Wednesday, June 27, 2007
Saturday, June 16, 2007
In the News
- TV News on Channel News Asia on May 22, 2007. (Although we completely missed that because we’re still in Cannes. What a bummer!)
- The Straits Times Life! Section (page 8 & 9) on May 24, 2007 - “Singapore films go pitch perfect in Cannes”
- Today (page 54) on June 1, 2007 - “Good Times”
- The Straits Times Life! Section (page 4 & 5) on June 6, 2007 - “Growing Pains”
- I-Weekly Magazine (Page 64) on June 9, 2007 - Movie Reviews (under upcoming local films releasing this year)
- UW Magazine (Page 42 & 43) on June 9, 2007 - Hot Reels (also under upcoming local films releasing in 2007-08)
Wednesday, May 30, 2007
Cannes Film Market 2007
After having been to Pusan, Taipei and Hong Kong, this is our best market ever. We received strong interest from buyers and sales agents. Besides making new friends with contacts from around the world, we've met up with friends first established at other markets.
Compared to the first time at Pusan last year when we hardly know anyone, we're slowly but surely building up relationships.
The main entrance to the film market. On the left side is the Cannes Film Festival red carpet for films in competition in the main category. On the right side (not in picture) is the blue carpet for films in the Un Certain Regard category.
The Singapore Booth at Riveria F9 - front view.
The Singapore Booth at Riveria F9 - side view.
Jen Nee - looking busy... with our movie poster right on top.
Advert by MDA at the film market.
TRUTH BE TOLD found right at the bottom of the advert. Moral of the story - like everything else, don't name a movie at the back of the alphabets!
At the Australian-Singapore Co-Production Panel Session at the Australian Film Commission Office.
The view from the Australian Film Commission's office along the La Croisette. Splendid!
At the Singapore Networking Cocktail Party (would have loved to take more pictures but was really busy getting acquainted and re-acquainted with guests.)
The Singapore delegation. A rep from each company - 1st row (left to right) Mun Chee (Big Machine), Chris (Monsoon), Mr. Man (MDA/ SFC), Pok (Creative Room) & Thomas (Lighthouse). 2nd row (left to right) Andrew (New Asia), Eng Tiong (Pilgrim), Savi (Teamwork) & Juan (Shooting Gallery). Last row (standing, left to right) Zai (Oak3), Julia (LeBrocquyFraser), Titus (Cubix) & Emida (Ark).
Wednesday, April 04, 2007
A Year Ago... A Flashback
Thursday, March 29, 2007
Hong Kong FILMART 2007
It's very different from Pusan and Taipei. It's much bigger and it's definitely a stars-spotting extravaganza - Asian style.
We've also had a great time meeting and getting to know more people!
Would have loved to close some deals though, but well, seems like most buyers aren't very serious about buying at this market.
Eng Tiong outside Hall 5, where the main film market activities took place.
At the Singapore Pavilion.
At the Asian Film Awards ceremony.
Tony Leung (podium centre), the ambassador of the Entertainment Expo
Andy Lau giving a thank you speech after receiving the Nielsen Box Office Star of Asia Award
The power of Andy Lau... need I say more?
BUT the one getting the most screams... Rain, of course!
At the Singapore Networking Luncheon, Eng Tiong and Jen Nee with Danny Chan, Editor of Asia Image.
(photo courtesy of Marcus & team - thanks!)
Wednesday, March 21, 2007
Eng Tiong on "My Paper" Web Portal
http://www.mypaper.sg/myvodcast/20070319sporefilm_a/20070319sporefilm_a.html
http://www.mypaper.sg/myvodcast/20070319sporefilm_a/20070319sporefilm_main.html
View trailers of some of the local movies here:
http://www.mypaper.sg/myvodcast/20070319sporefilm_a/20070319sporefilmposter_main.html
Sunday, March 04, 2007
Final Colour Grading Session
Colourist Azman tweaking the colours for an outdoor scene.
From L to R: Colourist Azman, Director Eng Tiong and DP Amandi (back facing picture) in discussion. I doubt it's over the colours cos' it's pretty much agreed upon & fixed. I think it's over digital cinema encoding issues.
