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Tuesday, April 24, 2012

Film directing as a profession does not really exist

I saw this posted on Facebook by the Chinese filmmaker Ying Liang. He was passing to his students words of wisdom from his own teacher, Professor Si-Tu Zhao Dun.



The whole thing is in Chinese, so it's actually better if you can read it in its original language as my translation will be pretty shaky:

Here's the original:

"B1有同学对选修导演有兴趣,请看一下我的老师司徒兆敦的话:“世界上没有导演这个行业。做导演首先要学做人,对生活的态度必须是严肃的、认真的,要甘心寂寞的,要关心生活、关心人。只贪图导演的虚名心浮气躁,将来要吃大亏。静下心来脚踏实地,才能出智慧。”

司徒老师70多岁了,是北京电影学院所谓“第五代”那个班的班主任,现在还是CENX的顾问之一。他的父亲司徒慧敏是中国著名的电影技术专家,左翼电影运动的成员之一,参与过《桃李劫》、《风云儿女》的拍摄,做过《姊妹花》的录音。他给我最大的教诲便是:要成为创作者,首先需要解决自己与世界与他人的关系,需要找到一个合适的位置,需要真正了解自己"

My rather horrendous translation (some of my notes will be in parentheses):

"Some of the students of B1 (not sure what this is, a class that Ying Liang is teaching, maybe) are interested in directing as their majors. These are the words of my teacher, Professor Si-tu Zhao Dun of Beijing Film School.

"Film directing as a profession (or a career) does not really exist. To become a film director one must learn how to live life, treating one's own life with discipline and seriousness, and is willing to accept loneliness. Care about life, care about others. If you choose to be a film director merely for superficial reasons just to assuage your own pride, you will pay dearly in the future. Be realistic and practical, then you will attain wisdom."

Professor Si-tu is 74 years old. He was the teacher of the "5th Generation" filmmakers of China. (Zhang Yimou, Tian Zhuangzhuang, Chen Kaige, Zhang Junzhao and others, they graduated from the class of 1982) and is currently one of the consultants of CNEX (I assume that's Chongqing Film Fest, which was founded by Ying Liang. Nope. my assumption was wrong, according to Ying Liang, CNEX is the Foundation for Chinese Documentary Films) Professor Si-tu's father, Si-tu Hui Min, a leftist filmmaker and intellectual, was a pivotal figure in Chinese cinema history, being involved in four films in the 1930s that had became important examples of left-leaning Chinese cinema. (Diantong Film Company on Wikipedia).

Another quote from him to Ying Liang was "in order to be a creator, one must first learn to deal with the intricacies of one's relationship with the world and other people, seeking a comfortable balance, which will lead to a deeper understanding of oneself."

Interestingly, "Two Cents", Si-tu Hui Min's segment in the 1937 omnibus film SYMPHONY OF LIANHUA can be viewed on Youtube (actually, the entire film is there too, so you can check out the contributions of the other seven directors involved in this omnibus).



I don't disagree. Becoming a filmmaker isn't merely a "job", your focus isn't just on "directing a film" on a film set, it actually affects your entirely lifestyle, your philosophy, your life. There's this perpetual feeling of loneliness, knowing that you cannot really share your own emotional world in its entirety with other people. What concerns you is something that that is unexplainably private to you.

When people tell me that they really want to help me out during one of my film shoots, because they intend to learn, and to achieve their own dreams of becoming a film director, I seldom turn them down. Having people spit upon your dreams or trivialize what you wish to do is a foul experience that I had endured most of my life. I wouldn't want to revisit that upon others. Yet the irony is that most of the time when I accepted their offers to help, and told them that I was indeed preparing for a shoot and would love their assistance, they would end up turning me down because they had more important things to do, like a day job, or an appointment, or a date. I can never really understand them. It's a rather lonely feeling.

Sunday, April 22, 2012

Instagram photos of the week: End of cherry blossom season

Been busy with the post-production of my new film, and also dealing with a couple of deadlines. So I'll just entertain this very silent blog with more stunningly beautiful photos that I uploaded on Instagram during the past week.

The photos I posted had one recurring theme, the end of the much-loved cherry blossom season in Japan. Usually it's signaled by some heavy rain.

Been raining the entire day, end of cherry blossoms season?

Cherry blossom petals wilting on the ground.


