I'm now hanging out at Tsukui, new year has come, waiting for Maiko the Producer's mom to prepare some soba (apparently it is Japanese tradition to eat soba during new year!).
2009 had its ups and downs, but for me, they were mostly ups. Hopefully 2010 will be better, for me and you all!!!
Embed Instagram Post Code Generator
Thursday, December 31, 2009
EXHALATION shoot day 3
Last night, I shot the remaining scenes for my new film EXHALATION.
This is lead actress Kiki Sugino in her uniform (in the film she works in a Pachinko shop).
This is lead actress Kiki Sugino in her uniform (in the film she works in a Pachinko shop).
Wednesday, December 30, 2009
EXHALATION shoot day 2
Early in the morning, when I returned to the location for the shoot of my new film, EXHALATION, it struck me that i was going through the last few days of 2009.
It was rather apt that, in a year which I would consider a breakthrough for my filmmaking career, I would end it while making a film.
It was rather apt that, in a year which I would consider a breakthrough for my filmmaking career, I would end it while making a film.
Monday, December 28, 2009
EXHALATION shoot day 1
The 3-day shoot for my newest short film, EXHALATION, had just started. It's the biggest production I've ever taken (yes, even bigger than KINGYO).
Some photos from the film shoot today. I have only 4 hours to sleep before I get up at 5am for day two of the shoot.
The crew arrived at the location at 8:30am in the morning. Everyone started preparing.
Some photos from the film shoot today. I have only 4 hours to sleep before I get up at 5am for day two of the shoot.
The crew arrived at the location at 8:30am in the morning. Everyone started preparing.
Friday, December 25, 2009
Yakiniku Christmas Dinner
I remembered last year's Christmas, it was a quiet one. I miscalculated that Ueno Park or Senso-ji Temple would be open for Christmas, but I was wrong. It was a peaceful but somewhat melancholic experience.
I kinda assumed that the same would happen this year. Perhaps I would just head off to one of the cinemas and watch AVATAR alone, but something else came up, and all of a sudden, I found myself at a Yakiniku restaurant called Buchi, in Shibuya.
I kinda assumed that the same would happen this year. Perhaps I would just head off to one of the cinemas and watch AVATAR alone, but something else came up, and all of a sudden, I found myself at a Yakiniku restaurant called Buchi, in Shibuya.
LOVE SUICIDES picked up Best Director award at China Mobile Film Festival 2009
(I've announced this on Twitter and Facebook a few days ago, but haven't actually done it here, so here you go...)
Just to share some good news. I picked up the Best Director Award for my short film LOVE SUICIDES at last week's China Mobile Film Festival in Shenzhen.
Just to share some good news. I picked up the Best Director Award for my short film LOVE SUICIDES at last week's China Mobile Film Festival in Shenzhen.
KINGYO reunion party
Yes, it's Christmas, but let me post some long overdue blog entries for now.
The KINGYO team had a reunion party on the 15th of December, right after the CON-CAN Award Ceremony.
Actually, it's more like a 'wrap party' instead of a 'reunion party'. Although we finished the shoot for KINGYO almost a year earlier (principal photography was done by the end of January 2009), none of us had the chance to really had a 'wrap party'. None of us were able to be at the same city at the same time, so it was great to finally have something like that.
Here's part of the team.
(from left to right: me, Kawamura-san who borrowed us his house for the shoot, still photographer Zhang Xiaolei, production assistant Seki, lead actress Luchino, production assistant An-chan, Lia the Artist/ Assistant director, Maiko the producer and Linto the post-production technician)
The KINGYO team had a reunion party on the 15th of December, right after the CON-CAN Award Ceremony.
Actually, it's more like a 'wrap party' instead of a 'reunion party'. Although we finished the shoot for KINGYO almost a year earlier (principal photography was done by the end of January 2009), none of us had the chance to really had a 'wrap party'. None of us were able to be at the same city at the same time, so it was great to finally have something like that.
Here's part of the team.
(from left to right: me, Kawamura-san who borrowed us his house for the shoot, still photographer Zhang Xiaolei, production assistant Seki, lead actress Luchino, production assistant An-chan, Lia the Artist/ Assistant director, Maiko the producer and Linto the post-production technician)
Tuesday, December 22, 2009
The CON-CAN Movie Festival Awards Ceremony and Ando Lab screening in Waseda
Last month, the people of CON-CAN Movie Festival decided to hold an awards ceremony in Waseda University because, aside from me, another award winner Nishihara, was also a Waseda student.
The CON-CAN Movie Festival Screening in Keio University
I just got back from Shenzhen, China, two nights ago. Was there a couple of days for the China Mobile Film Fest, was mortified to be reminded again that Facebook, Youtube, Blogspot and even Twitter were blocked, hence the lack of updates. I picked up an award from the festival, but I'll get back to that later.
Last Monday (14th of December, 2009), I headed off to Keio University for a screening of FLEETING IMAGES (watch entire film here) organized by the CON-CAN Movie Festival. My film, along with 3 of the award-winning films of the festival, were screened. But that night, only me and Monica Gallab of Belgium (Special Jury Prize winner for NICE DAY FOR A PICNIC, film embedded at the bottom of the post) were present for the event.
This is Yumi the Photographer, she studied French literature.
Last Monday (14th of December, 2009), I headed off to Keio University for a screening of FLEETING IMAGES (watch entire film here) organized by the CON-CAN Movie Festival. My film, along with 3 of the award-winning films of the festival, were screened. But that night, only me and Monica Gallab of Belgium (Special Jury Prize winner for NICE DAY FOR A PICNIC, film embedded at the bottom of the post) were present for the event.
This is Yumi the Photographer, she studied French literature.
