Production Talk - 'Mosquitoes - Xiao Fu' by Ang SooKoon

Mosquitoes-Xiao Fu is a 2 part short film. mosquitoes is an animation of a short poem about missing someone. Xiao Fu is about a little girl who hangs out with her younger brother. They go about doing regular things that kids do. She also has a penpal whom she writes to, exchanging information about their lives. I was the only person filming this at the production phase. The music for mosquitoes is composed by Evan Tan and Xiao fu by Joe Ng.

Jeremy (J) : What inspired you to make this?The visuals evoke a mix of nostalgia and surrealism. What did you intend to create?
SooKoon (S) : i made the film because i miss my boyfriend, vincent. In retrospection, i think i always make my videos/films as a sort of reflection on my personal state of mind/emotion.
I think the nostalgia is evoke from the wish to have befriended vincent as kids. As for the surrealism, I guess any memory is part real, part made-up.

J : Were you shooting with a super 8 camera?

S : Yes, it's shot in super 8 to get soft tones. The natural daylight here in singapore makes colours come out too vivid, too bright which can be good for some thing but i didn't think it's good for this one.

J : It looks extremely grainy, were the images altered, modified to a great extent in post?
S : I like to tell you that it is intentional but no, i didn't alter the images. It came out grainy because i filmed and edited it. I am not so pro as a cinematographer and as an editor.
things i do come out rough. I like this style anyway. But well, on the other hand, i also try to improve technically.

J : Any interesting things happened during the production phase of this film?
S : It took one day of filming with the kids for xiao fu. The kids are very good kids and easy to work with. Nothing very interesting happened (other than, i hope, the film) We had mcdonald's in the afternoon. Mosquitoes was made entirely at home.

J : What kind of works have you done in the past and how does this comnpare to them?
S : I make videos that is a cross between video art and narrative video. Most of the time, i have an abstract or a very minimal story going on mosquitoes-xiao fu is sesame street inspired short film. Mosquitoes is made in the one of sesame street's cartoon style. I love these cartoons about alphabets and numbers. I watch them in utube if i want to feel this certain child wonder lightness of being. Xiao fu is the first time i have kids as actors. Xiao fu is named after a little chinese girl who is big bird(from sesame street)'s friend in the film, "Big Bird in China". Mosquitoes-xiao fu is similar to my other films in the sense that I try to inject a sort of otherworldliness in the simplicity of the common everyday.

J : Are you working on anything currently?

S : i am making drawings for my solo show in the substation coming sept,
along side with a sculpture which i have in mind to complete for quite some time already.

Production Talk - '5 Films' by David Shiyang Liu

David : ‘5films’ is the working title of a series of 5 short vignettes in the secret lives of several disparate characters; inspired by the 5 human senses, and part of a series of an ambitious exercise where I make a film a month in 2008. Each film is a micro-short of no more than 5 minutes in length, and will be screened together as a collected narrative piece of no more than 25 minutes.

Early on in the year, I was brainstorming for ideas when I chanced upon the Nine Inch Nails' GHOSTS album. Trent Reznor graciously licensed the album under the Creative Commons, which meant that the music could be freely used without permission so long as he was attributed as the author, and that no profit is to be made from it. The music was never intended to be used as a soundtrack, just as 'writing music'; but certain, memorable tracks inevitably found their way into the films.

Each film blossomed from the seed of a random daydream, or the excited epiphany that follows the accidental observation of something that interested me as I walk out in the morning. They are among other stories that write themselves, that are hastily scrawled in a Moleskine notebook I keep in my back pocket. Their stories are separate, but only in the way that peoples' lives are separate. Human beings are strange, social animals – these films are a small tribute to that.

Jeremy (J) : To shoot a mini film a month is a big feat. Are you making films most of the time or are you juggling it with something else?

David (D) : I wish I could be making films most of the time! No, part of the reason why I wanted to make a micro-short a month was because I wasn't making enough films as it was - but more on that later. Filmmaking is, as I'm sure most of you know, a tiring, exhausting process. But just because it's hard doesn't mean it doesn't have to be fun.

J : What inspired you to start on this project?

D : To keep it brief, there was an expensive, massive, convoluted film that I was involved in in early 2007. I poured myself, my savings, and a whole lot of emotional investment into it; and for a multitude of reasons it crumbled into pieces. After that, I told myself, never again.

I took a sabbatical off filmmaking for a couple of months and tried to get reinspired by watching as many films as I could, and reading up literature about creative types and how they dealt with insecurity, personal failures, etc. Somewhere along the way, I rediscovered my love for the short form. I've always appreciated tvcs that told short stories, or music clips that had some sort of a narrative thread.

Then I chanced upon an article somewhere that harked on how creative people NEED to practice - the way a writer practices writing with a pen, or a singer with his voice... surely a filmmaker needs constant practice with a camera... at the very least! Think about how -little- films we make a year! Already the Coen bros are doing the nay impossible by churning out close to a film a year - how amazing is that?

But that is still a film a year. 365 days. 52 weeks. long time. student filmmakers, if they're lucky, make one SHORT film a year. ditto any other filmmaker with a day job. by the time we get a grant approved, investors excited, boof! a year gone. Didn't John Ford make close to 150 films in his lifetime? Like, holy hell. Money and time's no excuse - look at the gems that come out of the 15/15-flybynight-48hr film festivals.

Of course not all of these films are going to be masterpieces. But that's not the point. The point is that there's practice... and an attitude where mistakes are embraced. I'm sure any filmmaker can attest to the beautiful chance mistakes that happen on set, that turn out to be the best part of the film.Because the converse, well, fair enough - you might make 7 or 8 features in your lifetime, and they might be the best films in the world. Are you willing to wage on the odds of that happening?

I've too many rampant ideas and stories just dying to be made, and too little money to get them made expensively. I'm not sure if I'm that sort of filmmaker to spend most of my life in pre-production, and not actually MAKING a film. At least, not yet. Maybe when I start getting good at it.And structurally, there's Jonathan Coulton's 'Song a Week' that I must credit. And Jane Campion's 'Passionless Moments'. Because it's been done before, but at least it's now been done with my voice.

J : Was there a running theme through the different month's shoot? I am asking this because your anthology has the common theme of the senses.

D : Not at all. I just wanted to be kept busy, making sure that I'm constantly working on a project. for eg. one was a short doco I worked on with my good friend/filmmaker Chris Pahlow for the BBC World Service.

We were commissioned by an old art teacher/mentor of ours and that took us a convenient one month to finish. Another was an ad I did for Ford. (which is still in post...)I guess I cheated a little with the 5 senses... I dreamed up that idea in a shower at my girlfriend's house back in 2006, I think. I was thinking of something that most of us could relate to regardless of language, religion, ethnic-background, and all that kerfuffle. We're human beings - at least we have that in common.Then when I came up with my film a month idea, I knew I would slot the 5 senses into each of the months in 2008 - i didn't know what story each one was going to be yet.

I'm one of those annoying people who keep a moleskine in their back pants-pocket and just trusted that I'd have an idea in there that I could use with each of the 5 senses.I like the way your characters each have a kind of behavioural anomaly related to one of the senses.

J : What is your inspiration or motivation behind these characters?

D : Haha, it didn't actually occur to me that they were behavioral anomalies actually... but nicely observed! These stories are meant to be slice-of-life, moments in lives of people you might actually know. The moments that they, otherwise normal people, will never forget - moments when they do something extraordinary, or as you call it, 'anomalous'.I think if you empathised with at least one of the characters, I would be happy.

I heartily believe that none of us are as 'normal' as we appear, or appear to other people. I'm certain that there are times, when we are alone by ourselves, that we'd do something... DIFFERENT that we'd be too shy or embarrassed about to tell others. That's why I think human beings are extraordinarily interesting. Everyone's lives are different, and everyone has a story to tell - and they don't need to be big stories.

As for how I came up with the ideas, I'll again have to credit my moleskine. I'd often overhear or dream up silly little things when I'm commuting, and i'd jot them down in my moleskine before I forget.

J : Do you maintain the same style throughout the mini-films or do you consciously try to make them different month to month?