One day, I was rushing to the train station when I saw a Black Thunder chocolate bar wrapper lying on the ground, along with a couple of cherry blossoms petals. Which amused me, because this is something I eat almost everyday, and I sometimes wondered who else shares this guilty pleasure as well. The Japanese folks around me loved remarking on my love of Black Thunder, to the point where some dude in my film department made it a major highlight in an interview video he made about me. Doesn't any other Japanese people try it too? How can they resist a Black Thunder? It's a little peculiar.

Seeing a Black Thunder wrapper on the ground amidst fallen cherry blossom petals. I felt a little comforted to know that other people eat Black Thunder too.


During my film shoot last week at Genjiyama Park, a small mountain park considered one of the Meccas for Hanami (Japanese custom for enjoying the beauty of flowers, usually it's cherry blossoms). When I was on its peak, I looked up at the trees and was a little disappointed that there weren't that many cherry blossoms, but the trees were very nice.

Sun peeking shyly through the leaves in a busy spring afternoon.


So yup, look for me on Instagram at "edmundyeo".

Wednesday, April 18, 2012

Thoughts on 31st Hong Kong Film Awards / Ode to Lau Ching Wan

The 31st Hong Kong Film Awards was held on Sunday night. I was following the results on Facebook and Twitter because I didn't know where else can I catch a live telecast of it in Japan.

A SIMPLE LIFE by Ann Hui ended up as the big winner of the night, winning Best Film, Best Director, Best Actor, Best Actress, Best Screenplay and probably a few others I didn't count.

I haven't seen it, so there's not much I can say.

But I ended up writing my thoughts about each of the acting award winners on Facebook, which I'm going to share here. (and I will expand on what I wrote if I can)

On BEST SUPPORTING ACTRESS winner Soh Hang Chuen:



"When I saw Soh Hang Suen appear on Johnnie To's LIFE WITHOUT PRINCIPLE, I was pleasantly surprised. She was a very familiar face during my childhood, from those TVB series I used to watch. She now operates a vegetarian restaurant, oh, and she's also the Best Supporting Actress in the ongoing HK Film Awards. She appeared only in 2 scenes. But to me. they were the most intense and memorable scenes in the film."

It's always great to see Hong Kong veteran actors or actresses appearing onscreen again. Most of the TVB series I remember of Soh Hang Suen were the sad ones. One that remained vivid in my mind is about her being framed for murder and being imprisoned in China, and her son (played by Roger Kwok) had to spend years and years trying to prove her innocence. I remember only one image from its final episode, she was finally given a not guilty verdict after all these years of being wrongly imprisoned. Her face was one of shock and disbelief, while her son just sat back and yelled in triumph, and then he began crying.

Those TVB stuff from my childhood were really intense.

The Best Supporting Actor also happens to be a familiar face from my past.

On BEST SUPPORTING ACTOR winner Lo Hoi-pang.





Good, I was always grateful that Johnnie To brought Lo Hoi-pang back for PTU, and all his subsequent films. Now he wins the best supporting actor for LIFE WITHOUT PRINCIPLE. Deservingly.

Seeing Lo Hoi-pang in PTU nearly ten years ago gave me the same feeling I had when I saw Soh Hang Suen in LIFE WITHOUT PRINCIPLE few weeks ago, a feeling of surprise and nostalgia. Among nominees, his performance and Kenneth Tsang's (in OVERHEARD 2) impressed me most.

On BEST ACTRESS winner Deanie Ip.





To the surprise of nobody, Deanie Ip won Best Actress for A SIMPLE LIFE yesterday, completing her sweep, (started from her historic win in last year's Venice Film Festival, and then also winning in the Golden Horse, Tallin Black Nights Film Fest, HK Film Critics Society Awards, Asian Film Awards)

I was excited to meet her the night before the Golden Horse awards last November.

Approaching her, I briefly introduced myself and told her that I was a fan of hers since...

"I was a fan of yours since..." Then I stopped myself, to complete the sentence with 'I was a child' would have been a little rude, I thought.

"Since you were a child?" Deanie finished my sentence with a smile.

Aside from the films and TV dramas I've seen. Every time I see her name, her powerful duet with Andy Hui rings loudly in my head 教我如何不愛他 like a personal theme song (you know, like wrestlers use when they enter the ring).



This is the photo I took with Deanie Ip after the conversation above.