Tuesday, December 15, 2009
My return to the ruins of Sun Hills Hotel and Fujino
Back in May, I explored the ruins at Sagamihara. It was an unforgettable adventure that stayed with me, so I decided to return to the ruins of Sun Hills Hotel again, for location scouting.
Wednesday, December 09, 2009
I don't think my handwriting is THAT ugly
Another sleepless night.
I developed an outline for my new film two nights ago.
Yesterday evening, I tried to come up with a rough film treatment. (it's typically the step before the first draft of a screenplay)
Maiko and Kong, along with An-chan, were having discussions about Kong's new short film, which was scheduled for shooting this month.
Me, knowing that it was a rare moment where I could concentrate without having any other distractions, took some papers and started scribbling some notes.
I developed an outline for my new film two nights ago.
Yesterday evening, I tried to come up with a rough film treatment. (it's typically the step before the first draft of a screenplay)
Maiko and Kong, along with An-chan, were having discussions about Kong's new short film, which was scheduled for shooting this month.
Me, knowing that it was a rare moment where I could concentrate without having any other distractions, took some papers and started scribbling some notes.
Tuesday, December 08, 2009
TOKYO FILMeX 2009, Sell Out! director Yeo Joon Han's Q and A session.
I felt a sense of nationalistic pride when I went to catch SELL OUT! at TOKYO FILMeX on the 24th, last month. Took me quite a while to finally catch the film since I wasn't around during the film's local theatrical release in Malaysia couple of months ago. I enjoyed the film, though I liked the satirical, comedic parts more than the musical parts. SELL OUT! Lead actress Jerrica Lai, who had a great voice and was awesome in the film, would later give another wonderful performance at the stunning WOMAN ON FIRE LOOKS FOR WATER, produced by, well, me.
Difficult to sleep because of another new project
I've been having problems sleeping again.
The past week when my family were around, I had my most normal sleeping schedule in MONTHS. Sleeping around 1am, waking up around 8-9am, it was healthy.
After finishing my latest THE WHITE FLOWER (I now have the film in screener DVDs, but there will still be some minor tweaks here and there before it really premieres), its month-long post-production leading to some of the craziest, most irregular sleeping time for myself (I would take a brief nap from 11pm to 1-2am, wake up, orchestrate net meetings with Niklas the cinematographer and Woan Foong the composer, getting materials for them to continue the progress of the film, and then updating them by uploading some footage online for them to view etc.) I started having breakfast before I sleep at around 9-10am.
still from THE WHITE FLOWER
The best thing is that I get to skip lunch (which isn't served for free in my dorm, haha) since I often sleep through the noon and wake up around 2pm. I live like a peasant because my deluded romanticized view of struggling artists is one where everything is shoved aside for the sake of his craft or art.
So yes, after THE WHITE FLOWER was done, family came to visit, and I slept properly. They returned to Malaysia on Saturday morning.
I then started planning the storyline for my latest short film. Yes, my 7th short film of the year. A project that happened suddenly (more details in future posts, if I can remember) during a conversation in a cafe when I went to the TOKYO FILMeX end of last month.
My new film is called EXHALATION. I wrote the script back in April when I was in Malaysia just after the WOMAN ON FIRE LOOKS FOR WATER shoot. It's an original script, and not another Yasunari Kawabata adaptation. The script was rather simple and I had planned to shoot it only in one night. Unfortunately, things didn't work out with the film's intended main actress, so I ended up making AFTERNOON RIVER instead (the first half of my upcoming short film AFTERNOON RIVER, EVENING SKY).
Since EXHALATION was written before I finished KINGYO, 3PM, AFTERNOON RIVER, EVENING SKY and THE WHITE FLOWER, I think I might have grown more as a filmmaker in the past 8 months (well, I hope so anyway), so I decided to resurrect the project but transplant the story to Japanese settings, and also to increase the scale of the film.
On Sunday, the day after my family left, I spent the entire day in my room, watching films, doing research, reading Yukio Mishima's DEATH IN MIDSUMMER anthology which I just bought two days earlier (funnily, as I try to find reviews of the book, I would end up finding a 3-year-old entry ON MY OWN BLOG written by guestblogger Justin). There was an idea of turning the story from a solo one-woman piece (initial plan was that all secondary characters were either out of focus, or off-screen, audiences can only see the main actress) to a two-hander (instead of being about one character, it's about two, Kong would point out that it's consistent with my usual theme with 'dualism')
By then, my body clock has already been disrupted. Again.
On Monday (that's yesterday), I hung out in the uni lab to do the Japanese subtitles for LOVE SUICIDES. Film will be screening in Waseda University (along with my KINGYO and FLEETING IMAGES on the 15th of December). Maiko the producer and Liu Jin (assistant producer for THE WHITE FLOWER) were there, so I had a few hours of brainstorming session with them. The film became increasingly dark, elements of child porn, child and teenage prostitution, incest etc. were discussed as possibilities for the film's plot. The film went from a nihilistic drama to a murder thriller, then to a soap opera, and then to didactic sociopolitical bore.
My head was spinning.
In the end we figured it was a bit too much, so we took a more melancholic route instead. With that, a story outline started to take its form. So excited with its materialization that I started typing it out and sent to Ming Jin. I then went home at 11:30pm and took a nap at midnight. I woke up this morning at 3am. Ming Jin said he liked the idea. I became more excited and started to think and think and think. Discussing more ideas with Woan Foong, looking at other films, reading about articles, all these to grab hold of the film's essence.
... and then, it's 10:30am.
Creativity is sleep's greatest enemy.
The past week when my family were around, I had my most normal sleeping schedule in MONTHS. Sleeping around 1am, waking up around 8-9am, it was healthy.
