Toronto Reel Asian International Film Festival

The Blog is Moving onto reelasian.com

2008-08-13T11:36:00.000-07:00

It's starting to get busy here with the festival approaching. On the online front, things are changing on the website to make it a little cleaner and easier to update. For one, this blog is in the process of relocating to the reelasian.com site itself. Soon, the new and improved Reel Asian Blog will satisfy, once again, your insatiable curiosity for all things Reel Asian. We'll let you know when it's ready.

Kevin Lim - Online Coordinator

2008-07-24T08:50:00.001-07:00

Sadly, this will be my last official posting on the RA blog. I will be passing the torch onto Mr. John Mani who will be taking my position at Reel Asian. I plan on keeping in touch and posting some more pics and Asian North American news but for now I bid you adieu.

I will be moving to the Honolulu to do a doctorate in American Studies. I will be sure to drop in on the RA blog with updates from here (AAAS 2009) and here (HIFF).

It's been fun. Keep it Reelz.
Thanks to all of the RA family who have made my time at Reel Asian wonderful and exciting.

KL in NYC for the AAIFF. OMG!

2008-07-24T08:44:00.000-07:00

Last week I was in NYC for the AAIFF. I had gone the year before for my studies but this year, I went on behalf of RA because I am on the shorts programming committee. I saw a lot of great stuff. Click on the photos below to see the RA flickr account and more pics from NYC.

Grab that booty...

2008-07-24T08:41:00.000-07:00

Reel Asian scored a bountiful booty at the Sony Centre yesterday.

"The Sony Centre recently closed for renovations that will keep its stage empty until fall 2009. But its doors briefly re-opened today to offer stuff they don’t want anymore, for free, to anyone crazy enough to take it — first-come, first-served."

Among the treasures, we now have three red carpets, several staunches and a ticket ripping station both garbage can thingy.

Gordon Liu event was a huge success!

2008-07-23T09:00:00.000-07:00

The Gordon Liu event was a HUGE success. Kudos to all the volunteers and staff who made it possible. Check out some nice pics over at our flickr.

Screening of "Hereos of the East" with Gordon Liu in Attendance...

2008-07-14T11:05:00.000-07:00

The Toronto Reel Asian International Film Festival, Alliance Films and Kung Fu Fridays present a screening of 'Heroes of the East.'

People who only watch Hollywood movies might know Gordon Liu as Johnny Mo, one of the Crazy 88s from Kill Bill Vol. 1, or the Bride’s kung fu teacher Pai Mei in Kill Bill Vol. 2, with the white hair and bushy eyebrows.

Well, here's your chance to see Gordon Liu in one of his earlier works. Mr. Liu will also be in attendance to answer some of your questions!

SCREENING INFORMATION:
Date: Saturday, July 19, 2008
Time: 2:30 PM
Venue: Innis Town Hall, 2 Sussex Avenue (south of Bloor/St. George)

Sponsored by eye weekly with special co-operation from the Hong Kong Economic Trade Office (Canada). Special thanks to Fantasia, Dragon Dynasty and Suspect Video.

Check out the trailer below!

Interview with Reel Asian 2007 CSV winner Jennifer Liao...

2008-07-07T13:32:00.001-07:00

Last year at the festival, Reel Asian held a pitch competition for emerging filmmakers called The Hear Me! See Me! Pitch Me! Competition. The winners of the competition received prizes from Charles Street Video to help produce their work.

Stay tuned for an interview with Dean Vargas and Lena Lee.

WSFF: Last Day

2008-06-15T20:54:00.000-07:00

The Worldwide Short Film Festival closed today. Click above for some pics from the CFC Picnic event.

WSFF: Day 3

2008-06-14T22:15:00.000-07:00

Reel Asian at the Japanese Spotlight reception. Click the image to see more pics.

WSFF: Day 2

2008-06-13T05:56:00.000-07:00

Director Shinichiro Watanabe saying hello. Click above to see more pictures.

It's been a crazy two days. Yesterday, I attended Reel Asian filmmaker, Joyce Wong's screening of Souvenirs from Asia. In the evening, some of the RA gang and I attended a very amazing Japanese animation double header (1 and 2) program. Personally, I think it was the best anime I have ever seen. Mind blowing.

Today is going to be another packed day. Stay tuned for updates!

WSFF: Day 1

2008-06-11T00:22:00.001-07:00

Opening night at the Bloor. Click above for more pictures.

Trinity Square Video: ICON

2008-06-03T08:51:00.000-07:00

This Thursday, TSV is screening their commissioned program, ICON. Participants have chosen such icons as Werner Hertzog, Astroboy, the fictional Quebecois singer Marie-Minou Miaou Miaou and actor Lou Diamond Phillips. Here's the info. Come on out !

TSV Themed Commissioned Program: ICON
THURSDAY JUNE 5th, 8:00pm
The Theatre Centre
100-1087 Queen Street West (at Dovercourt St.)
Toronto ON
Admission: members $6 / non-members $8

Here is a conversation between TSV filmmakers Jeff Tran and Aram Siu Wai Collier about their films.

Face Off! Jeffrey Tran and Aram Siu Wai Collier

AC: Your video deals largely with the work of Tezuka Osamu, can you speak about the trajectory of his animation and career that intrigued you so much for this project.

JT: I think what really fascinated me about him is how he is considered the 'godfather of manga' . He created Astro Boy at a time when Japan was still recovering after World War II and he experienced hands on what it was like living in a world occupied by strange foreigners. People were looking to try to stay optimistic and look forward to the future, and Astro Boy represented this. In particular he was also the one who popularized the 'doll eyed' style that is in Japanese manga and anime, which was a direct influence from American cartoons. Tezuka Osamu from what I've read about him while primarily a manga artist, he was obsessed with animation and dreamed of venturing into the art, which he did through Astro Boy. With Walt Disney's early films he would apparently watch them countless times over. He actually reproduced Bambi, shot by shot into illustrated form (and reproduced and sold! a la doujinshi), as a way of copying to learn. His place as the creator of many standards in manga and the anime industry today, as well as his being a sort of bridge between Japan and America through style and art makes him so interesting to me.

AC: Your video is kind of an animated animation, please talk about the processes you employed in making this video.

JT: I use a lot of photographs of people and footage of post World War II Japan. I wanted to experiment with the footage and cut it out, stylize and animate some elements from it. For my last animation I worked on 'Dundas n' Bathurst' a lot of footage was taken and reconstructed the street and daily life but in a sort of exaggerated reality. I've incorporated some of those stylistic elements into this one. I would use After Effects to animate some of the simple movements, and when I wanted something more, they would be brought into 3d software and rigged so that I could animate them and move through 3d space. For one sequence I remodeled Astro Boy in 3d since I wanted Gene Kelly and Astro Boy to dance together.

AC: I believe the animation programs you were using take quite a bit of rendering, what is your favorite thing to do while rendering?

JT: Actually if a shot is busy rendering, I try to work on something else, like working in Photoshop for another asset for my film. But that's sometimes is not good 'cause I crash my computer if I try to do too much fancy stuff. Well other than that, I'm most likely on the net. Aren't we all now a days? Then, when all else fails, I doodle away.

AC: There seems to be quite a few Asian Canadian animators (Lillian Chan, Howie Shia, Jonathan Ng, Ann Marie Fleming) what's up with that? Is there some Asian animation chromosome?

JT: Yeah those artists are people I greatly admire and respect for working in the field of animation when most times there's the stereotype of Asian parents wanting kids to do something that is 'secure', and respectable. I think this generation of Asian Canadian artists is having a fortunate position of exploring a rich influence of traditional Asian and Canadian culture. Growing up on wacky Saturday morning cartoons, but also making sure to be respectful, humble and quiet. I think we're repressed! Maybe it's a form of rebellion against tradition and what's deemed accepted as an Asian. I'm not always thinking about my Asian background while pursuing artistic endeavors but I think it definitely is part of my identity as an Asian Canadian artist and I embrace it. Or maybe it's a thought in us thinking, hey how come there isn't any more Asian work out there? I wish there was something that I can identify with more! How can I make it true? I know! I'll make some myself!

AC: what kind of animation did you grow up on? Did/do you identify or even simply respond differently to animation from Asia than the Disney dominance of North America?

JT: I'm part of the generation who watched Transformers, Popples, Care Bears, Smurfs, anything that was a toy first before a toon! I think the turning point for me was watching 'the fist of the north star' for the first time... you know what I mean, it's like you're traumatized for life... but in a good way. LOL. It was a toon.. but then there's blood.. they're bleeding! Death! I think that summed it up for me one of the differences between American animation and anime. Or even manga and western comics. They're pretty much parallel each other. I think both industries have a lot of genres that you can enjoy. It's just that in Japan specifically all of them are more widely accepted. While I was growing up in grade school I loved superheroes, and I got sick of the Disney musicals, and deemed them childish, that's when my friend showed me some Dragonball Z manga, and discovered they had a cartoon of it. The way they showed all the crazy speed lines, and super powers I found out to be crazy exciting and full of action. And the visuals were something I had never seen in American animation, the designs and style was that much more diverse at the time. But I notice things are changing slowly, as seen in the success of the Incredibles but it's not quite there yet. I feel as this generation grows up we're going to be able to make more sophisticated animation and the audience will mature to provide a plausible market for it. That's exactly how anime and manga is so accepted in Japan right now, as older generations maintain that love for the art, but the stories are more sophisticated. Hopefully it will keep moving in that direction from now on.

JT: How did the idea of using Lou Diamond Phillips as your subject for Icon come about?

AC: This video has been a long time coming for me. It started when my mom rented La Bamba for us since she grew up when Ritchie Valens, who was the first Mexican American “crossover” pop star in the 1950’s. That was the first time I saw Lou Diamond Phillips and it was a breakout role for him. Then there was Stand and Deliver where he also played a Mexican American, which was followed by the Young Guns movies. My sisters and I were like, “wow he plays all these different roles!” and then we found out that he was part Asian and we became real fans, even though he never played Asian people. As I got older I began to think about what it meant for him to be a mixed race person playing all these different ethnicities, especially because as he notes in the Young Guns commentary that “I’m not Latino in the least”. That his breakout roles were ones where he played Mexican Americans and he wasn’t of that heritage raised questions of authenticity and ethnicity and how we see and imagine people who look like they could be anything. I mean, as a mixed race person with no Mexican heritage, does he have a right to play Ritchie Valens? When they were casting for Selena the producers got flak from some for casting Jennifer Lopez because she’s Puerto Rican and not Chicano. On the flipside, what options does an ambiguous actor have? Does it mean that he could only play someone who is mixed or relegated to “color-blind” roles, which to me always seem incongruous. These were all questions I had on my mind while working on this and that I hope my video helps raise, though it’s maybe not explicit in the work.

JT: One scene you brilliantly have LDP in a very tense moment holding a gun...at himself. Could you explain the process and the choices in creating these scenes and as well in the video's overall narrative?

