.png)
Filmmaker Interview by Amber Jackson
Tell us about your work as a filmmaker. How would you describe your films?
I would describe my films as a celebration—whether it’s through the joy and entertainment they bring or the way they honour and uplift a particular community. I enjoy festivity- I like putting a smile on people’s faces. Even when addressing challenging subjects and themes, I always imbue a sense of levity and lightheartedness. I think there’s still joy and laughter to be had in tough times. To do so, I work to blend music, spectacle, and narrative to create an immersive experience. My goal is to craft stories that leave people feeling inspired and excited.
Which women and/or queer filmmakers have most influenced your work?
I love filmmakers whose voices and visions are strong and bold. It can be a challenge in this industry to be unabashedly yourself and so filmmakers Jane Wu and Greta Gerwig are really inspirational.
Jane Wu, a director-producer for the animated series Blue Eye Samurai, completely blew me away with her style and work. The show blends Western and Eastern sensibilities that completely elevate the final piece. Even though I don’t work in animation, Jane Wu's ability to blend those cultures has always been something that I try to work into in any of my films. More so I love Jane’s path in this industry. She’s worked for years as a storyboard artist, and just recently started producing and directed animated shows. And those years of experience really show.
Filmmaking is such a craft, and her dedication to her craft has been influential in the way I approach my own craft. For Greta Gerwig, there’s no competition in my mind for a director who crafts genuine and authentic scenes about the female experience. I love exploring female relationships outside of just traditional romance, whether that’s the mother-daughter, the sister, or a woman’s relationship with herself, Greta Gerwig has always been a great source of inspiration.
You refer to diaspora plenty within your work. How has living in both Singapore and the
US influenced your storytelling on screen?
I think one of the most visually obvious ways it’s influenced my storytelling is my visual sensibilities which are a mix of Western and Eastern media. However, the most profound impact has been on the themes I explore, particularly the concept of home and belonging—ideas I find myself constantly returning to in my work.
To have separate lives and create homes in separate places, can be very scary and empowering at the same time. I’ve spent a lot of time having to think about and come to terms with what defines home to me. I’ve thought about why I feel so connected to a country that I haven’t lived in for over a decade. And I’ve thought about why I feel so connected to a country that I wasn’t born in. And I’ve felt alone in both of these spaces. I think that many people who have lived in different countries for significant periods of their lives can relate to the kind of cultural negotiation that you have within yourself. You pick the things that you like, and you leave behind those that you don’t. And wherever you go, those things can come into conflict with either side. You are forced to remain flexible in this flux.
In that sense of feeling like you are constantly in between, having to find your place of belonging can be challenging. This perspective has influenced my storytelling in ways that I initially wasn’t even conscious of. But I do look back and find that most of the themes and characters I write about are in search of belonging. And often finding that sense of home transcends the traditional meanings of “home”
The imaginary boundaries and lines we’ve carved into our globe or family units don’t need to be our definitions of home, it certainly has not for me. And I enjoy exploring stories that challenge them.
With this in mind, tell us about your film Dancing in a Forbidden World . How do you
navigate those themes of race, diaspora and female liberation in 1940s America?
Dancing in a Forbidden World is a personal project that merges my interests in history, identity and social liberation. The 1940s in America was a time of change, particularly for women and people of colour.
The film is set in a nightclub called The Forbidden World. The space itself acts as both a refuge and stage for Asian women and Asian entertainers. The dancers that never had a stage, the singers that were never given mics. Dancing in a Forbidden World celebrates the performers who challenged the restrictive norms and dreamt bigger. The lead character is thrown into this world and at her core is on a quest for autonomy. And her narrative is about identity and freedom.
Why is it important for you to represent the underrepresented?
It’s about reaffirming someone’s existence. That’s the core of it. I think anyone who doesn’t
understand why someone’s existence requires affirmation has never needed it.
More broadly, how do you navigate Asian identity in your films? What key considerations do you make when conveying Asian stories?
In a weird juxtaposition, I’m consciously not thinking about it. The stories I write and the worlds I create are inspired by my childhood and my experiences. That naturally equates to stories centered around the Asian female identity. I’m not consciously debating whether or not my lead actress should be an Asian female, they tend to just naturally are.
I found that when I was in school, the notes I often received on my writing was that it needed to showcase my Asian culture more or my “asianness” or my struggles as a female. And that was actually a detriment to my writing, because it made me increasingly boxed into this corner of trying and having to represent all of my culture and all of my gender identity. Now I try to just write from the heart, and from what I feel is important.
The key consideration I make when conveying any story is that is this authentic and genuine to me? And if it is, that naturally leads to a story that talks about Asian identity, but more importantly it leads to a story that I care about.
How do you hope your films impact your audience?
I hope that people can walk away from my films feeling energized and inspired. There’s a lot of joy to be had in this world, and I try to capture even the smallest amount of it. I write and make a lot of stories that are inspired by historical events. And I want people to walk away being curious and with a desire to learn more.
What’s next for you as a filmmaker?
I’m continually excited to explore stories that challenge and inspire. Currently, I’ve been working heavily in directing commercials. I enjoy being able to constantly practice my craft, and improve those skill sets. The fast-paced nature of commercial work pushes me to be more creative and precise with every project. I find a lot of satisfaction in the challenge of distilling a powerful message into a short, impactful piece, and I'm eager to see how these experiences will influence my future narrative and documentary projects.
.png)
Comentários