that's it for me. thank you so much for joining me. good night. ♪ >> anthony: chapter one. to fall in love with asia is one thing. to fall in love in asia is another. both have happened to me. the star ferry to kowloon at night. the lights of hong kong behind me. it's a gift. a dream. a curse. the best thing. the happiest thing.

yet also the loneliest thing in the world. ♪ i took a walk through this beautiful world ♪ ♪ felt the cool rain on my shoulder ♪ in this something good beautiful world ♪ getting colder ♪n ♪ sha la la la la sha la la la la la ♪ ♪ sha la la la la sha la la la la la la ♪ ♪ >> anthony: all of us when we travel look at the places we go, the things we see, through

different eyes. and how we see them is shaped by our previous lives. the books we've read. the films we've seen. the baggage we carry. years ago when i first watched the stunningly beautiful films of director wong kar-wai it shaped forever the way i see hong kong. from that point on, my hopes -- my expectations of this city would be seen through that lens. a lens that was in nearly every case pointed by -- focused by this man -- [ laughter ] christopher doyle. long time resident of hong kong.

known by his mandarin name "dù k?f?ng." his earlier works with wong kar-wai were distinguished by unspeakably gorgeous images of beautiful people moving through spaces both unfamiliar and yet painfully intimate. alternately jagged, frenzied, innovative, languid, composed, chaotic. i obsessed over his work. fetishized it. longed to see hong kong like the characters in so many of his films longed for each other. and i feared like those characters i would be denied. i was wrong. >> chris: the good thing about the escalator it's the best place to watch people. ♪ >> anthony: the midlevel escalators. seven million people in hong kong. many of them flowing through this mile long escalator system.

it's chris doyle's happy place. >> anthony: what do you look at in hong kong? you've lived here how long? >> chris: oh 20 -- 30 years almost right? >> anthony: so -- >> chris: i mean i've spent more time in this space than i've spent in bars. look at this. we have people coming and going. we have the city passing us by. we have -- to me the energy is the noise. is the people. i mean the films that we made are only this way because we made them here. i've made 12 films within two square kilometers of where we are right now. in fact we're gonna pass by my apartment which is the most famous apartment in hong kong. >> anthony: you've shot in there? >> chris: it doesn't exist anymore.

because the energy changes. ♪ but to tune into the energy -- a-ha. hello. then we have a movie. then we have this conversation. then we have something that the cameraman are going to fall over backwards trying to film. i think you're just preparing all the time. for example you've watched some of my movies. >> anthony: yes. >> chris: or we read a book. >> anthony: yeah. >> chris: or we go out drinking with friends. >> anthony: yeah. >> chris: and then bang bang. we're doing something which all of those energies focus in a way that somehow connects with other people. hello. what do you want in life? anthony: i mean you do understand the impulse right? people see work that you've long ago moved on from. and they get a hard on and it won't go away. i mean come on, it's -- >> chris: but the great pleasure is -- i did it. and it's done. you want me to reshoot "chungking express"? ♪ >> anthony: but of course they all do don't they? >> chris: but i don't know how i

did it. ♪ >> anthony: is there value in just beautiful people and objects moving through space in beautiful ways? >> chris: is there a value to the color of a pomegranate? >> anthony: yeah yeah. there is. >> chris: exactly. this is our challenge -- is to celebrate that. so called beauty is not you know my make up is so good and then i lifted my face a bit. no. beauty is the darkness and the pleasure of embracing that and that giving you something more of your experience of life. i read a script and it says "he looks so sophisticated." how do you film sophisticated? how do you convey the taste of a chili? we'll never know. but the privilege we've been given is number one we've experienced it personally. so it becomes part of who you are. >> anthony: leaf dessert noodle shop is a hundred year old holdout in central. chris has been coming here for years both to film and for this. choy noodle soup for him and beef brisket noodles with wonton for me.

ah here we go. >> chris: so this is family food. >> li: [ speaking foreign language ] >> chris: [ speaking foreign language ] >> li: i don't know. >> chris: you don't know. >> li: wonton. >> chris: [ speaking foreign language ] this is the most famous noodle stand in cinema history in hong kong. >> anthony: has he been in the films himself? >> chris: yeah. many many many times. this is a next nomination for hong kong film awards. >> anthony: oh man it's good too. ♪ >> chris: i don't watch movies.