AC: The process started by researching all of LDP’s films and noting which ethnicities he played in each. From there I limited the films to a period between the mid 1980’s to early 1990’s because this was when he was getting leading roles as ethnic characters. There were some films I had never seen that provided great material. In particular were two films shot in Canada; Shadow of the Wolf was a Canadian film where LDP plays an Inuit man (and Jennifer Tilly is his love interest and Toshiro Mifune plays his dad!) and the second surprise was Boulevard where he plays a pimp named “Hassan”… This was the first found footage film I’ve done so the video’s narrative was something I struggled with quite a bit. I knew I could construct scenes that kind of worked in themselves—matching action and movements of scenes across different films; I found this easiest with action scenes. But in the end I only had individual scenes. So I took a step back and looked at the plot devices that kept arising in the films I was using and there was a recurring theme of dreams and nightmares nearly across every film. I think this is because “ethnic people” are often portrayed to be more spiritual—like some kind of “spidey sense”. So that’s a theme I went with; it’s a story of an internal struggle, about self-hate and learning to love oneself.

JT: Initially editing for film was done by hand, scissors and tape. Now that technology has advanced, are you extremely happy editing with computers? Any secret thoughts of making an 'homage' of the traditional process?

AC: I’ve made exactly one film and even that I cut on Final Cut pro. Its usually been a cost consideration– and fear! It would be a lot of fun and would like to do it someday, more for the experience of working with the medium than anything else. I do enjoy working on computers quite a bit, except that I can’t help but get distracted sometimes.

JT: Do you feel working 'behind the camera' in any form is the only way for Asians to present Asians in more diverse genres to wider audiences?

AC: I would generally agree with that. I was reminded of this when watching La Bamba over and over again while working on my video. La Bamba was written and directed by Luis Valdez, a Chicano director who grew up in the same era as Ritchie Valens, and that film really hit on issues of being a person of color in America in the 1950’s. It’s quite nuanced with its portrayals and I’m not sure it would have been as much if it were directed by someone not from that community and that experience. Same thing goes for Asians in media. However, I don’t think it means everybody should go out and make a movie. It’s more important to be an active and conscientious viewer of what we see, what stories are told and not to settle for the same old stereotypes and most importantly is to

JT: Like LDP, you are also of a mixed heritage of Asian and European living raised in America, and now you reside in Canada. What is the most unique guess people give you of your nationality?

AC: Its strange, it really changes wherever you are. I noticed since I got here that people generally don’t ask or guess as much as they do in the states. I noticed that on a recent trip to Chicago where it seemed like I was getting asked what I was everywhere -- even at a urinal at a Karaoke club! But I think that’s just because Americans are a little more forthright. A lot of the time people’s guesses are contextual; I volunteered for Imaginenative festival and I was one of the people to greet festival guests at the airport and at least half of the people coming in thought I was Native. The most outrageous was when I was in university and looking to rent a place off campus and the woman who was renting the place asked me if my dad was part of the military and if he was based in the middle east! But again it’s contextual since my first name is Armenian. But I’ve gotten a lot of different guesses from all kinds of people and then you realize most people don’t know what they’re talking about.

___________
Jeffrey Tran is an artist and filmmaker from Toronto, Canada. He received a Fine Arts degree at the University of Waterloo in traditional art and computer studies. Upon graduating from Computer Animation at Sheridan, he completed the short Dundas n' Bathurst (07) where it won top honors at the Toronto Urban Film Festival. Passionate in exploring the combinations of computer technology, the arts, and film, he enjoys taking a 'tongue in cheek' view on the many social and cultural issues present in today’s society many of his works. He is now currently working as an animator at C.O.R.E. Digital Pictures in Toronto.

Aram Siu Wai Collier is Chinese & English/Dutch, born and raised in San Francisco where he studied film, was a community organizer and worked in independent documentary production. He is now a Toronto based filmmaker, editor, and film festival freelancer. In Fall 2008, he will begin pursuing an MFA in film production at York University in Toronto.

A BOOK about FILM on TV? Whoa...

2008-06-03T08:27:00.000-07:00

WARNING. I ripped this from DVD and the audio level is a bit loud. So...turn down your speakers.

Reel Asian at the CBC...

2008-06-01T23:07:00.000-07:00

This weekend's screening of In the Shadow of Gold Mountain and Sleeping Tigers: The Asahi Baseball Story was a great success. Click above to see a few pictures.

Asian Heritage Month Ends...

2008-05-30T16:06:00.001-07:00

Join us tomorrow at the CBC building downtown for a free screening of Karen Cho's In the Shadow of Gold Mountain. Reel Asian is pleased to be a community partner for these screenings along with our fellow Asian Canadian organizations MyBindi, the Toronto Sikh Professionals, and the North American Association of Asian Professionals (Toronto Chapter). Admission is FREE, but seating is very limited -- reservations are required. Events will include a pre-screening reception in the CBC Atrium where guests with reservations can register/check-in and relax with light refreshments before being escorted up to the third-floor screening room.* A Q&A panel discussion with filmmakers and invited guests follows each screening.

RA at a Subtle Techonlogies...

2008-05-30T13:17:00.000-07:00

The RA crew headed over to Innis to attend the Subtle Technologies festival. That's Patricia Lee on the right. She's the festival manager and RA's former Industry coordinator. Last night it also happen to be Patricia's Birthday! For our tamer pictures, click on the image above!

Reel Asian Spring Showcase Pictures!

2008-05-26T10:55:00.000-07:00

WELL, The Reel Asian Spring Showcase happened this weekend at York University. Thanks to all the volunteers for making sure everything went by smoothly. Click on the photo below to see more pics!

The Reel Asian Showcase Line Up!!!

2008-05-21T08:56:00.000-07:00

Just two more days!!!

Friday May 23	Price Family Cinema Accolade East Building	6:30 PM	OPENING NIGHT FILM: A BATTLE OF WITS Dir. Jacob Cheung Chi-Leung
Saturday May 24	Room 004 Accolade East Building	2:00 PM	PANEL: ASIANS IN LATIN AMERICA Moderator: Ted Goossen
	Nat Taylor Cinema Ross Building N102	3:30 PM	CONTINUOUS JOURNEY Dir. Ali Kazimi
		5:30 PM	POWER PLAY Canadian Shorts Programme
		7:00 PM	THREE TIMES Dir. Hou Hsiao-Hsien
Sunday May 25	Nat Taylor Cinema Ross Building N102	2:30 PM	CHINESE RESTAURANTS: LATIN PASSIONS Dir. Cheuk Kwan
		4:30 PM	THE OTHER HALF Dir: Ying Liang
		7:00 PM	CLOSING NIGHT FILM: KIEU Dir. Vu T. Thu Ha

China Earthquake and Myanmar Cyclone...

2008-05-15T09:23:00.000-07:00

On May 3rd, a cyclone hit Myanmar killing over 100,000 people. Myanmar is in desperate need for help from the global community.

On May 12th, a 7.9 earthquake hit the Sichuan region of China. The Chinese government has reported the death toll at 50,000, but my guess as the salvage and rescue operations continue, we're likely to see a lot more fatalities.

Please click on the banners to find out how you can help. You don't always have to help out by giving money. Volunteer your time, spread the word, donate old clothes. We can all do a little to help out a lot.

Pittsburgh: Silkscreen Film Festival

2008-05-15T08:22:00.000-07:00

Check out photos from Reel Asian's trip to Pittsburgh for the Silk Screen Film Festival!

A Chink in the Armour...

2008-05-15T05:55:00.000-07:00

The screening of A Chink in the Armour went very well. A great turn out and the children and Baun Mah really got a long. Click on the picture above to see Baun signing some autographs.

Reel Asian Spring Showcase!!!

2008-05-14T06:04:00.000-07:00

Hey folks! HERE IT IS!!! See you there!

RAFF vs TIFF

2008-05-10T20:22:00.001-07:00

What a gorgeous day today! Summer is finally here! Check out pics from our battle with TIFFs baseball team.

Reel Asian Spring Showcase!!!

2008-05-09T09:56:00.000-07:00

Clear your calendar folks! You thought you had to wait to November to get your Asian film fix? We here at Reel Asian are cooking up something special for May 23-25.

Reel Asian is mounting a weekend showcase of film screenings on the York University campus as part of the Asian Heritage Month Festival put on by Asian Heritage Month-CFACI. We got a program of screenings and panels that includes both encore presentations and new work that you won't want to miss.

Oh, did I mention, ALL SCREENINGS ARE FREE!!!!!! That's right. So round up your friends and fellow Asian film lovers and join us at York. Oh, and as a former York Student, I will let you in on a secret. (The opening film is playing in the brand new Accolade theatre. The theatre is equipped with a DLP Christie Projector. Christie projectors boasts one of the brightest bulbs in the industry.)

Keep checking back here for the official announcement of films. Or join our newsletter for updates!

Coming up on May 14: A Chink In The Armour at York Woods Library Theatre

2008-05-07T14:41:00.000-07:00

Reel Asian is teaming up with JVS Toronto to present a free all-ages screening of Baun Mah's humorous documentary short A Chink In The Armour at the York Woods Library Theatre (Finch b/w Jane & Keele). The densely-populated highrises of the Jane-Finch area represent an excellent opportunity for Reel Asian to do outreach to Asian Canadian youth & students, and this mid-week afternoon screening is designed to engage school groups as well as families.

A Chink In The Armour
Baun Mah | Canada 2004 | 26min | Video
1:30 PM | Wednesday May 14, 2008 | Free | All-Ages Screening
York Woods Library Theatre | 1785 Finch Avenue West

A hilarious Michael Moore-style documentary looking at Chinese stereotypes in North America. Do the Chinese really know kung fu? Are they all good at math? The results are comical, always informative, and offer a unique glimpse into Chinese-Canadian culture.

Filmmaker Baun Mah will be on hand to do a live Q&A with the audience afterwards. Admission is free, but registration is recommended (especially for large groups) - call 416-395-5980.

Asian Canada On Screen: Live at the Agincourt Library...

2008-05-06T18:56:00.000-07:00

Today was my first official day in the office as online coordinator!

Christina making some business calls.

Today, we headed up to Scarborough for a community screening at the Agincourt Library. We screened three films by filmmakers featured in our book Reel Asian: Asian Canada on Screen.

Slightseer | website
Midi Onodera | Canada 2001 | 3min | Video

Some people say that cinema in its present state is on the verge of dying. But cinema is much more than just the magical chemistry concealed within this format. It is imagination, faith, and suspension of belief. It is our collective past, a reflection of ourselves. Without this history we are doomed to repeat the past. Without our continued thirst to quench our vision we are simply sightseers in a "global image economy".

Good Luck Counting Sheep | website
Khanhthuan Tran | Canada 2007 | 4min | BetacamSP

Celine's Concert Series '98 SOLD OUT! Fans desperate for tickets can't wait until Dolly the Sheep, the new mascot announces the winners of the three front row tickets! Based on a front-page story, this pop-adaptation was originally an illustrated comic book in 2001.

Wilson Leaves Home | website
Nicole Chung | Canada 2007 | 12min

While taking care of his sickly father, Wilson, a young professional, still lives at home. His girlfriend, however, has other ideas (like living together). His dad can't stop eating junk food, and it looks like there is a lady other than Wilson's mom around...

Heather, Deanna and Khanhthuan.