D : Nope. Because they were all exercises for myself, they were also an experiment in form and style. I guess I was still trying to see what I enjoyed and what I didn't. When you watch the films, they will become apparent. Hopefully.I must add at this point that my producer Jack Haycox, would probably jump in and chide me for calling them 'exercises for myself'. Because it's his baby too, really. Thanks Jack.

J : How did you get help to shoot this? I mean, given that it is monthly, you must sure do a lot of begging!

D : Haha, I was just very lucky to be surrounded by very supportive friends, who have supportive friends, who too have supportive friends of their own! I was very clear to Jack about the leanness of these films from the beginning - we'd only have a core team of 3 - Jack, me, and our DP Simon Walsh. Each film will cost no more than AUD$500 to make, and no more crew than the set needed.I guess that it helped that some of us were still in film school then and we could use school gear half the time, but even then, we didn't take out more than we needed... which often was just a camera, a tripod, and one set of lights.

Most of the money went into stock, and food for the cast and crew... and ultimately, no film cost more than AUD$300 to make. And we made sure that the cast/crew were well fed! Which wasn't hard considering there were often no more than 6 - 8 of us at a time. Film #2, for eg., shot in SG when i was back briefly, only had 3 cast and crew in total: the production designer/makeup/costume dept/actress (all just dear Nicole), myself, and two of my friends who came at intervals to help briefly with grip-work and cleaning up.

Perhaps I was just trying to prove to myself that films don't need a grand hierarchy of crew, lots of money, and a lifetime in pre-production to make.

J : What were your biggest challenges in making this film?

D : Convincing myself that pre-production can be skimped on. Okay, I'm half-serious. Don't get me wrong. I'm all for pre-production when it comes to big films. Hell, big films are MADE during pre-production. But it was hard convincing people (and myself) at first that sometimes, at least for these films that we're making, traditional models of filmmaking can actually be very limiting. I wouldn't think '5films' would have been made if I had spent more money, or was slapped on the back with a significantly larger crew. I would have been too neurotic to make the films as intimately as I did. The result would be something I'd be less proud of, definitely.'5films' is what it is. I think I speak for the cast and crew that we're proud as heck for it having come so far.

J : Did you ever felt like giving up , like just skip one month or something ?

D : I've skipped two months - does that mean I've given up? I think not. At the end of the year, I think I spent so much time trying to get '5films' submitted for a screening that I had to forgo two months' worth of films. I don't regret it though. Sure, it's slightly cheating, but I'd still proudly call the project the result of an exercise in a film a month. It's all part of embracing mistakes. Shit's gonna happen on set, and in life. It's how we deal with it. Or so a similar cliche goes.

J : How many short films have you made prior to this?

D : Do you intend to make more and what are some of the ideas you have in mind?Not as many as I'd have liked. I made '4444' in 2005, which won a few things and convinced myself that there were at least 3 people out there who liked my work. After that, I think I was still finding my direction as a creative person - I wasn't sure if I wanted to be a DP, or a visual effects artist, or a motion graphics artist/animator, or a photographer, or a designer.

I think for several years I toyed around with all them disciplines before realising that I'd accidentally made myself a writer/director. After that, I tried for several years freelancing as much as I could to get a feel of the industry. I don't regret those years having done what I have, but in retrospect, I wished I thought of making small, fast films sooner... Yes, I do intend to make more. But in the meantime, I owe the Singapore Armed Forces 3 more months of mandatory military service, so I'm afraid that's got to be put on hold. For now.

J : What are the top 5 movies you wish you'd made? (This is just a fun question, please feel free to not take it TOO seriously or intensely. And note: it's top 5 movies you WISH YOU MADE, not top 5 fave movies!)

D :

1. Ghostbusters 2 - because really, i loved part one and the sequel was tame. And I've always wanted to sit in the Ecto-1!

2. Before Sunrise - because it was such an authentic, unforgettable poignance. I've harboured a crush for Julie Delpy since.

3. Lucky 7 - i've never seen it, but it sounds like such a collaborative, inspiring experience. Would love to be part of a future incarnation of it.

4. Me and You and Everyone We Know - The scriptwriting is superb, and I couldn't have done a better job than Miranda July.... but I wish I could have been the first to say... ))<>((

5. Mr Hulot's Holiday - If only to shake Jacques Tati's hand and learn French from him. Thanks for the interview opportunity!

David Liu's '5 Films in an Anthology of a Film a Month' is competing in the coming SIFF Shorts Silver Screen Awards.

Production Talk - 'This Too Shall Pass' by Ang Aik Heng

Aik Heng : "This Too Shall Pass" is an accidental documentary project that turned out to be a bigger and more intimate piece during the filming and post production process. It is not only about how a 70-year-old old man faces cancer, death and issues larger than life, it is also very much about me coming to terms with family issues of my own.I feel fortunate for being able to complete the film and share the results with an audience. Produced without a dime of support from any bodies, this documentary would not have been possible without the support from some my best production kakis in the industry.

Jeremy (J): What do you mean by an accidental documentary?
Aik Heng (A): Most of the time, documentary makers look for stories to tell. But somehow for this piece that i've completed, i always had the feeling that "it" found me. Three years back, the daughter of my subject approached a fellow industry friend of mine to shoot a documentary on her father's final days. The dad is in the terminal stages of nose/throat cancer.My friend was unable to commit and i was introduced to the daughter.I agreed to help the daughter to film as much as i could. But as time passed, i develop a relationship with the family and a bond with the dying father.I gained access to the family and this resulted in the documentary.

J : This as you mentioned is a personal story? Could you share more if it is not too sensitive for you?
A : This documentary reveals intimate details about the dying father's relationship with his wife, and his beloved son.It is also personal at the same time, because the relationship between the dying father and his wife, parallels that of my own parents.And unfortunately at this very juncture, my dad had a medical examination and he was discovered with a tumour, which till today, he refused to take any action about it...It was an awakening call for me.Why do you want to make a film of it? I wanted to raise awareness about the importance to discuss death, especially with the dying patients, eye to eye, heart to heart. Many Singaporeans still find talking about death a taboo.

J : Could you take me through the development process of this idea? Did you have a very detailed and contained plan or was it more organic?

A : I have never dealt with the issue of death in my range of work, and i thought it is time i go through this journey. There are no concrete plan per say, i was told by the daughter, her dad would probably not live past 3 months, and if he is lucky, another 3 years. That is the uncertain timeline i am working on.But as it turns out, the worst prediction came true...

J : Is the old man in the picture related to you?

A : No. He was a total stranger when i first met him.

J : What did you shoot this on?

A : The documentary was shot on mini-dv format, mainly using Panasonic DVX.

J : Did you actually try applying for financial help or grants to shoot this?

A : I tried to apply for a grant from SFC, but i did not meet one of their requirements.

J : What were the biggest challenges making this film?

A : I was holding a full time job, traveling quite often during the production period. Trying to manage work, independent work and personal life is challenging. Working without grants can be demoralizing as i have little to offer for the professional help i am receiving. My heartfelt thanks to production friends like Lau Hon Meng (cameraman), Amelia Su (editor), Teo Wei Yong (music composer), Alan Chong (sound engineer) and Geogette Soh (poster design).They are my beacons of light. :)

J : Any interesting anecdotes to share?

A : I felt really emotionally on the new year's eve on 31st dec 2006. Mr Lee (dying father) was critically ill and i was filming the fireworks at Esplanade. I remember the cheering and countdown vividly.

J : What are the top 5 movies you wish you'd made? (This is just a fun question, please feel free to not take it TOO seriously or intensely. And note: it's top 5 movies you WISH YOU MADE, not top 5 fave movies!)

A : 1. The Reader 2. The Curious Case of Benjamin Button 3. Buddha's Lost Child (A documentary) 4. Slumdog Millionaire 5. 新不了情

Ang Aik Heng's This Too Shall Pass will be screened under Singapore Panorama in this year's SIFF.

Production Talk - 'Sink' by Kirsten Tan

A sink sitting in the low tides.
A boy playing by the beach.
A chance meeting.
“Sink” is a distilled exploration of innocence and experience, love and loss;
an intimation at what might lie beyond.

Director Statement:
I first saw in my head an image of a sink sitting in the middle of an ocean. Since I was going through a period of loss at that point, I weaved a theme around that in the form of a relationship between a boy and a sink.