i don't watch other people's work. i can't draw. but i know that if you put this -- and you move it around a bit it may take you somewhere. so to me collage is like the unexpected put together to perhaps seduce something that you've never thought of. ♪ our experience actually gives us a distance and gives us this wonderful freedom which is called time. i thought time was running out but it's not. time is actually being more condensed because we are more

focused. ♪ now our job as artists is to show you the world that you think you know and celebrate it. in my wonderful experience and my wonderful journey with a person called wong kar-wai it finally -- after all the films we made we made a film called "in the mood for love." ♪ i think everything we did before then was preparation. i think that's it. if you find this in your life you actually say one sentence or you make one dish or you make one image that is true. that's pretty good because not many people get there. ♪ (burke) at farmers, we've seen almost everything

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>> anthony: the love of money >> anthony: the love of money and shiny new things is slowly but surely erasing the past. so before it's gone this is a reminder how hong kong used to eat -- at dai pai dongs like this one in sham shui po. cheap delicious food served from

open air stalls. pull up a plastic stool. crack a beer. fire up the wok. so tell me what is a dai pai dong? >> gazza: dai is big. >> anthony: big. >> gazza: pai is license. and dong is place. so it's big license place. >> anthony: right and how many of these are left in -- >> gazza: 28. >> anthony: whoa only 28? >> gazza: only 28. >> anthony: why? why don't they -- >> gazza: because the government doesn't -- they want the street clean. >> anthony: that's -- that ain't right. the name of the place is keung kee. and gazza cheng recently took over as chef. >> anthony: how do you get one of the last licenses for a dai

pai dong? >> gazza: accident. >> anthony: accident? >> gazza: yeah, this license is held by somebody else, not by me. but this place has been around for 40 years. >> anthony: now did you change the menu? same -- >> gazza: no i changed the menu and start the typical old fashioned chinese meal. >> anthony: drunken chicken. hacked up birds cooked in hot pot with medicinal roots and herbs that will no doubt make me strong. >> anthony: what will i feel after i eat it? >> gazza: hyper. >> anthony: hyper? energy? strength? >> gazza: yeah energy. >> anthony: vitality? no penis in there? >> gazza: no no. >> anthony: no penis in there? >> gazza: i wouldn't eat that myself. >> anthony: really? >> gazza: unless you want to. >> anthony: i've had a fair amount of penis on this show. a clay pot dish of fish tripes cooked in an egg custard topped with a crispy fried youtiao. wait is that egg? >> gazza: egg. >> anthony: so it's like a quiche? >> gazza: try it. >> anthony: that's pretty damn good. crispy custardy. i've never had anything like this anywhere in china. movies? >> gazza: oh yes. you know wong kar-wai? >> anthony: i do. >> gazza: do you like him? >> anthony: um i love wong kar-wai. which is your favorite wong kar-wai film? >> gazza: "in the mood for love."

>> anthony: me too. it's the most beautiful film ever made. no way. ♪ ♪ >> simon: hong kong is a mixed culture with east and west. >> anthony: right. >> simon: because after 160 years as a british colony hong kong already developed its own unique culture.

the people in hong kong really want to see that. or for the foreign people like you want to see, "oh it's really old hong kong." ♪ >> anthony: all this is disappearing. all this could be gone. it's vanishing before our eyes. simon go is a photographer who's documented 200 small family run shops in the city. many of them all ready shuttered. >> simon: i go everywhere in hong kong. and i really want to take pictures of memories. especially in these few years i've found so many old shops disappearing because of some urban development. and i think i've got a mission to share that. ♪ >> anthony: to feel sentimental

about the past is unusual for hong kong. hong kong has always been about changing. it's always embraced change. realistically can these businesses be protected? >> simon: it's really difficult to say. but i think that when the government and the hong kong people see more about our own unique culture so many people try their best to fight for that. >> anthony: china cafe in mongkok. what's called a cha chaan teng or tea restaurant serving a particularly bizarro but much loved bit of hong kong history. simon's been coming here for over 40 years and orders his favorite -- fried pork cutlet over rice with tomato sauce. >> simon: oh thank you. wow. this place is very popular in

hong kong. >> anthony: very popular. >> simon: especially as a school boy i came -- every time i came to cha chaan teng i ordered this. i think it's a perfect match for me. >> anthony: and well i had to try this. macaroni spam, and egg -- soup. i have no idea where this came from. i mean is it a soup? is it a stew? should i break it up? >> simon: no, it's okay. because in cha chaan teng nobody cares about table manners or anything you know? you know food and smell always recalls so many memories. i still remember my parents and my grandparents they would mix some dumplings at home. and they really work hard to

prepare the meal for the family. the taste is really great. and really sweet. and after my grandmother and my mother passed away i have no other chance to eat that again. but about four or five years ago my auntie make that for me. when i put it to my mouth i burst into tears. my wife behind comforted me. speechless. the taste -- the food recalled so many memories for me. [music playing] (vo) from day one,

