemes like feminism and societal disparities between wealth and poverty. For example, the character Desdemona quotes the famous Bible passage where Jesus tells doubting Thomas to place his finger in his wound: “Reach out your hand and put it into my side” (John 20:27). The phrase "putting your finger in the wound" has become an idiom describing the act of addressing uncomfortable truths that evoke painful feelings. This is about exposing truths, which aligns with the film's title, 'Keep your Secret!'. 

The four main characters each harbor secrets from one another, gradually revealed throughout the story, significantly impacting the plot. Ezra and I placed artwork in the set—a holiday apartment—created specifically for the film. These artworks subtly hint at the characters' secrets and lies, paying homage to Edgar Allan Poe’s „The Tell-Tale Heart“. In Poe’s story, the murderer believes he hears the loud beating of his victim’s heart, hidden beneath the floorboards, leading him to confess. Often, lies or secrets reveal themselves through indirect means. 

Returning to the “finger in the wound” theme: this is not only about uncovering painful truths but also about guiding the doubting Thomas towards faith. Later, Lilith places her finger in Elias’ wound. On one side, we have the “evil” vampires attempting to redeem themselves for centuries by murdering a holy baby. This ties into conspiracy theories about „adrenochrome“ extraction, a modern echo of ancient ritual murder legends. On the other side, the “good” characters are humans bearing stigmata, the wounds of Christ. 

The name Mary alludes to the Virgin Mary. All the character names were chosen deliberately. Lilith, as the apocryphal first wife of Adam, was too independent and thus replaced by Eve, who could conform to patriarchal structures. This is both a feminist commentary and a nod to the demonic and evil, while also leaving room for multiple interpretations. 

The film plays with Christian motifs, questioning whether something deemed good is truly good, and vice versa. Trust is another significant theme. Lilith spends the entire story fighting to regain trust. As an outcast and cursed being, she yearns for family and belonging. Mary and Elias, along with their child, ultimately survive not because of their “holy” powers but because Elias manages to earn Lilith’s trust. The climax revolves around Lilith’s rage as an outcast, constantly deceived and betrayed. 

The depth and complexity of your work are truly remarkable. The screenplay reads effortlessly and feels purely entertaining. But upon closer inspection, it reveals profound philosophical depth. Are you a Christian?

No, I’m not even baptized. I wasn’t raised religiously and come from a family of scientists. At the age of sixteen, I became deeply fascinated by all religions and read the New Testament in full and parts of the Old Testament out of curiosity. I’m equally interested in Buddhism and other faiths. Currently, I’m working on an audiobook exploring Buddhist ideas. I’m drawn to these ancient cultural legacies but wouldn’t choose one religion over another. I believe each holds its own truths. 

What’s important to me is moving away from a black-and-white worldview, remaining in discourse, and avoiding totalitarian perspectives. Above all, we should be cautious in passing judgment. The ultimate truth should always remain open to discussion, and each person should discover it for themselves. Critical reflection and a more compassionate approach to judgment are essential to me. Trust and empathy are critical points, especially as we move towards a more narcissistic society where everyone prioritizes themselves. These ethical questions are central to my work.

This freedom and openness, even in terms of religiosity, is truly fascinating to hear. Are there any other references or allusions in the script?

There’s so much more to say. I’ve included several quotes from „Spring Awakening“ by Frank Wedekind in the script. It was the first play I directed years ago, and I still feel a deep connection to it. For instance, in a flashback scene where Lilith, still human and not yet a vampire, gives birth to a holy baby, she speaks some lines from Wendla in „Spring Awakening“. In the play, Wendla becomes unintentionally pregnant as a teenager. To avoid social ostracism, an abortion is arranged for her, but she dies in the process. To escape societal death, she’s led to real death. Lilith’s scenes in a flashback share similarities. She also has an illegitimate child and seeks help from the vampires, who need the holy baby for their salvation. Lilith dies as well but then becomes a vampire. In this scene, Lilith speaks Wendla’s lines foreseeing her own death, describing how a beast flutters in during her pregnancy.