Director Eng Tiong & Online Editor Chris hard at work. Guess why are they so serious? What else but the time code! They are doing a final check to make sure that in/out timecodes are correct cos' we're breaking the movie into 5 different "reels". What for? For transferring the movie to film. Each reel must not be more than 20 minutes cos' that's how long a reel of film is. We're also checking the timecodes very carefully as the sound is done separately. So when we put the images together with the audio, whether on film or as a D-Cinema digital version, the audio is in-sync with the image.
Whether you love or hate the colours you see in the final movie, the culprits - Colourist Azman, Director Eng Tiong and DP Amandi.
Oh, and erm... moi the Producer too!
Saturday, February 17, 2007
Happy Chinese New Year!
The movie is finally coming to fruition and we're looking at releasing it in Singapore this 3rd quarter. And being the auspicious Year of the GOLDEN Pig, it can't be a better sign!
Friday, February 09, 2007
The Test
(Left to right) DP Amandi, Colourist Azman, Director Eng Tiong & Cam. Assist. Alex
Our movie, as captured off the cinema screen. Saturday, January 06, 2007
Who Cares about Singaporean Films? Lessons learnt from Taipei...
The long holidays did get in the way, but it's probably for the better, allowing all of us time to catch up on sleep and to see the fireworks! (Yes, Eng Tiong and I are suckers for fireworks.)
And something interesting to share here about our last trip of 2006:
Last November, we're in Taipei, attending the Taiwan International Film & TV Expo.
Of particular interest is the forum on the Taiwanese film industry. With a population of 23 million, the Taiwanese filmmakers think that their market is too small to support their local movies.
And then I look at Singapore with only 4 million people, a mere fraction of theirs. If Taiwanese filmmakers think they are in dire straits, I don't know what to think of ours.
Another event that is extremely helpful is the Promotion Plan. It's a pitching platform for project ideas, be it film, animation or a TV series. Judged by a panel, the winner gets NT$1 million or about US$300,000.
It's helpful for us not in the sense that we got to pitch. We didn't. But we learnt just as much watching and listening to filmmakers pitch.
The scale of their projects are mostly huge, with a wish list of big-name cast who are currently beyond our wildest dreams to get. But here it is, standing within 10 metres from us, these filmmakers are working it. Wow.
But the sad thing is, Singapore talent (especially actors) isn't mentioned in their pitch. There's Taiwanese, Hong Kongers, China Chinese, Koreans, some Japanese and even Americans. To put the little red dot on the media/ filmmaking map is a pretty long and tough road.
One thing we realise - most people don't care what Singapore is, let alone where. Thus who seriously cares about stories coming out of this place? Even Singaporeans don't support local movies. How can we expect foreigners to do so?
And that is one of the major issues that we Singaporean filmmakers have to grapple with.
On one hand, I've heard snide comments from Singaporeans who are sick and tired of films that talk about the Singaporean identity and Singaporean issues. And on the other, there're also Singaporeans who hated films that are supposedly "Singaporean" productions but aren't quite "Singaporean".
Maybe what Christine Pernin, a representative from Unifrance who was on the discussion panel on the Taiwanese film industry, said is true. She said that filmmaking is like fashion. One day a certain fashion look is in, another day it's out. The fashion designers have no way of knowing what will work and what wouldn't for the next season but they keep trying anyway, going with their guts.
I guess in our "uniquely" Singapore setting, where failure is still a stigma, we need alot more guts (and money, of course) to go create our stories. And like all ordinary Singaporeans, I am also very much afraid of failure. I remember when we were little, only a few students would put up their hands to answer the teachers' questions. Only if you're 100% sure would you even raise your hand. The right answer will get you an approving nod and smile from the teachers and admirations (albeit secretly) from fellow students. But a wrong answer earned scowls from teachers and laughters from peers. So if we weren't even sure what is the right answer, we'll never risk putting up our hands for a shot at that 50% chance of success, because all we see is that 50% of failure.
Then why did we make Truth Be Told in the first place? Well, I guess between our fear and our guts, our guts got the better of us.
But being a typical worrier, I tend to concentrate on that 50% chance of possibly being a failure. Thanks to Eng Tiong (a.k.a Mr Sunshine), he has a better suggestion - concentrate on that 50% chance of possibly being a success.
So who cares about Singaporean films? We do! (Cos' if you don't, nobody will.)
May 2007 be a great year for our film industry!
