Write-up of KINGYO on Twitch

Machine Girl of TWITCH had a very nice write-up of KINGYO.

Review of KINGYO at Toronto J-Film Pow-Wow

Marc Saint-Cyr (you can check out his blog here) had posted a review of KINGYO on Toronto J-Film Pow-Wow. (one of my favourite blogs on J-films! I gave them a nearly-completed version of the film for the 1st anniversary celebration party they held last week)

Here's an excerpt.

What especially makes "Kingyo" a success is how its experimentation never reduces it to a chilly or pretentious aesthetic exercise, but instead remains constantly in service to its characters and their emotional states. Often, the professor and the young woman will inhabit the same space, yet they are nonetheless isolated through the split screen. There is also the scene on a bridge overlooking Akihabara, with special attention given to the two characters’ hands resting close to each other on a railing. Through such moments in the film, Yeo clearly focuses on the distance that can grow between two people, be it in the case of the man and his wife or him and his mistress.

Read the full review.

Remember, if you live in Tokyo, you can catch a test screening of Kingyo at Shinjuku Wald 9 next Friday.

My short film, KINGYO, screening at Fuyajo Cinema Festival (Shinjuku Wald 9) on 5th of June

Amane Kudo in KINGYO

An unfinished cut of my 25-minute Japanese short film, KINGYO, will be screened at the Shinjuku Wald 9 for the Fuyajo Cinema Festival (click to their site for more info) on the 5th of June. Fuyajo (不夜城, translated as 'city without night') is an all-night event that runs from 10pm to 6am the next day. It's running on the 5th of June, and then the 6th of June.

Kingyo is completed. Goodbye, Toho Studios

The Maid (Luchino Fujisaki) in Kingyo

And so it's finally done. After an occasionally tedious post-production process that lasted for five weeks, I have completed my first attempt at a Japanese-language short film, KINGYO.

Brief visit at Toho Studios, and foreshadowing Tsuyoshi Kusanagi's arrest

So yes, I've totally buried myself into the post-production of my film, KINGYO, in the past week, managing to find my stride again, rediscovering the excitement I had for the project through editing (hate to find that spark when you were separated from it for so long!), experimenting more with the possibilities of split screens.

Back in Tokyo, back to editing KINGYO

I've returned to Tokyo since Sunday night. It's been a hectic few days. I actually had a film shoot in Klang on Saturday and had managed to do another quick short film with the help of Lesly and Han, that film was an experiment with the Nikon D90, which I saw Ming Jin and Lesly used for their short film, THAT DAY WE WOKE UP. To be able to complete another short film, what a joy!

Production stills from my Japanese film, KINGYO

I've spent the last two days editing my Japanese film, Kingyo, which I finished shooting end of January a day before flying back to Malaysia for Chinese New Year, I have posted some stills from the dailies few weeks ago ('dailies' is the term used to describe raw, unedited film footage, it's known as 'rushes' in UK and Aus, I normally call it 'rushes' too). I only have two more nights left in Tokyo, so am trying to do as much as possible. It took me a while to familiarize myself with Final Cut Pro, and also the Mac, since all these while, everything I've done have been edited on Adobe Premiere Pro. Thankfully, it didn't really take that long for me to get used to things.

Progress is smooth, although I'm unlikely to finish anything until I return to Tokyo again in April. For the time being, I'll just share some production stills taken by Chou-san (he's from China, the surname 张 'Zhang' is read as Chou in Japan, which is what everyone calls him). My last post only had a single picture of my lead actress, Rukino Fukisaki ("Hellevator: Bottled Fools"), so I'll put some here.

'kingyo' shoot ended, I returned to Malaysia. Chinese New Year came.

HAPPY CHINESE NEW YEAR! GONG XI FA CAI!

The shoot for KINGYO (my new film, some screenshots here, you can even read about its write-up on Toronto J-Film Pow-Wow, Edmund Yeo reworks Yasunari Kawabata in his latest short film "kingyo") ended on last Thursday night, amidst a heavy rain in Akihabara. As I was drenched in the rain, I was reminded of my CHICKEN RICE MYSTERY shoot nearly a year ago, when the end of a shoot was signaled by a heavy rain as well.

After 4 hectic days of shoot, I felt relieved that everything progressed so smoothly. While I've always seemed optimistic to most people, previous experiences in student productions had taught me to always expect the worst but hope for the best during shoots. When a shoot ends, I always feel relieved, and giddy with joy that I managed to survive. And then there's always a feeling of gratitude towards my cast and crew, for enduring that journey with me.


The cast and crew of kingyo had seen some crazy stuff during the shoot


Maiko the Producer handled this perfectly. We huddled together, the cast and crew, with Maiko thanking our main actor Takao and main actress Rukino, and I was given two bouquet of flowers to present to them. Then Takao and Rukino spoke about how they felt regarding the shoot, and I also gave a speech (with assistant director, Lia the Artist, translating) about how I genuinely enjoyed the shoot and how I would love to work with them again. Josha the Cinematographer was then asked to lead this ritual, where he made a solemn announcement about how the kingyo shoot has officially ended, and then, all of us clapped our hands once, in unison. I've never seen anything like this before, but this ritual definitely brought a feeling of unity between us all. I would definitely 'import' this to my next productions in Malaysia.

I rushed to the airport the next morning, bringing the raw footage with me in a 1TB hard disk (while Maiko the Producer keeps another one with her in Tokyo). I would've wanted to edit the film immediately, unfortunately the digitizing was done via Final Cut Pro, and the hard disk was formatted only for Mac. I ended up not being able to edit the film because I use a laptop, and because I normally edit using the Adobe Premiere Pro (yes, all my short films, and Ming Jin's telemovie CINTA TIGA SEGI, the entire THE ELEPHANT AND THE SEA, were done with Premiere Pro). Quite a hassle.