And finally, instead of writing something about BEST ACTOR winner Andy Lau, I ended up writing something about non-winner Lau Ching Wan, who got two nominations this year in the category (for LIFE WITHOUT PRINCIPLE and OVERHEARD 2). His role in OVERHEARD 2 was probably not flashy enough, so I thought he had a better hence with LIFE WITHOUT PRINCIPLE. But when his two co-stars won the Supporting Acting awards, I knew he wouldn't have a chance at all.



Yes, Andy Lau ended up winning Best Actor yesterday for A Simple Life at the HK Film Awards. That would be his third Best Actor win after the two Johnnie To films RUNNING OUT OF TIME (1999) and RUNNING ON KARMA (2003). I thought he thoroughly deserved the latter, but not so sure about RUNNING OUT OF TIME, because I thought his co-star Lau Ching Wan had a more complex role in THE VICTIM that year.

This year, despite getting two nominations for Best Actor, for Johnnie To's LIFE WITHOUT PRINCIPLE and OVERHEARD 2, Lau Ching Wan ended up not winning anything again. Which is quite a shame, this guy is probably one of the best actors of his generation (... a strong generation indeed, with the likes of Tony Leung, Anthony Wong, Francis Ng etc,), it'll be sad if he's just a one-and-done Best Actor winner (he won for MY NAME IS FAME in 2006).

Here are the number of roles which he got nominated for that I loved:

1997's Full Alert (Brilliant Ringo Lam film, either him or Francis Ng could have gotten something. It's a tough year. This was the year that Tony Leung won for Happy Together.)



1998's The Longest Nite (Him, as a bad guy, squaring off against Tony Leung. I loved the film, and him doing the whole Cool Hand Luke stuff in the cell. This was the year that Anthony Wong won for Beast Cops)



2007's Mad Detective (this was the year that Jet Li won for The Warlords... and he had just won for MY NAME IS FAME, so I guess they wouldn't let him get a back to back win, a pity.)



So yeah, Lau Ching Wan, despite his accolades and popularity, is somehow, to me, still rather underrated. Hope to see more collaborations between him and Johnnie To. They are the original pair.

Now, enough about the acting award winners. A friend of mine, Jessey Tsang, also won a Best New Director award for her feature debut, BIG BLUE LAKE. It's awesome. I actually met her two years ago at the Tokyo Film Festival, when the film was one of the projects in the Tokyo Project Gathering (project market, now renamed as TIFFCOM Market or something). She had just finished the film and was seeking postproduction financing and sales. And now she's a Hong Kong Film Awards award-winner, awesome.

Here's a trailer of BIG BLUE LAKE.


Thursday, April 12, 2012

My (stunningly beautiful, of course) Instagram photos of the week

The past week had been pretty busy for me. I was "supervising" the post-production of the TV thing that I shot in Malaysia last month (when I said supervising, I pretty much meant "jumping into the whole damn thing and doing a lot of re-editing myself), while simultaneously doing the pre-production for a short film (that I'm shooting right now).

Anyway, you might notice that numerous photos I've posted on this page were from Instagram, a service I rather liked because of the way it could enhance my iPhone photos. Everyone's talking about it now since it got acquired by Facebook for a measly sum of $1 billion dollars, I also thought that the photos I took had been increasingly awesome, so I'm sharing the ones that I have taken in the past week.

On the 6th of April, while on our way to do our recce (a term we used for pre-filming location visits), my cinematographer gave me a seagull egg. It was very sweet and yummy.

Eating #seagull #egg #かもめのたまご while doing #recce for an upcoming project. Very sweet and yummy.


When I was at Kamakura, walking past the famous Zeniarai Benten Shrine, I was struck by its interesting tunnel entrance, looked full of mysteries.

Two girls walking into an endless #tunnel of a #japanese #shrine


Meanwhile, as all these were happening, we were in the middle of the cherry blossom season. Near where I live, the cherry blossom petals were already falling into the Kanta river, a sight that had always struck me even though this was the third time I've seen it.

Cherry blossom petals floating soundlessly into the river.


Finally, today, at the beach during the sunset, a child enjoyed the wind.

The little girl and the sea.


So yeah, look for "edmundyeo" on Instagram if you want to have your mind blown away by more awesome pictures of mine :D

Wednesday, April 04, 2012

Happy 80th birthday, Andrei Tarkovsky

I was quite surprised when Radoslav Sharapanov left a comment on my recent Andrei Tarkovsky Facebook post that today is actually Tarkovsky's birthday.