Thursday, October 26, 2006
Asian Film Market 2006, Pusan, Korea
Being the very first time ever at a film market, it is actually bewildering. How do you go about selling your film?
Eng Tiong and I had a discussion before we set foot in Korea. Our film isn't complete yet, so we definitely don't want to show it to anyone at this point.
From an article found on the internet, the advice is to NEVER show a work-in-progress to any buyer or distributor. NEVER. The thing is - a person, no matter how convincingly they say they are professionals & thus will understand, will never be able to remain free from judgement. That is only human. So the first impression of your work - a work-in-progress - will be forever etched in their minds. And it isn't a good thing.
I only wished that I have come upon this article earlier so we wouldn't be so hard on ourselves. We showed our work-in-progress to people. Most can't imagine, they can't envision how the final movie will be like. Even the music, the sounds - as temporary substitutes - they take it as it is.
The one thing that kept us going is that we truly believe that Truth Be Told is good. It may not be the greatest film ever but it is definitely our best work yet. So there comes a time, after taking all the blows, that we turned our backs on what others have to say. It isn't a case of being stubborn or being deluded. I guess it's a fine line between that and believing in ourselves.
I digressed... Coming back to the point about our plans at Pusan, we decided that we're there to meet more people, especially distributors in the Asian region. We are not going there to specifically sell our movie. We're there to raise awareness that this movie exists, and that it is still a work-in-progress, and that we will keep them updated on our film's progress and inform them once it's completed. We are going there to meet up with distributors to find out what they are looking for and how they work, and to establish relationships.
I think we've pretty much achieved our goals. But to remain focused on our objectives in the sea of busy buyers and sellers closing deals left and right was rather difficult. I had to constantly remind myself why we're there so I won't fall into depression, being the pessimist that I've increasingly become.
So yes, we had a good time meeting up with distributors and sales agents from Korea, Japan, Vietnam, Hong Kong, Taiwan and the USA. We also happened upon Aaron Kwok and Charlie Yeung promoting their film onstage while strolling along the beach. Some of the guys saw Maggie Q and Andy Lau. Eng Tiong shook hands with Ann Hui and Fruit Chan. We've also visited the cineplexes where the film festival screenings took place. (Note: One of Eng Tiong's idiosyncrasies is cinema-spotting. So we'll always visit cineplexes when we're at new places.) Only wished that we had more time to catch more movies at the Pusan International Film Festival.
Eng Tiong at the Asian Film Market at Grand Hotel.
Jen Nee at the Asian Film Market at Grand Hotel.
Sales offices at the Asian Film Market. The Singapore Film Office is on the right.
Our movie on the Singapore Film Office banner.
Pre-prep work: Our flyer.
Pre-prep work: Eng Tiong adjusting parameters on the plasma TV for the right aspect ratio for showing our trailer.
View of the Pusan beach from the Singapore Film Office at Grand Hotel. The building on the right is the Westin Hotel.
With prospective buyers at the Singapore Film Office. Our movie poster is in the middle.
With Taiwanese officials at the Taiwanese Networking Party.
The Pusan International Film Festival office by the beach. It's housed in containers but done up real hip & happening!
Korean "Hall of Fame"
Side dishes of an authentic Korean BBQ meal.
Sunday, September 03, 2006
Quick Updates
2. The English title is now Truth Be Told instead of Exposed!
3. We've just prepared the movie's website. Access it at:
TruthBeToldMovie.com
4. We're now very close to the end of post-production. We have a picture lock around mid-August. There's still D.I (basically colour correction/ enhancement) and sound post & music scoring to complete. Then we encode the movie to D-Cinema standards (for digital release) & a film transfer to 35mm (for print release), and the movie is done.... But no, that's not the end of our ride. We'll move on to possibly the most challenging part of our journey - selling it.
Friday, July 07, 2006
The State of Local Films
In gist, the article laments the lack of distribution deals for local films. Out of the 4 recently-produced films highlighted (Unarmed Combat, Singapore Dreaming, The Art of Flirting & Smell of Rain), only Singapore Dreaming garners a distribution deal with local cinema chain Golden Village.
Although most have some form of screening at local and overseas film festivals, the results are still pretty depressing - none has overseas distribution.
To sum it up, the state of local films is rather unpromising. Or is it?