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>> anthony: in the beginning hong kong was this -- a fishing village like this one. here you go. >> chris: you're going to give me a camera? >> anthony: hell yeah. all right proceed to smoke weed. >> chris: can i roll? >> anthony: yeah. >> chris: how do i roll? >> dominic: that button here. yeah there. >> chris: that's so complicated. i have to press the button? can i close down the aperture a little bit?

where is the aperture? can you tell me? >> dominic: i think you're at a 2.8. >> anthony: i don't smile a lot on this show by the way. i'm smiling now. >> chris: i want to shoot you guys. so tell us -- are you behind the camera? what are you seeing? >> fred: i'm trying really hard to get focus here. >> chris: really? why is that? this is one of the most beautiful shots i've ever made. i've never made a shot about cameras before. so tell us what is a camera to you? >> fred: i think it's a good thing to hide behind. lll >> chris: i think anthony we have one of the most beautiful images in all of your films. >> anthony: this is why we're on the damn boat. [ laughter ]

>> chris: do we have a movie? >> anthony: we have a movie. >> chris: we have a movie. are you sure we -- i'm worried we didn't record. >> anthony: we'll find out in a second. >> chris: then we have to do it in voiceover. >> anthony: tai o is one of the last fishing villages in hong kong on the western side of lantau island. the families here have made their living from the sea for generations. for chris doyle and his co-director jenny suen it's a return to the location of their recent film "the white girl." >> anthony: so where are we? 'cause i recognize it. >> chris: we're in the venice of hong kong. obviously. i mean there we are. we've got the canals. we've got canals going in all directions here. we've got the most beautiful bridges outside of venice. don't forget hong kong means fragrant harbor. so it's a good place to eat i guess. >> anthony: but you have experience here. you guys shot a film here. and you shot like right here? >> jenny: yeah we literally shot right here. >> chris: we shot here. this is it. this is the main location of the

film. >> jenny: actually when we were prepping the film we looked at all the fishing villages around hong kong. and this one was the most complete in the sense that it's a real community as opposed to you know something closer to the city. and it's a metaphor for hong kong because we feel hong kong is disappearing also. and so much of what we're doing is to keep something that keeps us unique alive. >> anthony: for lunch there's corn and fish maw soup. fried fish maw with dried scallop dried shrimp and pork. salted egg yolks are left in the sun to cure slightly then served over rice. crispy pork belly cooked in shrimp paste and you choy. >> chris: i drink to heaven. under which we stand together and enjoy this. we drink to earth because well there's no more earth but we drink to sea today. i drink to heaven i drink to earth and i drink to you. isn't that the most beautiful way to share a drink with friends? >> anthony: i have a tricky moral question for you. >> chris: a moral question? for me? oh good.

i'm a recovering catholic. i can answer any moral question. >> anthony: we are changing the world by looking at it through cameras as happens every time you look at real people, the real world, real places. where does that fall in your comfort zone as the character of the place changes? >> chris: that's true. we're part of the problem right? >> jenny: the only way is just not to be cynical about it. we want the audience to feel a certain way but if the process is open then i think it has integrity. >> chris: if we've done it with love and integrity -- if we tried to be as true as possible to how we see things perhaps -- perhaps it transfers. the only function of what we do -- art or anything is to give voice to the unspoken. to give it a form that it's never been perceived in before. we can't change the evolution of history or the gentrification. you can't stop that.

but at least you can say look what you're losing. that's all we can do is give an image to an idea. ♪ ♪ >> anthony: the infamous chungking mansions sit right smack in the center of high-end tsim sha tsui. right around the corner from swank hotels and surrounded by shops selling luxury goods and designer brands. five housing blocks and 17 stories containing well everything and everybody who the

rest of hong kong would like to ignore. while many locals avoid it for its well reputation and for some of its less legitimate business enterprises shall we say it offers cheap rooms and asylum for people specifically refugees from all over the world. and even a taste of home. >> paul: when i met selina aut 15 years ago we decided to open a restaurant in hong kong. but most of the african guys here to be honest they don't have money. most of them they are refugees. so how do we sell the food to them? so we open as a kitchen for all of them to come and cook their food. enjoy and meet new friends. then they can enjoy themselves. that's how we started. >> selina: i moved from

hong kong to canada. my husband moved from ghana to china and hong kong. we know that if you move to another country it's not easy. so we tried to provide a place for them to feel like they are at home. after we have this place we see a lot of happy faces. i see a lot of them gained weight. they have a big tummy. and i say okay that's what we are doing is the right thing. >> anthony: tell me about this building. it's legendary of course. >> sharmake: for me i think it's really a very unique place. like it's a place that when i come out from my home it's a place that i know i'm going to pass in some way. it's a place i meet with friends. it's a place that gives me a lot

