Asian Film Academy (AFA) is an educational
program hosted by Dongseo University, Busan Film commission and Busan
International Film Festival to foster emerging filmmakers and establish Asian
filmmaker's network. Young talents from all over the Asia attend various
programs mentored by the established filmmakers.
In the recently concluded 2013 edition, Singaporean film
directors Leon Cheo and Ang Geck Geck Priscilla were privileged enough to be chosen as
two of the 24 Asian participants. SINdie’s Thong Kay Wee caught up with them to talk about their AFA experiences, their thoughts about attending this prestigious academy and how they feel as representatives of a growing crop of young talented local and
Asian filmmakers rising up in the scene.
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| Leon Cheo (L), Ang Geck Geck (R) Photo Courtesy of AFA |
Kay Wee: I shall start off
with the most basic question. What made you guys decide to become a filmmaker?
Especially in a climate like Singapore’s where many challenges are known to be
in place and other professions may seem like an easier option.
Leon: I think everyone loves movies? I remember watching the Oscars and I felt
like it would be quite cool to be there. And I started a movie website…like SINdie
and just like writing reviews and posting news. That interested me a lot, and I
was like “Oh what to do next after secondary school?” And then Objectifs came
up. They had like a 12 weeks film making course. I told my mum to let me try,
it's like $600 bucks. I made a crappy short film about an ‘emo’ teen who
skateboards and him and his mum and some family drama thing. Felt that I liked
it enough, then applied for Ngee Ann Polytechnic (Film, Sound and Video course),
got in, and then the rest…
K: Never looked back?
L: Yar…fortunately never looked back. Think if I looked back
I will be like hmm…(hesitates) but I am very happy where I am right now. So
from then on, Ngee Ann Poly, made some short films, went to Chapman University
in Creative Producing, and then now AFA I guess?
Geck Geck: I think generally when I was young I loved art. I loved drawings
and working with colors, and I didn’t know that I will be so into film making
until when I was in Year 3 or Year 2 in university (NTU’s School of Art, Design
and Media). I made this experimental short film and was very recognized by my
teacher and I remember like, when I was screening that film, my classmates were
so shocked! They were like…they just stare…
L: Why, what was in it? Were you like running around naked?
G: No…...! It was a very depressing film.
L: Okay…
G: Yar, so they were so shocked! I wasn’t a very expressive
person also. It’s very hard for me to tell you something. There will be a lot
of visuals in my head, a lot of stories to tell, but then I don’t really know
how to tell. Like I tend to jumble up my thoughts. Like maybe when I tell
stories, stories ABC in sequence, but I will jump like A then C, then maybe B halfway
then back to C again, like I was so bad at words! So like I really wanted to
share, tell stories and help people through film. So the first film I made was ‘Broken
Crayon’, a film that actually touched on sensitive topics, but it was very
difficult to say it out? But you could feel it in film, and there will be like
some sort of message to pass to the parents.
L: Hahaha. Really? I don’t know, I get really stressed out
when I am working, so I am not very fun on set…
L: Haha. Lee Chang Dong yes I heard of
him. Loved ‘Secret Sunshine’. I saw a bit of ‘Poetry’ before I left, but they
made us watch it again on film, which was beautiful. Then we saw the whole
thing. It was good to meet him. I really like his films and his subject matters
and how he tackles difficult societal problems. Oh yar I saw ‘Oasis’ also
before I left, it was also quite a tough film to watch. For Aditya, all I know
was he is Yuni Hadi’s (Partner at Objectifs) husband haha. But I’ve seen some of his
films, ‘Wonderful Town’ and stuff. And our Cinematography mentor Kurita
Toyomichi, he was always there because he is very useful and like a mentor
father figure. Very helpful in terms of talking about shots. So both Aditya and
Kurita were really on the ball and present when we were doing our
presentations, and they provided a lot of helpful advice.
G: It takes a while to explain to them so you have a lot of
hand gestures, have to draw pictures etc. So it really takes more effort and
time to do this. But then, working with other Asian filmmakers, I think one
thing I really learnt is I became more patient. Because I tend to want things
my own way and I don’t really like to…because I thought like everyone in
Singapore, everyone is very professional, so they know what they are doing. But
in AFA, it was like…as the director I had to talk to everyone to make sure they
know what they are doing and I mean, we still respect each other, like they
know what they are doing actually, but we make sure that they understand the
same vision and interpretation of the script. We just want to really identify
it, and we are really lucky to have Teck Siang (AFA Singaporean Alumni/Cinematography
Technician for AFA2013), because Teck Siang made sure everyone knows what we
want. Also, you can’t really be too direct, because it will offend them…
L: Haha yar, I also really echo your sentiments regarding being
patient. Because collaborating with other people you are not familiar with made
me realize that I need to be a lot more patient, a lot clearer about what I
would like to say. There is no like short hand, and everything needs to be
explained. So it sort of re-calibrated my sense of filmmaking because I was so
used to working with people who knows these short hands, especially with
Singaporeans. And these are different people with different cultures and
preferences to fictional filmmaking, so it was very hard trying to make
everyone happy with the same vision.
