Nguyen Khac Phuc, a scriptwriter and film producer and commentator, talks about his recent movie and thoughts about Vietnamese contemporary literature.

Nguyen Khac Phuc is the author of 12 novels, over 80 plays performed in national theatres, dozens of film and TV scripts and is the mastermind behind many grand national festivals. Some of his films include Son ca trong thanh pho (Nightingale in the City), Nhiem vu hoa hong (Rose Mission), Binh minh chau tho (Breaking Dawn at the Delta) and Bon tre (The children), which won the gold medal for in the screenplay category at the International Asia-Africa Film Festival in 1994.

Recently, the Hai Phong Film Studio has adapted Phuc's script Con mat bao (Eye of the Storm) into an epic TV series commemorating the 40 year anniversary of the "Ha Noi-Dien Bien Phu victory in the air."

Eye of the Storm is an epic TV series set in the northern port city of Hai Phong. How can you, a resident of Ha Noi, write stories about this city?

I studied at Hai Phong Maritime University (currently Vietnam Maritime University) in 1965 then joined a shipping company based there. In 1967, before departing to join the anti-American war, I had written a screenplay called Nguoi tu gia cuoi cung (The Last Person Who Bids Farewell) that was turned into the film Nhung ngoi sao bien (The Sea Stars). It was not a successful film, but it was my first one about Viet Nam's seaway. In the same year I first began work on the epic Eye of the Storm. I kept adding to the story over the following years - it is set between 1965-75 - but it has only just been adapted into a film because it took me a long time to get a proper handle on the material and realise my vision. For me, this kind of war epic is the most difficult kind to write and film.

I found there were so many stories to tell; tales of love, happiness, sorrow and conflict. These have been depicted pretty impressively by the film producers.

The five main characters in the series are Hai Phong residents fighting and building the city through the most difficult stage of the war. Who inspired these characters?

All the characters in Eye of the Storm are inspired by real people. They are composites of my schoolmates, work colleagues, neighbours and fellow naval soldiers. I lived in Hai Phong for five years during a very difficult time but the warmth that the people had towards each other has stayed with me ever since.

The content of the series is rich in political and historical details and has been warmly received by many viewers, especially those in Hai Phong City. What is particularly successful about this show in your opinion?

Eye of the Storm has received much praise from viewers who have been moved by the story and its accuracy. What most people don't know is that when it was just words on a piece of paper, investors shied away from the project due to the heavy historical elements. As it turns out, viewers have embraced this true-to-life approach. I think the principle of good art is that in order to be attractive, first and foremost, it has to be true to life. It is like a kite flying in the sky, without the string connecting it to the ground, it will fly away. I always find it interesting to watch truthful things.

I do now wish that I had drawn more investment to the project as I think it would have allowed us to film much more moving and imposing scenes, especially battle scenes which require a sizeable budget. But I can have no real complaints, the film's producers, actors and directors have done an admirable job of putting my words on screen.

As well as film scripts and novel writing, you are also known for creatively directing festivals. What do you make of complaints that these events in Viet Nam are all alike?

I think these days 1,000 different festival scripts will be the same. It is easy to understand why people keep complaining. One of the biggest cultural problems of Vietnamese festivals is that they are implemented carelessly, lazily and in a production-line manner. Festivals have been turned into a service top be provided, so it is useless writing an interesting and original script.

What should be done to change this?

Collectively, organisers and artists have to take more responsibility for creating something new. It is the only solution.

You have done a lot of work. There have been many events attached to your name…

I'm not talented enough to take on the biggest projects, which is probably for the best as I wouldn't be given the authority to do exactly what I want creatively, which is important to me. I just try to take advantage of every opportunity, however tiny, so that I can create something that is meaningful to somebody. I try to stay very true to my vision!

And sometimes this single-mindedness might annoy somebody?

I know. I recently got into a heated debate at a conference about dramatising historical topics. I dared to remind my illustrious colleagues that keeping plays grounded in reality is important. Many of my stories honour naval soldiers because they have always determinedly protected our sacred sea sovereignty against the perils of invasion, even at the cost of their own lives. I argued that the least we can do as artists is honour our great soldiers so that our historical plays can be used to praise them and encourage and inspire our audience!

Do you keep track of Vietnamese literature? What do you think of it?

Even though I don't have much time to judge domestic literature these days, as far as I know that there is work out there impressing with its intensity, style and use of different points of view. The form is eagerly seeking and renewing ideas and embracing other forms such as poetry.

More importantly, I have recognised a strong affection from my colleagues towards the fate of the country and their hometowns. This is encouraging. Artists are creating meaningful characters who have a willingness to make sacrifices for what they consider the most important and sacred things in life.

VNSS