Director Bio:
The greatest feeling Kirsten ever had, was walking out of a cinema feeling inspired by a film. Thus began her desire to make them. Since then, her films have been screened in more than 20 film festivals, garnering over 10 international awards. She is now based in New York City.

L (leew): Why and how did you make the film in Thailand...
K (Kirsten): I had the idea of "sink" sitting in my head for a long time. I've carried the idea with me for more than 5 years and I never thought I could actually make it. There just isn't a shoreline like that in Singapore - empty; with no one on it; without a ship in sight. I just kept the idea inside me, and it's an idea I loved so I knew I was willing to wait.

By chance I was on vacation with a friend. We were on a road-trip and we stumbled upon this beach. There is a fishing village nearby but otherwise, it is entirely empty. No tourist, no one. It's perfect. Looking at the vast barrenness of sea and shoreline, I was reminded of my story and I decided to film it there because I may never find a beach like that again.

L: What was it like making a film overseas with Thai crew and team?
K: I was lucky. I met the owner of a Thai production house called Pee Bpen from Big Eye. I had a talk with him about the film. He does mostly commercials but he really liked the idea and provided me equipment and crew at a really reduced price. He gave me his newly built underwater camera housing to test and that's how I achieved those shots that are partly submerged in water.

I am mainly indebted to him. The thai crew was amazing. I didn't have an art department and so those professionally hired ACs and Grips were actually doubling up as props people. They knew I needed help and just chipped in.

In general, I find Thai people very relaxed and very easy to work with.
L: From the synopsis, stills and description, 'Sink' sounds like a dream. It's a striking image, a sink in the middle of the sea. Is it a dream? Your previous shorts also seem to have a bit of dream-like quality about them...
K: You're absolutely right. The image of a sink in the sea did come from a dream. It was such a striking dream that I spent weeks after that trying to interpret it. The eventual film is based upon the interpretation of that dream.

L: Do you do things like wake up from a dream and write down notes, inspirations for a film or treatment?
K: This is actually the first time I've directly adapted a dream into a film. I didn't actually have to write it down because that image stayed with me for sometime after I woke up. It was one of those dreams where I told friends about. Eventually I did note it down when I started working on it as a script.

I do enjoy the moments between the time I wake up to the time I actually get out of bed. Those few minutes are actually my most creative. My mind is at its free-est. When I'm stuck with a script or with storyboarding, I know sleeping will always help me.

Perhaps that's why a Thai fortune-teller advised me to sleep less.

L: Tell us a bit about the production process of 'Sink', especially since it was made outside of Singapore.
K: I went to Thailand for a year to travel and work. I didn't actually go to Thailand to make the film. It just happened while I was there.

The whole process was pretty similar. I was stuck in my room working on the script and storyboard and when the time came, I submitted it to SFC for a short film grant and then I met up with friends and people whom I thought would be interested to work on the project.

The one particular process that was really different and interesting was casting. I had three roles in the film - a young boy; a man; and an old man. For the role of the man, I brought in a friend. I had no clue as to how to cast a young boy and an old man in Thailand. What eventually happened was that I went to a school by the beach I was filming. It was a local school in the village. I talked to the principal and she was really excited about being involved in the film project. The next moment, she went out to the courtyard, shouted for all her students to gather and the next minute, I had 50 kids sitting in front of me.
My lead actor was found that way. He was a complete country-side boy but was a lot of fun. He doesn't watch TV (they don't have TV sets at home), and needless to say, has never acted. Whenever I talk to him, his whole extended family (of about 20) would gather and watch. They would sit around and laugh. I had no clue as to what was funny and so the whole process was pretty daunting. I never rehearsed with him. On the day of shoot, he was pretty freaked out at first by the camera and the crew but eventually, he got used to it and completely opened up. There is something very natural about actors who don't watch too much TV.

My old man in the film was actually the father of a papaya-salad street-side seller. I found him chilling on his hammock at the village and I approached him. He said no at first but his daughters were completely in love with the idea of him acting and basically forced him into it.

L: Any interesting things or strange incidents happened during the process?
K: The location was 3 hours away from Bangkok. I saw the location a few months prior to shoot and never went back again.

4 days before the shoot, I went down to the place and saw to my horror that the waves were insanely huge and that there was no beach at all since the tides rose to such a high level. My heart literally sank. I realize I was stupid enough to set the shoot dates during monsoon season.

It was a little too late to change since the entire production has been planned. A vehicle was coming down from Bangkok with equipment and crew and I already had all my props transported to the place. A day before the shoot, I was busily scouting for a new beach, one that wouldn't be so affected by the weather.

And then, on the day of shoot itself, the tides got incredible kind. I actually had a long expand of shore and I could actually see a beach. And it happened for two days in a row over the weekend.

The very day I stopped shooting on Monday, the tides rose again and the beach completely disappeared. If I shot just one day later, it would've been impossible.

I finished this film completely through the mercy of divinity. Being a filmmaker is not only about hard-work or talent or getting enough money to finance a film, it is also a lot about chance.
L: How do you direct actors who are non-Singaporean? Is it easier/tougher? Please share with us some things you learned as a director, working with people who may not speak the same language.
K: I had a friend acting as translator for me. This film was pretty easy since there is no dialogue. I just showed them the actions and directed them really simply. Most of the time, it was just "look here" and "do this." Since they were non-actors, it was all really straight-forward. No in-depth discussions about characters/back-story and stuff like that.

L: Is it cheaper or more expensive to make a short film overseas?
K: Depends on the country. It was definitely cheaper to shoot in Thailand than in Singapore but that's partly because I've lived in Thailand for more than half a year prior to shooting "sink" and I had friends who were willing to help me out.
I had a benefactor who was helping me out in terms of crew and equipment. I got all my film-stocks for free through short-ends from commercial production houses. I also got a 50% for all post-production processes. So I would say I did the film for about a third of the price it would cost had I done it in Singapore.

L: Do you think people ought to leave the country more, or spend a bit of time overseas. For whatever reasons...
K: I'm not sure what you mean when you saying "leaving" the country. Do you mean temporarily or permanently? Definitely spend time outside of the country but it's up to the person whether he or she wants to leave. I don't necessarily consider people who leave permanently quitters, nor do I think people who stay are necessarily patriotic.

Living in a place where you're a complete outsider is unnerving. At the same time, It's only when you realize how completely unimportant you are that you find out it is actually quite ok to be nothing. That is very liberating since it essentially means there is nothing to be afraid of.

I know for sure being out of Singapore for sometime has gained me a lot of perspective. I understand myself a lot better and I've become a braver person and a braver filmmaker because of that.
L: 'Come' was made in Korea as well. Now 'Sink' in Thailand. You're based in New York City now - for work or study or...? Is that where you'll make your next film?
K: I've actually made a film in NYC titled "Cold Noodles." It's part of my coursework in school. I'm doing my Masters in Film Production at Tisch, NYU.
L: Where do you feel most at home?
K: For sure, Singapore. In Thailand and Korea, no one understood me even though I thought I knew the language. In New York, my accent completely stands out.
L: Will you come back to Singapore to make films?
K: I don't know where I'll be after New York. I think the most inspiring thing about film is that the film-making has brought me to so many places. I have no plans for now but I know I will eventually go back to Singapore because that's where I feel most comfortable.
L: Do you have anything else to add before I ask the last question?
K: Not really.

L: Last question might take some time. It’s something I like to ask local filmmaker friends. What are the top 5 movies you wish you'd made? (This is just a fun question, please feel free to not take it TOO seriously or intensely. And note: it's top 5 movies you WISH YOU MADE, not top 5 fave movies!)
K: Ok, off the top of my head:

1) Cinema Paradiso
2) Band of Outsiders
3) The Professional (Leon)
4) Elephant
5) Days of Being Wild
6) ... I'm sure I can continue rattling on

Kirsten’s Sink is currently in competition at the 22nd Singapore International Film Festival (14 – 25 April 2009).

Production Talk - 'Swimming Lesson' by Kat Goh

Synopsis:
On the way to the airport, a mother frets over her daughter who is leaving home for the first time. Suddenly, she finds herself on a curious detour that plumbs muddy memories, only to surface with a dazzling lesson in both life and swimming.