Assocation of Asian American Studies Conference Day 3

2008-04-18T23:19:00.000-07:00

After the conference closed today, Aram and I tried to see some of the city.

We went to Millennium Park. Really cool architecture.

This metal bean was really fun.

Aram taking a minute to admire the view.

In the evening we headed to Chicago's chinatown.

Tomorrow the conference is over. It's been a really great experience. I think it's going to be really busy tomorrow. Gotta get some sleep.

Assocation of Asian American Studies Conference Day 2

2008-04-17T18:01:00.000-07:00

Woke up bright and early to set up the Reel Asian table. We had many comments about our beautiful posters.

Aram with Laureen Chew, a professor at San Francisco State University, was Amy in Wayne Wang 's Chan is Missing and Geraldine in Dim Sum.

The conference center is HUGE. It's possibly the biggest building I have ever been in. I just looked it up actually. And its the biggest conventional center in North America (3rd in the world!).

We realized it wasn't self evident having books on a table that we were in fact selling the book, so I had to make this temporary sign. It got some laughs and consequently, some sales!

Aram chatting with a rep from Stanford Press.

There are about 15 vendor in the book room. And I can safely say, we sell the best book on Asian Canadian film.

The first real day at AAAS has been amazing. We've met lots of people and I even managed to get in a screening of Who Killed Vincent Chin. Aram is off to see Option 3 tonight at the Asian American Showcase.

Hey Folks!

2008-04-16T19:40:00.000-07:00

Well, today I hopped on a jet plane and took a short flight over the border.

CHICAGO!!! I met up with former RAFF staff member Aram Siu Wai Collier. We're here to attend the 2008 Association for Asian American Studies.

On our way to eat some deep dish Chicago style pizza.

Amazing. Soooo good.

Chicago's got some crazy architecture. Looks like something out of Blade Runner.

Tonight we're working up a game plan for tomorrow. We're here to represent the book that was co-published by Reel Asian. If you don't already know about it, find out more here.

Opening of SFIAFF in San Jose...

2008-04-05T11:11:00.000-07:00

Joyce Wong was nice enough to provide some coverage of the opening of the SJ portion of SFIAFF.

Mike Honda with some opening remarks.

Richie Mehta (Director of Amal)

Richie and Vik Sahay during their Q&A of Amal.

Christina, Andrew Thompson (Sr. Public Affairs Officer at the Canadian Consulate), Nadia Scipio Del Campo (also from the Canadian Consulate) and Joyce at the opening after party at the San Jose Museum of Art.

Reel Asian Co-Presents at Images Festival

2008-04-04T15:06:00.000-07:00

In a city awash with festivals, the Images Festival has carved out a unique and important place for itself as the pre-eminent showcase for contemporary moving image media and installation work. This year, Images presents over 116 selections from all regions of Canada and over 20 countries from around the globe.

Reel Asian board member Pablo de Ocampo is the Artistic Director of the Images Festival, and we are proud to co-present the following work at the 21st Annual Images Festival:

International Shorts Program 1:

Glimmers of Light Disappear in The Distant Shadows
Friday April 4, 2008 | 9:00 PM | Admission: PWYC (Pay What You Can)
Joseph Workman Theatre | 1001 Queen Street West at Ossington

Silhouettes and rolling seas, rain and planes drop from the sky with shaky landings. Leaves glisten and bees swarm in dark dreams and recollections. Program includes:

In A Year With 13 Deaths

Jonathan Schwartz | USA 2008 | 16mm | 3min
Light shimmering in water, rippling darkness descending, passing vistas and fluttering intervals.

Rehearsals for Retirement

Phil Solomon | USA 2008 | video | 10min
The second segment of In Memoriam Mark La Pore; a trio of works entirely composed of images culled from the video game Grand Theft Auto. A lone shadow traverses misty woods of lush green and blue and watches lightning strike and a burning hearse.

Children of Shadows

Naoyuki Tsuji | Japan 2006 | 16mm | 18min
Black and white drawings with lingering shadows of children set the stage for this dark and mysterious animation. Amidst a sparse and haunting soundtrack, teardrops mingle and mutate into fields of daisies and slow drips turn to bunnies hopping down a woman's legs.

Ring

Robert Todd | USA 2007 | 16mm | 12min
Macro darkness glistening in contrast, light dancing as fleshy pulp sparkles. This film has a foreboding soundtrack that swells and retreats with pulsating extreme close ups and quivering focus pulls.

The Beekeeper

Sara Preibsch | Sweden/UK 2007 | 35mm | 19min
A beautiful and poetic portrait of an aging beekeeper recounting his experiences while escaping Germany through the Alps on foot.

90 Years

Jonathan Schwartz | USA 2008 | 16mm | 3min
An elderly man is assisted into the cockpit of a small plane, takes off, ascends, and is surveyed from the runway, only to land once again in silence.

After the screening, there will be a reception at InterAccess Electronic Media Arts Centre (9 Ossington Avenue @ Queen Street West), from 10pm onwards.

S is for Student

Monday April 7, 2008 | 9:00 PM | Admission: PWYC (Pay What You Can)
Joseph Workman Theatre | 1001 Queen Street West at Ossington
Reel Asian double-award winner (and 2007 Canadian Spotlight artist) Lesley Loksi Chan reps her alma mater, York University, as one of the curators of this programme featuring all student work. Korean American filmmaker Bum Lee's film Sports and Diversions (pictured left) returns to local screens as part of this programme, after making its Canadian debut last year at RA's Down The Rabbit Hole animation shorts programme.

The S is for Student programme screens separately and is not co-presented by Reel Asian.

Going Behind The Camera ...

2008-04-02T08:17:00.000-07:00

(Left to Right)
Peter Kuplowsky ||Moderator
President, CINSSU

Colin Geddes || Panelist
Ultra 8 Pictures & International Programmer, Toronto International Film Festival

Bart Testa||Panelist
Cinema Studies Institute, University of Toronto

Colin Geddes shmoozing at Innis after the screening.

Reel Asian crew going to Chinatown for some late night eats.

Going Behind The Camera...

2008-03-26T10:09:00.000-07:00

The Asian Institute at the University of Toronto, part of the Munk Centre for International Studies, presents Going Behind The Camera — Hong Kong Films About Films, an evening of film screenings and panel discussion, followed by a reception. Reel Asian is pleased to be one of the co-sponsors of this event, so come out and join us for a great night of FREE films and discussion.

Friday March 28, 2008 | 5:30pm - 12:00am
Innis Town Hall | 2 Sussex Avenue @ St.George Street | FREE with reservation
Reservations are required! Click here for details and to make a reservation.

Screenings:
5:30pm - Mr. Cinema (老港正傳)
Samson Chiu Leung-Chun (趙良駿) | Hong Kong 2007 | 120min | Toronto Premiere

Forty years of Hong Kong history are seen through the eyes of the fictional Zuo Kong, film projectionist, leftist idealist and family patriarch. Kong's life parallels some of Hong Kong's own historical highlights, as the city experiences 60s leftist riots, 70s prosperity, the 80s boom times, 90s handover anxiety and SARS in 2003. – Vancouver Film Festival

7:40pm - The Extras (茄哩啡)
Yim Ho (嚴浩) | Hong Kong 1978 | 86min

An entertaining look at the trials and tribulations which movie extras must endure in the Hong Kong film industry. Hakky Ho (Yee Lui) is an aspiring actor who is frustrated by his lack of success, but gets an extremely low-paying job as an extra and believes he is close to finally getting his foot in the door. He soon learns otherwise, as his illusions of fame and glitz are quickly shattered by the grueling, day-to-day grind which being an extra entails. – New York Times

Discussion:
9:15pm - Infinite Patience and Madcap Impetuousity — Going Behind The Camera in Hong Kong
Colin Geddes | Ultra 8 Pictures | Toronto International Film Festival
Bart Testa | Cinema Studies Institute, University of Toronto

Reception:
10:00pm - Join guests, panelists, and event co-sponsors for a post-panel reception and afterparty until midnight!

Image of "Mr. Cinema" courtesy of the Hong Kong Movie Database

All good things...

2008-03-20T11:31:00.000-07:00

Well folks, today is the last day of the fest and it went by like that (snap motion with fingers). Tonight SFIAFF is closing and moving to San Jose. Your friends at RA will be going down but I have to get back to the T-dot. Tonight will certainly be a night to remember. Here are a few pics from the last couple of days.

A screening of The Joy Luck Club. What a photo op.

Ming-Na and Lauren Tom.

Stephen Gong saying a few words.

RA's friend, Goh Nakamura with Canadian's Maya and Joyce.

Day 4

2008-03-19T11:52:00.000-07:00

Films , Parties and Celebrities? OH MY!

Filmmaker Curtis Choy with Deanna Wong.

Phil Yu AKA Angryasiaman.

Richard Wong at the premier of his film Option 3.

Q&A.

I hosted a party in my hotel room.

Michella from SFIAFF chatting with Christina.

Taro Goto and Gary Chou.

Goh Nakamura entertaining us with some great tunes.

Goh and Chi-hui.

The multi-talented Jacqueline Kim.

Day 3

2008-03-19T00:34:00.000-07:00

Karen Chau representing Ni Hao Kai Lan.

Taro Gato leading a panel discussion.

Hong Kong superstar Daniel Wu.

Odessa Chen rocking it in J Town.

A beautiful day in SF.

Actress Jacqueline Kim and Christina Sit Yee.

Joyce Wong and her Toronto crew, Maya and Brent.

Joyce fielding some questions at her screening.

DC people toasting.

Sake.

Taro Goto chatting up industry people

Day 2

2008-03-19T00:26:00.000-07:00

Hi all! It's been crazy busy in SF! Here are some late updates.

Special programmers meeting.

Screening of Pretty to Think So.

Q&A.

Chris Chin with some fellow AAF friends. On the right is Anderson Le from the Hawaii International Film Festival.

Our buddy Goh Nakumura admiring some art at an after party.

Night after night, SF has some great bars.

Day 1

2008-03-14T09:59:00.000-07:00

OPENING NIGHT

RA chatting it up with Richard Wong, director of Option 3.

RA getting their drink on.

Left to right: Henry O, Wayne Wang and Stephen Gong.

Henry O (Left) and Wayne Wang (Right), the star and director of A Thousand Years of Good Prayer.

SFIAFF director Chi-hui Yang.

AFTER PARTY

Goh Nakamura, Chi-hui and Christina.

OUR very own Joyce Wong snapping a pic with a passed out guy.

Showing off our book with Abe Ferrer, co-director of the LA Asian Pacific Film Festival.

Deanna and guest service's Mimi Wong.

(Right) Phil Yu AKA AngryAsianMan.

AFTER AFTER PARTY

Let me be the first to say, RA has NO gang affiliations!

This picture was taken by Joyce Wong.

After the After After party we went to Denny's.

Wow. What a day.

Fast and Furious...

2008-03-13T15:46:00.000-07:00

Deanna and I hopped on a plane. 5 hours and a crazy elevator ride later we are at the San Francisco International Asian American Film Festival.

Christina Sit Yee, Jacqueline Kim, Deanna Wong and Chris Chin.