After finishing my latest THE WHITE FLOWER (I now have the film in screener DVDs, but there will still be some minor tweaks here and there before it really premieres), its month-long post-production leading to some of the craziest, most irregular sleeping time for myself (I would take a brief nap from 11pm to 1-2am, wake up, orchestrate net meetings with Niklas the cinematographer and Woan Foong the composer, getting materials for them to continue the progress of the film, and then updating them by uploading some footage online for them to view etc.) I started having breakfast before I sleep at around 9-10am.
still from THE WHITE FLOWER
The best thing is that I get to skip lunch (which isn't served for free in my dorm, haha) since I often sleep through the noon and wake up around 2pm. I live like a peasant because my deluded romanticized view of struggling artists is one where everything is shoved aside for the sake of his craft or art.
So yes, after THE WHITE FLOWER was done, family came to visit, and I slept properly. They returned to Malaysia on Saturday morning.
I then started planning the storyline for my latest short film. Yes, my 7th short film of the year. A project that happened suddenly (more details in future posts, if I can remember) during a conversation in a cafe when I went to the TOKYO FILMeX end of last month.
My new film is called EXHALATION. I wrote the script back in April when I was in Malaysia just after the WOMAN ON FIRE LOOKS FOR WATER shoot. It's an original script, and not another Yasunari Kawabata adaptation. The script was rather simple and I had planned to shoot it only in one night. Unfortunately, things didn't work out with the film's intended main actress, so I ended up making AFTERNOON RIVER instead (the first half of my upcoming short film AFTERNOON RIVER, EVENING SKY).
Since EXHALATION was written before I finished KINGYO, 3PM, AFTERNOON RIVER, EVENING SKY and THE WHITE FLOWER, I think I might have grown more as a filmmaker in the past 8 months (well, I hope so anyway), so I decided to resurrect the project but transplant the story to Japanese settings, and also to increase the scale of the film.
On Sunday, the day after my family left, I spent the entire day in my room, watching films, doing research, reading Yukio Mishima's DEATH IN MIDSUMMER anthology which I just bought two days earlier (funnily, as I try to find reviews of the book, I would end up finding a 3-year-old entry ON MY OWN BLOG written by guestblogger Justin). There was an idea of turning the story from a solo one-woman piece (initial plan was that all secondary characters were either out of focus, or off-screen, audiences can only see the main actress) to a two-hander (instead of being about one character, it's about two, Kong would point out that it's consistent with my usual theme with 'dualism')
By then, my body clock has already been disrupted. Again.
On Monday (that's yesterday), I hung out in the uni lab to do the Japanese subtitles for LOVE SUICIDES. Film will be screening in Waseda University (along with my KINGYO and FLEETING IMAGES on the 15th of December). Maiko the producer and Liu Jin (assistant producer for THE WHITE FLOWER) were there, so I had a few hours of brainstorming session with them. The film became increasingly dark, elements of child porn, child and teenage prostitution, incest etc. were discussed as possibilities for the film's plot. The film went from a nihilistic drama to a murder thriller, then to a soap opera, and then to didactic sociopolitical bore.
My head was spinning.
In the end we figured it was a bit too much, so we took a more melancholic route instead. With that, a story outline started to take its form. So excited with its materialization that I started typing it out and sent to Ming Jin. I then went home at 11:30pm and took a nap at midnight. I woke up this morning at 3am. Ming Jin said he liked the idea. I became more excited and started to think and think and think. Discussing more ideas with Woan Foong, looking at other films, reading about articles, all these to grab hold of the film's essence.
... and then, it's 10:30am.
Creativity is sleep's greatest enemy.
Thursday, December 03, 2009
The Eibunren Awards Ceremony 2009
I went to the Eibunren Awards Ceremony yesterday morning with my family (who came to Tokyo for a 1-week visit). As I've mentioned before, KINGYO had won two awards, the Semi-Grand Prix and the Best New Creator award.
The Eibunren Awards is organized by the Japanese Ministry of Culture and the Japanese Association of Audiovisual Producers usually to honour documentaries or other videos dealing with sociopolitical or ecological issues. KINGYO is the first ever independent narrative short film to receive a major award from them, so they gave me the new individual award called the New Creator award.
The Eibunren Awards is organized by the Japanese Ministry of Culture and the Japanese Association of Audiovisual Producers usually to honour documentaries or other videos dealing with sociopolitical or ecological issues. KINGYO is the first ever independent narrative short film to receive a major award from them, so they gave me the new individual award called the New Creator award.
Monday, November 30, 2009
"Merry Christmas, Mr. Lawrence" in Wakeijuku
A few things had happened. I completed my new short film, THE WHITE FLOWER, I saw a few films at TOKYO FILMeX too (will try to write about them), parents + sister had also arrived in Tokyo for a visit (and also to attend the Eibunren Awards Ceremony on the 2nd of December).
I also intend to throw myself into my 7th short film of the year. I just need to conjure myself a script. More about that later, I hope.
I live in Wakeijuku dorm, that's the dorm Haruki Murakami lived in. The place had prided itself as the place where Norwegian Woods was based on. My feelings towards the place is a stormy one. But then, it IS situated at a pretty good location, and food and electricity are included in my not-too-unreasonable monthly rental fees.
Two nights ago, at the lounge of my building, there was this performance.
Too bad I don't get that everyday.
I also intend to throw myself into my 7th short film of the year. I just need to conjure myself a script. More about that later, I hope.
I live in Wakeijuku dorm, that's the dorm Haruki Murakami lived in. The place had prided itself as the place where Norwegian Woods was based on. My feelings towards the place is a stormy one. But then, it IS situated at a pretty good location, and food and electricity are included in my not-too-unreasonable monthly rental fees.
Two nights ago, at the lounge of my building, there was this performance.
Too bad I don't get that everyday.