Director’s Statement:
For most Singaporeans, we have the luxury of growing up living under the protection of our parents. However, we often hear complaints from our young generation about over-protective parents. Are their parents really so unreasonable or do they just love their children too much? Maybe the best thing to do is to just let go.

Biography:
A veteran of television production, Kat Goh is one of the few female filmmakers to emerge from Singapore. Cutting her teeth on epic TV productions during an eight-year stint at both MCS and Channel U, Kat’s work on the small screen includes the highly-rated comedy series Durian King (2004), which won three PROMAX awards including Best Actress.

L (leew): Can you tell us a bit about your short film "Swimming Lesson"?
K (Kat): Swimming Lesson is about the relationship between a control freak mother and her daughter. The story happens in the last four hours before the daughter gets on the plane to America for her studies. At the end of the short film, the protagonist's father (Grandfather) teaches the mother to let go by reminding her of a particular swimming session in which he lets go of his hold on her and she learns to swim. We always hear kids complaining about their parents being unreasonable and too controlling.. (like me) But they never consider the fact that that might be the only way the parent knows how to show love.
L: Sounds good. Is it autobiographical?
K: Yeah it's a bit like my life. Many friends ask if I’m talking about myself.
L: We know from your bio that you've been working in the industry for many years. Is this your first short film?
K: Yes it's my first short film. I have been wanting to shoot one but I never had the time.
L: I was talking to Joe (Ng), who did the music in your film - is it the sort of arty, moody, angsty type of film? Luckily, he said no...
K: No nothing of that sort. I'm not such a person.. Ha ha. I like the more realistic portrayal of life.
L: How is your short film different from your work?
K: It's different in the sense that I must bring across the idea fast in 15mins unlike in features where I can spend time building up a character.

K: Well.. an advice from Kelvin (Tong, scriptwriter) - if you can't say what you want to say in the first 5 mins.. what you want to say is probably not important.
L: Yes, useful advice for everyone!
L: So how was the production process, did you work with the usual people in your work team?
K: Yes my team are all friends.. Irin (Stylist) and Daniel (Art Director).. I've worked with both of them for almost all the projects since I joined Boku (Boku Films). And Ah Yin my DOP and his team, who always helps us out with our projects.

L: Anything interesting or strange happened during production...
K: You mean horror?? No... But we have a really tough time trying to get the expressway shots. We had to shoot at 3am when there's not much cars and try not to obstruct the traffic by getting our own cars to help warn others to be careful of us.

L: Yes I love production B-roll snippets like that. More please!
K: The poor girl in the swimming pool flashback scene was in the water for hours and she is starting to turn blue.
L: And you were shooting on film too, right? How was it?
K: Oh it was not film. It was the Panasonic P2 camera. And I am grateful to Panasonic for sponsoring it.
L: Oh ok.
K: Hopefully the next short film will be on super 16.

L: Since you've worked on so many TV and film projects, did you find it easy to find the right professional or experienced actors in your film?
K: Actually I was really trying to find unfamiliar faces. But when I just can't find the correct people, I fall back onto the experienced actors that I knew. I had to tone them down a lot cos they were so used to acting in TV dramas.

L: Earlier you were saying that your friends asked if this short film was about you... Was that the reaction you got from people who have seen it? How about family members?
K: Yes it was. And some of the production team who read the script. My mum has seen a bit of the film when I was editing bits of it at home. She thought the girl in the short film was me. Ha ha. But no. My family has not seen it yet. I'm a bit worried that my father will be angry. He might think that I'm making fun of him. My mum will definitely know what I'm hinting at.)
L: Maybe we'll meet them at the screening and find out...
K: Argh.. they are not going to the screening! I'll show them later on a dvd. :)

L: Is this short film something you've prepared for many years?
K: I only started thinking of this idea last year. The original idea was about 13 year old girls and period and crushes... Haha but it'll need more money to make it hilarious and entertaining. So I decided to change a topic.
L: Hmm, can you elaborate a bit on "it'll need more money to make it hilarious and entertaining"? Special effects or..?
K: More like sequences, bigger scene with lots of extras and wardrobe. Not special effects.
L: I see..

L: Back to your film and the process - Kelvin Tong wrote the script? How is it like working with him for your own short film, do you feel influenced?
K: He is more like a mentor to me. He tries not to influence my decisions so that the film will be more a Kat Goh film and not a Kelvin Tong film. But he gives me a lot of suggestions in the editing stage to make it more pacy.
L: So... no ghosts in this one?
K: LOL No.
L: No twist?
K: No it is not a thriller. It's not an arty, moody, angsty type of film.
L: No Benjamin Heng?
K: Ghost and twist is a Kelvin Tong trademark.
L: What's the Kat Goh trademark... kaypoh people want to know.
K: I don't know what my trademark is yet but I would think more sincere, more emotional and real.
K: I like to make people cry..
L: Really no ghosts huh...
K: hehe. Let me shoot one more scene for you. The plane to America crashes and the girl comes back as a ghost to haunt her parents..
L: Wah so scary!
K: Oh no cannot.. Not enough money to do that. :(

L: Ok back to more serious stuff... Do you think all films are autobiographical or have some truth about the filmmaker's character, history, personality somehow?
K: I think most films have some truth about the filmmaker's personality. No matter how different the film and the director is, how the characters handle the situations will be according to the director's experience and character.

L: Back to the production process again - how do you get actors to tone down the TV acting? What are some tips you've got over the years to get more 'natural' acting?
K: Sometimes I have to act out the tone for them. Sometimes I have to explain the situation and the character's emotional state to them in more detail so that they can immerse in the plot more. Mostly I talk about experiences and usually they'll have felt certain emotions some time in their life.

L: I see. Any new things you gained from the experience of making this short film?
K: Well.. it's not easy trying to handle the production aspect and the directing all by yourself.
L: You mean directing, producing, location scouting, AD-ing, all by yourself?
K: I do have a producer but cos my AD (assistant director) is quite new and we didn't have enough crew.. sometimes on set I have to handle the actors, the extras, the passer-bys myself. (pause) Oh yes, the whole crew was in one of the scene in the short film and the only people left not in the shot is me, a CA (camera assistant) and my AD. (pause) And it's a one shot scene.

But anyways, all short film makers have to do everything themselves..

L: Maybe we just look out for the tanned, sweaty people wearing cargo bermudas who happen to be 'acting'...
K: Ha ha.. But they look like the people who'll eat supper at night.. So it's okay.

L: You know, 5 out of the 9 SIFF short film competition finalists are or were film/media students. I guess whether you went to film school or not you still have to multi-task and play more than one role on set...
K: Yup.. It's fun too in a way.. And you learn much faster.
L: Anything to add before I ask the last question?
K: Oh yes, I shouldn't forget Men, my makeup person. He volunteered his service even when I have no money for him. So nice of him. Sob..
L: I guess it's good to have contacts from work. What an interesting name "Men"... A lot of student filmmakers just get their friends...
K: Yeah it's his surname. In a way, I just get my friends too... Except that they are from the film industry. Haha.
L: Ok, last question might take some time. It’s something I like to ask local filmmaker friends. What are the top 5 movies you wish you'd made? (This is just a fun question, please feel free to not take it TOO seriously or intensely. And note: it's top 5 movies you WISH YOU MADE, not top 5 fave movies!)
K: Presently… The first movie is 'He's Just Not That into You'. I just watched it and the relationships portrayed are so well written. A movie about women. The second movie is the Japanese 'Love Letter'. The third movie is 'Amelie' I know everybody wished they made this movie. Fourth is 'The memories of murder' cos it's funny and intense and I like that. Lastly, 'The Host'...action and humor and drama..

Kat’s Swimming Lesson is currently in competition at the 22nd Singapore International Film Festival (14 – 25 April 2009).

Production Talk - 'Shingaporu Monogatari' by Hafidz Senor

Hafidz was born in 1986. He made three short films while studying at Temasek Polytechnic. In 2005, he was one of the finalists in the inaugural Goh Chok Tong Youth Promise Award. He is a first-year graduate at NTU'S School of Art, Design and Media. In 'Singaporu Monogatari', stark, black-and-white shots of modern day Singapore are juxtaposed against grainy still photographs of wartime Singapore as the narrator, an eighty-year-old Malay man, recounts his memories about the Japanese Occupation. Based on conversations the director had with his grandfather, Shingaporu Monogatari is a compelling and sombre reminder of the war and the consequences it had on the people who lived through it.

