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The Celluloid Universe
16-01-2008

I so miss playing with celluloid film. The last time I had the opportunity to work on celluloid was for Changi Murals, which was shot on super-16. I miss how breathtaking the 35mm images looked when I first walked into the telecine session of Family Portrait in Barcelona. The colours looked so delicious I could eat them!

I remember the days and nights I used to sit in the lab in Ngee Ann, physically splicing film together. There was a real respect for the Frame. The only true way of understanding what ’24 frames-per-second’ means, is to hold up 24 physical frames against the light, knowing that the distance between your fingers will last only one second when passed through a projector. Especially when there wasn’t much movement in a shot, editing to the film’s rhythm meant counting the number of frames physically, chopping it on a splicer, sticking it to the end of the previous shot with clear tape, then passing it through the light of a flatbed edit machine. I miss the process of it all!

During experimental film class, I enjoyed scratching out words and punching out holes within the Frame, knowing that each tiny image that I was creating had the potential of being enlarged a million times on a screen, but will only last a twentyfourth of a second. That intimacy with the Frame can be so intense sometimes, hours would pass without me even realising it. And throwing away footage was so much more difficult, because throwing away 10 seconds of it meant dumping close to 10 feet of 16mm film into the rubbish bin. It was very often too precious.

And I’m only talking about the Frame, not yet the Grain. When a digital video is projected, signals transmitted through cables reach a video projector which projects out pixels. With celluloid, the image seen on the screen is the result of light passing through a positive print of the film. Unlike the pixel, which enlarges to become a single-coloured square, the film grain we see on screen is the result of light in a scene chemically exposing the millions of grains within a frame through a lens, 24 times a second through the spinning shutter of a camera.

I remember enjoying reeling up a film projector, turning it on and hearing its mechanisms at work. Then I would stand up-close in front of the screen and marvel at the image composed of millions of dancing grains. There’s something so organic and infinite about it, I couldn’t help but fall in love with the medium. My experimental film lecturer, Ken Rosenthal, called it the ‘Celluloid Universe’. It is a universe I have yearned to be able to dive into. I was always so close to doing that during those late nights in the lab.

I submitted Tanjong Rhu to the Film Appeals Committee (FAC) for the film’s rating to be lowered from R21 to M18, so that I can finally publish my complete collection of shorts. According to the guidelines, only films rated up to M18 can be allowed for video distribution. Under the guidelines for M18 rating, “Homosexual theme/content as a sub-plot may be permitted, if discreet in treatment and not gratuitous.”

I figured I stood a good chance with the FAC because, if you see the anthology of shorts (which I intend to place in chronological order on the DVD) as a narrative of how my career has developed, the “homosexual theme/content” in Tanjong Rhu is really only a very small part of it. People are not going to buy the DVD just to watch Tanjong Rhu – it is likely that they will watch everything, including titles like Stranger and The Changi Murals, which haven’t been screened as frequently at festivals. My distributor, Objectifs Films and I were also planning to include bonus materials such as critical analyses and commentaries to guide the viewer and present the works as milestones in the development of my career.

These short films mean a lot to me because they were how I began as a filmmaker. Because of their successes at film festivals, I was accorded the Young Artist Award by the National Arts Council in 2009 and the Singapore Youth Award by the National Youth Council this year.

Within Tanjong Rhu itself, there is also no nudity, no sex and hardly a kiss between two men. It is certainly as tame and as non-gratuitous as any gay film would get.

I wouldn’t leave out Tanjong Rhu from the collection because it is in many ways the ‘crowning work’ of my short films. It premiered at Berlin Film Festival – the first time a film of mine was selected at an ‘A-list’ festival – and got me the attention of industry veterans like Eric Khoo, Michael J Werner and the late Wouter Barendrecht (Fortissimo Films), who then became the executive producers of my debut feature film, Sandcastle. It was also because of Tanjong Rhu, which was made as my thesis film at Lasalle College of The Arts, that I graduated as the college valedictorian that year.

I was prepared to make some concessions. I proposed making only 1000 copies of the DVD and selling them only within the premises of Objectifs Films – the distributor of most of my short films which also runs a photography and filmmaking centre. This would enable a more controlled and targeted distribution of the DVD.

The staff members at MDA were very helpful in facilitating the session with the FAC. After my presentation, the FAC members said that they were sympathetic and felt compelled to allow the publication of my DVD. However, as one member put it, they had to follow the guidelines and it was beyond the jurisdiction of the FAC to make exceptions.