We met up some VIPs from the DCAPA Jenny Kim, Mimi Le,Wyman Lee and Eric Paler

SFFIAAFF

2008-03-11T09:26:00.001-07:00

Your friends at Reel Asian are on their way to California this week to attend the 2008 San Francisco International Asian American Film Festival. I went to SFFIAFF last year and our American counterparts sure know how to put on a great festival. I expect nothing less this year. And of course you can expect daily updates on the blog! Check back soon!

2008-02-04T20:03:00.000-08:00

The Up the Yangtze screening was a huge success! The theatre sold out! Thanks to all the volunteers that helped out.

Here are a few pictures from the evening.

Lesley Loksi Chan (Cdn Spotlight Artist, RA07 + double award winner) with RA Board Member Alice Shih

Constance Leung (Hong Kong Trade Development Council) with RA Festival Coordinator Chris Chin

RA volunteer Dan at the RA merchandise table

The RA banner on display at Empire Theatres Empress Walk

RA volunteer squad doing their site orientation (David, Lindsay, Chloe, Sennah, Sam, Mike) with RA Festival Coordinator Chris Chin

RA volunteers Dan, Sean, Yukako & Meagan

Three Gorges Probe director Patricia Adams with RA Executive Director Deanna Wong

Up the Yangtze River director, Yung Chang

Filmmaker Yung Chang being introduced by RA Executive Director Deanna Wong

RA Executive Director Deanna Wong and filmmaker Yung Chang

Richmond Hill Ward 6 Councillor Godwin Chan with CBC Newsworld Senior Communications Officer (Outreach) Alison Gee-Liphardt

A full house at Theatre 8

Betty Wu-Lawrence (Chinese Canadian Nurses Association), Ellen Mak-Tam & Elliot Tse (Federation of Chinese Canadian Professionals, Ontario) and RA Director of Development Christina Sit Yee

Dr Doris Lau & Dr Sam Lau at the Three Gorges Probe post-screening reception

Yung Chang’s family with RA and TGP staff

Lucky audience prize winners Dr Bhiku Jethalal and family

Dr Walter Chang, the filmmaker’s proud papa

The film will have a commercial release beginning February 8th! It will open at the Cumberland and I strongly suggest you check it out.

2008-01-18T21:28:00.000-08:00

Hey Hey Hey. It's been a while. Check this out:

Reel Asian kicks off 2008 with a special advance screening of UP THE YANGTZE (沿江⽽上), a moving documentary about families being displaced by China's controversial Three Gorges Dam megaproject. Recently selected by the Toronto International Film Festival's "Top Ten of 2007", UP THE YANGTZE won the Best Canadian Documentary Award at the 2007 Vancouver International Film Festival and will help represent Canada at Robert Redford's prestigious Sundance Film Festival this month.

The film's Montréal-based filmmaker, Yung Chang (張僑勇), will be in attendance at this one-night-only special event and will take questions from the audience after the film. Reel Asian is especially proud to bring this special fundraising event to the many Asian Canadians living outside downtown Toronto who might not otherwise get the opportunity to see this important film.

SUNDAY FEBRUARY 3, 2008 - 4:30PM
EMPIRE THEATRES AT EMPRESS WALK
5095 YONGE ST, NORTH YORK CENTRE

TICKETS $12 - ON SALE NOW!

The film is 93 minutes long, in Mandarin with English subtitles. Proceeds from ticket sales for this event will raise funds for Reel Asian. For more information on how to donate to Canada's Premier Pan-Asian International Film Festival, click here.

For more information about the negative impacts of the Three Gorges Dam, visit Three Gorges Probe. Reel Asian would like to recognize the participation and support of KINOSMITH Independent Film and the National Film Board of Canada in helping make this event a reality.

Film produced by EyeSteelFilm in co-production with the National Film Board of Canada and in association with CBC Newsworld/SRC and American Documentary | P.O.V., PBS's Award-Winning Documentary Showcase.

Festival Highlights!

2007-11-23T16:00:00.000-08:00

This year was the best festival yet! Thank you all for your support, its been a blast. Here's some festival highlights. Of course they're too numerous to list but we'll recognize a few. And let us know some of your Reel Asian 2007 highlights!

NOW Audience Award- picked by YOU the audience is...
GETTING HOME directed by Zhang Yang

The Lightning Doodle Project / Canadian Filmmakers Party

The fantastic work of Tochka (Nagata Takeshi and Monno Kazue). Performed at SPIN GALLERY.

Tochka: Nagata Takeshi and Monno Kazue (photo by Taku Kumabe)

(photo by Taku Kumabe)

Its Growing! -- the Festival saw a 13% rise in attendance with 4 sell out shows and numerous packed houses!

(photo by David Frankovich)

Amazing Prizes were given away at each screening through the "Pig Toss"!

(photos by Kevin Lim and Taku Kumabe)

The lucky seven Award Winners!
(double winner Lesley Loksi Chan; photo by Kevin Lim)

NOW Audience Award:
GETTING HOME directed by Zhang Yang

All feature films at the festival eligible for this prize. $500 cash prize

NFB Best Documentary Award:
KORYO SARAM – THE UNRELIABLE PEOPLE dir. Y David Chung and Matt Dibble

All documentary works at the festival eligible for this prize. $1,000 cash prize towards the development of winner's next project. The NFB will also be granted a first right of negotiation on production, co-production or distribution with regards to the winner's next project.

Centennial College @ Wallace Studios Most Innovative Film Production Award:
WANDA AND MILES dir. Lesley Loksi Chan

All films made by GTA-based artists are eligible for this prize. $2,000 in studio time  $300 cash prize towards completion of next work made at Centennial College @ Wallace Studios

TSV Visionary Video Award:
I NO I NO dir. Lesley Loksi Chan

All videos made by GTA-based artists are eligible for this prize. $650 in TSV membership dues and services $100 cash prize upon completion of new work made at Trinity Square Video

Animasian Award:
YELLOW STICKY NOTES dir. Jeff Chiba Stearns

Honourable Mention:
FLUTTER dir. Howie Shia

All animated films and videos are eligible for this prize. $500 cash prize 2007 Toronto Reel Asian International Film Festival Jury: Mike Hoolboom, Hiroko Namba, Glenn Sumi

Charles Street Video and Reel Asian SEE ME! HEAR ME! PITCH ME! pitch winners
Professional Category: CASTLE IN THE SKY, Dean Vargas and Lena Lee
Emerging Category: WHAT YOU EAT, Jennifer Liao

Thanks to all the volunteers!

It'd be a cliche if it weren't true that none of this would have been possible without your help!

RAFF Day 5: That's a wrap!

2007-11-18T23:59:00.000-08:00

Well, the 11th annual 2007 Toronto Reel Asian International Film Festival is over (sniffle). Here are some photos I snapped yesterday.

I sat in on the Hear Me! See Me! Pitch Me! competition. It was really cool to hear about these up an coming projects. The winners of the competition were announced at the closing night film.

I was really looking forward to the book launch. The book's Editor Elaine Chang along with several contributors were in attendance. Being involved with this book has been a great experience and I really encourage you all to pick up a copy. It's available through Reel Asian all year long and also through Coach House Books.

Well, it had to end sometime. Sakuran was the closing film of the festival and it looked like it sold out! Before the screening, RAFF staff said some closing remarks, and several awards were handed out. (I will post the filmmaker's names and awards shortly).

After Sakuran, it seemed like almost the entire audience decided to head to the after party! It was CRAZY. The party was held at Proof Bar, at the Intercontinental.

Great times. It's sad that it's over. But really, it's not. You can support Asian (Canadian) film all year long! Spread the word, support your fav filmmakers, make some films yourself and submit them for next years fest!

I am sure there will be some more post fest wrap up entries here. So stay tuned. Also, I will be posting an official gallery shortly and if you have any photos that you would like to see up here, please e-mail me and I will try to accommodate them.

RAFF Day 4

2007-11-17T23:59:00.000-08:00

This year's Canadian Spotlight featured the eclectic Lesley Chan.

Lesley's films were followed by, Helen Lee's Sally's Beauty Spot, Midi Onodera's The Bird that Chirped on Bathurst and Carolynne Hew, Bangs.

Ahhh, the glamorous life in the Greenroom. That's a lot of nuts.

In the evening I was very fortunate to see Getting Home. Very sweet film. It's kinda like, A Weekend at Bernie's but not really.

RAFF Day 3

2007-11-16T23:08:00.000-08:00

Kicking things off bright and early at the NFB! I got to sit in on the Business Affairs For Your Film discussion. Very interesting stuff. Did you know if you put the Happy Birthday song in your film it's going to cost you $12,500 to get proper clearance? Board member Richard Kim provided a very unique perspective for aspiring filmmakers.

I was very fortunate to see three great films, Koryo Saram – The Unreliable People, The Pain With Being Thirsty and Pilgrimage. Very moving and powerful work.

At the Munk Centre I listened in on an industry panel called, Asian Representation on Screen. Several key people from ACTRA spoke with filmmakers and actors about the nature of casting Asians in film and television and the benefits of working with ACTRA.

I rushed on back to see a packed house for Owl and the Sparrow. The line was hella long.

Finished the day off with some wicked music at the Court House. Performances by THESE ELECTRIC LIVES, DANCE ELECTRIC and THE FLASHBOYZ.

The music night was spectacular! I shot over 150 pics over the evening. When the fest is over I will compile all my images into a web gallery for yall to see.

Well. Tomorrow is filled with A LOT of stuff. I will try to bring you pics from as many of the programs as possible! I hope you Monday-to-Friday people can take advantage of the weekend and get out to a screening! RAFF is officially half over, but there's still a TON of stuff to see.

Get to know an Asian Canadian Filmmaker: Canadian Spotlight Director, Lesley Loksi Chan

2007-11-16T23:04:00.000-08:00

Get to know an Asian Canadian filmmaker #5 (i think)! Lesley Loksi Chan is our Canadian Spotlight artist this year. She's got an impressive cache of work (we couldn't program them all!) so please check out The World of Lesley Loksi Chan programme Saturday, Nov. 17 at 3:30pm at Innis Town Hall. The programme features three world premieres! including one that is "hot off the press" just yesterday!

anyway, on with the interview.

Aram Collier-Where do you draw inspiration for your projects?

Lesley Loksi Chan- Well, all the pathetic stuff is drawn from my own life and all the goodness is stolen from other people’s lives and works. Art is nice. Books are neat. I learn a lot from everyday conversations with my family and friends. We talk a lot of shit, but on occasion interesting content will pop up and I’ll put it in my pocket for later. I think a lot of my pockets have holes though. Good thing I know how to sew.

AC- You have quite a body of work, many of which we didnt have enough space to program. How long have you been making films and typically how long do they take you to make?

LLC- I made my first film at York University. I started going to school there four years ago and I’m still there… I’m gonna graduate soon. For real. My first film was a super8 film and I only saw it once, then I lost it. I really want to see it again, but only because I can never see it again

The shortest time I’ve taken to make a movie is one day and the longest I’ve taken is 8 months. I make a lot of videos at home by myself. Collaborating with people always takes longer...

