1. What was your inspiration for creating this film? Kaiu: In fact, the inspiration for this story came by coincidence and kind of my personal experience. Three years ago, I did move into a subdivided unit as my studio in a factory building. In the afternoon, after I’d been there a day or two, while I was cleaning up, suddenly, there was a loud piano sound from the next door. I found that moment really surreal because the walls between subdivided units were very thin, hence terrible soundproofing as if the piano was playing right next to me. But it didn’t annoy me, probably because it was classical music. In the next few days, at a particular time, I kept hearing the door open, footsteps, and then the piano practice from my neighbour. Suddenly, it was like the first shape of this story downloaded into my head. It was an amazing experience! Surely, the final product differs a lot from the original idea. Certain plots in the first draft were impossible to realise due to limited resources, and something there was also hard to show due to political concerns in Hong Kong. Thus, in the end, it has become the present version with supernatural elements added. One day after I had the primary framework of the story, I saw a story on Facebook but not covered in the mainstream media about a piano teacher, who committed to helping the “siblings” in 2019, was found dead at home. Since I came across this story from an online media only two days after I had the first shape of By 3pm’s, I really found it coincident. Finally, I have included many stories heard from friends and collected on the web, after digesting them, in the final draft of my script. Due to resource constraints, a group of friends supported the production by contributing HKD 500 each, and the shooting location was my own studio within one day – of course it’s a long day. The gist of this film is the use of spatial and audio elements for storytelling. Another theme is that, after 2019 and due to the pandemic, many people did not go out and got trapped in their own places, always with masks. Interpersonal connection and communication were suddenly broken. I’d like to deliver this experience in my story, hoping the audience will echo it. Even if they don’t, it’s still a challenge for me to make a short film conveniently, given a restrained budget. Of course, it’s not perfect, but still an exercise for myself, demonstrating a rather independent spirit in filmmaking. I believe I am improving, and I will do better next time! 2. French audiences are often curious about Hong Kong as portrayed in cinema. What message or impression would you like them to gain from your film? Kaiu: When I made this film, I aimed to communicate with Hong Kong people who had the 2019 and the pandemic experience thereafter. I didn’t expect many screening opportunities overseas that have followed, so I didn’t particularly think about what messages foreigners would receive. I just want to tell a story of the present signalling what we have been through, with a common feeling masked by the pandemic. These are the two things I want to communicate to the audience. As for the French audience? I think they have mostly watched mainstream productions from Hong Kong, or independent films that are extraordinary, such as Made in Hong Kong. I believe if a film is good or moving, it is related to the film language as a universal language. If the audience “gets it” and like it, it proves the film is good. If we fail to use the universal film language to impress them, I haven’t done well enough, and I will try harder next time! 3. As a filmmaker, what do you think about the past, the present, and/or the future? Kaiu: In the past, I had been working on distribution, promotion, and production—later also the creative part—of non-mainstream films for a long time. I had adopted a “do you best” attitude when undertaking these tasks in Hong Kong. While the film industry, mainstream film festivals, or semi- independent films by famous directors already have their distribution models established, independent films or films seemingly less commercial in Hong Kong have limited space. This is because, apparently, Hong Kong is an international metropolis, but it is conservative in many aspects. Moreover, this is a place where “quickly getting rich means all,” hence very limited room is left for developing other initiatives. Thus, it was very difficult to make non- mainstream films without government funding in the past! Now, it’s hard even to move an inch! Many things you want to do fall under great restrictions in a public funding system under totalitarian control. If you have to step back a thousand miles before you can get a small grant, would that be what you really want for what you will do? Why don’t you do something else if you just want to make some money and feed yourself? For me, this is the time to have a break! As for the future, personally, I can’t think of anything because I really can’t see any future! Apart from persistent self-censorship for the present, I can’t see how much I can go further. I may have to seek room outside Hong Kong. That is what I think at this moment. 4. What led to your choice of a ghost story within the horror genre for this film? Kaiu: In fact, I have always loved supernatural stories. My previous short film was titled A Summer Ghost Story, filmed around 2016. It’s about a missing person in Macau during the “ghost month” of the Lunar calendar. Within the framework of a ghost story, it touches upon how everyone has a hidden secret, something unspeakable in the heart. That was the first time I used the ghost genre for storytelling. So this is the second time I tell a ghost story. I think a ghost story could allow greater room for the audience’s imagination than the first draft, which was based on a true story. First, the ghost genre would enhance the audience’s curiosity; second, I plan to use promotional film stills to create an expectation among the audience that the film is a romantic encounter of serendipity appealing to the “cultured youth.” Thus, some of my friends afraid of ghost films blamed me: “How come this is a ghost story?” I think in Hong Kong’s current situation, the supernatural or ghost genre are pertinent means to illustrate characters, human nature, and the present condition of individuals.