Read more abotu it here on http://shingaporu-film.blogspot.com/

Lee Wong (L) : Can you tell us a bit about how and why you came up with this idea for your short film?

Hafidz (H): One afternoon, my grandfather and I talked about his experiences during the Japanese occupation. He was 14 at that point in time. We had a lively conversation because he was very detailed about what he experienced. Until today he still remembers some Japanese sentences and he's able to count in Japanese. Somehow I felt the urge to document his story.
L: Was it the first time you were talking about the past? I mean, his experiences during the Japanese Occupation...

H: Yes. For me that was the first time he talked about it.
L: Do you think young people (in Singapore) are generally apathetic about wartime history....

H: I'm sure the younger generation knows our history what our ancestors went through. We grow up in a different period, a different environment so they would not feel what the older generation went through. I guess we are very fortunate to grow up in Singapore, in a peaceful place. By making this film, I want to remember the people who passed away and the ones who survived. To remember their sacrifices.

L: Oh, I'm not that young and even I am unfortunately quite apathetic....

L: It says in your bio that you had made 3 short films when you were studying at Temasek Polytechnic. Can you tell us a bit about your earlier short films, are they different from Shingaporu Monogatari?

H: The three short films were dramas, writing a solid script is a difficult process. I had a difficult time trying to craft them. With Shingaporu it’s a different approach, it was loose, I had a narrative to begin with, and suddenly I had these images flying in my mind. I must mention that Shingaporu was the first time I enjoyed making a film.
L: Oh dear, what happened last time that wasn't enjoyable making a film...?

H: I wasn't satisfied with the outcome. I wished I had more time to write a better script. The script is crucial in any film. I felt I needed time to find inspiration.

L: And this time you were inspired by your grandfather. Besides photographs and conversations, how did you reconstruct the past and story in Shingaporu?

H: The main challenge for me was to make it short and good. It was a school project, I decided to settle for lesser than fifteen minutes. So I was selective in making a narrative out of my grandfather's memories. The film is a montage of everyday scenes, black and white still images I shot on film and old photographs. I decided to shoot at three locations, City Hall, Changi Beach and Fort Siloso. I read up a bit about the places during the occupation. In a way the images act as a bridge to convey the story. I had to complete the film in three weeks so I decided to shoot where it is accessible. (pause) As for the narrative, I wanted it be personal, the film is the essence of what my grandfather shared with me.

L: I see. Anything interesting or unusual happened in the making of this film?

H: The journey itself is interesting. Going to different locations, I walked a lot. I was surprised by the images I captured, especially at Sentosa. It's very much the same in life, sometimes mundane sometimes breathtaking. :)
L: Walking... definitely something I need to do more of, haha. Did this direction to a non-drama short film story have anything to do with your starting out in NTU's ADM (School of Art, Design and Media) course?

H: The project required us to make a film with a narrative. Just that. We could afford to be more experimental and adventurous. It certainly fitted me very well. And I had a story that lingered in my head.
L: The decision to study ADM at NTU, was it a natural progression after Temasek Poly? Tell us a bit about that...

H: It took me some time to decide. I enjoy art since young, I knew art was what I want to do. I wanted to work and gain industrial experience but my portfolio was not strong enough. The transition was a very smooth one. At Temasek Polytechnic the tutors emphasized a lot on ideation. It was very much about ideas they were not stringent on the script. It's very much the same at NTU where conceptual skills are pivotal, technical skills are just a bonus. In a way Temasek Polytechnic and ADM are similar. It certainly benefited me.

L: How old are you, have you done NS? (Don't mind me asking)H: I’m 23 this year. I was a combat medic during my time in the army.

L: How was it working with your classmates?

H: It’s not boring at all. We have a good mix of talented guys. We all have different strengths and abilities. We support one another. Art is a collaborative effort, you need other's opinions on your work.

L: Is this your first time competing in the SIFF?

H: Yes. I’m just blessed to be selected. To be chosen by Singapore's best filmmakers is amazing. When I received the news it was like a beautiful surprise.
L: How did your grandfather, family and friends react to your short film? I'm assuming some people have seen it....

H: They like it very much. My family and friends have been very supportive, although they felt odd that it's a silent film. Even my family suggested I add some background music and ambient sounds. The film is silent, with English subtitles. I thought it would be better that way. A voice over in Malay and background music would be a tad too distracting I feel.
L: Oh! It's a silent film....

H: :)
L: Do you have anything to add before my last question?

H: I wanna thank you and Jeremy at Sindieonly for this wonderful opportunity. That’s about it.

L: You're welcome!

L: Ok.... last question that I always like to ask filmmaker friends, don't take it too intensely or seriously... What are the top 5 films that you wish you made? (not top 5 fave films! :))
H: Sure.
1. The Diving Bell and The Butterfly (Julian Schnabel)
2. In The Mood For Love (Wong Kar Wai)
3. Shaolin Soccer (Stephen Chow)
4. Gubra (Yasmin Ahmad) and
5. The Grizzly Man (Documentary by Werner Herzog).

Hafidz’s Shingaporu Monogatari is currently in competition in the Singapore Short Film category at SIFF.

3rd Singapore Indie Doc Fest - 'The Last Catch' by Ang Guang Zheng

Endangered Histories
The Last Catch
2008/7mins/India & Singapore/Rating TBA
Director: Ang Guang Zheng

Lets not mimic and ridicule the Indian accent in this documentary because this one covered a very impending issue that may leave us suffering if not deterred or managed in some ways soon. This involves the global growing demand for food and how our increasing need to eat is killing ourselves. The once humble job of a village fisherman has been overrun by bigger boats equip with sonar and bigger nets. It then becomes a race over who could make a bigger catch.

This short documentary successfully impart a consequential need for us to conserve what we’re taking from the Earth but at the same time trying to find ways for all to make a living. Set in a small fishing community in Mangalore, India, Ang has created a fine introduction not only on how traditional fishing trades are diminishing but their sources as well.

It felt like I was watching ‘An Inconvenient Truth’, putting myself in an unnerving situation. That even if I was to be a vegetarian I’d be eating the Amazon indirectly. One way or another it felt like I needed to do something on my part to help save Mother Earth. If this documentary were to be commission it would definitely be a perfect wake up call for everyone. It was fast, educational and informative. Not to mention, real with all honestly and unfeigned - an enjoyable piece that I would sit throughout the show if it were a fully featured documentary. Now this has definitely left a mark on me and I wouldn’t even think of mimicking an Indian accent to remember it (like some audience have done).

- Elfe

3rd Singapore Indie Doc Fest - 'Kampong Lorong Buangkok' by Sarina Md Rasol

Endangered Histories
Kampong Lorong Buangkok
2007/23 mins/Singapore/PG
Director: Sarina Md Rasol

If there is a chance for us to travel back in time, to a place that was much more peaceful and life was simpler, the time where we believe that money wasn’t as important but only to help us snatch up goodies (or pay rent), we would do that as an escapade – to be isolated and away from the hustle and bustle from the life we have now just so we could have our own private time. Time literally slowed down emulating the beating of our heart. People don’t suffer migraines that much back then.

This lorong amidst our cityscape hides a kampong that seemed to be in a time warp. Houses were made of wooden planks (not bricks) on what was once a swamp. The soil was soft. Chickens are reared and running about freely. A barrel that is made of clay sits at the foot of the door on every house, an amenity that helps to wash the feet before greeting into the house. A kampong house is indeed more spacious that what we live in now. Although it may not be as clean as HDB blocks, a kampong has it very own distinct uniqueness that surpasses everything else. How can one give up such a place when it is being build by their very own hands?

The truth is I wonder how the current residents would have to give up such a place of so much sentimental value to somewhere they might take awhile to get use to. For city folks like us, to live in a kampong is to sacrifice our need for entertainment like television, Internet and video games while in those days entertainment came in a form of gathering and having conversations with the neighbors (something we don’t usually do now with our own neighbors).

