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River of Exploding Durians - Trailer 【榴梿忘返】 预告片

《榴槤忘返》主要讲述一群中六生面对即将袭来的稀土厂一阵慌乱,人生产生了变化之余,在反对稀土厂的过程中,这群学生产生革命情感和一些单纯的爱慕情怀。A coastal town is turned upside down by the construction of a radioactive rare earth plant. An idealistic teacher and a group of high school students find themselves battling for the soul of their hometown. Based on real-life events, River of Exploding Durians is a sweeping tale of Malaysian history and its youth, where people are enveloped by politics and sadness while searching for love. #riverofexplodingduriansStarring: Zhu Zhi-Ying 朱芷瑩, Koe Shern 高圣, Daphne Low, Joey 梁祖仪Written, directed and edited by Edmund YeoProduced by Woo Ming Jin and Edmund Yeo Executive producer: Eric YeoDirector of Photography: Kong PahurakProduction designer: Edward Yu Chee BoonMake-up and wardrobe: Kay WongSound: Minimal Yossy PrapapanMusic: Woan Foong Wong

Posted by River of Exploding Durians 榴莲忘返 on Saturday, October 18, 2014

Friday, March 02, 2012

EMPTY KINGDOM interviews me

The very awesome arts and culture website Empty Kingdom had just posted an interview they did with me.

In this interview, I discuss why I stick with short films, and mostly on my latest short LAST FRAGMENTS OF WINTER.

[LAST FRAGMENTS OF WINTER] A girl alone on a bridge

On sticking with short films and whether I would move to feature-length territory:

"It’s not really a conscious decision stick to short films. I initially started making short films because I like the medium, I can tell stories that can be told in a very short time. It’s also a way for me to experiment with all kinds of styles and techniques before I apply them on a feature-length film. However, I have also co-written, produced and edited a couple of feature films (Woo Ming Jin’s WOMAN ON FIRE LOOKS FOR WATER, and THE TIGER FACTORY) to make sure that I don’t limit myself only to short films.

As a filmmaker, compared to a feature, short films are easier to put together, so while I spend the past two years developing my feature film script (took a year to write one, threw it away, ended up writing another), I had plenty of time making my short films. It’s also just a way for me to prevent myself from getting rusty, really.

It had always been my intention to go into feature length territory, but even if I do, I will still be making short films. It’s like alternating between writing a novel or a short story, I like both."

On influential factors / people that contributed to LAST FRAGMENTS OF WINTER.

But when I prepared for Last Fragments of Winter, I think the two biggest influences that I drew from were the works of Tarkovsky and Krzysztof Kieslowski, especially Double Life of Veronique from the latter. Because there was just something so mysterious and unexplainable about it, yet I found myself captivated by how it made me feel, which was similar to Mieko Kanai’s short story.

One person I met made the film what it is today. I was returning from a lengthy film festival trip in Europe early last year, as I was in a bus back from the airport. I saw, through the window, a young girl walking around at the streets with a huge camera that I’ve never seen before. The bus stopped nearby, I hopped off and ran to where the girl was, just to ask her about her camera. The camera turned out to be a Mamiya RB67, she was nice enough to bring me to a junk shop where she bought her wares, her name was Miho. Although I had just written a rough outline of the story before my trip, it was after my encounter with her that helped “solidify* things.

On whether the earthquake and tsunami of March 11, 2011 in Japan affected my direction of LAST FRAGMENTS OF WINTER because news soundbites of the event were heard in a scene.

"It did. Last Fragments of Winter was shot in both Japan and Malaysia. The snow sequences in Japan were shot just a few days before the earthquake, while the Malaysian sequences were shot a week after. I actually returned to Malaysia just two days before the tragedy.

What happened saddened me, but I also felt a lot of love and admiration for the people of Japan, who went through all these with so much dignity and spirit.

I felt that I had to capture this particular moment in my life with my film, therefore when I was shooting on location (at the streets of Kuala Lumpur), and there was a donation drive going on, I decided to have them in the background as well. It was my way to show solidarity with my friends in Japan, which had already became a second home to me. And when I was shooting at the corner shop, the news on TV was indeed about the events in Japan, so I didn’t make any move to switch off the TV either."

I spoke about a handful of other stuff too, gears I have fallen in love with, upcoming projects, what motivates me, etc etc."
Go check out the interview.
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