K: To be chosen as
one of the candidates for AFA should be considered a milestone in your budding
career. So tell me more about what you guys did to reach this stage, and what
does the opportunity of attending AFA means to you.
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| AFA 2013 Team and Participants Photo Courtesy of AFA |
L: Basically AFA only accepts people who have done a few
short films, not any features and also kind of in the beginning of his or her
career. For myself, I have actually applied for AFA 3 times. Twice in the early
and mid 2000s, and I didn’t get it. I only got to the phone interviews, but
missed out on the final selection. So this is the 3rd time lucky and
I got it. And yar, the guy who interviewed me on Skype asked “Why do you need
AFA. You have already done so much.” Well, to him at least, and then I disagree
lar. Yes I have done a few short films,
but I don't think my education has stopped. And I also haven’t been to that many
film festivals, and I also really wanted to go to AFA for the opportunities
that it presents, because once you are there you get to meet so many filmmakers
and all the experts, all these mentors, and also be on Busan’s radar for a while.
So I think getting into AFA for those things were good.
G: I actually don’t have a lot of achievements. I only know
that before AFA selected me, I just happened to have won the best short film at
Substation’s Short Film Awards, for ‘Broken Crayon’. And I think like Busan
tend to like dark films, so I think my genre kind of fits into their criteria
even though they did not mention. Also, I think when the guy interviewed me he
asked me if I did any commercial work, and so I was like working on a few
commercial projects with Eric Khoo straight after I graduated, and he is quite
well known in Busan. Oh yar! One thing is that I greeted them in Korean so I
think that kind of impressed them!
L: Hahaha. Are you sure…?
G: Cause they were like laughing and asking, are you Korean?!
I said “No…no…no!” And they even spoke to me in Korean. Hahaha.
K: Word of advice to everyone. Do that. Okay so we all know that AFA2013’s Dean is none
other than Korean film director Mr Lee Chang Dong, and the program also
includes other respectable mentors around the region. So maybe share with me
your impressions of them throughout the whole process?
G: I don’t know why I am always slower than the rest and I
didn’t think it's a big thing until Ric Aw from Creative Room passed me two DVDs,
congratulated me and asked me to help him get his signature, and I was like
okay! Then he told me about Lee Chang Dong, his background, so I know Lee Chang
Dong through Ric. And then for Aditya Assarat (AFA Directing mentor and Thai
independent filmmaker), I first met him at the Hong Kong Film Festival, but we
didn't talk, because most of the time I am very quiet, and there was no chance
to talk to him. So in Busan this time, we talked a bit more and we became like friends. He is a very friendly and funny guy. He is like young at heart,
and I learnt quite a bit from him. But then again most of the time we talked
cock ah, so not really talking about films also…hahaha.
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| From (L) Ang Geck Geck, Kurita Toyomichi, Aditya Assrat, Lee Chang Dong Photo Courtesy of AFA |
G: You know for the first time I was so relaxed on set! Haha. Wait wait, I wanna ‘hao lian’ (show off) one thing, Lee Chang Dong asked me for signature!
K: Asked you for your signature?
G: And then he kept it in his pocket! Yay!
L: Wait why did he ask you?
G: Erm…
L: I think everyone thought you were an actress. She always dressed like very glamorous one.
G: Haha, you know, I try to do my best for everything!
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| Leon Cheo (L), Lee Chang Dong (R) Photo Courtesy of AFA |
K: Speaking of cross
Asian involvement, how is it like to work with the other Asian participants and
collaborators as well? I assume most of you started of as strangers in the
first place. And also, how is it like to co-direct with three or two other directors
in this whole experience?
L: It was a challenge. Cause I think everyone is used to
being the one decision-maker, but now there is like maybe four. And everyone
had to be made happy. And then another challenge was language. I think everyone
could speak some English, but some were better than others, and some were quieter
than the others. We all have different working styles. I was more direct and
blunt. One of the other directors was more introspective, always okay…everything
was okay kind of thing. It was interesting working with my DP cause he was
Cambodian and he usually does documentary so I was kind of worried about his
take on shooting fiction. And also lighting, which is also a big part in
fictional film making, so I asked other DPs to help him.
G: Usually, like what Leon said, one director takes control
of everything, but then even when we decide on our scenes, like everyone gets
to pick one scene to direct, I will always go and seek the rest of the
directors for permission whether I can make this decision so that everyone else
is on board. So more time is actually taken because we have to try to talk to
everyone and furthermore like language is always the most difficult because
their English is not very strong.
L: I said the same thing too.