I was slightly taken aback by the awkward animated introduction of those interviewed in the documentary (as well as the short description that came along with it). It could have been done in a more eye-appealing way. But that aside, Sarina managed to capture the views of every age group, from the old to the younger generation. Despite the several hand held shots (that left me sea-sick for awhile), Kampong Lorong Buangkok takes us to a place where we never thought would still exists and managed to rekindle some of the lost atmosphere of a kampong village although some of the audience may not comprehend the sui generis of a village as they laughed at several parts of the show.

- Elfe

3rd Singapore Indie Doc Fest - 'Downstairs' by Diya Tan

Women In Shorts under International Women's Day Programme
Downstairs
2008/18 mins/Singapore/PG
Director: Diya Tan

“Downstairs” – to those of us living in HDB blocks, it is a term that refers to the areas below our public housing blocks. We played ball, held wedding ceremonies, funerals, play chess, bird watching and even has a small stall that sells snacks and even household items at our convenience. It is definitely one of the countries’ most prominent identities (and my favorite free hangout).

Unfolding over a twenty-four hour period, this documentary showcases what a typical day would be and what usually happens downstairs. From newspaper distribution to men on bicycles, to having cleaners cleaning our blocks, the slightly deaf shoe repairman with his wife and even the children who played ball that doesn’t like old people. It intermingles with the characters as well making it even more personal. It briefly tells us how a common place becomes ‘home’ to everyone in his or her own way.

Diya managed to make this a lively and colorful documentary. For our friends overseas this would make them understand a little more about our housing estates but only to a certain extent (on the surface I must say). As for us locals, it helps us relate and understand the relationship we all have in common with the areas below our housing blocks. Although I am not quite fond of the planned shots (it looked contrived at some point) but it fits in this documentary with all the editing. But maybe if I did not focus too much on it, this documentary certainly worked in introducing us to the life ‘downstairs’.

- Elfe

3rd Singapore Indie Doc Fest - 'About Love - 'Health.Peace.Happiness' by Cecilia Lee

Women In Shorts under International Women's Day Programme
Health. Peace. Happiness.
2008/24 mins/Singapore/PG
Director: Cecillia Lee

Death is a subject that not many of us are comfortable with. Either we admit that we are afraid or some might just not talk about it. We will never appreciate what life has given us until we experience ourselves a mere near-death situation. But that aside, this documentary succeeded in scaring me to a point where I fidgeted in my seat throughout the screening.

Mdm Tan and Mdm Soon were suffering from a relapse of cancer and were spending their last dying days in a hospice, a place where they became friends just like the movie ‘The Bucket List’ but instead of having being discharged and doing a list of adventures, they spent their time singing and mostly talking. Despite having to deal with a similar illness, they were coping with different issues. Soon struggles to accept the turmoil of her illness and her impending death while Tan worries over her family and how they would cope with her passing.

The only part of the title of this documentary it touches on was health – indeed it has created an impact on what cancer can do to a person’s body (but even so the illness wasn’t mentioned in the documentary and I wonder if anyone didn’t read the synopsis in the flyer nobody would know what these two souls were suffering from). The documentary succeeded in conveying a sense of misery and despair. It was too desolated that I felt so bad for the characters especially when even their funerals were documented. Too much emphasis was on dead-man-walking and I was dying for something more inspirational and optimistic to cut back on the sadness. A little more happiness could make their passing more acceptable.

- Elfe

VOICEOVER 2 - Elfe Nur Reyany

VOICEOVER 1 is me. I found someone else to join me in my regular blabbering and kaypohing. She is a funky lady and you can call her Elfe. Her full name is Elfe Nur Reyany. I got to know her through an ad placed on www.farm.sg , a great local website. So now, we got a different regular voice other than the same old boring me. Here is her:

Elfe Nur Reyany is a music and art-related lover type of person who grew up in sunny island Singapore. She worked for several companies that do interesting stuff like video production, designing and photography. She also sometimes writes on a freelance basis in hope to curb her perpetual need to write. She even took up an unpaid internship with a magazine (I-S Singapore) to help her with her “disability” which she truly enjoyed because of all the perks and (of course) interviewing people that she never thought possible.

Apart from the things she likes such as intelligent animated sitcoms and reading philosophical journals by Socrates, she also secretly paints. She is far too dogmatic to conform to just one specific career so now with the support of her significant other she incorporated all her passion into a full-time profession but some might call it“bumming around”. She calls it a “fulfilling life”."

Production Talk - 'Love Lost' by Leonard Lai

Leonard Lai's first of 3 trilogy of shorts about love touches on a relationship coming to an end between Wai, and his girlfriend, Faith, who is in Taiwan. Wai travels from Singapore to Taiwan to meet Faith for one last time. It is a last journey of past memories, as he finds shadows of their love and time spent together.

They finally meet for one last time and their love comes to an end. Left alone in Taiwan, Wai seeks solace in a physical pleasure to temporary forget the pain, but he still can’t bear to let go.
“失去愛” (LOVE LOST) is the 1st of a planned trilogy of short films exploring 3 different stages of love – losing love, finding love and maintaining love.

"I was disappointed with love and wanted to make a film just for her to see. It’s hard to let go. I went back and relived the moments, the ending. It was just as difficult as it was when it happened. I see her face, her scent and her body. I feel the memories, the places, the gestures and the conversations. I wish it had never ended.

Based partly on my own experiences. This film marks a change in direction for me. One of the things I found in my feature film “The High Cost of Living” is that the narrative structure is too rigid, the story moves from point A to B relentlessly. I wanted to start filming with a looser narrative, where the story is not what drives the film, but the “taste” or “feeling” of the film is what drives it." Leonard

Jeremy (J) : Is this film autobiographical? Are you acting in it?
Leonard (L) : The film is based on my experiences in Taiwan. It is partly autobiographical. Yeah, I am acting in it. haha, 1st time acting in my life.
J : Why did you decide to act in it? It must be difficult to act and direct.
L : Yeah, it was difficult. There are 3 reason why I wanted to act in it. the 1st is that I wanted to feel what actors have to go through, so that i can direct better. Sometimes we just forget that acting is actually quite cruel, you have to show yourself to other people and it is quite a violent act. I want to experience it so that I can direct better in the future.

The 2nd reason is that the story is quite a personal one, and who would know the feelings that the male lead go through better than i do. The last reason is because its a small film, so to keep everything simple, I acted in it.

J : It is a funny length, in between a feature and a short
L : Didn't mean to, it just happens. (pause) There is a 30mins version of the film, which i send to festivals which have a limit on the length of their short film submissions, but the version i like and would like to show is the 45mins version.
J : You mentioned in your synopsis that you went on to seek something 'physical'... that part intrigues me... (you dun hv to reveal what it is exactly) . Can you explain more about that?
L : Haha. Its an act we guys or even women do when they are alone. It is inspired by this tale of ghandi i heard, i don't know whether is this true, but I like the feeling the tale gives.
J : Does the film actually resolve in a certain way or does lead on a cliffhanger to lead to the sequel?
L : It don't know whether is it a resolution in anyway, but it doesn't lead to a cliffhanger or a sequel. Life goes on for the male lead, even after the film ends

J : I am drawn to the images of Taipei streets in your stills? There is a lot of texture and layers. How was the experience shooting there compared to Singapore?
L : I wanted to shoot in Taipei because the story happens there. Every city has it uniqueness, and taipei in winter is quite a depressing and melancholy place, with the consistent rains and grey skies. But that is exactly what i needed for this story and it was actually the same period where my real experiences happened. I had a tough time looking for a Line Producer/AD in Taiwan (pause) But a friend of Eng Yee Peng (Diminshing Memories 1&2) recommended a taiwan AD, Circle Huang, who out of all the small budget and difficulties, agreed to do the project. I am grateful to them. We had a lot of help from friends in Taipei so that was tremendous. All the actors are friends of mine or friends of Circle. The female lead is Faith Yang, a singer from Singapore who used to be with a group in Taiwan called "2 gals - 兩個女生". Some of my taiwan friends still remember her. She and my Director of Photography, Siew yaw Hoong, didn't ask for a fee, just air tickets and lodgings and transport when they are there, which i am eternally grateful.J : Did you meet these friends from previous productions?
L : Siew Yaw Hoong is my regular Director of Photography. He has filmed all my films so far, including my feature "The High Cost of Living". Circle, as mentioned was recommended. Faith was also recommended by the music scorer of the film, Don Bosco.
J : Curious, are there less red tape shooting in Taiwan?
L : We were able to film at outside Taipei Airport, on a bus, outside at the National Theatre without much problems. But everything was done very guerilla style, but we still know what imaged we want. (pause) So yeah, less red tape. I think they are used to people filming. Of course, if you go inside the National Theatre, you have to ask for permission. And there was a scene in a MRT Train, we had to wing that one and film secretly. So in certain aspects, it’s like Singapore.