of confidence when i'm in here. i know where to go. i know how to talk. i know which food to eat. >> anthony: in the '60s and '70s the city relied on cheap refugee labor. no longer. today, most refugees are seeking asylum anywhere they can find it. many here are stuck in limbo. can't go back. can't work. can't leave. john fled iran six years ago just ahead of the secret police. sharmake is a student from somalia who had equally compelling reasons to leave his home. >> anthony: what brought you here? >> sharmake: basic reason for me to come here was finding a safe haven right? i mean you're in a safe place. that's the only thing you're thinking about in that moment. >> anthony: you came from iran? why did you come to hong kong? >> john: why did i leave iran? the short version goes they wanted to kill me and i said no thank you. i end up here. it wasn't something that i would dream of or i planned. i have no idea about the currency, the government -- no.

nothing at all. been here now?w long have you >>oh going to be sixears. >> anthony: six years. >> john: yeah, they tell me that even if you be accepted as a refugee you're not welcome to stay. you have to be settled in another country. they are telling me while you're staying you are not allowed to work, study, even volunteer or contribute in society in any way. >> anthony: but you could exist? that's it. >> sharmake: you can exist yeah. >> anthony: hold on one sec, let me reset. >> chris: how was it going? >> anthony: good. >> chris: do you believe everything he says? >> anthony: yes. >> chris: how were they? >> anthony: i think we're good. we got a lot of bread. let's just leave it there. >> chris: can we push you up a little bit to your right. >> anthony: all right. let me know when everybody's up. so what is your hope? what are your prospects on being

able to go to america? >> john: i would love to go to america but that's not the way u.s. sees me qualified to be there. >> sharmake: right before donald trump was appointed to be the american president i had my last interview. and then unfortunately you know what he did. he banned six -- seven countries including my country. so now currently i'm studying and i'm planning to move somewhere else. >> john: to be honest i'm not a big fan of hope. i have no hope in the system or i have no hope in someone going to get me out of here. i'm trying on my own. i'm trying to be my best as possible here and seek by myself for ways to get out of hong kong and the system. join t-mobile. and get netflix included.

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♪

♪ ♪ >> jason: have you eaten anything today? >> anthony: uh no. i'm hungry man. come to me. here we go. david boring is a five-piece band fronted by janice lau and jason cheung. their backgrounds in architecture and medicine seemingly at odds with their somewhat more nihilistic music. >> anthony: you know this place. you've eaten here before. many times because you guys went

to school right in the neighborhood. >> janice: it's very popular with students. we always come after deadlines. so first thing in the morning. 4:00 a.m., all students. >> jason: and the place is even more crowded than right now. >> anthony: even then? what are the things you see disappearing in hong kong that are most alarming to you? >> janice: certainly a degree of freedom. as someone who's born and raised here you can definitely feel a change of laws in five to ten years.

and what we are trying to do with our music is to address that sort of change. >> anthony: are you able to say what you want? >> janice: yeah. >> anthony: yes. >> janice: yeah. >> anthony: in 10 years? >> janice: i don't know. right now, yes. >> jason: you're actually allowed to play music. you're allowed to do whatever you want. but there is no venue. there is no space for you to practice. i think this is how the society is limiting the possibility of young people in that sense. >> anthony: whatever your feelings about how things are going some things are a constant. a comfort. a birthright. like egg custard buns.

egg yolks. sweet and condensed milk. when steamed the custard returns to more molten form. braised chicken feet first fried then braised with ginger and star anise before being finished in the steamer. >> anthony: is it possible to make a living playing your kind of music? >> janice: no. >> jason: impossible. >> janice: hence the day job. >> anthony: hence the day job. >> jason: actually hong kong is a society that really values elitism and professionalism. >> anthony: right. >> jason: but in a way that we are seeing even these standards are falling apart within the system. >> janice: but it's important to be part of the system to make any changes at all. because if you just stay on the fringe it's very hard to get people to listen to you. ♪ ♪

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>> xiumei: [ speaking foreign language ] language ] >> anthony: i may be in the hey you kids get off my lawn phase of my life. and hostile in principle about changes to age old customs and traditions i love but it turns out that the new hong kong has

its hopeful aspects. >> may: there's a little bread and dip. this is sourdough chicken fat chicken stock egg waffle. and this is taiwanese bottarga. so just use your hands. >> anthony: wow. i am immediately happy. >> anthony: chef owner may chow is the creative force behind "happy "paradise. a restaurant and bar serving traditional cantonese dishes made with modern cooking techniques. joining us are jenny suen and feng shui master thierry chow. >> anthony: oh my god this food is great. how long have you been open? >> may: seven months only. >> anthony: wait a minute only seven months? so this is your new baby. >> may: it was a little bit more reflection about being chinese like how do i be modern but not lose the soul of it? >> anthony: now how important -- and i should've asked -- i should be asking you this. feng shui is something i know nothing about. when you moved into this space did you consult? >> may: she's my friend. >> anthony: i was guessing. >> may: she's my friend.