Thursday, November 26, 2009
Finishing up THE WHITE FLOWER
25th to 26th of November. That was the deadline I gave myself to finish my latest film THE WHITE FLOWER. Since KINGYO, I haven't had a film that had such a long post-production, and to think that KINGYO was only 6 months ago. So I've reached the final stages of tweaking the film before doing my first batch of preview screeners for the film.
Monday, November 23, 2009
TOKYO FILMeX 2009, Tsai Ming Liang and the opening film 'Visage'
I had a lot of fun in last year's TOKYO FILMeX film festival. (can read about all my blog posts here, til this very day, my review of Sono Sion's LOVE EXPOSURE is still one of the most-read posts in this blog), so I definitely had to come this year. And this time, I even have a pass!
So yup, the opening ceremony was held yesterday evening, at 5:30pm (it's currently 3:20am as I'm writing this). Here are this year's jury members.
So yup, the opening ceremony was held yesterday evening, at 5:30pm (it's currently 3:20am as I'm writing this). Here are this year's jury members.
Sunday, November 22, 2009
Me, kingyo, Eibunren Awards wins, mentioned in Uni Press newsletter
I have blamed my recent sleeping problems on work (the heavily intense post-production of my short film THE WHITE FLOWER), I've even constantly tweeted (+facebook status update) about it. But moments ago, a guzheng-playing Twitter friend Seren Koo replied to me by suggesting that writing down my ideas and what I want to do would liberate thoughts from my mind, and thus making it easier to sleep.
I realized that my lack of sleep seems to correlate with my lack of blog updates. Many times, writing a blog post at night for me can be quite (mentally) exhausting (despite said post being deceptively mindless!), and I can just drift off to sleep after that. Thus I will start writing something long, and insightful and mentally taxing just so I can exhaust myself enough to sleep.
Alas, the blog post you're reading now is probably not one of them.
I realized that my lack of sleep seems to correlate with my lack of blog updates. Many times, writing a blog post at night for me can be quite (mentally) exhausting (despite said post being deceptively mindless!), and I can just drift off to sleep after that. Thus I will start writing something long, and insightful and mentally taxing just so I can exhaust myself enough to sleep.
Alas, the blog post you're reading now is probably not one of them.
Friday, November 20, 2009
Wrapping up my Pusan Film Festival 2009 experience (part 2)
Oh, it seems that I only have 3 photos and two videos that I haven't uploaded from last month's Pusan Film Fest, so I'll do it now.
12th of October, 2009. Last night in Busan (I realized that I've been making a mistake by repeatedly referring to the place as 'Pusan' instead of 'Busan' when the city's official name has long been changed to the latter). There was a Wide Angle party. The Wide Angle program of the Pusan Film Festival includes the documentary and short film competitions.
This is Kirsten Tan, Singaporean filmmaker currently based in New York. She had a short film in competition.
12th of October, 2009. Last night in Busan (I realized that I've been making a mistake by repeatedly referring to the place as 'Pusan' instead of 'Busan' when the city's official name has long been changed to the latter). There was a Wide Angle party. The Wide Angle program of the Pusan Film Festival includes the documentary and short film competitions.
This is Kirsten Tan, Singaporean filmmaker currently based in New York. She had a short film in competition.
Wrapping up my Pusan Film Festival 2009 experience (part 1)
The post-production of THE WHITE FLOWER had seriously made me insomniac (or gave me messed up sleep patterns), so aside from being able to catch a nap from 1 to 3am, I've been widely awake since then.
So I decided to try to unload the remainder of photos from last month's trip at the Pusan Film Festival. I think I'll finish everything in two posts.
After the screening of WOMAN ON FIRE LOOKS FOR WATER, the rest of my days in Pusan were spent on attending functions, parties, meeting people, looking around the Asian Film Market, trying to see a film but missing it in the end (I ended up only seeing MUNDANE HISTORY at the festival, just one film in a festival! A personal low).
So I decided to try to unload the remainder of photos from last month's trip at the Pusan Film Festival. I think I'll finish everything in two posts.
After the screening of WOMAN ON FIRE LOOKS FOR WATER, the rest of my days in Pusan were spent on attending functions, parties, meeting people, looking around the Asian Film Market, trying to see a film but missing it in the end (I ended up only seeing MUNDANE HISTORY at the festival, just one film in a festival! A personal low).
Tuesday, November 17, 2009
17th of November. Mom's Birthday.
It's 5am now. I'm supposed to wake up in 2 hours to go for an early (press?) screening of ZERO FOCUS at Shinjuku Wald 9.
But then, it's my mom's birthday, and for two consecutive years, I've always made an issue out of it on this blog (read my 2007 and 2008 blog post). This year will not be an exception, since I won't be able to dig out some lost videos of my mom floating around on the Internet like I did last year, I'll share some anecdotes with you all.
But then, it's my mom's birthday, and for two consecutive years, I've always made an issue out of it on this blog (read my 2007 and 2008 blog post). This year will not be an exception, since I won't be able to dig out some lost videos of my mom floating around on the Internet like I did last year, I'll share some anecdotes with you all.
Deciding upon the music for THE WHITE FLOWER
Today's my mom's birthday. Happy birthday, mom. But I'll get to that later.
I am still knee deep in the post-production of my new film THE WHITE FLOWER, which I'm trying to complete by end of this month.
I am still knee deep in the post-production of my new film THE WHITE FLOWER, which I'm trying to complete by end of this month.
Saturday, November 14, 2009
KINGYO receives two awards at Eibunren Awards
I actually knew about this back in September, when I was in Singapore for the Singapore Short Film Festival. Maiko the Producer called me then to tell about the good news, but since the awards ceremony is in December, I didn't think there was any need to announce this earlier.
But since I've already announced about FLEETING IMAGES winning the Grand Prix at the CON-CAN Movie Festival, I'll make a mention of this as well.
