On 27th May 2016, SINdie was invited to the Singapore Gala Premiere of Distance by Producer Anthony Chen, featuring Directors Shijie, Yukun and Sivaroj who were behind the short films that made up this omnibus. Here are their thoughts about the film and the process behind it!
ANTHONY
(From left, Anthony Chen, Bolin Chen, Yeo Yann Yann, Cheng Huan Lin and Tan Shijie)
The idea of doing an omnibus to nurture/showcase young directors came
first. Then the concept of Distance emerged as we confirmed the directors. I
came up with that as an overarching theme since the directors come from
different countries so there is a physical and cultural distance between all of
us. Of course the idea is to explore the emotional distance between people and
in their relationships as well.
2. How did
you also come to pick these directors, especially Sivaroj Kongsakul
and Xin Yukun?
I have known Shijie's work for quite a few years now and have always
admired him as a filmmaker.
For Sivaroj, I got to see his work before getting to know him.I remember
seeing his first feature film, Eternity (Tiger
Award for Best Film at the Rotterdam Film Festival) at the Singapore Arts
Festival as my short film Lighthouse
was programmed to play before it. I got to know him later on through Thai
filmmaker Aditya Assarat.
Yukun was introduced to me through a film critic in China. At that time,
he had just completed his first feature Coffin in the Mountain that was
selected for Venice Critics' Week. I thought it was a real breath of fresh air,
a new voice that differed from the young contemporary Chinese filmmakers coming
out of China these days.
3. Were
there any challenges working with diverse filmmakers?
There certainly were difficulties, since there are cultural differences
between everyone on board. For example, in Thailand, the director didn't speak
Chinese, so I was the one who had to listen to the actors' dialogue on set.
4.
"Distance" was fully sold out when it premiered at the 2015 Golden
Horse Film Festival. What was the audience reaction there like and did you expect
it?
We had a wonderful premiere. And I was surprised by how everyone had
their own favourite segments. Different segments spoke to different people
depending on what they valued most - family, love, friendship, and also what
phase of life they were in.
5. The
film has since been travelling around the world to Los Angeles and even Dublin.
I am curious to know, were the reactions there similar to Taiwan or were they
very different?
It's hard for me to know as I haven't been to those festivals. I'm just
the Executive Producer after all. But I really like this little write-up from
the Los Angeles Asia Pacific Film Festival about the film when it played. I
thought it sort of captures the spirit of the film well: http://laapff.festpro.com/films/detail/distance_2016
6. Last
but not least, you mentioned that you were writing a script about a Singaporean
secondary school boy. Any details on how that is going and if there are any
other upcoming projects you are working on?
I'm still working on tweaking the script and have also begun some
initial casting. I can't exactly say it will surely be set in Singapore, but
certainly in Asia. I am also developing two other English language projects
(both novel adaptations) in the UK.
Director’s QnA featuring Tan Shijie, Yukun and Sivaroj
(Yukun’s answers have been translated by Sebastian Lim)
(Yukun’s answers have been translated by Sebastian Lim)
1. A lot has been said about what is it like working with
Anthony. So I am going to ask something different, what is one interesting
thing you have noticed about each other? Please try to describe a habit or
quirk that they themselves won't know!
Shijie: I don't know if I he knows this about himself, but I found
that Anthony comes to tears easily! (I think I can say this because I am this
way myself - just not at my own work.) At certain points of the shoot, I would
find him sitting by the monitor and sniffing, watching the performances. I
found this strangely comforting, *laughs*.
哲艺身上偶尔会有一种很天真的状态,跟他的年纪不相符。语气和举止想个孩子,如果此时你要和他沟通事情,也要把自己也调整到孩子的语气,不然感觉就怪怪的。
Sivaroj: He is a gentleman, I believe.
2. How does it feel to be part of an omnibus with the other directors? What was your reaction like when Anthony first approached you?
Shijie: In this particular case, the writers started film development
together, in London, where first ideas were discussed as a group together with
Anthony, so that there is thematic coherence in the stories from the omnibus.
Also I knew from the beginning that my portion would be in the middle, and this
contributed to how I approached the film as well, knowing the stories before
and after. As such, on a conceptual level, there was a lot of collaboration,
which was stimulating, and different, because I was thinking of what would come
before and after my film as well. An interesting process.
I was naturally excited to be
approached for this project, and accepted immediately; getting to make films is
such a privilege so I felt like there was no other response. I was in a little
bit of a dilemma, though. At the time when Anthony approached me, I had already
committed to working on a film-set in China for 3 months. Given the Distance
project timelines, I would have to develop ideas during the other shoot in China.
That was tough! I was working on set all-day and working on my computer at
night, thinking of ideas for the material in Distance. Tough, but
extremely rewarding. And now there is a film.
I loved Anthony’s “Ilo Ilo” and I feel that working on this project with Anthony would be a good experience and opportunity for me to learn and brush up on my skills, especially in portraying intricate feelings on screen which I feel inadequate in.
在剧本创作阶段很其他两位导演接触的比较多,熟悉了大家的创作方式和喜好。对陈世杰导演印象深刻,他很沉默干练。剧本写得很慢,但每一句都深思熟虑。只可惜他们在拍摄时,我正在筹备没时间到现场去学习。我会跟哲艺打听另外两位导演在现场的状态,的确每个人都不一样。我对很细腻的情感的影像表达并不在行,也想向借此向哲艺请教,因为我很喜欢《爸妈不在家》,就这样答应加入了。
3. Can you describe a moment or scene in the other two directors' parts that you enjoyed very much?
Shijie: I'll try to answer this that doesn't give too much
away.