>> thierry: so feng shui is just the environment and the relation between the environment and the people. when you're in a restaurant -- when you're eating your food the space matters. it changes the way you taste the food. >> anthony: so when you look at this space what are you looking for? and what do you do? >> thierry: there's a couple things. so number one is i use the compass. so where northeast southwest is. so from there we have the formula and then that would tell us where the best chi is. >> anthony: what is chi? >> thierry: the energy that are given off by the universe. so i look around and i see the colors of the decorations. how the furnitures are. and i can say okay are these good placements? >> jenny: it's all about the flow of energy. where you're looking at. where the light comes from.

which is so -- >> anthony: but a lot of what you've been saying in fact reminds me of a certain cinematographer i know. >> jenny: exactly. >> anthony: positive energy harnessed appropriately one could turn ones full attention to the food. sauteed prawns with pomelo pith fried shrimp roe and prawn oil. >> may: those are dishes that i feel even hong kong people don't do it so much anymore because it's such an old-fashioned dish so we want to make it cool again. >> anthony: tea smoked pigeon served medium rare. sea salt on the side. oaxaca style chicken poached in shaoxing wine with oyster mushroom fried rice and shiitake broth. >> may: again this would feel like a very traditional cantonese dish but it's not because it doesn't really exist in its form and combination. >> anthony: pig brain with burnt pear vinaigrette. all of it truly stunningly delicious. >> jenny: there's something that

i think binds all of us together which is we're trying to reinterpret hong kong culture in a way that makes sense to us. >> may: i think as we're getting older we start to actually enjoy our own culture and that's why you do that movie about the white girl or she does her feng shui because you want to create something new that represents the city as it is today.

>> douglas: okay this is my prawn roe noodles. do you see how -- wanna try it? >> anthony: yes. please. >> douglas: what do you think? >> anthony: i love this. >> anthony: douglas young is the founder and creative force behind the hong kong lifestyle brand, g.o.d. >> douglas: okay so this is a classic. it's the same stuff but without the prawn. >> anthony: i'm told that what -- two maybe three people left in all of hong kong are making bamboo noodles the old-school way. >> douglas: that's right. >> anthony: i've seen this process once before. it's incredible.

>> anthony: lau sum kee is run by the third generation of a family who still prepare their wontons from scratch. and make their noodles their bamboo noodles the painfully labor intensive time-consuming old school way. one of the last operations in hong kong to do this. ♪ ♪

>> anthony: it is one of many things in this city that are under pressure or disappearing. a lot of traditional crafts buildings are without remorse or sentiment being bulldozed away. >> douglas: that's the story of hong kong you know. hong kong is always going through change and nothing's precious. if something is old it's like torn down thrown away destroyed. that's hong kong. when i was a kid all the shopping used to be done on the streets. there did not used to be shopping malls. i miss the buildings three stories high sort of like glass facades. and actually i also think in the way people dress as well because the people around here dress in this kind of strange mix. i mean even the look of chinese characters to me is very interesting but it's disappearing because actually mainland china is trying to get

rid of our hong kong style of writing. we'll lose that as well. >> anthony: those are beautiful to me. the things are continually fascinating -- fascinate me. >> douglas: yeah that's what the city is about. >> anthony: but those are disappearing. >> douglas: those are disappearing because i think the government wants to present an image that is like modern and western so we've got to clean ourselves of these sort of messy street people. >> anthony: i hate that. >> douglas: yeah but i think actually our generation -- the new generation is beginning to appreciate what we have because we grew up in a wealthy period and we had happy childhood memories so we want to preserve that. i really see it happening in hong kong. finally. ♪ ♪

if you're like me, you went to college. if you're not like me, then you actually graduated from college. and when i think college i thinkle "a" classes sleeping through 8 "a" classance football. now most colleges the exciting thing about football is the game. but some college the exciting part is what happened at half time on this episode we're talking about historically black colleges and universities. why they work and why they still are relevant. and maybe i'll even learn to do some of this.