So yes, my Japanese short film KINGYO had picked up two awards from Japan's Eibunren Awards: The Semi-Grand Prix (or Silver Grand Prix) and Best New Creator (also occasionally referred to as the Best New Director award) awards.
Organized by the Japanese Ministry of Culture and the Japanese Association of Audiovisual Producers, I was told that this is the first time an independent narrative short film had ever received a major award from the association. And in order to commemorate this, I became their first ever recipient of the Best New Creator award.
Definitely very honoured by this.
The awards ceremony will be on the 2nd of December. Parents and sister are attending.
Trailer of KINGYO (click here if you cannot see embedded video)
Wayne Wang's film adaptation of Yiyun Li's A THOUSAND YEARS OF GOOD PRAYERS
Caught a free screening of A THOUSAND YEAR OF GOOD PRAYERS in uni yesterday evening (a day before it opens in Japanese theaters, check out Kaori Shoji's review on Japan Times). Went because I read Yiyun Li's anthology of short stories of the same name just a couple of weeks earlier (which I really enjoyed).
Friday, November 13, 2009
Waseda Weekly Magazine (12th of November, 2009)
There's a profile of Maiko the Producer and I on Waseda Weekly magazine that came out today (actually, yesterday, since it's 2am now).
Tuesday, November 10, 2009
My short film FLEETING IMAGES wins Grand Prix at Japan's CON-CAN Movie Festival
I received a phone call yesterday morning from the CON-CAN Movie Festival. They told me that my experimental short, FLEETING IMAGES, had won the Grand Prix.
Waseda Festival 2009
I realized that last year, around this time, I was in Malaysia (for a brief trip to Rome and the Rome Film Festival), so I missed out the Waseda Festival.
I didn't even know about the Waseda Festival, which was held last weekend until I saw people setting up on Friday (as I was on my way to my lab to record Zhu Dan's guzheng performance).
I didn't even know about the Waseda Festival, which was held last weekend until I saw people setting up on Friday (as I was on my way to my lab to record Zhu Dan's guzheng performance).
Monday, November 09, 2009
Sunday, November 08, 2009
Zhu Dan touches her... Guzheng
It's strange how quickly a week had just flown by like that. It happens all the time when I'm in post-production for a film. Each day just goes by in a blur, and I myself lose the concept of day and night, for the past few nights I had spent sleepless nights in the editing lab for my new short film THE WHITE FLOWER. I usually go home around 6am, sometimes I get to eat breakfast, and then sleep at around 8am, then waking up at 12pm, and then going back to work again.
THE WHITE FLOWER is a challenging film because, aside from it being constructed almost entirely with still photos (which is a nightmare to edit by itself), I myself still have to various sound jobs. Recording voiceover narrations from the three main characters, recording sound effects, downloading sound effects, discussing with my two primary collaborators, Niklas (the cinematographer) and Woan Foong (the composer) about what I need for the film through the net (Niklas is in Finland, Woan Foong is in US), because I'm a crazy nocturnal, the time difference doesn't affect me much.
I always believe that you learning something new whenever you make a film, and for me, making short films is a constant learning experience for filmmaking, that's why I've been so prolific this year (shot 6 short films this year, though only four will be in my official record this year, since I've merged two into one, and another was just a practice for a cinematographer course I took) For THE WHITE FLOWER, I can say that I learn the most when it came to sound, having to teach myself how to do sound mixing and all after recording.
Two days ago I had to record some guzheng music for the film. So I enlisted the only guzheng player I know in Japan, my good friend Zhu Dan, who is also the unfortunate main actress of THE WHITE FLOWER.
This is me carrying her guzheng into my lab.
THE WHITE FLOWER is a challenging film because, aside from it being constructed almost entirely with still photos (which is a nightmare to edit by itself), I myself still have to various sound jobs. Recording voiceover narrations from the three main characters, recording sound effects, downloading sound effects, discussing with my two primary collaborators, Niklas (the cinematographer) and Woan Foong (the composer) about what I need for the film through the net (Niklas is in Finland, Woan Foong is in US), because I'm a crazy nocturnal, the time difference doesn't affect me much.
I always believe that you learning something new whenever you make a film, and for me, making short films is a constant learning experience for filmmaking, that's why I've been so prolific this year (shot 6 short films this year, though only four will be in my official record this year, since I've merged two into one, and another was just a practice for a cinematographer course I took) For THE WHITE FLOWER, I can say that I learn the most when it came to sound, having to teach myself how to do sound mixing and all after recording.
Two days ago I had to record some guzheng music for the film. So I enlisted the only guzheng player I know in Japan, my good friend Zhu Dan, who is also the unfortunate main actress of THE WHITE FLOWER.
This is me carrying her guzheng into my lab.
Sunday, November 01, 2009
Friday, October 30, 2009
My acceptance speech for WOMAN ON FIRE LOOKS FOR WATER's Cinemanila International Film Fest special mention
Woman On Fire Looks For Water
This happened a few days ago, WOMAN ON FIRE LOOKS FOR WATER (feature film directed by Woo Ming Jin, produced and edited by me) received a special mention at the Cinemanila International Film Festival under the Southeast Asian Competition. This year's a particularly strong year for Malaysia, the best Southeast Asian film went to the late Yasmin Ahmad's Talentime and the best short film went to Focal Point, a Malaysian short film by Iranian filmmakers Alireza Khatami and Ali Seifourri.
Tuesday, October 27, 2009
Fireworks at Haeundae Beach at night
(What a clunky blog post title)
Argh, here lies the problem with my blogging these days. Because I do it so erratically, I have to struggle to remember things. The past few days was a blur. Attending the Tokyo Film Fest, and also editing my film. Heck, it's been nearly 2 weeks since I've gotten back to Tokyo.