In the first part, the protagonist
meets someone from his past, who doesn't recognise him. At this point in the
story, we know what sort of relationship they have, so their interaction is
really loaded and I always liked this, even from the script.
In the third part, the protagonist,
a professor from out-of-town, who goes on a small tour of Bangkok with a local
student. We see bits of Bangkok and see the developing relationship between the
two that follows naturally and casually. I enjoy this very Thai way of seeing
love.
因为陈世杰导演的第二部分《湖畔》,我从创作之初就了解到这个故事,也看过最终版的剧本。所以自己脑海里也会去描摹这些画面。但我看到成片后发觉世杰导演处理的更有底蕴一些,并且结尾的镜头也有安抚,在很短的时间里囊括了众多的情感和感悟是极难的,世杰做的不错。
Sivaroj: I love every time the walking-father scene
appeared in the first part and every scene at the lake in the second part.
SHIJIE
You mentioned that you really enjoyed working with Chen
Bo-Lin and Yo Yang, can you describe some memorable instances of working with
them that you enjoyed?
In the film, they play very old
friends that meet after a very long time apart. The scenes where the characters
meet are sparse scenes with very little dialogue, but underlying them is a
reservoir of feeling, under intense circumstances. This requires commitment
from the actors, and they gave their all. I am always moved when actors put
their emotions and put themselves in service of a creation, and in this case
both of them gave very much, very generously. As their director, I can only be
grateful.
YUKUN
Your first feature, "The Coffin in the Mountain"
is noted for its relatively unknown cast. So what was it like to work with Chen
Bolin who is an established actor?
I have no prior experience working with established celebrities. I was
hesitant at first, but gradually as I worked through and discussed the script
with Chen, I felt less worried. Chen is a professional actor who would go all
out to play his character well. This pre-requisite allowed us to build up
strong rapport and paved the way for the smooth working relationship ahead.
During filming, when both the actor and director share a common goal of
creating the best show for their audience, then how popular or how established
the actor is does not matter anymore.起初有些犹豫,自己并无与明星合作的经验,是对剧本的沟通让我慢慢放下忧虑。柏霖是个认真敬业的演员,会为了角色塑造做出极大地付出。这些都是我们之间合作默契,沟通无阻的重要前提。在拍摄时如果彼此合作的目的是塑造更好的角色,为了打磨出一部好片,其实也就没有什么明星之分了。
I understand that the film was released in China on 13th
May. How did you expect the Chinese audience to react to it?
The Chinese market in the past two years has been more lively, but also
more impetuous. Films on romance, comedy, and blockbusters on youths have all
achieved impressive box office results, reflecting a solidifying taste for these
types of films in the Chinese market in recent years. For the audiences that
lack the knowledge in film aesthetics, more sophisticated films which focus on
deep intangible emotions yet portrayed and captured in mild, subtle manners are
likely to appeal less. Nevertheless, for the more experienced and more
knowledgeable audiences, they should still be able to feel the filmmakers’
sincerity in bringing out the deeper messages of the film.这两年的中国电影市场热闹也浮躁,各种喜剧爱情青春大片取得票房佳绩,让观众和影院的口味固话。加之新形成的观影人群对电影美学和类型知识的匮乏,导致大家很难接受一些表达含蓄,以情感流露为主线的影片。但是观影经验丰富的观众还是可以从中体会的作者的意图与诚恳的心态。
Finally if you could show this film to anyone, who would you show this film to and why?
Everyone! This film allows viewers to explore and consider the complicated emotions and feelings in life – subjects which we tend to ignore or shy away from. As human beings, how can we ever spend our life in solitude, without any form of social or emotional attachment?
推荐给所有人,因为这部电影让你有机会在影院里面对那些你不愿,不敢面对的人和情。生而为人,谁能真正的孑然一身无所牵挂呢。
SIVAROJ
Was
this your first time working with a foreign lead actor? Were there any
challenges in communicating?
I remember well how stressed I was before the shoot. I don't understand Chinese at all but when it comes, I go with it naturally. My eyes are on the monitor and the characters without being interrupted by the language barrier. Their emotions and expression are far more important to me.
Do you think any of your ideas from Eternity or Arunkarn have seeped into Distance as well?
I remember well how stressed I was before the shoot. I don't understand Chinese at all but when it comes, I go with it naturally. My eyes are on the monitor and the characters without being interrupted by the language barrier. Their emotions and expression are far more important to me.
Do you think any of your ideas from Eternity or Arunkarn have seeped into Distance as well?
My first feature is Eternity (ที่รัก),
I made that film with the feelings I have towards how much I miss my father who
left me long time ago. For my second feature Arunkarn I have a strong interest in the moment before our death.
The story is told through two soldiers. It portrays their lives before they
die.
After Distance,
I shifted to the next chapter of my belief towards filmmaking, which is that I
still don't know exactly where we are all heading. No path, no destination.
Maybe we all just have a duty to be the best we can, I believe.
*Responses have been edited for conciseness, clarity
and grammar
For more information: https://www.facebook.com/distancemovie2016/
Photo Credits: Jenson Chen and Distance