J : What was the memorable thing about shooting in taipei? Any particular incident or experience?
L : Hmm...hard to pin point. Let me recall...I think the most memorable thing was being able to film the story. Everything was difficult but it fell into place with the generous help of friends. I think the most memorable thing for me, as both the director and actor, was doing the last scene in the film. It was a pretty long scene, and emotionally tiring, but at the end of the scene. I thanked all the crew, my DP and Faith (the female lead) for going through this journey with me.
J : How long is the scene and how long did you take to shoot this scene?
L : The whole scene in the film is about at least 5 mins, but it was very long takes. Also, it needs me to be emotionally in character, which is difficult. It was an overnite shoot and we shot it into the wee hours of the morning.
J : I understand this is part of trilogy, so is the sequel also going to be set in Taiwan?
L : No, will be shooting in Singapore. It is theme that connects these 3 films. It is about love
J : I see, so it may not be the same characters I guess?
L : Yeah. totally different.
J : Would you put them together to form a feature?
L : I thought of doing that, but in the end, decided against it. Because each one is quite different. hard to make a consistent feature. Also, I believe each has a life and length of its own. The 2nd one could be feature length.

J : Good luck for the other 2! I wish to end with a question my guest-blogger Lee Wong suggested. What are your 5 favourite films you wished you had made?
L : 'The Boys from Fengkui 'by Hou Hsiao Hsien; 'The Hole' by Tsai Ming Liang; 'Pickpocket' by Jia Zhang Ke; 'Perth' by Djinn Ong; 'La Notte' by Michelangelo Antonioni...and can i squeeze in a 6th?
J : Sure.
L : 'Before We Fall in Love Again' by James Lee

Leonard's 'Love Lost' will be screening under the SIFF's Singapore Panorama Shorts 1.

First Takes - 'Platform 1932' by Nawwar Syahirah

Platform 1932 stands out from the rest of the documentaries for being the most polished production with the most extensive research, not that they should be compared in any case. In fact, I feared I was going to sit through another glossy, TV-production value-type documentary that pays lip service to a landmark. But it turned out to have a sharp eye for what would intrigue a local audience who could be bored by the topic of the Tanjong Pagar Railway station.
Discounting the fact the visuals look technically correct and the editing was as sleek as a bullet train, there was much to be surprised about. Right from the start, it drew out what was unique and lesser-known, for instance, what the four sculptures on the façade stood for. Then it took a very people-oriented approach to understanding the train instead of approaching it face-on on the features of the station itself. We heard the Station Hotel (defunct) manager share about his paranormal sightings, we hear the station master share about the Bukit Timah station and the reason for its existence and even got close to the granny who enjoyed the scene of lush vegetation whizzing by the window (instead of taking a plane to Malaysia). Then, there were 2 ‘train-station enthusiasts’ who helped the audience develop an appreciation of the subject matter in a different axis. In fact, in each person’s account or story, there is a strong sense of fighting against time to keep the train station alive and relevant. In a good way, it leaves the film more open-ended.
Not mentioned in the film is the fact that granny who insists on traveling by train is Nawwar’s (the director) grandmother. She comes from Malaysia and the passing plantation scenery probably speaks volumes to her. It might be due to the awkwardness of putting your own mother into the spotlight but if Nawwar had made her mother the central character, then this film could shed a lot more light on the director’s emotional relationship with the train station. Nawwar made this film as part of her final-year project in the Wee Kim Wee School of Communication and Information, Nanyang Technological University, Singapore.

First Takes - 'No Ten Dollar Ride' by Vigneswaran Rajkumar

Now I know how much a trishaw ride costs. Locals like us see them all the time but it never crosses our mind to take it unless we want want to take a wedding photo, shoot a video or bring other tourists around. This documentary (many docus tonight) seems to be a short statement against recent incidents of bullying of trishaw riders by tourists. It is made of interviews and a gritty and shocking video footage of a bullying incident. It was odd that Vignes has chosen to interview 2 younger trishaw riders when the bullying victims were 'ah pek' trishaw riders.


Because of the sensational and arresting content of the real-life video footage, it was for the rest of the film to slip away from my memory. It showed some young British make tourists taking a ride on trishaw dragged on by a unsuspecting wobbly 'Ah Pek'. It got me under my skin when the camera was focussed on the 'Ah Pek' struggling at a certain point and the tourists taunting him. The 'Ah Pek' seemed to be hobbling a little as if he was going to faint and the road seemed a little uphill. The scene bordered on surrealism because it was like a TV drama moment. If I took home only one thing from the film, it was those 10 seconds of taunting.

But footage aside, I felt the documentary could be structurally more defined. It seemed to be a showcase of the video with the remaning sections being completely sidelined. Also, it could move away from talking heads and show more of the on-the-job experience of the riders. Vignes is a fresh new filmmaker who is actively involved in the local broadcast scene as an editor and producer. This is his first documentary short film.

First Takes - ' Uncleboy' by Jannah Monjiat

The one thing that distinguishes this documentary from other documentaries about underdogs is the subject seems almost all the time drunk. And there were a few other touches that made me straighten my back when watching 'Uncleboy'. According to Jannah, Uncleboy was made out of a chance encounter with this alcohol guzzling middle-aged man who loitered in the HDB void deck. And it was appareantly made overnight, which I find quite a feat because it went so deep into the not just his life, but also the lives of people around him.

'Uncleboy' does not appear to have an agenda or a clear thread of plot development. It seems like a leisurely stroll through his life and the things he loves to talk about - music, dogs and er.... alcohol. he has a a few dogs in his house and the way he interacts and calls them is rather endearing. It is also evident that he's got a music talent from the way he croons a few lines of the same song throughout the interview with him...almost of a rock-band quality. Then there were the awkwardly-comical moments with his mother when he introduced her while she was still sloggin away at the kitchen sink. She looked years below what her age would be if Uncleboy is in his 40s (my guess). Then as an off-shoot, the camera turns to the neighbours who also play a part in Uncleboy's life.
The biggest surprise of the film was a trip to the courts to await his sentence. He's apparently landed on the wrong side of the law (under the influence of alcohol) and it seems like a familiar journey for him. The taxi trip and how close we got to the moment made his problems very real to the audience. So in fact, his life or the filmmaker's right tming of covering his life at this moment gave the film a latent and natural narrative structure. Never mind the rather 'superficial' chapter titling. It did little for me since the film itself already had this underlying narrative muscle in it.

Jannan is graduate from Republic Polytechnic with a love for music films and arts.

First Takes - 'Contemplation' by Clement Chua

Made as part of the Digital Homelands Project launched in 2008 by the National Museum of Singapore, this video seems more relevant when put in this framework. It is a virtually a series of 'point-of-view' images of Clement's neighborhood. Most of the time, it seems very voyeuristic due to the the peeking shots that wobbled from wall to wall. Sometimes, you see people lurking out from behind the walls, never sure of what they are engaged in. The soundtrack over the images also make it an rather odd concoction (The ones with sharp ears can tell where the music comes from). An concoction that lends a certain mismatched lyricism to a grey HDB neighbourhood. I think the typical HDB landscape has its right type of musical condiments. I think guitar, ballads, anthems (oops), national day song (oops :p)... well... erm, filmmakers like us who cannot get away from HDB-scapes have to crack our brains to redefine a HDB scene.

Clement himself is commonly seen in the production circle across a few media like film, television and videos. According to him, 'Contemplation' is a work-in-progress, perhaps like a little experiment. Quiet a distinction from the usual high-production value productions he's been involved in. He recently directed a short called 'The Release', do watch out for it!