It doesn't have to be this way. This is how Eng Tiong and I see it:
Think of the End in Mind
When Eng Tiong and I set out to make our movie, we constantly remind ourselves we have to see it like a product (yes, just like any other manufacturers out there). And like any other product, it is meant to be bought - by someone who WANTS it. (That is really tough because I see it as our baby (with a hell of a long pregnancy period!) and naturally, has strong emotional attachments to it.)
So from the very beginning, we've thought of distribution but have no idea what is truly means, how the system works. So we asked. We spoke to Juan Foo, Kenneth Tan, SFC and attended film producing & financing seminars. (Now we're still in post-production, so haven't gone full-scale into the distribution stage yet. Will definitely share more insights about distribution once we get our first-hand experience.)
So the moral of the story is - think with the end in mind. It's seriously no point making a film and putting it on a shelf at home. Especially for a feature-length movie, that is alot of time, money and effort gone down the drain.
(I have to point out that I'm referring to people who's trying to make a living making movies. Not as a part-time, freelance kind of thingie. And you're not someone like Royston Tan.)
Film Festivals - What is it Really For?
Some might say, "Oh, I thought about distribution. I'm going to put my film through the film festival circuit!"
Yes, that is a good start, but what exactly is a film festival for? Why don't you get paid for screening your film there?
According to Dov Siemens (I'm saving you a couple of hundreds of dollars here), film festivals are for distributors to pick up potential films for distribution. In other words, a film festival is YOUR chance to show your work to potential distributors. So even if your film gets shown at prestigious Cannes and you come home empty-handed without a distributor, you're still back at square one (maybe square 1.5 cos' afterall you can tell other potential distributors that you're selected for screening at Cannes.)
Accessibility
Another important ingredient - is your film accessible to your audience? What I mean by accessibility in terms of:
1. Storyline
Is it too difficult for your target audience to understand? Too abstract? Too cliched? You know what I mean.
2. Known Actors / Director
I think most people prefer known actors. Also easier for first-timers like us to quickly establish how serious we are about making this movie.
3. Publicity
I think this goes without saying why it's important. The only question is how to get as much of it with a limited budget.
Well, for a start, with item 1 & especially item 2 in place, item 3 seems to follow... get my drift?
All it Takes is a Miracle?
Eng Tiong and I have had many, many discussions and debates about all these issues - right from the beginning, way before we make this movie, and even till now. There is probably no 1 way and no right way to make it in this industry. Someone may just made it the "El Mariachi" way, another may make it the "Jack Neo" way.
How we see it is that we may not be as lucky, so we'd better not wait for a miracle. We have to make decisions based on our survival because our livelihood (read: money) depends on it. If we want to make another film, we'd better make sure we earn some money with this one.
Okay, I'm making it sound like I'm not enjoying making this movie. I do. It's just a question of making our movies accessible, and without having to sell our souls. We don't know how our movie will perform at the end of the day. With what we have and what we know (and without selling our souls), we're trying our best.
I guess only time will tell...
Thursday, June 15, 2006
Wrap Party
On Tuesday, June 13, we had a screening of "Love Story" for our main cast, crew and their loved ones at Golden Village Marina. "Love Story" is directed by Kelvin Tong.
We also put together a teaser & a trailer for "Exposed!"
The feeling of seeing just that few precious frames of our work on the big screen is beyond exhilarating. And as the scriptwriter, it's truly amazing to see words on A4-sized papers taking on flesh and being blown to size on the silver screen. Wow... The morning before the wrap party, when Eng Tiong and I were down at Marina testing the footage, we were on a high the whole day after seeing the trailers. Talk about addiction...
A really sweet gesture on Golden Village's part is that they co-hosted the event with us. Mr. Kenneth Tan, the managing director of Golden Village, also attended the screening and gave an inspiring speech.
To our cast, crew & everyone involved in this production - couldn't have done it without you. Thank you!
Now we are in the final lap of production - the post-production stage. It's still going to be hectic, putting the movie together. There's also more worries when it comes to marketing, distributing and selling the film. Steep, steep learning curve...
3 of our crew members before the screening.
L - R : Melvin (location sound recordist), Khairil (lighting intern), Zul (camera intern)
Eng Tiong (director) fishing for more namecards; crew members and their guests mingled in the background.
One of our main cast, Uncle Steven, with his wife, already enjoying the popcorn!