I returned to Malaysia on the 23rd (Friday night). A couple of days have passed, I've seen numerous films since then. RED CLIFF 2, SLUMDOG MILLIONAIRE, IP MAN, BEAST STALKER etc. Perhaps I'll review them soon.

Chinese New Year arrived three days ago, and I am now in Ipoh, my mother's hometown. I even met up with Ming Jin just now, because Ipoh is his hometown too. We spoke about his feature film we are about to shoot (I'm producing), I also spoke about my surreal misadventures during the kingyo shoot, a project I've first expected to be small and simple, but ended up becoming the biggest project I've ever done, with a massive crew of such unbelievable professionalism that I thought I was doing a commercial film instead of an 'indie' film. Now that I'll be in Malaysia for quite a while, I'm eager to do another short film, something simple and small, can be finished in a day or two. Funny how I'm already thinking of another project before I even started editing this one!

Well, that's what I've been going through in the past few days.

Sneak peek of my new Japanese film, KINGYO

Today's going to be the last day of my shoot for kingyo. It's 3:48 am right now, and I'm off to bed soon. But while I was digitizing the footage I've shot onto a newly bought external hard disk just now, I did some screen captures of them, just to share with you all an early look of my new film. The following pics are of the three primary characters in my film, I haven't done any colour correction at all though.













What do you guys think?

Got a crew, had a rehearsal. Thoughts on filmmaking as a collaborative effort.

After finding all our primary cast members, I wondered how to put together the production crew. Maiko The Producer said that she will recruit help from people of the Tokyo University of the Arts (the place where Kiyoshi Kurosawa and Beat Takeshi are teaching), she then rented a DVD to show me, an omnibus with four segments, each an adaptation of a Kawabata Yasunari short story. I was impressed by the technical skills and production values displayed throughout the film. I agreed, it would be quite wonderful to have such experienced people helping us out.

One day later, Maiko told me that she had recruited their help. Two directors of photography, a gaffer and a sound mixer. Aside from the sound mixer, they were not students, but alumni from the university, some are actually teaching there.

How I found the main cast for my Japanese film, kingyo

kingyo is the title of my upcoming Japanese project. I haven't been posting that much lately because I've gotten so busy preparing for the film. Constantly revising the script, drawing storyboards and deciding on the locations. Shoot begins next Monday.

Just to recap, kingyo is the split-screen project I mentioned about. For the script, I had gone off to even conduct a comically serious research with Akihabara maids.

I've actually been busy with kingyo even before I headed off to the Dubai International Film Fest, but then, things just started accelerating after I came back. Audition sessions were held for the three main roles: I needed a young woman in her late 20s, a middle-aged man past 45, a middle-aged woman around the same age as the middle-aged man. Audition went on for nearly a week, having not held an audition since January and February last year for CHICKEN RICE MYSTERY, I forgot how amusingly deflating they can be at times. Most who came were interested in the role of the young woman Chiri the Akihabara Maid, and I couldn't find myself satisfied with any. One was too young, one didn't look right as an Akihabara maid, one had trouble acting sad, one was too hot (I wanted a girl-next-door type, not a model!) Who could be my Chiri? Chiri is the main character in a film, someone who can carry the film is necessary!

Beautiful Sunset at Inokashira Pond

Today is a public holiday in Japan. It's called the Seijin No Hi, which is translated in English as the Coming Of Age Day. On this day, anyone turning 20 will be invited to attend a ceremony celebrating their adulthood. And then most of them will take this long-awaited opportunity to get drunk (it's also the minimum legal age to smoke and vote). I wasn't aware of this (I knew it was a holiday, but I didn't know why) until I received this tweet from Neil Duckett.

So when I went out, there were indeed some young women wearing kimono, and the guys were wearing suits, but because most males in Tokyo wear suits, I couldn't tell which ones were the ones celebrating Seijin No Hi.

Unfortunately, there will not be any photos of cute young women in kimono because I was resuming my location hunt today with my Maiko the Producer and Jo the Cinematographer after our failure to find a good park yesterday. I was excitedly leading everyone to Ueno Park after seeing how beautiful it was during the end of autumn. Unfortunately, winter had actually turned this place into a pale shadow of itself. So I decided to leave the location hunting to the other folks, since... well, they're Japanese and they probably know the place much better than I do. And so Maiko the Producer recommended the Inokashira Park.

Conversations With Other Women. The split screen technique.

More update on the Japanese short film I've been writing lately (read about my seriously comical research on Akihabara maids in preparation for my writing). Being a melancholic tale of an old man and a young girl wandering aimlessly through the empty streets at the span of a night, chit-chatting, and haunted by memories of lost love, missed opportunities etc.

A serious research on Akihabara maids

Uploaded by kalandrakas

As I've mentioned before, during the past week, I've been doing some research for my new short film, like watching Hong Sang-Soo films.

Despite the improvisational nature of my film shoots, I tend to make sure I have an actual script first. And I managed to turn in the first draft of the script last night. There was something lacking. The early feedback I've gotten were somewhat lukewarm, those who liked it liked it for its premise and atmosphere (two lonely souls wandering through empty streets at night, talking, haunted by memories of lost love and missed opportunities, unspoken words etc.) than the actual content.

Ming Jin pointed out that the story needs to be fleshed out more, and it's something I need to draw my own experiences from. Also, more research has to be done as well. The former is hard because I'm (relatively?) young, and I normally rely more on my creativity and imagination for stories.