Production Talk - 'Hush Baby' by Tan Wei Keong

"I briefly chatted with Lee (or Lee Wong) last year after she responded to my review of her short film 'Lim Poh Huat' which I felt something for. This year, she has kindly volunteered her help to interview some of the local short film finalists in leading up to the short film competition at the Singapore International Film Festival. You can check out more on Lee's works in her website. And here is her chat with Tan Wei Keong about his short film, Hush Baby." Jeremy

A curious baby is protected from an environment of temptation. Overturning the popular association of animation with children’s entertainment, Hush Baby depicts a baby’s struggle against confinement and restriction. The many expressive faces of a baby are brought to life with dark humour and wit as the film imaginatively explores a different facet of animation.

Born in 1984 in Singapore, Wei Keong’s first animated short film White was awarded Special Achievement Award at the 20th Singapore International Film Festival. He had previously received a Gold Award at the 34th Singapore Youth Festival for sculpture design. Wei Keong has also freelanced as a cartoonist for the local papers and, being an animation enthusiast, assisted at Animation Nation, Siggraph and Siggraph Asia.

Granted the Media Education Scholarship by the Media Development Authority of Singapore, he is currently in his senior year at Nanyang Technological University, School of Art, Design and Media, pursuing a Bachelor of Fine Arts in Digital Animation. Hush Baby marks his second animated short film effort.

Website: http://www.crushedpaper.com/ Leew(L) : So, how did you come up with the idea for your short film Hush Baby?
Wei Keong (W) : It was after I finished White, the stop motion animation, that I am very keen in experimental animation, a genre that allows a mixture of varying techniques. The story outline is rather surreal because of the combination of live-action footage interaction with 2D animation. If you're wondering about exact idea formation, the first mental image that drives the entire project is a pair of hands reaching into the frame and interacting with a 2D baby. The rest of the plot is built upon it later. (pause) I am very drawn to ambiguity and more subtle themes. I tend not to be conclusive.

L : Why did you use a baby to overturn "the popular association of animation with children's entertainment"?
W : The character of the baby is more of a hapless one because he is always manipulated by the ‘hands’, which is probably playing the role of GOD. Babies are always good to use in animation. The first impression of babies is usually along the line of 'adorable'.

L : Let's talk about the production process. Your previous short film White seems quite elaborate, with 3D and modelling. Hush Baby seems to be more 2D...?
W : It is not just the baby character that I intend to overturn the convention idea of an animation. It is more of the themes chosen to do an animation in. Instead of a happy animation with wholesome conclusion, Hush Baby touched on issues that probably adults could relate to better, at least to me. (pause) ‘White’ is done in stop-motion, meaning I had real puppet and a design set. It is very 'hands-on'. The only stop-frame element is Hush Baby is the part of the hands. The rest is 2D and 3D.

Stop motion is making use of puppets and sets, frame by frame, and when you run it in sequence, you perceive movement. Like Time Burton's Corpse Bride and Nightmare before Christmas. White was done in that technique. (pause) Pixilation is taking pictures of real life objects, and this technique is used in Michael Tay's Wet Season.

The making of Hush Baby could be seen in three stages, in order: pixilation, 2D & 3D animation and compositing. The baby character was drawn on frame by frame on paper whilst the rattler was created in 3D.

L: A real puppet - did you make it yourself?
W: Yes, it's made by me. L: It must have been time-consuming. How long did it take to make this 3.5min short film?
W : About 4 months, about 8 hours a day, if I count just the production period. It started in 2007, and I did this in between school projects. It only wrapped up this January. And with the help of my friends, of course. They helped a lot by speeding things up.
L : Is Hush Baby a Final Year Project?
W : Ah, this is a complex question. Hush Baby is a personal project. I proposed another story to my school to be done as a FYP. But then, because I spent most of the time working on Hush Baby last year, it ended up being my FYP simply because I'm running out of time for the other one. I have been working on the other project since January, in hopes that I could finish both.
But I see no end yet.
L: Maybe that one can go for next year's SIFF?
W: Probably, fingers crossed.

L: How was it working with fellow classmates?
W: Like in filmmaking, animation is a collaborative effort. I would probably not being able to finish Hush Baby in time if not for the help of my friends in school. (pause) Especially sound design aspect, I would definitely need inputs in that area. L : How did you get into filmmaking, by the way?
W: Oh, ADM (School of Art, Design and Media, NTU) has a filmmaking BFA course, and we could take up modules in that area. I took Introduction of Editing that taught me a lot about the film language. I wouldn't dare say I am into filmmaking because it is a different skill set and art by itself.

L: Everyone starts somewhere. Will you continue to experiment in storytelling with animation, or try a different medium?
W: I always find animation fascinating, and I would continue using it to tell stories.
L: To go back to the question of how you got into this... How did you decide to enroll in NTU's ADM course?
W: I was a science student in junior college, but I've always knew I like to do graphic art and draw comics. So during national service, I'm already preparing to enroll in NAFA's art programme because at that time it is the next best thing, and closest to what I wanted to do, which is basically illustration. And then ADM came along and making the decision is easy.
L: Interesting. In an earlier post a few days ago, Jeremy wrote about another filmmaker who decided to change course in life at a later stage of his life and ponders the decision… So at least you made this decision much earlier. Plus nowadays there is a lot of emphasis and funding (it seems) geared towards animation and Singapore as a potential animation hub (hate this term, sorry to use it).
W: Nothing is definitive, I believe. I can be in advertising and do animation as well. I do not have to be an animator to an animation director. I would think these related fields always overlap each other. And that includes filmmaking, or even game design. The skill of storytelling is essential in all aspects.

L: How did your family and friends react to Hush Baby? I assume you've shown it selectively…
W: My family has been very supportive in a strange way. As in, they don't oppose my career choice, nor are they interested as well.
L: I guess like most parents, they'll be happy if you're happy!
W: My mother passed away last October and she is most concerned of my studies. My dad just brings back the bacon and as long as I do the right things, he would not interfere. We are a typical Chinese family. L: I'm sorry to hear about your mother. my condolences…
W: :-) I dreamt about her this morning. sad story. Hahaha, Hollywood quality storyline though. My sister is very proud of Hush Baby though, and she's just 12. She's my main inspiration.
A lot of my friends haven’t seen Hush Baby too. Everyone's been running around getting things done for FYP. only close friends have seen it. And the response has been good so far.
L : Were there any strange or interesting incidents during the making of Hush Baby?
W: NTU is located at a very secluded and isolated part of Singapore. I live in Bukit Panjang, and although it sounds near I still have to commute for one hour on 3 buses before I could start work in school. And I need to use the school equipment, like the light box, to work on Hush Baby. A proper light box is very expensive, and one day my friend (Thomas Tan) decided to make me a one from scratch, wood planks, acrylic sheets and light tubes. And the overall cost is less than 30 dollars. Usual price is a little over a hundred.
L: So the DIY lightbox works just fine?
W: Ya the DIY is working great.
L: So with it, you could work from home?
W: Yes!
L: That’s great.
W: Zihan (who assisted in pixilation for Hush Baby) gave quite strange comments about Hush Baby though which I find kind of funny.
L:Haha do share.
W: In Hush Baby, if you could see from the film stills, the paper that the baby is on was gradually cut away until it is just a tiny square. Zihan commented that the piece of square looks like the Singapore island.
L: Haha... Now we'll have to watch the film to find out.
W: I didn't intend that, but the most rewarding part is to talk to viewers what they gather from watching Hush baby. Everyone's life experience is different, and probably would interpret different as well. L: Ok before my last question… Do you have anything else to add?
W: hmm no. I just think Singapore animation still has a long way to go to be competitive in international levels, as compared to our live-action counterpart. It would be interesting to see how Singapore animation evolves over the coming years, seeing the pouring in of multi-national companies. The future is bright!
L: Last question might take some time. It’s something I like to ask local filmmaker friends. What are the top 5 movies you wish you'd made? (This is just a fun question, please feel free to not take it TOO seriously or intensely. And note: it's top 5 movies you WISH YOU MADE, not top 5 fave movies!)
W: tekkon kinkreet, memento, 28 days later, Mind Game, and Tombstone of the fireflies.

Wei Keong’s “Hush Baby” is currently in competition at the 22nd Singapore International Film Festival (14 – 25 April 2009).