Andrei Tarkovsky


Tarkovsky died in 1986 at the relatively young age of 54, when I was only 2. He would have been 80 years old this year. Same age as my grandmother.

On the day of his birthday, the weather in Tokyo had been wonderful, the storm from yesterday was entirely forgotten. The skies were clear, the sun was warm, and near my place, the cherry blossoms had started blooming.


A calm #spring afternoon after the #storm in #Tokyo. #cherry #blossoms are out bathing in #sunlight.


Some of you might know that I'm a huge Tarkovsky fan, and that many of my own works were very influenced by him.

I knew about him for quite a while, but I've only watched my first Tarkovsky film back in 2009. At that time I had just finished Kingyo and was feeling some post-creativity depression. During a delicious all-you-can-eat Italian meal with Niklas (who would end up shooting my subsequent experimental short THE WHITE FLOWER), a brainstorming session led to a Tarkovsky discussion, when he mentioned to me about the greatness of STALKER. I was intrigued, our discussion would lead us to an exploration trip at the ruins in Sagamiko a few weeks later. One thing led to another, the ruins in Sagamiko would end up being used as a setting for my short film, EXHALATION many months later.

But that night after the discussion, I was intrigued by Andrei Tarkovsky. I had a Facebook chat with Lesly (who shot my LOVE SUICIDES and later, the Prada short film, NOW) and asked whether he had seen any Tarkovsky films too. Lesly immediately told me that Tarkovsky was one of his favourite directors too.

With so many people lauding the greatness of Tarkovsky, I had no choice but to check out his films.

STALKER was my very first. I cannot forget its dream scene.

This is a fan-made video of STALKER, the first half of it is the dream scene I mentioned.



(By the way, you can actually watch the entire STALKER, yes, the whole film, on Youtube)

I immediately followed that with MIRROR. Images from the unseen narrator's childhood haunted me for days.




Cinematic poetry at its finest. They were the sort of things I aspired to do with my own films. How awe-inspiring it was, and comforting too, to know that a master like him had done what I tried to do so many decades ago.

(The entire MIRROR is on Youtube as well)

I decided to trace his early career, to understand the evolution, or the maturation, of a pure artist.

So I saw his two short films THE KILLERS and THE STEAMROLLER AND THE VIOLIN. I cannot remember THE KILLERS at all, but THE STEAMROLLER AND THE VIOLIN, I remembered it most for... also, another dream sequence, which happened at the end of the short film, showing a little boy's desire to be with his friend.




I guess that would serve as a precursor for the ending of his masterful debut feature, IVAN'S CHILDHOOD. IVAN'S CHILDHOOD shocked me with its greatness and maturity as well. It seemed light years ahead of his shorts. Tarkovsky's lyrical images were already full display.

Witness the famous kissing scene from IVAN'S CHILDHOOD.


Discounting his documentary VOYAGE IN TIME, Tarkovsky had made only 7 features in his lifetime. Having seen three of his films in mere days, completing his entire oeuvre would have been easy.

But I decided against it, I didn't want it to end so soon. Therefore, 2009 ended with me having only seen three of those films. I revisited them a lot, over and over again, before a shoot, after a shoot, whenever I was writing a script.

"Give me a Tarkovskian shot!" became a common line that I would say during a film shoot.

2010. I watched SOLARIS in its entirety. I liked it a little less than the other films that I have seen, despite its brilliance. I didn't know why. Yet the opening and ending images have seared themselves in my retinas... but then, which Tarkovsky film didn't?

Last year, after shooting LAST FRAGMENTS OF WINTER, I decided to pop in my NOSTALGHIA DVD.






After seeing it, which, predictably, gave me goosebumps, I called THE TIGER FACTORY director Woo Ming Jin, who was my producer.

"The things I did with LAST FRAGMENTS OF WINTER, of characters moving in and out of dreams and reality, between past and present... Tarkovsky had already done it in NOSTALGHIA decades earlier." I said, shocked, awed, a mixture of both.

"Maybe Tarkovsky traveled in time to the future to rip off from you, eh?" Ming Jin replied dryly.

Many months later, towards the end of 2011, I watched ANDREI RUBLEV. A film so rich in scope, so grand in scape, so novelistic, so visually arresting, I merely shook my head when it ended. There really wasn't anything I could say. It was undeniably a masterpiece of highest order. A towering achievement in cinema.