10th of October, a day after the Johnnie To Master Class, WOMAN ON FIRE LOOKS FOR WATER world premiere, and Pen-ek teaching me how to roll a tobacco, I went through a less eventful day.
Argh, here lies the problem with my blogging these days. Because I do it so erratically, I have to struggle to remember things. The past few days was a blur. Attending the Tokyo Film Fest, and also editing my film. Heck, it's been nearly 2 weeks since I've gotten back to Tokyo.
10th of October, a day after the Johnnie To Master Class, WOMAN ON FIRE LOOKS FOR WATER world premiere, and Pen-ek teaching me how to roll a tobacco, I went through a less eventful day.
Monday, October 26, 2009
Wednesday, October 21, 2009
Trailer of KINGYO
I never really thought of cutting a trailer for KINGYO, I had always thought it would be silly to slap together a trailer for a short film, that's why I merely allowed a preview of the film's first 90 seconds in its official site.
Tuesday, October 20, 2009
KINGYO screening tonight at the Hong Kong Asian Film Festival 2009
Don't think I've mentioned this before, but there's a screening of KINGYO tonight (and the 23rd) at the Hong Kong Asian Film Festival as part of the Asian Shorts 3 program. You can read about it here.
Monday, October 19, 2009
Thai director Pen-Ek Ratanaruang teaches how to roll a tobacco
After the WOMAN ON FIRE LOOKS FOR WATER world premiere at the Pusan Film Festival, there was a lavish Malaysian party that I didn't take any pictures of because I was, ah, too busy. But there was a nice tribute to Yasmin Ahmad where hundreds of white balloons were released into the air, and as they drifted into the distant night sky, they seemed as if they had formed together to become some of galaxy. Really nice.
After that, I went to a Korean Izakaya, where Malaysian directors and Thai directors were fraternizing.
After that, I went to a Korean Izakaya, where Malaysian directors and Thai directors were fraternizing.
Sunday, October 18, 2009
SCREEN DAILY review of WOMAN ON FIRE LOOKS FOR WATER
By Darcy Paquet.
Broken hearts across multiple generations make for engaging viewing in Malaysian independent film Woman on Fire Looks for Water by Woo Ming-jin. Set in a small fishing village, the work’s striking visuals and subtle dramatic touches carry the mark of a significant talent.
The setting proves to be an effective backdrop for the feelings of longing and regret that make up the main narrative.
Premiering officially in Pusan (after a ‘work in progress’ show at Venice), this is undoubtedly set for further festival exposure, enhancing Woo’s reputation as an up-and-coming Asian auteur. Commercial potential for this low budget work will probably be limited to small deals within Asia, however.
KINGYO screening at Unicus Cinemas, and some THE WHITE FLOWER update
I went to Honjo at Saitama yesterday for a KINGYO screening at the Unicus Cinema (it's a multiplex in a shopping mall called Unicus).
I think it was for the opening event of their inaugural Honjo Kodama Area Film Festival. Both my film, and a Chinese-Japanese co-produced documentary (also from the lab I'm), Shaolin Kungfu, were there. My friends, Yang Yang and Zifeng, were the editors of that film. This is me in Professor Ando's (executive producer of KINGYO) car, heading to the multiplex, with Maiko, Zifeng and Yang Yang.
I think it was for the opening event of their inaugural Honjo Kodama Area Film Festival. Both my film, and a Chinese-Japanese co-produced documentary (also from the lab I'm), Shaolin Kungfu, were there. My friends, Yang Yang and Zifeng, were the editors of that film. This is me in Professor Ando's (executive producer of KINGYO) car, heading to the multiplex, with Maiko, Zifeng and Yang Yang.
Friday, October 16, 2009
WOMAN ON FIRE LOOKS FOR WATER official world premiere in Pusan International Film Festival 2009
After the Johnnie To Master Class, I headed back to my hotel room and changed into the new suit I bought in Tokyo just days before I went to Pusan.
Then immediately I went to the multiplex in Centum City where the screening was to be held. I needed to kill some time, so I went to have a look at the Shinsengae Gallery, where numerous beautiful photos of famous Korean actors and actresses were in display.
Then immediately I went to the multiplex in Centum City where the screening was to be held. I needed to kill some time, so I went to have a look at the Shinsengae Gallery, where numerous beautiful photos of famous Korean actors and actresses were in display.
Wednesday, October 14, 2009
Attending HK auteur Johnnie To's Master Class In PIFF 2009
Johnnie To has long been one of my heroes. Of course, in truth I grew up watching his films from his studio days, ALL ABOUT AH LONG was one of the most painful films I ever seen as a child, I was traumatized when I saw what Chow Yun-Fat's Ah Long character endured during the climatic motorbike race. Then there was the funny EIGHT HAPPINESS, an ensemble film in the vein of ALL'S WELL ENDS WELL (comedies that revolve around members of a single family), this year's ALL'S WELL ENDS WELL 2009 cemented my realization that they don't make films like them anymore. Then there was also some of Stephen Chow's biggest comedies in the early 90s, like JUSTICE MY FOOT, or the HEROIC TRIO (and its much darker sequel THE EXECUTIONERS) starring Anita Mui, Michelle Yeoh and Maggie Cheung, I miss the vibrant energy of such films.
Then Johnnie To started his Milkyway company in the mid 90s, directing landmark films like THE MISSION, PTU, ELECTION 1 and 2 etc. At the same time, he balanced it with commercial comedy hits with the Andy Lau - Sammi Cheng pairing like NEEDING YOU and LOVE ON A DIET. There are some misfires, of course, but I always marvel at how prolific and versatile he is, something I myself as a filmmaker would hope to emulate.
So when I knew that Johnnie To was giving a master class at the Pusan Film Fest, I signed up without any hesitation and headed straight to the first row.