Hey I just realized something: when I’m collaborating with others I realize that I actually prefer making things on my own. Then I work alone and I realize I am incapable and lonely, so I decide that I should work with others again. Then I collaborate and realize that I don’t like people at all and I really should make projects all by myself forever and ever... And somehow, in between all these serial epiphanies, movies get made. Weird. Whoops I just re-read your question and I noticed that this epiphany-pattern-thing has nothing to do with your question, but I won’t delete it cause I think self-revelations should count for something.

AC-There's always stuff that has to be 'left on the cutting room floor" what would be a "deleted scene" from one of your films? Something you loved but it didn't work.

LLC-Deleted scenes! My sister was just telling me that I need to make a movie with bloopers at the end. It doesn’t matter what the movie is as long as there are bloopers. Can’t go wrong with bloopers. Everybody loves bloopers.

Deleted scenes that I love but didn’t work? I don’t love anything. Or anyone. Remember that.

But my DREAM deleted scene would be one where a gaffer gallops hysterically into the shot and takes a fit because they just can’t stand all the goddamn floral patterns all over the place… OR maybe one where my main actor (who is probably my sister) replaces the fake red wine with REAL red wine and gets shit-faced and starts criticizing the script. Oh wait, that really did happen. Sisters! Bloopers! Gotta love ‘em.

AC -Your films deal with sometimes very difficult subject matter; violence, poverty, parenthood, relationships, race, sexualtiy and love. Yet, they're often wrapped up in a package that is both accessible and provoking. In particular, there's a manufactured tenderness that also makes your films so 'real'. you know what I mean? for example "i no i no" talks about some heavy shit, but your voice over is delivered almost as if you're telling a bedtime story, which creates a very compelling tension. How have you cultivated this style of storytelling? were there any works of other artists that may have influenced this style? (or if its totally your own that's cool too)

LLC - Well, I’m just a cold-hearted bitch and that’s why I can approach such topics with such a sensibility.

In terms of “i no I no”, I think it’s interesting when people talk about/hear difficult stories being told with ease. We expect women to cry, to stutter, to be hysterical and angry about violences. Obviously. Rightfully so. But what might happen if someone talked about violences in an unexpected way? To speak unemotionally about violence (especially a woman) is a very unexpected tone. Using a detached and dismissive tone can be read as a strategy to raise questions about normalized discourse of violence.

In “My Best Rape So Far” I spoke about rape as if it was an everyday occurrence – which it is. To speak plainly about taboo subjects, to use a tone that is polite rather than antagonistic, provokes people. People usually find that video disturbing and heartbreaking, but I’ve also seen people who find it funny too.

Yes there many are others who employ a similar style. Performance artist Karen Finley comes to mind. In 1990 she did an installation called “A Woman’s Life Isn’t Worth Much.” Check it out.

AC - further to this idea of tension in your work is your framing of characters in space. typically, most film and TV we see never shoot people straight on, but you use that a lot, which creates an awkwardness.

LLC - Yes, there are so many films that use symmetry for different reasons. “Harold and Maude” is one of my favourite films that uses ample straight-on shots. It’s so straight it’s absurd.

I used symmetry for certain shots because I think the characters in my movies try to contain and make orderly the messiness of their lives. No matter how hard they try to keep things ‘proper’, the reality seeps through and the imposed structure breaks down. Their realities are leaky and gross, very asymmetrical.

AC - how did you do your animations in Wanda and Miles?

LLC - All the animation was done by hand (stop-motion). I made the puppets and things out of paper and fabric. The scab animation (scabimation) was animated by the brilliant Christopher Walsh. I wanted him to animate the biology because he is a stop-motion genius and I knew he could make stiff fabric and plastic beads flow like a fluid blood stream. I admire his work so much. The animation sequences with the boy scratching his head were supposed to look awkward and clunky so those were animated by me and my fellow classmate Dusty Mancinelli. Dusty was a great collaborator. Both Christopher Walsh and Dusty Mancinelli make films too.

AC - you seem to have some really great textiles and fabrics going on in your films,

LLC - Thank you. Textiles are fabulous artifacts. Wallpaper too. These can draw emotional responses from me just as much as facial expressions and movements of hands.

AC - Are all your films in Hamilton? if so, Can you talk about how Hamilton plays a part, both in your films and in your experience that informs the film.

LLC - Yup. Hamilton. I make films here because I am a homebody. I shoot around here because I’m familiar with my apartment and a smallish radius around it. I’m a wimp. Toronto scares me. Oh but I did shoot in the soundstage at York for “Wanda & Miles”. And I did shoot in Kensington Market for my last movie. Hey I’m growing up, Aram!

AC - What is your next project/what are you working on now? Can we expect to see films like "She Searched For Change", "Renewing My Race Card" and "Puppets That Move" soon?

LLC - After “Traveling to Tuesday” I am going to hibernate and make bean bags. Did you know I’ve been making bean bags? Official Announcement: I’m going to give away bean bags at my screening. So if you come to my screening you might get a bean bag! The movies aren’t that good, but the bean bags are beautiful.

AC - what's the story behind your headshot? (everybody's got a story about their headshot)

LLC - Oh that headshot I gave Reel Asian is only good if you can see it in its entirety – which I don’t think you can in the program. In any case, I like that pic because of the huge white floppy ladies’ underwear hanging out of the dresser behind me, but somebody cropped the image and now you can only see my head. Whoever cropped it should’ve kept the underwear, not my face. I like the underwear because it makes me think of ‘airing dirty laundry’ and unfinished/unattended domestic labour – things that I associate with filmmaking.

LLC - Actually, I’m going to send you my REAL headshot. Last year I was assistant coach for my kid’s basketball team. Making films is nothing compared to that gig.

Lesley Loksi Chan, Canadian Spotlight Director and BALLER!

RAFF Day 2

2007-11-15T20:58:00.000-08:00

I started the day off at the NFB. The Out Of The Ordinary Youth Shorts Presentation was packed! Great films all around. I love it when filmmakers show up for their screenings. The Q&As always add to the whole experience.

I hopped over to Innis for the Power Play Canadian Presentation program. Again, a packed house and a wonderful variety of films. I am proud to say two fellow YorkU film people screened their films - Joyce Wong and Jane Kim.

In the evening, I made my way over to the Spin Gallery for the Lightning Doodle Project
party. Insane. These guys are so cool. As a photographer I really respect their talent. Check them out here.

I gotta get some sleep. There's a ton going on tomorrow, including...RAMeN!!!!. If you guys don't already know about it, it stands for Reel Asian Music Night. And I bet it's going to rock hard.

RAMeN
Reel Asian Music Night
FRIDAY, NOVEMBER 16
The Courthouse, 57 Adelaide Street East
Doors @ 9:00pm
Tickets on sale Saturday Nov. 10!
$15 Ticketmaster / Rotate This / Soundscapes / Ukula
$20 door
*Dance-rockin' THESE ELECTRIC LIVES
*Fevered thrashers DANCE ELECTRIC
*Combustible electro/hip-hop combo THE FLASHBOYZ
*Dancing shoes
*Sweatbands

It's on...

2007-11-15T04:00:00.000-08:00

Wow. What an evening. I promised I would update this blog for y'all every night. So here is your first post!

It was a full house at Bloor Cinema tonight. Justin Lin's latest film, Finishing the Game, opened this year's Reel Asian fest with a spinning roundhouse. Here are some pics from the red carpet and the screening.

The opening party was held close by at the Century Room. Wicked food by Spring Rolls, awesome tunes from DJ San Fran and an all around amazing evening.

We're off to an amazing start!

For all those who were at the opening, get some rest! Tomorrow we get things rolling with something Out of the Ordinary. And if you weren't at the opening, there's a ton of stuff going on so check out the schedule, here. There's something for everyone!

Throughout the fest, if you happen to see me running around with my camera, feel free to ask me to take your photo! You just might make the Reel Asian blog!

Ladies and Gentlemen. Let's get ready to rumble!!!

2007-11-14T08:24:00.000-08:00

If your schedule is not already clear, clear it. The festival kicks off tonight (literally), with Justin Lin's Finishing the Game! It's going to be a wicked evening. Roger Fan and Dustin Nguyen will be there and I guarantee you some other big names will be in attendance.

Check out the trailer.

The film starts at 7pm but come early like me and get some shots of celebs on the red carpet.

Following the film is the festival kick off party at 9:00pm at Century Room, 580 King Street West. Wanna chat up filmmakers, fest staff, fellow Asian film lovers? Be there.

See you there!

Get to know an Asian American Filmmaker: Tadashi Nakamura, PILGRIMAGE

2007-11-12T20:13:00.000-08:00

I know these "get to knows" have been about Asian Canadian filmmakers, but I was able to do a little interview with Tadashi “Tad” Nakamura, director of the documentary short film Pilgrimage which is showing with Koryo Saram:The Unreliable People. Pilgrimage is about the activism of Japanese Americans in the 1960’s who reclaimed the various internment camps by making pilgrimages to the sites of the camps and memorializing that history. Check it out on Friday, Nov. 16 at 1pm at the NFB Cinema.

When his previous short film Yellow Brotherhood showed at Reel Asian in 2005 Tad wasn’t able to make it to Toronto. Let’s show him a good time!

Aram Collier: What was the inspiration/genesis for this project ?

Tadashi Nakamura: Warren Furutani (who’s in the film) had written a piece about the first pilgrimage before and actually approached me about making it into a film. so from there my parents and I thought it would be a really good part of ja/asian american movement history to document.

Since my dad had gone on the 1st pilgrimage himself, he had a personal investment in the story. he for him that first pilgrimage had a huge impact on him becoming politicized and eventually joining the movement so he knew it had a similar effect on others

It was also that time that the anti arab and muslim, 9/11 back-lash was in full effect, patriot act etc. so I felt like I needed to do something as a young japanese american and as a wanna be fimmaker

AC: How long did it take from start to finish?
TN: A total of 2 years. I started production in the beginning of 05 and was editing for all of 06 finishing in november

AC: You've mentioned your parents as very active in the process of this film. -Both of your parents are very active in the Japanese American and Asian American community and the whole Asian American Studies 1st generation (eg very much of the activist generation you feature in pilgrimage). can you talk about the experience of being a 2nd generation Asian American studies kid, the good and I'm sure bad.

TN: yeah, being part of this 2nd generation asian american movement is interesting, meaning being the kid of people who were in the "movement of the late 60's. first off, while my parents and their peers in the movement grew up working class (my dad's father was a gardener), most of their kids did not. because of the movement many asian americans were able to go to college and become professionals or worked in non-profits that enabled them to raise families in middle class communities.

So on one hand my generation is much more comfortable and privileged economically and we have a lot more resources as asian americans with asian am. studies, all the non-profits and the arts with film festivals, magazine, etc. but at the same time I think its because of these resources that many asian americans, at least japanese americans are very comfortable and do not feel the urgency to be more active and dedicate their time toward social change

AC: yes, its like, what results from political and social movements are not always clear at the time, and never guaranteed.
TN: I also think the political climate is very different now. back in the 60's you had movements all over the country and all over the world. mass movements in this country actually posed a threat to the establishment. now it doesn't. so while my generation has all these resources about our history and other issues in the community. it is much harder to do stuff on a mass level

AC: do you think then, that because of the gains of the asian american community and JA community then AAs and JAs need to be more active in other movements. Whether it be for other communities of colour, the "green" movement or environmental justice and whatnot. You touch on this in the film.
TN: yeah, I think at least for JA's we should be. One, because like all AA communities we know the fucked up things that this country has done to us here and to our countries or origin. but also for JA's we not only have a history of oppression but a history of activism as well. so we inherit our parents struggle to create change. but I do think that today many JA's and AA's need to look beyond their own communities since they are the ones who are being targeted more heavily.