Yes, Tarkovsky, to me, was THAT damn good. I quote what Radoslav said of ANDREI RUBLEV.

"Effortlessly epic with the focus and power of a poem."

Absolutely.




So, finally, I left his last film SACRIFICE for the last. It took me many months before I finally got to watch it.

In fact, I finished it last week, which prompted me to post the Facebook link in the first place. It's not my favourite Tarkovsky film, but those long takes, those moments of undeniable brilliance.


And then the last line... "'In the beginning was the Word.' Why is that, Papa?”"

Completing his oeuvre made me feel a little sad. Maybe because I had nothing to look forward to.

And like I did on Facebook, I could finally rank Tarkovsky's films based on preferences.

1) THE ONES THAT BLEW MY MIND AND HAD ME WATCHING CERTAIN SCENES OVER AND OVER AGAIN

- Stalker (it's my first, the first is always the most memorable and precious. I was so excited when I visited the place where he shot Stalker in Estonia last year)
- Andrei Rublev

2) THE ONES I LOVED AND HAD ME EXAMINING CERTAIN SHOTS OVER AND OVER AGAIN

- The Mirror (the childhood sequences, the ending)
- Ivan's Childhood (the dream sequence)

3) THE ONES THAT I'M SURE WILL REVISIT SOMETIME LATER (LIKED THEM LESS THAN THE OTHERS, BUT WERE STILL LEFT BREATHLESS BY MOMENTS OF AWESOMENESS)

- Solaris
- Nostalghia
- Sacrifice

That's how I would rank his films. Although I think THE MIRROR might belong to the first group too. It's a tough decision to make.

Anyway, I guess it's understandable due to my recent lack of updates how quiet this site had became in recent months. But it'll be great to hear from some other Tarkovsky fans, or non-fans here.

Happy 80th birthday, Andrei Tarkovsky.

"The director’s task is to recreate life, its movement, its contradictions, its dynamic and conflicts. It is his duty to reveal every iota of the truth he has seen, even if not everyone finds that truth acceptable. Of course an artist can lose his way, but even his mistakes are interesting provided they are sincere. For they represent the reality of his inner life, of the peregrinations and struggle into which the external world has thrown him."
― Andrei Tarkovsky

"It is a mistake to talk about the artist looking for his subject. In fact, the subject grows within him like a fruit and begins to demand expression. It is like childbirth. The poet has nothing to be proud of. He is not master of the situation, but a servant. Creative work is his only possible form of existence, and his every work is like a deed he has no power to annul. For him to be aware that the sequence of such deeds is due and ripe, that it lies in the very nature of things, he has to have faith in the idea; for only faith interlocks the system of images for which read system of life."
― Andrei Tarkovsky

Tuesday, April 03, 2012

Experiencing Japan's strongest storm since 1959

3rd of April 2012. It's been 4 years and 1 day since I first moved to Tokyo.

This special event was marked by Japan's strongest storm since 1959.

I got a phone call in the morning from a friend asking whether I wanted to hang out because a bad storm was coming.

I said yes, not entirely sure that the storm was going to be historically bad.

An hour later, I was at Ikebukuro station. It was starting to rain.

She arrived moments later, smiling gleefully.

"Everyone's hurrying home, but we chose to come out. Isn't this crazy (and a little exciting)?" She said.

I agreed. I noticed that she wasn't carrying an umbrella.

We walked through the streets of Ikebukuro. The initial plan was to go to a nearby cafe, but we wanted to eat first.

There was a restaurant that served lunch with all you can eat salad bar (and unlimited drinks). The rain was getting stronger, so we chose to eat there.

As we were finishing our meals, she looked at her iPhone and gasped.

"The storm is bad. 70% of the trains will be cancelled!"

"Oh my." I remarked.

My phone started to ring too, it was mom calling me via Viber.

"Hello." I said.

"Hello. Where are you now?" Mom asked.

"Oh, outside, having lunch." I said.

"There's going to be a huge storm in Tokyo. Why aren't you at home?" Mom said.

"Mmm... I'll be home soon." I said.

"Okay." Mom said. "All the planes to Japan have been canceled today, you know."

When I was on the phone with mom, I was indeed exiting the restaurant. We were heading back to the station, taking the train home.

The wind was getting stronger.

So strong that my umbrella broke when I was about to reach home.

Massive #storm came over #Japan. My #umbrella became a casualty.


I was a little amused. So I took a photo of it and uploaded it on Instagram, Flickr and Facebook.

