One of China's top directors, Chen Kaige, has hit back at claims that he indulges in metaphysical expression in his films, while neglecting the audience.

"I've always considered the market, which is the base of film makers," said the director of the 1993 Oscar-nominated "Farewell My Concubine," ahead of his heavily anticipated "The Promise," which makes its global debut on December 15.

Although Chen is a flagship director in China, some of his works - including the "Life On A String," "Temptress Moon" and "The Emperor and the Assassin" - have bombed at the box office due to their incoherent expressions, critics say.

"I want to let the media and audiences know me better with 'The Promise.' I'm not just a metaphysical director who pays much attention to philosophy and but can also shoot 'artistic films' with profound meanings," said Chen.

The director made "The Promise" in 1,090 days, trekking for nearly 10,120 kilometers, at a cost of 340 million yuan (US$42 million), so far the biggest budget film in China.

"The Promise" has secured qualification from the Chinese government to vie for the 78th Oscar nomination representing the Chinese mainland, before it was shown in the southwestern city of Chengdu for a week in October to meet Academy Awards eligibility rules.

Chen said it is a "commercial blockbuster," aiming for a box office victory.

Many commercial elements - including love, war, conspiracy and high-tech audio-visual effects - have been used in the film, he added.

The movie boasts an international cast of Asian superstars, including South Korea's Jang Dong-gun, Japan's Hiroyuki Sanada of "The Last Samurai," and Hong Kong stars Nicholas Tse and Cecilia Cheung. Academy Award winner Peter Pau of "Crouching Tiger, Hidden Dragon" wields the camera, which is also a magnet for audiences, Chen said.

"Audiences will not enter the cinemas if you fail to entertain them without such commercial elements, which is a rule every director must abide by," he said. "They need entertainment rather than profound meanings or philosophical ideas after a hard day's work."

In fact, most Chinese films made every year have scant chance of drawing audiences to cinemas, he claimed. China made 212 films in 2004, with most of them failing the audience test.

Although China's box office revenue hit 1.5 billion yuan in 2004, up 60 percent over the previous year, it was still too small in proportion to the country's national economy, Chen said.

"I think many Chinese audiences are not interested in homegrown films, as most of them lack recreational elements," he suggested.