AC: Pilgrimage and your previous film Yellow Brotherhood both use a lot of archival material- photos and film, talk about that process as well as what was it like working with that material that most people have/had never seen. Did it feel more 'weighted' or did you feel any kind of 'responsibility' towards the material?
TN: luckily, I had a lot of archival material to work with for this film. because the movement was so massive in the 60's, it created its own arts movement that included photographers, filmmakers and musicians. the result being that there are a lot of photos and music from that era. most of the photos from the first pilgrimage itself are from my dad's collection. he was a photographer at the time so he shot about 7 roles that day (the day of the first Manzanar Pilgrimage).
TN: but there really wouldn't have been a film if it were not for Ron Rundstrom's super 8 footage of the first pilgrimage. I met him at the 2003 pilgrimage and explained the project to him. because he had remembered my dad, he told me that he had "some footage" from that first trip. so we went to Santa Fe (New Mexico) and he gave me the original reels that him and his late brother don had shot. when we got back to LA and looked at the footage, it was like striking gold! again, I have to really thank Ron Rundstrom for his generosity

AC: Very serendipitous
TN: what’s serendipitous mean?

AC: “lucky and fortunate, yielding good results.”… I had to look it up too. haha
TN: thanks haha!

TN: I also just really like the aesthetics of the asian american movement. I think there is something very empowering about seeing asian americans back in the day, not only all 60's out but also politically active. plus, we just look hella good!
AC: you like the asian american activist aesthetic? the long hair and ho chi minh goatees?
TN: yeah, hairy ass asians are the shit!

AC: more and more documentaries are using animation and after effects to liven up their still images, Pilgrimage features this as well. first, what are your thoughts about this trend and how did you do it?

TN: I think its exactly that, a trend. which will probably get played out very soon cause of people like me. but I think it is a good example of what our generation can bring to documentary filmmaking. the main goal of the visual effects on the stills were to make these old black and white photos be more appealing to a younger audience. so while it may be nostalgic to a certain age group, I felt they had to do more to "come to life". even though it had been done before, I first saw the effects in the tupac resurrection (sp?) film and was like "yo, I’m gonna totally bite that shit!"

AC: on the DVD special features, what would be a "deleted scene" from your film?
TN: hmmm. well I actually had a whole section of the younger non-JA people in the film (the chicana, filipino, south asian and arab american folks that were interviewed at the 2005 pilgrimage). I actually did regular sit-down interviews with them and cut this section where they talk bout how there was a boiling point in the 60's that really ignited the movement, and how they think we might be approaching a similar boiling point now. It brought up more contemporary issues like katrina and the iraq occupation. I liked it cause I felt it made the film more relevant but some thought it was too preachy and a lot of people felt it took away from the main focus on the pilgrimage.

AC: that would have been interesting but I also see their point. and the film works pretty well as it is, at the length it is.
TN: thanks aram
AC: what is your next project/what are you working on now?
TN: I’m currently in production on a biography on the late singer/songwriter chris iijima. he was one of the early musicians to use his music to help organize and empower people to create change. he and his singing partners nobuko miyamoto and charlie chin came out with an album called "a grain of sand". this became the unofficial soundtrack of the movement. I used songs from that album in both yellow brotherhood and pilgrimage. I wanna use this film as a last film in this kinda trilogy of japanese american movement pieces. then I think i'm done with the movement, at least for a while. I have fantasies about making a football documentary about the Samoan community in Carson, ca and how the intersection of football, gangs and church play out in the boy’s lives.
I really want to make a sports film!
AC: dude, I totally wanna make a sports doc too! (but about baseball)
TN: do it!

AC: what's the story behind your headshot. that's not the Tad I know...
TN: which one, the one with my hat to the side?
AC: yeah hat to the side, in front of graffiti wall. seems like doc filmmakers per capita are more likely to be photographed in front of a graffiti wall than the average population
TN: haha! that's the only shot of me not blowing smoke out my mouth or making a dumbass face. it was taken as a regular shot while I was visiting new york. you know trying to pretend I’m hard.

AC: this is your first time to Toronto and Canada, what are you looking forward to, and what are you scared of? do you know what poutine is?
TN: I wanna see what t dot is all about. i'm really scared of the cold and am going to be walking around in a sleeping bag of a jacket. but i'm also really curious about what the asian canadian film scene is like,
TN: what's poutine?
AC: oh man, you must experience poutine...

Let's show Tadashi some good ol' Canadian hospitality, and if you see him at the festival - get him a poutine!

Get to know an Asian Canadian Filmmaker: Khanhthuan Tran, GOOD LUCK COUNTING SHEEP

2007-11-10T09:25:00.001-08:00

Installment #4!!! Khanhthuan Tran's GOOD LUCK COUNTING SHEEP is a rotoscoped nostalgic minimalist mashup showing in the POWER PLAY Programme on Nov. 15. Look for some very special "cameos" in this film.

Aram Collier- what was the inspiration for project?

Khanhthuan Tran- In 1998 I made a comic book about dolly the sheep out of copied images from media sources (mostly Macleans). This was the original story for "good luck counting sheep". The comic book was called 'the adventures of the luckiest guy in the world' and the story was slightly different.

In 1998, I was into making things on different mediums; that's all I can really remember.

AC- how long did it take to make?

KT- well...the story was written in 1998. I received a grant in 2001 from Saw Video, but could never get the asethic I desired for the animation and let the
project sit. I tried again in 2002 after learning how to use Flash, but still didn't like the asethetic. Then in 2006 I applied for funding from the OAC and TAC with a new asethetic to tackle the project with. 8 months later (about) I fiinished.

So...9 years or 8 months; however you want to see it.

AC -what was your everyday like, animation is very grueling, especially the way that you made this film.

KT- This 8 month production was a 'procrastinating' 8 months. I think in terms of man-hours, maybe it was 2-3 months. But you're right, animation is gruelling.
I would animate (on a good day) 8 hours and have two seconds worth of animation to show.

AC- I’m dumb, what is rotoscoping? and tell us how you did it.

KT- Rotoscoping is tracing over 'filmed' images. For 'good luck counting sheep' I traced over footage from popular movies.

AC- how was it working with "Tom Cruise" on your film? and did his 'spiritual' beliefs ever affect the mood on "the set"?

KT- ha!.... in all seriousness, I chose to animate Tom Cruise because he is a reconizable icon, however I chose Claire Forlani because I wanted to animate
someone I considered beautiful.

AC- You might think she’s beautiful but man, she cannot act. Just awful on CSI: New York and she totally dumped Mac…anyway, on the DVD special features, what would be a "deleted scene" from your film?

KT- I animated with a shooting ratio, so there are scenes that have not made the cut, but I'm not a fan of deleted scenes on DVDs... I did animate the classic
ice skating fall by tanya harding at the Olympics which I kind of miss.

AC- what is your next project/what are you working on now?

KT- nothing worth mentioning. Just writing and sorting ideas out. I was thinking it was about time to paint a painting though; a still life would be nice, eh?

AC- what's the story behind your headshot?

KT- I don't understand the question. I hate having my
photo taken.

AC- you look like you're hating every split second of taking that pic.

The Book Launch was a huge success!

2007-11-08T19:32:00.000-08:00

On Wednesday, Reel Asian: Asian Canada on Screen was launched at the Gladstone. Everything was awesome. A whole bunch of contributors came out, the book was unveiled, musical and theatrical performances and of course tons of shmoozing. What a great way to start off things. THE FESTIVAL IS NEXT WEEK!!!!!

Here are a few pics from the evening.

We selected some prints that made the book and had them blown up to 8X12. They look stunning. They will be on sale at the fest. All proceeds go to RAFF.

People arriving. The Gladstone was a perfect location for the launch.

Contributors Nicole Chung and Keith Lock checking out the book.

Copy Editor John Mani chatting with contributor Lily Cho.

ACOS's editor and leader, Elaine Chang.

Contributor Richard Fung.

Contributor and TIFF Midnight Madness programmer Colin Geddes.

The crowd enjoying a performance by contributors Phil Tsui and Ann Marie Fleming.

Ann Marie and Phil.

John Mani, Christina Sit Yee and Khanhthuan Tran.

Along with many others, I got my copy signed by contributors Kwoi Gin and Cheuk Kwan of Chinese Restaurants.

Lily Cho and Cheuk Kwan.

A wonderful and funny performance by contributors David Eng and Leon Aureus.

As festival photographer, you'll likely spot me in a crowd very easily. I am the one bumping into people, stumbling over things and blinding you and everyone in the room with annoying flashes.
But I am very proud to say that I was Project Manager for Asian Canada on Screen as well. It was a remarkable experience and it was a great honor to work with the book's staff and everyone involved with the text. I am very proud of it and encourage you all to come to the table set up at the fest and check it out. It's unique, it's fresh, it's Asian, it's Canadian, it's a lot of things and it's available at RAFF for purchase.

Spread the word.

Get to know an Asian Canadian Filmmaker: Gloria Kim, ROCK GARDEN: A LOVE STORY

2007-11-03T13:57:00.000-07:00

Installment #3 of "Get to know..." featuring Gloria Kim director of ROCK GARDEN: A LOVE STORY, which Atom Egoyan called "stunning" and "absolutely beautful". Maybe Mr. Egoyan speaks in superlatives all the time but chances are he meant it and it IS a gorgeous film. Plus, we'll be watching a 35mm print of it during the Power Play programme on Nov. 15th. So don't miss it.

Gloria Kim, Director of ROCK GARDEN: A LOVE STORY

still from ROCK GARDEN

Aram Collier: What Was The Inspiration For Rock Garden?

Gloria Kim: A Dream - i dreamt of my friend enza supermodel who is a trans woman - she was in a field of rocks that miraculously turned into flowers and was applying make up to her face with such love and care. I woke up and ran to the computer to write it down - i knew this was something i needed to say - something about love, transformation, change, self-acceptance. I feel trans people are some of the bravest people in the world. They really play with identity and aren't afraid to do it.

AC: How Long Did It Take To Make?

GK: 3 years - 2 to raise the financing and a year from pre-production to post . The cgi work by pixray studio took about 9 months because andrew szerszen the head of pixray was determined to do it beautifully and not stint, even though he was donating his time and services because he really believed in the project and also because he's a perfectionist. Anyway, i think it worked out beautifully.

AC: Can you talk about the experience of shooting on 35mm for this film? Was this the first time you shot on 35? How is it different than other formats?