I wondered whether my umbrella would have suffered this fate if my friend had accepted my offer to take it on her way home. She was stubborn and would rather walk in the rain.

"I'm already sick. How much worse can I get?" She asked as she dismissed my umbrella, just before she went into her train.

"Right." I said. I wasn't too sure.

Such a historic storm, I regret not taking any videos of it.

I was struck by this thought when I was in my room a few hours later.

The world outside was howling in madness.

I pushed open my window, letting in a large gust of wind.

And this was the view from my room, a cherry blossom tree in the middle of a tremendous storm.

Sunday, April 01, 2012

Remembering Leslie Cheung and Anita Mui


Leslie Cheung and Anita Mui


During the last few hours, I was wondering why everyone's suddenly posting photos and videos of Leslie Cheung on Facebook. An internet meme I knew nothing about?

And then I remembered that he died on the 1st of April, 9 years ago.

I remember that day. I just came home with mom and sister (grocery shopping) and dad was watching TV. Dad told us he just received news of Leslie's suicide.

My instinct then, of course, was to just dismiss it as an April Fools' Day hoax (which mom did as well), but I knew deep in my heart then that something like that would never be a joke.

As mom sat next to dad, waiting for the news. I walked upstairs and went online, trying to find news about it. Back then, before the days of Twitter and Facebook, when I think I was still using dial-up connection, such news wouldn't appear that quickly online.

Moments later mom called out, saying that news of Leslie Cheung's death was on TV.

So I ran down and watched, in quiet horror.

(Can you believe that 9 years ago, it was still faster to find news on TV than on the Internet?)

Considering that he was an actor you grew up watching, it was impossible not to be shaken by such a horrifying and untimely end. Why would he throw himself off a building?

My father loved John Woo's A BETTER TOMORROW, he would play it over and over again almost every week when I was a kid. So, Chow Yun Fat, Ti Lung and Leslie Cheung were probably some of the earliest Hong Kong actors I knew (along with the Hui brothers, Michael, Ricky and Sam).

A BETTER TOMORROW's theme song
was sung by Leslie Cheung.




I remember that 2003 was a horrible year for Hong Kong. It was still reeling from the death of the "Godfather of Cantopop" Roman Tam in late 2002. In early 2003, it was hit by the SARS epidemic, and then, Leslie Cheung died.

Hong Kong films and TV series have long ingrained itself in Malaysian Chinese culture. Until this very day, most Malaysian Chinese people are more familiar with Hong Kong celebrities than local ones. Therefore, some of us always feel this strange familiarity towards Hong Kong itself. We are affected by their pain too.

A few months after Leslie Cheung's death, the singer Anita Mui made a public announcement that she had cervical cancer in September 2003. She was one of the most important Hong Kong singers of her generation. She passed away in December 30, 2003. I learned about her death on radio. 2003 was indeed a dark year.

I always listened to radio when I sleep. It was a habit I had ever since I was a child. Maybe because I didn't like the silence, and mostly because I liked waking up to the comforting sounds of pop songs.

I still listen to radio now when I go to bed, but it's actually one of those internet radio stations on iTunes. I don't get my news from the radio anymore.

This blog post was really meant to be about Leslie Cheung alone, but I cannot help but write about Anita Mui too because their paths intertwined so much.

Leslie Cheung still lives on. All because of the amount of times I had to go through Wong Kar Wai films for inspiration, whether I was writing a script, or preparing for a shoot, or waiting to edit a film. I think I only started watching WKW films (or rather, the ones he starred in) regularly after his death.

He was fantastic in DAYS OF BEING WILD. I still quote his "bird with no legs" line from the film.




Or his "the more I try to forget her, the more I remember" quote towards the end of ASHES OF TIME.




By the way, the ending song of DAYS OF BEING WILD is sung by Anita Mui (a beautiful Cantonese cover of JUNGLE DRUMS).




And this is her live performance of the song in her 1999 concert.




I guess their passing marked the last time I really listened to Cantopop. It's been nearly a decade.

I'll sign off by sharing with you one of my absolute favourites of Anita Mui's songs, LIFE WRITTEN ON WATER 似水流年. Always gives me goosebumps. She sang this in her final concert, when she was already terminally ill with cancer. She would pass away a few weeks after this.




Oh, and this is Leslie, covering Anita Mui's LIFE WRITTEN ON WATER.


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