Our lead actors Yvonne (left) & Bernard (right).
Just before the screening, Kenneth Tan, Golden Village's MD, talks about the beginning of an awareness of Singaporean films in the global market, & his support for local filmmakers. So budding ones take note!
Wednesday, June 07, 2006
On the Radio
It is a 1-hour radio talk show. In hanyu pinyin, the programme is called Cheng2 Shi4 San1 Ren2 Zu3, hosted by Qiu Shenyang & Xu Huiming.
Friday, April 14, 2006
Rain, Rain, Go Away
1. We'll give ourselves ample time to prepare for production - roughly half a year.
2. April is also Qing Ming time (a Chinese tradition of paying respects to our ancestors, & commonly about visiting graveyards & columbariums), so we wouldn't have to reject potential wedding customers who need are wedding videography services. Nobody should seriously hold their weddings in April. It's considered extremely bad luck.
Another month that is definitely bad for weddings is August, which the Lunar 7th month usually falls on. Tradition states that it is the month of the hungry ghosts, where the Gates of Hell are flung wide open for ghosts to freely roam our world.
So we don't usually have wedding projects in August. And also, for the past 3 years, August is WEVA Expo time, something that we look forward to as well. (I think we're pretty down-to-earth about where our daily income is going to come from, even after making this movie. Afterall, we're still struggling filmmakers...)
So we merrily went about setting April as THE month.
Damn, how I wished that I've checked with NEA first.
According to their website, April & December are the wettest month in Singapore.
In late March, it was pouring cats & dogs every afternoon. I was crossing my fingers that the weather will let up come April.
On our 1st day of shoot, the weather was superb in the morning. Our commencement-cum-prayer ceremony went great.
Filming our 1st scene went great too.
And then the sky turns dark real quickly. By 3pm, there's thunder (bad for sound recording) & lightning. And the rain came. Heavy downpour, to be exact.
Since then, it has been a constant guessing game with the weather. The first week was rather predictable, raining in the afternoon around 3pm. But it has been rather cunning since the 2nd week - sometimes the whole day, sometimes not at all, sometimes early in the morning, blah, blah, blah.
I have been the Weatherwoman on set. I monitor NEA's website religiously. Not that I can change the bad weather. At least we could plan as much ahead as possible and manoeuvre around it.
Check out the NEA's weather website:
http://app.nea.gov.sg/cms/htdocs/mss5.asp
Rain, rain, go away, come again another... month, please?
Commencement-cum-Prayer Ceremony
Filming in ProgressThe weather was splendid when we shot the first two scenes.
After lunch, the sky grew dark & the rain came around 2 pm.
Monday, April 03, 2006
Press Release - New Breed of Filmmakers offer a Breath of Fresh Air
Singapore, 3 April 2006 - Pilgrim Pictures is pleased to announce that Teo Eng Tiong and Lim Jen Nee’s Mandarin-language debut feature film, “Exposed!” will be commencing production on April 4, 2006.
“Exposed!” is a 90-minute drama about a TV reporter, Renee Donovan, who has to return to an old neighbourhood she ran away from 10 years ago to cover an assignment.There, an old neighbour, Old Teo, recognizes her. At every turn, he threatens to reveal her secrets. As Renee struggles to cover her real identity to complete the assignment, she is forced to confront her past and the shameful secrets which surface as a result.
The story is conceived by both Teo Eng Tiong and Lim Jen Nee. Lim wrote the screenplay and is the producer. The film will be directed by Teo.
Both Lim and Teo are graduates of Ngee Ann Polytechnic’s School of Film and Media Studies programme. Indeed most of the crew are graduates from either the Film, Sound and Video Diploma or the Advanced Diploma in Film Production programmes. Says Lim, 29, “I think this is probably the biggest team of Ngee Ann Polytechnic film graduates working together on a movie production. 99% of us graduated there. That’s great because it means we all share the same vision and passion, and will give the Singapore audience a breath of fresh air in film narrative storytelling.
Everyone comes out of film school hoping to make feature films,” says Lim, “for us, this is finally coming true.”
“Exposed!” will be shot over 20 days in April on High Definition video.
The film features a strong cast of popular and veteran actors such as Mediacorp artiste Yvonne Lim, Bernard Tan, Liang Tian and Steven Woon. The lead actress is played by Yvonne Lim.