GK: It was the 1st time and it was wonderful to do. It's not so different from 16mm - i mean, there's a technical difference but for my purposes that wasn't what i was thinking. It was aesthetic for me - the concept - fields and fields of rocks and fields and fields of flowers in the midst of blue sky as well as the light in the interiors - i just wanted to capture that in the perfect crystal quality you get with 35mm. I mean, that sort of saturation of colour is something you only really get with 35. Even before the colour correct, the film looked fantastic. The digital intermediate was amazing too - we were able to concentrate on detail and really see what it'd look like up on the big screen. It was amazing.

AC: How do you feel about producing work that doesn't feature any "asian content"? Do you feel pushed or pulled towards either direction? On one hand you may feel a desire to show asian faces and on the other you may feel that you'll get pigeonholed if you do right? Was that a factor in the production of this film?

GK: Well, i was open to all races and ethnicities in the casting but we got 2 actors of colour - one was too young and the other had no clue what the script was about. I did feel sort of weird about casting non-colour, if you know what i mean, and definitely in a way, i really feel responsible to my community, but this wasn't the right project. The next project, “the auction” is about a korean family so, i'm happy about that. But i have to take my ideas as they come. I can't force things to happen if they;re not happening. And i do have it in the back of my mind always.

AC: The production design is really great as is the 'look' of the film. Can you talk about the process of your production design and cinematography?

GK: Harold Gay was my production designer and he was so great. He really helped me shape it into reality. I knew i wanted warmth inside, like a cocoon, and he was the one to go and paint, build, find props - bring together my words and feelings into something that i thought had tremendous heart.
Joshua Allen was my cinematographer and he was also amazing. Again we talked about my colours, the kind of light that i wanted, the effect that i wanted and he took my words and made them happen. It was such a rewarding experience for me working with both hank and josh - they were so talented. And it wasnt' just the talent - i felt a real spiritual connection with them both - sort of corny, but i felt like we all sort of came from the same place- a place of love and tenderness and this translated into the work.

AC: On The DVD Special Features, What Would Be A "Deleted Scene" From Your Film?

GK: Well ,there wouldn't be a scene but there'd be an "easter egg" (is that the right expression?) - it'd be me and the crew in slow-motion shot on the last part of the 35mm reel, running down the hill destroying the rocks that took all night to make - we had a blast doing that. It felt good.

AC: What Is Your Next Project/What Are You Working On Now?

GK: It's called The Auction - it's a period piece set in the 70s about a little immigrant girl who at xmas wants to buy her mother a fur coat. I'm super excited about it. I have some found super 8 footage of my parents that i'm incorporating and i think it's going to be beautiful!

AC: What's the story behind your headshot?

GK: Which headshot? Is it me leaning my head into the plants? If so, that's a polaroid i took myself. I woke up one morning and just loved the light flooding in so i grabbed the camera and took the shot. I'm a fanatic about nice light.

note: I couldn't resist posting this other headshot too from an article Gloria had in the Korea Times Daily...

Get to know an Asian Canadian Filmmaker: Jane Kim, 50/FIFTY

2007-11-03T13:21:00.000-07:00

Here's #2 in a series of interviews featuring just some of the Asian Canadian filmmakers that will be showing their films at this year's festival. 50/FIFTY by Jane Kim is a soulful requiem for a family's past and is showing in the Power Play programme on Nov. 15th. Make sure you check it out.

Aram Collier: What was the inspiration for 50/Fifty?

Jane Kim: My family immigrated to Edmonton in 1971 and in the process of starting a new life in Canada, we lost a connection to our family and history in Korea. My parents were too busy working to keep any new artifacts of our lives and much of our existing family records were destroyed in a fire. In a process of wanting to know my family's past, I tried to archive what little we did still have around. The last couple of years, I have been traveling back to Alberta, digging through my family's boxes in basements, finding old damaged photographs, films, documents and I want to preserve them as well as
put them into some context for myself.

AC: How long did it take to make?

JK: For such a short work, it took me a long time -- on and off about 5 years. I fiddled around with the form for a long time and realized it had to get finished some way or another. I never thought I would incorporate my own voice-over but a friend convinced me to try.

AC- 50/Fifty uses family home movies, how was it working with material that’s so personal?

JK: It was very difficult to find these materials and also to ask my family questions about the past. No one seems to want to look back at a difficult period -- a moment in time when they felt very isolated, fearful.

AC: What would be a "deleted scene" from your film? Something that you really liked but it didn't work.

JK: The whole film could be considered deleted scenes from the family film.

AC: That’s a nice way to frame 50/Fifty… The film also features some hand processed super 8, how was that, how did you do that? Were you processing in your home bathtub?

JK: Although the project is finished on video, I spent a lot of time reprinting super-8 to 16mm. I also shot some film on b&w stock and hand-processed. Years ago I went to Phil Hoffman's Film Farm and learned how to hand process. He taught us that working on film doesn't have to be labourous, difficult or expensive. I still do hand process on occasion. Just this Spring I went to the Caribbean and shot on b&w stock and hand-processed. However I was stalling so much on this project that I forced myself to finish on video to get it done.

AC: Further to working with film what would you say are the challenges of working in the medium?

JK: It is the challenges of working in film that make it such a wonderful medium. I started out making dramatic work with highly skilled collaborators, and now I'm trying to learn how to shoot, process and edit myself. I'm trying to simplify and streamline the process to find a new personal, poetic approach. I'm still working on it but I think it's slowly making some sense and I have a better vision of where I want to go -- especially after finishing this project.

AC: Considering your experience as a filmmaker and programmer, plus you've no been in two all-asian canadian programmes the last two years, how would you characterize "asian canadian" film/video?

JK: I don't want to label or categorize such diverse work -- I find that too limiting and defining. I'm still trying to find my voice and style so I can't tell you how I fit into this context. I think "Asian-Canadian work" is constantly changing and new artists are making works that expand our ideas of what it should look, sound and feel like.

AC: What is your next project/what are you working on now?

JK: I'm continuing to work with family footage and artifacts but I'm hoping to move into an even less structured and more poetic way. I've been doing a lot of research on various film/video artists who work with multi-frames, hybrid forms and fragmentation, and read poets who deal with issues of immigration, diasporic issues and language. I think my piece will explore earlier generations of women in my family who had to live through war, patriarchy, economic difficulties and a lot of bad luck.

AC: what's the story behind your headshot

JK: Is this the headshot you took? i'm not sure...?

AC: yes, it is. And it was like pulling teeth to get you to take that pic! Thanks!

The Book Launch!!!

2007-11-02T10:59:00.000-07:00

My friends. You are all invited to the launch of Reel Asian: Asian Canada on Screen!

Wednesday, November 7, 2007 - 7:00pm
Gladstone Hotel
1214 Queen Street West
Toronto, ON

Come gab with contributors, Reel Asian staff, film makers and Asian Canadian film enthusiasts! You will also have first crack at placing your order for the book!

Come out and I guarantee you won't be disappointed.

Special performances by contributors:
Ann Marie Fleming
Leon Aureus and David Eng
Jason Anderson, Colin Geddes and Phil Tsui

Get to know an Asian Canadian Filmmaker: Howie Shia, FLUTTER

2007-10-30T10:13:00.000-07:00

Hey all,

So this is the first installment of a series of interviews I'm hoping to have on some Asian Canadian directors who will have their work in this year's festival (Nov. 14-18). First is Howie Shia, who's film FLUTTER is in the Power Play programme, which is an all-Canadian shorts programme. You should really check out this film, its beautiful. And show up early, cuz FLUTTER plays first.

aram (ME): first off, I'm sure people always comment on this, but anyone ever tell you you sound JUST like James Shigeta

hs_kungfu (HOWIE): umm..

aram: this guy … he was in flower drum song. and kind of an asian male lead when there werent many in the early 60's. anyway. check him out.

hs_kungfu: oh this dude, yeah...
hs_kungfu: actually, no, nobody's ever said that but in highschool people used to tell me I sounded like Sulu (sp?) from star trek. I would say "warp speed, captain." and everyone would clap.
hs_kungfu: And in college one guy said I was the Chinese Dustin Hoffman.

aram: fools! dead ringer for shigeta...
hs_kungfu: what can I say, I grew up in Saskatchewan. Shigeta not a big seller there.

aram: okay. so Flutter. what was the inspiration for project?
hs_kungfu: er... inspiration? Nothing special really. I was in Montreal and had just bought some really nice paper. I started drawing and ended up with this picture of a kid with wings on his feet. I put it away. Then a few months later, Michael Fukushima at the NFB called and asked if I had any ideas I wanted to pitch. I offered a couple, all too complex, then I found this old drawing and thought, there's probably a story there somewhere. I wrote something up and that's sort of that. So. It began with some nice paper.

aram: -your animation style is very unique, have you consciously tried to cultivate a personal style in your work?
hs_kungfu: Like every coloured kid in art school (or maybe every kid period) I made a real conscious effort in university to try to work with a mix of eastern and western influences. So there was a lot of experimenting with Chinese ink drawings - especially Loui Shou-kwan, as well as trying to figure out the line work and gestural ideas of guys like Schiele and Picasso and Hockney. Plus comic book guys like Lorenzo Mattotti and Dave Mckean (especially when trying to figure out how to use the computer)…It wasn't as much a conscious concern when it came time for Flutter but I guess I'd sort of internalized the thinking by then.

aram: What is your background in? if not in animation?
hs_kungfu: I studied drawing and print making and Video art in University. It's pretty humiliating when talking to real animators now because they have such intense chops and know-how and I'm like, "uh, drawing hurts my hand..."

aram: can you talk about the animation process, from the sounds of it, the process is very labor intensive, how long does it take and what was your everyday like?

hs_kungfu: My animation process or the process in general?
aram: both, animation process and process in general

hs_kungfu: Well, animators are generally horrified when I explain how I work to them. I do almost everything in Photoshop - which is really not designed for animating at all - but I like it because it gives me a lot of control over the drawing. Also I'm very stupid and incapable of learning new software. Also, I don't really storyboard with any commitment. I roughly map out what I'm doing or where I'm going and make everything up as I go.

aram: kind of an improv approach then right?

hs_kungfu: Improv with a preconceived goal, I guess. I should be clear, I'm not proud of the way I work. It's just easier and more relaxed when you're working on your own to do it this way - for me anyway. I'm working with Lillian Chan right now on a couple of things and it's forced me to step up and do things more traditionally because well, it would be infuriating to the other party if I showed and was like "oh I'm just going to wing it and see what happens."

aram: You also seem to have a lot of Shias working on your films. How is it working with your brothers. (who are musicians yes?)
hs_kungfu: Tim's a session drummer and the leader "The Worst Pop Band Ever" and Leo's (LEO37) is a rapper/producer/DJ.
aram: that's great to have family members you can really collaborate with. Did your parents kind of guide you guys towards "the arts" and are you gonna open a "Shia Brothers" studio like the 1970's kung fu studio?
hs_kungfu: We were lucky in that our parents were really adamant about making sure we had a constant diet of arts and culture. Maths and sciences were important too, but it was very important to them that we were well rounded.
aram: math sux
aram: well, my math...
hs_kungfu: As for the Shia Brothers - we have our own studio PPF House which does commercial and independent stuff and someday all dream of producing the world's greatest kungfu movie ever - I'm hoping to get bruce lee to star in it.

hs_kungfu: Actually, to be topical for a moment, don't you find that math is a real sensitive spot for Asians?
aram: yes, I do. its the language of the universe. if you're good at it, that means you have a mind that can think that way you know? which probably allows you to be a architect, engineer, whatever.
hs_kungfu: It's a bigger deal than rice with them.
hs_kungfu: us.
hs_kungfu: oh crap. I've outed myself. This is actually howie's Jewish assistant writing.
hs_kungfu: Wait, are there Asian jews? There must be. Tonnes, actually.
aram: i have a friend who is japanese/jewish.
hs_kungfu: Yeah? well, I have a friend who is Moses.
hs_kungfu: wait, we're not competing are we.
aram: no
hs_kungfu: anywhoooo.... I love math. Math rocks.
aram: -The NFB seems to support/produce a lot of great animation. Can you talk a little bit about your experience w/ the NFB? Will Michael Fukushima kill you if you say anything bad?