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| Ang Geck Geck on set for her co-directed film 'The Black Mirror' Photo Courtesy of AFA |
K: So there was a cultural difference?
G: Yar, so you have to understand some of them doesn't come
back from a professional film background, like they are really indie filmmakers.
Like always one man show or two man show. They were not used to having a set
with too many crew, so they don’t really know the procedures and certain
hierarchies that they have to follow.
L: Like the on set tasks. Duties.
G: Yar, so you have to understand and be very patient. Like
you must really give them time, and its really like working in a school to me.
But one thing I learnt for sure is that I become more patient. Because you know, there are two rules for me? First rule: Smile! Second rule: Talk slower! Hahaha.
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| Leon Cheo on set for his co-directed film 'Departure' Photo Courtesy of AFA |
G: I really think it's the English. I am sure they will be
vocal if they speak their own language. I think we are just lucky that our
first language is English and then they have no choice but to speak to us in
English but they can’t communicate well. So even if they have something to say,
they can’t really put it into words well.
K: How about the Korean
crew and the working environment with them then? Did you guys learnt much from
them?
L: Honestly, because we couldn't really communicate with the
Korean crew, I really didn’t learn much. However, if I am not wrong, they are
one of the most sought after lighting crew in Korea who worked on Kim Ki Duk’s
films for example. Also there were student interns and they take on assistant
roles like translators or help out in art team or sound recording. So they were
more learning from us than we learning from them. The lighting team…we didn’t
talk much to them but we provided them with visual references, and
communication was done through other Korean translators and interpreters. But
they were amazing, very professional and very fast.
G: For my case, the Korean producer said we are going out to
a restaurant when I was already over running, so I was like ‘WHAT!’ My face…so
angry! Its like the Merlion roars!! But still in a cool way hahaha.
K and L: Hahahaha.
G: I was very angry, very angry! So the Korean producer told
me we must die-die eat at the restaurant and I asked if we can packet it, and
they said cannot. And then we tried asking three times again, and my Korean
producer keeps saying no! No matter what.
L: Yeah, that was very puzzling.
G: Yeah, I was like why is it like that! And then Teck Siang
from Singapore, although he is a very nice and patient person, he himself
couldn't believe it. And my Thai producer, Tong, she said never in her life as
a producer had she had to go outside to a restaurant and eat. Oh even Aditya,
he was like “Why do you need to come to the restaurant and eat?” Even Aditya!
He was questioning.
L: And until now I don’t have the answer but I should ask
the hospitality girl. But then my day was worse. Three of us (co-directors) have
to direct on the same day, and the last one was me, and we had to have dinner
at a restaurant before my scene.
G: Eh but mine was lunch and dinner at a restaurant! And we
really had to drive out from the location for it. And we are overrunning like
shit man! Like 4 hours.
L: Huh. Thankfully we weren’t overrunning but I was like,
‘Which production goes out to a restaurant to eat?’ Especially when it’s such a
long day. And everyone was super puzzled but we still ate.
G: Yar. But okay lar, I can understand that they don't want us to work too hard as well. They wanted us to relax and have fun by giving us good hospitality. Which was very nice of them as well.
L: Yeah. I agree.
G: Yar. But okay lar, I can understand that they don't want us to work too hard as well. They wanted us to relax and have fun by giving us good hospitality. Which was very nice of them as well.
L: Yeah. I agree.
K: Haha. Moving on to
the master classes in AFA right, what were the particular things that you guys
picked up and learn from that you think will be useful in your careers?
L: The Lee Chang Dong one, when he was talking about his
life and experiences, it was all very inspirational. But then when it comes
down to the Q&A, which was like inane, it was like a Dr Phil’s asking for
career advice.
G: (referring to Leon) He was rolling his eyes.
L: Yea I was. I still remember it was one after the other. It
was people asking him “Oh I am an actor but you know I am not that big yet.
What should I do? Should I pursue this thing?” And this other girl was like “Oh
for all my life, I wanted to be a director. But I am not in a film school. What
do you think I should do? Should I quit everything and study film?” And Lee
Chang Dong was like…and that was my biggest takeaway, he was like every
gracious and patient. I think if I were him I would have thrown my shoe at her
already. He said like “I don't know what the best thing is, but I think if you
really want to be in film, don’t think about it too much. Just do it”. I think it’s
just a very good reminder for all of us. I think we are very lucky to be where
we are and done films, and we have to keep pushing. If I were that girl…
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| Lee Chang Dong, Dean of AFA 2013 Photo Courtesy of AFA |
G: I want to slap her! What was she thinking?
L: If she is still thinking about that, it will be too late.
K: So Geck Geck, what was your biggest takeaway?
G: Looking at Lee Chang Dong. And suck his energy!
Everyone: Hahaha.