“We’re really glad to have such a stellar cast on this project,” says director Teo, 33,” without a good script, we wouldn’t have been able to do that.”
Indeed, the story is unique, taking place mostly in 1 location and over a period of 12 hours. It brings the cult independent horror hit, Saw, to mind.
Lim laughs, “Our story is the way it is mostly because of our limited budget. So we have to crank up our creative juices overtime to conceptualise a story that takes place in 1 locale and in 1 day, be as interesting as possible - and yet isn’t a horror film. If it becomes a runaway hit like Saw, that’s definitely great!”
The filmmakers drew their inspirations from their personal life experiences living in HDB flats. Indeed, the location is a block of HDB flats that director Teo grew up in. The block is now up for SERS, a public housing redevelopment scheme to re-locate residents of old housing estates to new ones in the vicinity.
Says Teo, “This is an interesting block of flats. It has quite a colourful group of inhabitants. And it holds many memories for me – fond and otherwise! So I hope to capture the essence of this place and its people, before they’re gone forever.”
Principal photography for “Exposed!” begins April 4, 2006.
To learn more about the production, contact:
Lim Jen Nee at 9792 7223
http://www.pilgrimpictures.com.sg
Picture: Mediacorp Artiste Yvonne Lim (right) as Renee Donovan, a TV current affairs producer while Bernard Tan (left), plays her cameraman, Damien Pang, in a local movie titled “Exposed!”
Saturday, March 18, 2006
Don't Quit
Things have been really hectic nowadays. Alot of organisation to do.
I'm glad that almost everything is progressing quite smoothly, thanks to Marie, my dear production manager, who's really good!
And the issue with that particular authority has been resolved. It takes a lot of re-planning.
I still have enough sleep at night, but it probably isn't too peaceful because I constantly dream about this project (sometimes they're nightmares, so I hope it wouldn' t be a case of deja vu!)
I've came across a beautiful poem that completely expresses what we're going through, thanks to Sister Majorie, Principal of Maris Stella Kindergarten, who showed us the book while we're working on their fund-raising video.
Here it goes:
Sunday, February 26, 2006
Going NUTS
Although there are bumps and all, we're still chugging along fine. Managing as best as we could.
And then, came a shock that could possibly halt the production - the filming location.
We have been rejected by a certain authority to use our intended location. If you have been reading this blog and been on this journey with us, you would have known how important the location is. The whole story is based on this location. Without it, the movie won't work.
I could have accepted the authority's reasons but something that that personnel said really riled me:
"In the first place, you should have find out from us whether you could have the permission to film in this place before you write the script!"
In the first place, we are not writing a story that takes place in a high-security area like the airport or the Jurong Island. It is a place where Eng Tiong grew up. In fact, his parents still stay there. Eng Tiong and I are now staying just opposite this location.
It is a story about a place we know best. Do I need permission to write a screenplay about a place that we knew best?
Secondly, the place is up for re-development. People staying there are already moving away. So when we wrote the script a year ago, we knew there will be vacant places for us to film in.
Oh geez, or maybe I should have consulted with that particular authority before we even attempted to come up with that story!
That reminds me of Mr. Sim Wong Hoo, Creative Technolgy founder's NUTS article in his book "Chaotic Thoughts from the Old Millenium".
NUTS stands for "No U-Turn Syndrome". In Singapore, as long as you don't see the U-Turn sign, you can't make a u-turn.
What he's meaning to say is that, in Singapore, we proceed to do something only when the authorities tell us we could. For everything else, assume that the answer would be a "no" if there isn't an explicit "yes".
So reminders for all Singaporean scriptwriters/ producers out there - before you write your screenplay.... no... before you even think up a story concept, please, call up the relevant authorities and ask about the feasibility of making it happen, even if it's as simple as and as common a setting as your own housing estate.
From Mr. Sim's book, about NUTS:
"To meet the challenge of the new world, to meet the challenge of rising to a knowledge-based economy, we have to innovate like mad. How can we innovate when we need to obey rules to innovate? Innovate means to create things out of nothing, it means moving into uncharted territories where there are no rules.
How can you innovate when you have to get approval of somebody who looks at a rule-book first?"
And we wonder why the local feature filmmaking industry isn't taking off...