Offline
hs_kungfu: has signed out

Online
hs_kungfu: has signed back in

aram: you alright there?
hs_kungfu: hey dude, sorry,
hs_kungfu: computer crashed.
aram: if you dont wanna talk about NFB that's fine
hs_kungfu: Ha! I bet it was them spying on me.
aram: you were talkin shit about fukushima
hs_kungfu: I knew he was good, but not this good...

hs_kungfu: We're lucky to have the Board and the various granting bodies here in Canada. Shorts are so hard to get off the ground that to have an institution that actually has a mandate to produce such work is pretty incredible. Michael has been amazingly supportive of me throughout all of my hackneyed attempts at making cartoons and a great critic and advisor. Sadly, funding keeps dropping for these groups despite the increasing success of our work - which is silly.

aram: might be a little different for animation but : on the DVD special features, what would be a "deleted scene" from your film? (eg. something that you maybe really liked but it didn't quite work and is not in the final film)
hs_kungfu: There are actually a couple of deleted scenes on the website (www.ppfhouse.com/flutter%29. The whole buffalo sequence was actually supposed to be much longer and more violent but I had to cut it for time which I'm a little sad about.

aram: what is your next project/what are you working on now?
hs_kungfu: I'm working on a bunch of stuff actually. Lillian and I are working on some animation for a documentary called Women In Warzones, which is a about sexual violence in the Congo. As well, I'm developing a couple of TV series - and action/adventure cartoon with Lillian again and an architect/animator friend of mine, Kelly Sommerfeld, and a comedy show with Jonathon Ng and my writing partner Dave Wolfe. I'm also working on an animated short/play with the NFB and the Belltower Theatre company and working on some music with LEO37 and Magnolius and some other PPF cohorts.
aram: wow!
hs_kungfu: In my spare time, I'm practicing my drop kick.
aram: soccer?
hs_kungfu: I can take down 2 people with one strike right now, but I'm working on 25, 000. That's right, Lloydminster, I'm coming for YOU!
aram: oh, my bad. I dont know what a drop kick is.
hs_kungfu: And you call yourself Asian.
aram: I thought you were talkin' futbol. so I have your headshot, which i will post, are you being tickled?
hs_kungfu: ha!... oh dear god, they gave you that photo? That thing took like 20 min to get. It was the only one where I didn't look angry or constipated.
aram: is that from the NFB?
hs_kungfu: yeah.
hs_kungfu: it's also 5 years old.
aram: really?
hs_kungfu: I still have the shirt though. And the hair.
hs_kungfu: The smile is gone though.
hs_kungfu: Ever since they took veronica mars off the air...

aram: well, we're done!

hs_kungfu: okay. ciao!
aram: ok, we'll talk soon.
hs_kungfu: ciao? i've never written that before in my life.
aram: haha

If you see Howie at the festival, say what's up, he's the one with "the voice".

Reel Asian Press Launch...

2007-10-26T19:15:00.000-07:00

The 2007 program schedule is online!!!!

The Reel Asian Press Launch was this past Wednesday at the Japan Foundation. Here a few pictures. More to come shortly.

Christina Sit Yee, Director of Development

Acting Executive Director, Grace Bai.

Festival Coordinator, Chris Chin and his bartenders.

Programming Manager, Heather Keung.

Heather and Canadian Spotlight Artist Lesley Loksi Chan

Elaine Chang, editor of Asian Canada on Screen. More on this shortly!

Christina and filmmaker Joyce Wong.

Hot off the press...

2007-10-23T18:59:00.000-07:00

Well, the program books are printed and the festival schedule will be up in the next few days. So keep checking back!

I can tell you now, the industry series this year is phenomenal!

The Rising Action...

2007-10-11T19:52:00.000-07:00

The festival is only a few weeks away! But you don't have to wait! RAFF is holding an event you should check out:

Sunday October 14th 2007
6:45 - 7:30 Special Toronto Reel Asian International Film Festival Screening

A one time screening of film and video works by Richard Fung, Ho Tam, Midi Onodera, Paul Wong, Mishann Lau and Alison S. M. Kobayashi will highlight some of the major discussions in the forthcoming book "Reel Asian: Asian Canada on Screen" edited by Elaine Chang (Coach House Books & Reel Asian, Fall 2007). The Toronto Reel Asian International Film Festival is a unique showcase of contemporary Asian cinema and work from the Asian diaspora. Works include films and videos by East and Southeast Asian artist in Canada, the U.S., Asia and all over the world.

This will take place at the A Space Gallery at 401 Richmond.

I will be posting some details about the book it in a few weeks.

Lav Diaz Party at Spin Gallery

2007-09-27T09:09:00.001-07:00

Filipino filmmaker Lav Diaz's film Death in the Land of Encantos was featured in TIFF's "Future Projections" programme and we had a little get together for the visiting filmmaker where his film was projected during the party. Diaz's film is 9 HOURS LONG!!! So, it was a long evening. (I stepped out to do some work and came back, and it was still playing). I know some people have seen the whole thing and believe me, they wear it like a badge of pride - and they should!

anyway, here's a few pics. (special thanks to Abdi Osman who took these pics!)

A matress put to good use...

Director Lav Diaz and Reel Asian Programmer Heather Keung.

Director Lav Diaz and TIFF Programmer Cameron Bailey.

Stay tuned...

2007-09-25T23:46:00.000-07:00

In a few weeks, I will be posting some interviews from some Asian film personalities. We'll talk about making films, watching films and of course writing about film!

AS WELL, look forward to some inside exclusive information about Reel Asian: Asian Canadians on Screen, an anthology text that is being co-published by RAFF.

TIFF is over...

2007-09-25T23:21:00.000-07:00

Well, TIFF is over. Here are a couple of pics to close off another great year of film in Toronto.

Flashpoint playing at Midnight Madness.

I rushed for tickets to Dainipponjin. This was my view. =T

The director of a sweet film called Gentle Breeze in the Village.

Highlights from TIFF...

2007-09-12T23:53:00.000-07:00

As promised here are few highlights from TIFF this year.

Pang Ho-cheung, director of Exodus.

Jessica Yu (director) and Jimmy Tsai (lead) of Ping Pong Playa'.

Yusuke Iseya from Miike Takashi's SUKIYAKI WESTERN DJANGO.

The loud and enthusiastic crowd of Midnight Maddness.

Collin Geddes getting the crowd excited at SUKIYAKI WESTERN DJANGO.

Hong Kong heartthrobe Daniel Wu at the gala premier of Blood Brothers.

Lu Lu of Blood Brothers.

Outside Roy Thompson Hall.

Alexis Tan (right), director of Blood Brothers.

Lulu taking some time to sign autographs.

I spotted Reel Asian's International Programmer, Raymond Phathanavirangoon.

Alexis Tan and some cast bowing at the conclusion of the film.

It's been exciting but for me it's only half over. I still have some more films to see and you can certainly expect some more photos.

Finally, more pictures from the Hollywood Chinese after party...

2007-09-11T18:19:00.000-07:00

It's been hella busy with TIFF going down in Toronto. I will be letting you all know shortly about some great films I've seen. But finally, here are some more pics from the Hollywood Chinese after party.

Acting Executive Director Grace Bai. Before the chaos.

Nancy Kwan arriving.

Richard Wong, director of Colma, saying hi and exchanging "man-hug" with Aram Siu Wai Collier, Reel Asian Communications and Outreach Coordinator.

San Francisco Asian American Film Festival director Chi-hui Yang schmoozing.

Nancy Kwan taking time out for some pictures in front of our new backdrop!

Arthur Dong and Chi-hui.

Reel Asian Executive Director Deanna Wong (on maternity leave) getting hugged by Festival Manager Chris Chin .

That's Julia Kwan, director of Eve and the Firehorse, second from the left.

Filmmaker and author Richard Fung

Reel Asian Fundraiser!

2007-09-09T12:52:00.000-07:00

The first ever Reel Asian dinner fundraiser was last night.

The dinner took place on a private floor of the amazing Lai Toh Heen.

The service was great and the food was incredible!

Board member Karla Bobadilla and Hollywood Chinese director Arthur Dong.

Guest schmoozing before the feast.

VIP guest Nancy Kwan and Deanna Wong (Executive Director, on maternity)

Nancy Kwan and board member Phil Tsui.

Lisa Lu, Nancy Kwan and Arthur Dong.

Staff and Board members: Karla, Phil, Chris, Christina, Richard and Deanna

This wonderful evening was made possible by the hardworking staff and board members at RAFF.

Hollywood Chinese After Party

2007-09-08T06:08:00.000-07:00

Last night's after party was a huge success! I will post some of the highlights shortly. Until then here's a few pictures to hold you over.

(from L to R: Konrad Ng, TV personality Nobu Adilman, TIFF Programmer Colin Geddes, SF Int'l Asian American Film Fest Director Chi-hui Yang)

(from L to R:Eve and the Firehorse Director Julia Kwan, Hollywood star Nancy Kwan, Chinese Restaurants Director Cheuk Kwan... No relation!)

(Reel Asian and Friends, from L to R: Aram Collier, Patricia Lee, Sam Lee, Heather Keung, Grace Bai, Nelson Tam, Christina Sit Yee, Nguyen Tran, Colin Geddes, Phil Tsui)

Reel Asian Special Fundraising Dinner!

2007-08-31T22:01:00.000-07:00

The 2007 Toronto Reel Asian International film festival is only 10 weeks away! If you just can't wait, why not start the festival a bit early!? Reel Asian cordially invites you to a special fund raising dinner! Proceeds will help fund the 11th Toronto Reel Asian International Film Festival.

Famed star of the smash hits The World of Suzy Wong and Flower Drum Song, Nancy Kwan 關南施 will be there. As well as Acclaimed documentary filmmaker and director of Hollywood Chinese, Arthur Dong 曾奕田. And if that isn't enough celebrated star of The Joy Luck Club and The Last Emperor, Lisa Lu 盧燕 will be there too!

So,

Saturday, September 8th
Bar Opens at 7:00pm, Dinner served at 7:30pm

@ Lai Toh Heen Restaurant
692 Mount Pleasant Road (one block south of Eglinton)

$200 Per Person
(receipt provided for the maximum amount allowable)

RSVP by September 3rd (space is limited!)
Christina Sit Yee
416.703.9333
christina@reelasian.com