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I was born in Hong Kong. My family emigrated to America when I was 7. I grew up in LA.
I had a very normal upbringing. I didn’t have the so-called “star family” kind of childhood. We’re not built that way, and my parents didn’t want to raise me like that.
I got into showbiz by chance. I met some of my parents’ old friends who were in the business. They suggested that I give it a try. I thought about it for two years. After graduation I thought, “Why not?”
After getting into the business, I realized that sometimes life has a funny way of telling you what you should be doing.
After doing a few films and making my first album, I had a very clear picture of what it actually takes to be good at what we do. And I realized that I had a long way to go.
I guess I’m still taking on that challenge, because it never really ends.
It was truly a blessing to be a part of something like Alive. The best thing that resulted from the project is that my three brothers [Daniel Wu, Conroy “Drunk” Chan and Andrew Lin] and I have become even closer.
Alive came to an end because the movie was done. We’re very happy that Alive is dead.
The reason why we wanted to make a movie like “The Heavenly Kings” was to create debate. We wanted to entertain people, but also to have a medium for musicians to talk about their life, and about making music in Hong Kong.
We didn’t make any judgments on the [music] business ourselves. We didn’t have the background to convey that message convincingly.
But there are people who have put in a lot of blood, sweat and tears, whom we interviewed in the film. They have every right to speak their minds and tell the audience what they think.
Whatever work that you do, things that might seem important on the surface don’t really matter. Your friends and the people you care about are all that matters.
I think the scope of the pop scene here is way too narrow by international standards. Even in the pop genre, I mean, come on—there are so many different kinds of pop—how come only such a small subset of what it can be is accepted here? And we call ourselves an international city.
The film industry has been slightly better in the last few years. There are certain co-productions with China that are beginning to retain a Hong Kong flavor.
The reason why people love Hong Kong cinema is because there’s a unique vibe and energy. That speaks to the identity of the Hong Kong people.
There have also been some smaller films that are very promising. We really need up-and-coming talent, so that they have a chance to find a greater audience, and to help continue the film industry here.
The most interesting moments are when you’re writing music, and somehow the vibe between you and the person you’re playing with meshes. You listen, and it fits perfectly—you don’t have to change a damn thing.
Sometimes, music needs time to breathe. You gotta let it sit. You gotta think about it, digest it and feel it. That takes time.
Yes, I have done work that I wish that I could have done better. But it is not about scrapping it and starting over. Everything that you do is actually a part of your greater journey to be whoever it is that you want to be.
Look, I’m gonna make a bad movie sometimes. When I listen to my old music, I’m very critical. This kind of second guessing, if you allow yourself to go in that direction, doesn’t stop. You could do it forever.
Quite frankly, I don’t remember the last time I was truly satisfied with anything I’ve done. The balance is somewhere in between.
I would prefer not to play black-and-white characters. I think what’s interesting about people is the gray area.
The press used to catch me getting drunk all the time. I’m past that phase. Now I tend to find chilled places where I can have a conversation, or where my musician friends are playing.
It’s hard enough to maintain a relationship when you’re actually in one—I don’t think Hong Kong has anything to do with that.
I have a tendency to be pretty headstrong. If I had to give myself any advice, I would probably say “don’t be like that” early on.
Home is where my peeps are. I have a lot of peeps in Hong Kong, so it’s home.
What I value the most: the people next to you.
	 
HK Magazine talked to Terence Yin at Backstage Live, 1/F, Somptueux Central, 52-54 Wellington St., Central, 2167-8985. His new album “T” is out this week.


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Terence Yin

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Actor and singer Terence Yin has been in showbiz for almost two decades. The son of film director Kang Wei and 60s actress Jenny Hu, Yin made his film debut in 1998. He released a solo album a few years later, and then became part of boy band experiment Alive, which was created for 2006 mockumentary “The Heavenly Kings.” He tells Andrea Lo about the Hong Kong music scene and his love of independent cinema.