Later, Mary dreams of Linus, who has died, beckoning her with the words, “Give me your hand!” This is another line from „Spring Awakening“. In the final scene of the play, Melchior encounters the dead Moritz in a delirium or dream. Moritz, who has taken his own life due to school pressures, repeatedly asks Melchior to give him his hand and join him in the afterlife. Melchior is ultimately saved by the masked man, a character symbolizing the playwright Frank Wedekind himself, breaking naturalism and the fourth wall by appearing as a deus ex machina to rescue his protagonist. Similarly, Linus tries to draw Mary into the afterlife in a dream sequence. The screenplay begins with a famous reference to the “holy sinner”, an obvious allusion to Mary Magdalene and a paradox—holy yet sinful, or more precisely, an oxymoron. It ends with a well-known Nietzsche quote: “All things done out of love happen beyond good and evil.” This line is spoken to Lilith, who has just become a vampire and believes her baby cannot be resurrected because of her sins. Her sins are absolved, as the baby’s death is unrelated to Lilith’s actions but rather a product of a socially unacceptable love. Again, this criticizes black-and-white thinking and hasty judgments, while posing questions about morality.

Lilith’s arc in the screenplay transitions her from a saint whose baby attracts vampires to being a vampire herself. This transformation is, of course, deeply biblical. Mephisto or Lucifer is a fallen angel cast out for rebelling against God’s hierarchy. Similarly, we incorporated a copy of José Saramago’s „The Gospel According to Jesus Christ“ into the film’s setting with an own cover design which shows a famous painting by Cranach depicting Jesus with the stigmata wounds. This bestseller and controversial novel portrays the holy family as ordinary people with human flaws. Similarly, the so-called holy figures in the script are portrayed as fallible and human.

It brings to mind the Chinese symbol of Yin and Yang—there’s light in every dark, and darkness in every light. It’s absolutely fascinating to uncover all these layers of meaning. The script itself discusses morality, good and evil, not just through its structure and character arcs but also through its dialogue.

Exactly. We created two paintings that hang in the vacation rental location used in the film. One shows a child with devil horns, and the other with angel wings. But it’s the same child, the same painting, just altered to show both the holy and the demonic. This raises questions about morality. Is a lie inherently bad, or can it protect someone from suffering? Does the end justify the means? Is an action intended to achieve something good inherently moral, or could it be considered morally reprehensible? And could the supposedly good itself be a delusion?

For example, the vampires’ desire to free themselves from their cursed existence, which is rooted in superstition and leads to the cruel deaths of babies. Killing an innocent baby is arguably the worst and most evil act imaginable, yet the goal—to achieve redemption—is noble.

Exactly. And Lilith’s character is deliberately designed to be full of contradictions and tensions. She yearns for nothing more than to be part of a family, yet for centuries, she has killed the babies of families in her quest for redemption. I intentionally use strong contrasts and provocations to highlight the moral questions.

Thank you so much for this in-depth interview. The screenplay impressed us immediately upon reading it for the first time. It prompts deep reflection on morality, societal issues like poverty, gender roles, and the type of society we live in—whether it’s one driven by self-interest—and the role of empathy. Above all, it invites us to contemplate truth itself. It’s a truly remarkable script with exceptionally well-crafted dialogue, compelling and multi-dimensional characters, and expertly structured dramaturgy. We’re very excited to see the film as soon as it is released! Thank you for the interview!

Thank you so much as well.

What really excites you artistically or emotionally?

Good rhythm and vibrant colors

Marlon Brando said “Never confuse the size of your Paycheck with the 

size of your talent”. Do you agree?

Yup.

Have you ever been discouraged by someone about your life\career choices?


Yes but I took it in stride and I'm happy with where I am in my life.

Do you think is harder for a woman being a Filmmaker?


Yes

Do you think that Fame and money could easily change your own Vision as 

a Filmmaker\actor\screenplaye?

No

Who’s the Movie star that made you dream for the first time?


Drew Barrymore in Ever After

Make a wish about your career...

I wish for some big leaps in success

Talking about cinema\Showbusiness, how hard is to remain completly honest to yourself as an artist?

I've had an alright time with it.

The Film you have loved the most?


The Red Shoes

And now, don’t be shy….the one that annoyed you the most?

There are so many films out there that I can't even remember at this moment.


Your biggest artistic goal is…


Right now it's to make it into more film festivals and to work on some music videos.

What profession other than your own would you like to attempt?

Racecar driving or horse back riding

How important is to be rewarded as an Artist?

The final product matters more than the reward

Do you have regrets?


No

What’s the messagge you wanna express through your art?
  

Life is complicated.