Then Johnnie To started his Milkyway company in the mid 90s, directing landmark films like THE MISSION, PTU, ELECTION 1 and 2 etc. At the same time, he balanced it with commercial comedy hits with the Andy Lau - Sammi Cheng pairing like NEEDING YOU and LOVE ON A DIET. There are some misfires, of course, but I always marvel at how prolific and versatile he is, something I myself as a filmmaker would hope to emulate.
So when I knew that Johnnie To was giving a master class at the Pusan Film Fest, I signed up without any hesitation and headed straight to the first row.
Opening Night Party at Pusan International Film Festival 2009
Due to limited internet connection at Pusan, I could only check my emails in one of those public computers at the PIFF center. But now that I'm back in Tokyo, I'll start posting photos I took from the festival.
On the 8th of October, Tokyo was hit by typhoon in the morning, classes in university were canceled, some flights were rescheduled, ditto with other public transportation too.
My flight was supposedly at 7pm. I headed out of my place at 2pm. To go to the airport. A Narita express would've reached the place in 80-90 minutes, alas all Narita Express trains were canceled that day, so I could only take a longer (but much cheaper) route there. I won't go into details, but I reached the airport at 6pm. The journey to Narita, often a pain in the ass, was an even bigger pain in the ass.
I was shocked to find out that the plane was scheduled to 6:30pm.
Only half an hour to go?
I rushed to the check-in counter, there was someone else who was going to Pusan too. The counters were all closed, I asked an attendant nearby and she made a call. A sour-faced chick (a rarity in Japan, especially at their workplace) appeared, we proceeded with the check-in.
"Wow, I thought the flight was supposed to be 7pm, not 6:30pm!" I said, trying to make small talk.
On the 8th of October, Tokyo was hit by typhoon in the morning, classes in university were canceled, some flights were rescheduled, ditto with other public transportation too.
My flight was supposedly at 7pm. I headed out of my place at 2pm. To go to the airport. A Narita express would've reached the place in 80-90 minutes, alas all Narita Express trains were canceled that day, so I could only take a longer (but much cheaper) route there. I won't go into details, but I reached the airport at 6pm. The journey to Narita, often a pain in the ass, was an even bigger pain in the ass.
I was shocked to find out that the plane was scheduled to 6:30pm.
Only half an hour to go?
I rushed to the check-in counter, there was someone else who was going to Pusan too. The counters were all closed, I asked an attendant nearby and she made a call. A sour-faced chick (a rarity in Japan, especially at their workplace) appeared, we proceeded with the check-in.
"Wow, I thought the flight was supposed to be 7pm, not 6:30pm!" I said, trying to make small talk.
Thursday, October 08, 2009
What on earth do people do at film festivals? (Cinema Online, 6th of October 2009)
I'm flying off to Pusan this evening for the Pusan Film Festival. Tomorrow I'll be attending the premiere of WOMAN ON FIRE LOOKS FOR WATER, the film I produced and edited. This is an interview I did with Zee of Cinema Online during my last day at the Venice Film Festival.
Wednesday, October 07, 2009
Girl group Citrus Kiss performing at Shinjuku
As you all know, I have a certain fascination for street performers, especially in Japan. I like the fact that people perform here free from the silly notion that they were 'begging for money'.
On Sunday, as I was heading to the Uniqlo at the Shinjuku Pepe building, I saw a performance that someone who was with me at the time remarked "belonged to Akihabara" due to the cosplay. Nonetheless, I don't see bands like this much in Shinjuku, so I had to film it.
On Sunday, as I was heading to the Uniqlo at the Shinjuku Pepe building, I saw a performance that someone who was with me at the time remarked "belonged to Akihabara" due to the cosplay. Nonetheless, I don't see bands like this much in Shinjuku, so I had to film it.
Monday, October 05, 2009
Meeting Singer Loo Yise at Klang Creative Fest 2009
Two months ago, I have mentioned briefly that I was attending the Klang Creative Fest, which was showing a couple of my short films. Despite taking a couple of videos and photos, I was unable to share them much because of the horrible internet connection at home in Malaysia. Nonetheless, I did mention about the genius kids there who made me feel puny.
During my short film screening sessions, the Malaysian singer Loo Yise was around to watch the first two films, CHICKEN RICE MYSTERY and (my rarely seen experimental video) FLEETING IMAGES. My schoolmate, multitalented singer-songwriter Jasemaine Gan was there too. Alas both had to leave early to prepare for their performances.
During my short film screening sessions, the Malaysian singer Loo Yise was around to watch the first two films, CHICKEN RICE MYSTERY and (my rarely seen experimental video) FLEETING IMAGES. My schoolmate, multitalented singer-songwriter Jasemaine Gan was there too. Alas both had to leave early to prepare for their performances.
Sunday, October 04, 2009
Tsukiji's fresh sushi and nocturnal trip to Odaiba
Yesterday (October 3) was the Mid-Autumn Festival, also known as the Mooncake Festival. It was also friend, Yuan Yue's birthday. (also known as Lune, back in 2005 we had a sublime artistic collaboration where she would draw illustrations and I would write stories based on them, it ended up as a novella written in 24 hours, you can still check it out here. By the way, it was also occasional ex-guestblogger Justin's birthday). She had been visiting Japan since the 22nd of September (we came to Tokyo on the same flight, through a serendipitous stroke of coincidence).
She wanted to try out the fresh sushi at the Tsukiji Fish Market, so we went in the morning. (But when I said morning, I meant the relatively-late 10:30am, not the 5-6ish am when they hold the fish auctions, we only wanted to eat fish, not buy them)
As we walked past shops after shops, we found it hard to pick one to eat. Until we saw a crowd gathering in front of one, and an old man having a public demonstration of cutting up tuna outside his shop, Sushisen.
