With no script, nor actors, nor script, nor artistic orientation, and absolutely with no creative reference. How can I make a good film under such circumstances? The predicament troubled me and gave me sleepless nights. In the midst of turmoil devouring Bangkok, I gave myself two days to conceive a solution. In just less than a day, I straightened it out. I realized that people must live up to their convictions. Focusing on what we can do instead of what not will thus give us strength. Thai government banned my script? Fine. Let us do it without. There should not be creativity boundaries. We can no longer use the actors found in Southern Thailand? It's OK. Our crew members can also deliver flamboyant performance. We have to abandon the constructed set in a picturesque fishing village in the south? Forget it then. We have more scenic and stunning locations along the route from Bangkok to the north. We need to dismiss the crew consisting of 30 members? No problem. I still have 7 fellow soldiers who can take up arms against any hindrance to our artistic inspiration. We don't have prep? Don't worry a bit. We can finish any 3-day task in one day. Each one of us can take up three roles instead of single. Our determination is undeterred. Travelling between Thailand and Burma for 2 months, we miraculously finished filming. My conviction helped me to get away from the anti-government bloodshed in Bangkok, to recover from a nasty traffic accident, and also to narrowly escape from Burmese army. At close journey, our protagonist experienced rebirth in the film. I experienced the same behind it. Returning to Hong Kong embarked another long and winding journey for post production. I did not slow down the pace. My conviction continued to touch more people and entities. They have recognized Cure a good film, and me a dedicated filmmaker. Their assurance and assistance gave me stamina to hit the finish line. I believe that people who see the film will also be moved by my conviction.

沒有劇本,沒有演員,沒有籌備,沒有藝術取向,創作上一無所依,怎樣可以拍出一齣好電影呢? 這些問題可讓我憂心仲仲,睡不安枕。 在曼谷陷入烽火連連的時候,我給自己兩天時間去思考去路。 兩天後,我想通了。 我發現人一定要活在信念之中,想能作的事,就有力量。 泰國政府不通過我的劇本?... 好!我就扔掉劇本,享受無際的創作空間。 在泰國南部等著我們開鏡的演員不能用?... 也好!乾脆讓工作人員粉墨登場,換來一眾演員精彩的演出。 南部漁村建好的主景用不上?... 算了吧!頭也不回往北跑,沿途風光明媚,無數驚喜、驚艷隨手可得。 三十多人的製作隊伍被逼解散?... 不用怕!我有七個並肩同行的戰友,沒有人可以阻擋我們無窮的藝術感應。 沒有籌備?... 更加不用怕!三天的事情半天做,三人的擔子一人當,換來眾志成城的鬥志。 在泰國和緬甸跑了兩個月,竟然把電影拍完了。信念讓我避過泰國反政府的動亂,也讓我從遍體麟傷的車禍中康復過來,也讓我逃過緬甸軍的逮捕。 戲中主角在旅途中找到重生,戲外的我也找到了。 回港後的後期製作同樣長路漫漫,我也不敢放慢腳步。 我的信念繼續打動了更多人和機構,他們相信Cure是一齣好電影,也認同我對電影的誠意,他們的義助和支持,讓我可以跑到這個公路電影的終點。 我相信,看這電影的人,也會給我的信念打動。

Director Bill Yip's ambition originally was to film the moving story of two children, a brother and sister, in a picturesque fishing village in Southern Thailand. With the main leads chosen and the sets constructed, the project was aborted on the eve of shooting commencement when the script failed to pass official Thai censorship. Undeterred, and unfettered by not being bound to a screenplay, they found freedom and hit the road. Bangkok in the throes of disturbances by political demonstrations provides the impetus to escape the megalopolis. Directions to the South thrown an obstacle means a change of course to the North. With no thoughts of turning back, they giddily threw themselves into the production of a movie genre Bill have always loved - a road movie. With no script, no actors and no sets, Bill decreed improvisation to be the modus operandi. He knows that the Thais in their gentle nature and eagerness to help can be depended on to be kind to strangers. So a 9- member motley of Chinese, Thai and French production team was assembled, everyone sharing over-lapping technical crew duties. Filming on the move, it was anybody's guess who they will run into and what will happen next. Poo, the generous and poised manager of the inn the crew were staying at in Changmai was pressed into portraying a love interest for the male lead. Bill says,"Let Fate decides, allow the strangeness and the unfamiliar to be an inspiration.". The shoot experienced moments of thrills and peril. Besides the Red Army demonstrations in Bangkok, Bill was hospitalised after a traffic accident where he had a nasty scrape. He and producer Eric also narrowly escaped being thrown in prison and suffer unspeakable inhuman bodily harm when they were caught shooting without permits at the Thai-Burmese border. In the end, the satisfaction of the completion of filming made all the hardship worthwhile. Bill has this insight to share: "The determination to go against all odds comes from the belief that the spirit of independent film-making is an unbending and unyielding will to succeed. This road of hardship is rough full of sharp crags and treacherous pitfalls but it is also wondrously and fantastically scenic." He hopes more will join him in such quality endeavours.

本來導演Bill雄心壯志前往泰國南部一個像人間天堂的小漁村,拍攝一對小兄妹的感人故事。出發前,男、女主角選定了,拍攝主場景也搭建好了,但計劃最終因劇本不獲官方批准而胎死腹中。 反正劇本不通過,就乾趣不用劇本,邊走邊看,加上同一時間遇上反政府紅衫軍發起騷動,與其坐困愁城,倒不如往外闖一闖,往南走的路去不成,就往北走吧,痛痛快快拍一個自己最喜愛的電影類型:公路電影。 在三無:無劇本、無演員、無場景的狀態下,Bill說拍攝過程唯有隨機應變,臨場發揮「小宇宙」,沿途依靠泰國人樂於助人的熱情。於是,一團由香港、泰國和法國人組成的攝制隊伍,合共9人,一個都不能少地擔當了所有幕前幕後的綱位, 邊走邊拍,沒有人能預料遇到甚麼人、甚麼事。在清邁時攝製隊在投宿的小旅館遇上大方熱情的女經理Poo,她就成為戲中愛情線的女主角。 Bill說:「隨緣吧,讓陌生感變成靈感就可以了。」 拍攝過程總有驚險,製作隊除了在曼谷遇上紅衫軍騷亂,導演因交通意外弄得遍體麟傷入院,他們不經申請於緬典境內拍攝時,更被軍警當場抓個正着,若果不是剛巧遇上大將軍出巡,相關的工作人員上前與軍警交涉放人,手持攝影機的導演和製片Eric肯定早被收監甚至成為槍下亡魂了。 苦盡甘來,Bill說堅持完成製作祇憑一個信念:「我想告訴大家,獨立電影是一種精神,不卑不亢,不屈不撓。這條路我們走過了,雖然是艱苦的,但是路途上也是風光如畫的。」他更希望往後有更多人參與製作高水準的獨立電影。