G: Okay I felt like I become more than what I am, as in I
become more patient. I become more flexible. I just become very different when
I was there. I think I changed for a better reason and I felt very inspired by
the people. Like there was my room mate from Afghanistan who is a female director
and then you know its very difficult for women to shoot films in Afghanistan
and I think I admire for her persistence in what she does and I am so glad that
people from the developing countries, like even though they don’t have a lot
access to resources and work mostly independently, they can come together and
make a film and make things happen. And you look at them, just like, whoa. It’s
just so inspiring. And for me, I kind of reflect on myself and its so easy,
like even though we are not very rich, we can still afford a camera and we can
shoot something and its not very difficult to just ask our friends to help us.
Unlike them. And as a girl, it’s easier for me to shoot something as compared
to these women from these developing countries. I am quite impressed. And at
first, I thought the reason they asked us to come to Busan right, it’s just
like marketing strategy because it looks good when everyone from Asia comes
together. But then I realized it’s more than that. It’s about making a film
because everyone has this passion, and then comparing to other European
countries and even like US, they have bigger film industries or festivals…
K: So they have very established filmmaking networks and
industries? Whereas in Asia…
G: We are still coming up. It’s not a cultural difference
but more like history. Like Japan couldn’t get along with China, and Korea
also.
K: So there were a lot of politics involved that divided us
as an Asian filmmaking community in the past?
G: Yeah, although it was past, past history, but it still
affects the present somehow. So one of the speakers was saying that to
strengthen our relationships with other Asian countries, all Asian filmmakers
should come together, work together and bond. Its of a biggest cause, to
strengthen the Asian filmmaking, its not just for yourself. So I was very
touched by that. And now I understand AFA better and why they spent so much
money on us, because they really gave us A-star treatment.
K: I see. So the two
of you just joined a string of Singaporean alumni in AFA. I guess the both of
you also represent the young local film talents, the up and coming and
everything. So what do you think of the prospects of Singaporean cinema and
your own futures, especially after this AFA experience?
G: I want to make a film. I want to make a film. I want to
make a film and send it to Pusan. Pick me! Pick me!
L: Haha. Pusan is a really great festival. We didn’t really
attend it because we were so busy, but it looked like a great festival to be a
part of as a visiting filmmaker. I was like really inspired, really
re-energized after the whole thing. I really want to make my own thing and
focus more of my time now on my own directing and writing projects, which I
have not done for a long time. And I think overall the Singapore film scene
feels quite rosy, especially after ‘Ilo Ilo’. But maybe now there are very big
shoes to fill, everyone has very high expectations. But we will see. As long as
people keep making, keep supporting.
G: Hmm I don't know. I always say government can be more
supportive, give more money, and people can make more films and everything
becomes easier. I actually expect more young filmmakers to be making more films
so actually I think the industry is growing and think like Jack Neo, in terms
of commercial films, has pulled in a lot of investors to believe that film making
in terms of money making is possible because he broke the box office record. So
investors dare to come up with money to invest in film. I think for making
films (slams the table), money comes first! Sorry too emotional haha.
L: Its true, money is a big factor.
G: So in terms of independent films, we have like Anthony Chen
who breaks the barrier of local Singaporeans’ impression that film making is
never possible. Like Singaporeans always doesn't really support indie films but
then he came in and change the mindset of local Singaporeans. So we have some
hope in the Singapore film industry. So I think this year is actually a good
year, because Jack Neo broke the box office record and then Anthony he made it
internationally in Cannes and got mentioned everywhere in the world. So
everyone knows that Singapore actually has a lot of potential in our film making
talents. And even we young people feel more hopeful and can convince people
like “Hey! We have Anthony! He doesn’t make big money but he has fame! Hahaha.
We have Jack Neo! He is not very good but he can make money!” Haha sorry I was
just trying to be funny but yar I think there is a lot of hope.
K: So what are your
personal ambitions now, coming out from AFA?
L: (to G) What are your personal ambitions?
G: What do you mean? Do I look very ambitious?
L: Er. I don’t know.
G: Yes I am! Hahahaha.
L: Haha. You just pretend only.
G: Ya actually I am super ambitious. Like I have certain
goals to reach at certain ages. I really want to make a feature film and
Anthony is kind of my benchmark, so I really want to do well to help people and
gain certain recognition to my work. I just hope film festivals will accept my
film because my last one did not get into any international ones, so after I am
done with my next two short films hopefully they can make it. And focus on my
feature script. Hopefully I can shoot in two years time. And make it really good.
Like really good. Like Anthony’s. Haha.
L: Haha. I have always wanted to make a feature film before
I was thirty but I only have two years left, so I think I am too slow. But I need
to refocus I guess and channel my new energies and focus on my feature script.
I want to write my feature well but writing is so hard. And then possibly make
one or two more short films as well, just to get to more festivals. Maybe make
my feature in two years I guess.