She wanted to try out the fresh sushi at the Tsukiji Fish Market, so we went in the morning. (But when I said morning, I meant the relatively-late 10:30am, not the 5-6ish am when they hold the fish auctions, we only wanted to eat fish, not buy them)
As we walked past shops after shops, we found it hard to pick one to eat. Until we saw a crowd gathering in front of one, and an old man having a public demonstration of cutting up tuna outside his shop, Sushisen.
Tuesday, September 29, 2009
How KINGYO actress Luchino Fujisaki took Venice Film Fest by storm
UPDATED 13th Nov, 2016: This is my short film Kingyo, in its entirety
Despite enduring some of the worst crises in recent memory (the untimely demises of two hard disks in mere weeks, losing some raw data of my short films, even the new, unreleased ones like AFTERNOON RIVER), I have SURVIVED (re-edited AFTERNOON RIVER from scratch, now in the midst of completing my newest, EVENING SKY). So of course I'm in a better mood, though I'm still disconnected from the rest of the world to get my things done.
I will now continue my recount of the Venice Film Festival.
I will now continue my recount of the Venice Film Festival.
Saturday, September 26, 2009
The KINGYO screening at the Venice Film Festival
Lots of distractions had occurred in the past two days. My hard disk died suddenly, and I lost a couple of short films I made since KINGYO (as in, AFTERNOON RIVER, 3PM, and bits and pieces of EVENING SKY that I've just edited). Since my backup had already died couple of weeks earlier, I've pretty much lost two hard disks in a space of two weeks. Can't exactly say that I'm in the best of moods, but I will be hiding at home re-editing AFTERNOON RIVER (with its DVD as reference), familiarizing myself with Adobe Premiere Pro again. I wanted to weep but my eyes had gone too dry.
So I'll recount the KINGYO screening at the Venice Film Festival back on the 7th of September. Wow, has it been 18 days already?
So I'll recount the KINGYO screening at the Venice Film Festival back on the 7th of September. Wow, has it been 18 days already?
Thursday, September 24, 2009
My newest short film EVENING SKY is a pseudo-sequel of SLOVAK SLING and AFTERNOON RIVER
It all started as a joke. I was on MSN talking to my regular cinematographer Lesly (he shot all my Malaysian short films like CHICKEN RICE MYSTERY, LOVE SUICIDES and the still-unreleased AFTERNOON RIVER) just days before I flew off to the Venice Film Festival. We were discussing the possibilities of shooting another short film after Venice, and before I return to Tokyo (on the 22nd of September, I came back to Tokyo yesterday).
I thought it would be difficult, since, after Venice, I would have to rush off to the Singapore Short Film Festival, and after I return from Singapore on the 20th of September, I would only have ONE DAY before flying off to Tokyo again.
Lesly said that one day's doable, considering that AFTERNOON RIVER was made under similar circumstances (shot that on the 11th of April, also one day before returning to Tokyo).
So I was like "sure, we can make an AFTERNOON RIVER sequel or something, or a spin-off, like following the point of view of the guy who kept on calling Grace in AFTERNOON RIVER." (in AFTERNOON RIVER, the character played by Grace was constantly ignoring phone calls from an unknown caller, until she finally answers it towards the end of the film and utters the only line of the film). And since I don't like to repeat my tricks, while KINGYO is entirely in split screens, I will go for 'DUAL SCREEN' with this! Use two TVs or screens to play AFTERNOON RIVER and the companion piece side by side and the events will actually synchronize with one another!!!"
I thought it would be difficult, since, after Venice, I would have to rush off to the Singapore Short Film Festival, and after I return from Singapore on the 20th of September, I would only have ONE DAY before flying off to Tokyo again.
Lesly said that one day's doable, considering that AFTERNOON RIVER was made under similar circumstances (shot that on the 11th of April, also one day before returning to Tokyo).
So I was like "sure, we can make an AFTERNOON RIVER sequel or something, or a spin-off, like following the point of view of the guy who kept on calling Grace in AFTERNOON RIVER." (in AFTERNOON RIVER, the character played by Grace was constantly ignoring phone calls from an unknown caller, until she finally answers it towards the end of the film and utters the only line of the film). And since I don't like to repeat my tricks, while KINGYO is entirely in split screens, I will go for 'DUAL SCREEN' with this! Use two TVs or screens to play AFTERNOON RIVER and the companion piece side by side and the events will actually synchronize with one another!!!"
Friday, September 18, 2009
My experimental video FLEETING IMAGES premieres simultaneously at Singapore Short Film Festival and CON-CAN Movie Festival
I never really expected this to happen, but the experimental video I assembled last year, FLEETING IMAGES, is finally making its international premiere simultaneously at two film festivals on the 18th of September. One is the 5th Singapore Short Film Festival (where it's selected for competition), the other is the Tokyo-based online film festival, CON-CAN Movie Festival.
Wednesday, September 16, 2009
LOVE SUICIDES competing at the Split International Film Festival... today
There are actually five different film festivals playing my short films this month, now that Venice Film Fest is over, there are still four more.
At this very moment, my short, LOVE SUICIDES, is supposed to be playing at the Split International Film Festival in Croatia, where it was selected for competition. Hopefully the screening will go on smoothly.
Suddenly felt that I should have gone straight to Croatia from Venice to attend this festival. Never thought of it earlier. However, I will be going to the Singapore Short Film Fest over the weekend. Would be nice to see some old friends again. Or hearing the voices of old friends telling me they're too busy to meet me.
Subscribe to:
Posts (Atom)
-
If you had of asked me on a given day whether I'd one day end up passionately defending fanfiction, I would have given you a strange l...
-
**Mild spoiler warning for both versions of Cinema Paradiso** Was watching the director's cut version of Cinema Paradiso (called th...
-
Mishima is a writer associated with scale and grand gestures. Apart from his colorful life and the obviously theatrical nature of his publi...