Last week, I received an email from the FAC Secretariat informing me that “the Committee has decided to dismiss the appeal and affirm the BFC’s R21 classification of Tanjong Rhu: The Casuarina Cove.”

I am disappointed, but I can’t say it came unexpected. It still baffles me to know that there are films out there that are graphically violent and way more sexually explicit and have been allowed mass distribution in video stores, yet an anthology of my short films – so tame and niche in appeal – is effectively banned from video distribution. I really fail to see the logic.

That all said, I must say the MDA handled the process very professionally. The upside of the whole episode was that I was able to engage in dialogue with them very candidly. I hope that such conversations will continue, so that in the near future, the guidelines can be suitably revised and something as harmless as my anthology of short films will no longer fall through the cracks.

Wasn’t my idea to name it this way, but yes, you’ll need to be at least 21 to spend a night with me.

Showing:
A Family Portrait
Stranger
Katong Fugue
Keluar Baris
Tanjong Rhu

Rated R21 for Tanjong Rhu. Still trying to get the film rating lowered to M18, or my DVD can never be published : (

Details and tickets here.

Available at most DVD stores in Singapore.
Or get it online here.

2010 began with a nervous breakdown. Literally. It was 1st January, a day before the shoot, and I was feeling the weight of the entire production on my shoulders. 10 years of dreaming of making a full-length movie, 18 months of writing and preproduction, a process that involved so many close friends and loved ones, were to culminate on shoot on the next day. I couldn’t believe how smoothly things were going and I kept telling myself that something was going to go wrong. With some comfort from Auntie Lucilla and Ting Li, I braced myself for the challenges to come.

The 18 days of shoot went incredibly well. Before I knew it, I was on my way to New York for a short break, totally uncertain about the rushes that I had captured, but relieved that production was over.

Piecing the narrative together during postproduction in February was a whole other challenge. For six weeks, Natalie and I spent days and nights together at Infinite Frameworks. The biggest challenge was in filtering out the feedback that was coming in every direction – from my producers, friends and focus-group screenings – and figuring out the best way of presenting the story I wanted to tell. Just a few days before the picture-lock deadline, I booked myself on a flight to Hong Kong with the a cut of the film, to convince my producers there that it was its final cut.

And then one night in March, in the midst of preproduction of NDP, I was delivered the news that Sandcastle was selected at the International Critics’ Week in Cannes. I was overjoyed and told Ting Li, who was working on the audiopost for the film. I think neither of us could sleep that night.

What came after was a mad rush to complete the film. We also had to finish its trailer, press kit, poster and website. Thankfully we had David, Ash and the kind folks at Milk Photographie who jumped in to help. By that time, preproduction for NDP was in full-gear and I was also concurrently working on the videos for Pink Dot with Shu and Ash. In mid-April, Ting Li, Sharon and I went up to Bangkok for three weeks to complete the sound mix and colour grade of the film, so that the print could be sent in time to Paris for subtitling.

And then May came. I had to miss Pink Dot because Sandcastle’s premiere in Cannes fell on the exact same date. Jasmine, Jeremy, Martyn and a few other filmmakers jumped in to help for Pink Dot, while my team and I flew to France to present Sandcastle. I was in disbelief of everything that was happening – the press junkets (up to 20 interviews in one day), the Q&A sessions, the reviews, and witnessing the film take a life of its own. Xd also flew to Cannes from New York to be with me for a weekend.

I returned to Singapore and jumped right into work for NDP. It was such a massive undertaking it was as if Sandcastle couldn’t have happened in the same year. I was so glad I had my producer Chao, who was also the AD on Sandcastle, to help coordinate everything. Being in the creative team was a joy, and the officers and NSFs made a fantastic team to work with. During this period, xd decided to quit his job in New York and return to Singapore. I was also told that Auntie Lucilla wasn’t going to renew her contract with us. She had been a part of my family for 22 years and was going to return to her family in the Philippines.

So I thought May was the craziest month ever. And then August came. Eight weeks of NDP rehearsals, a preview, and a show later, it was time to return to Sandcastle. This time for the Singapore release of the film. It was another round of interviews, Q&A sessions and media whoring. The charity gala premiere of the film took place on 18th August at GV Max in Vivocity, the same date Auntie Lucilla was scheduled to leave. After a tearful goodbye at the airport that morning, I presented the cast and the film to an audience of family, friends and partners at Vivocity. That was followed by an after-party at St James Power Station. It was quite an emotional roller coaster ride.

The local media was very kind to the film and it enjoyed a lot of press coverage and favourable reviews. Sandcastle ran for five weeks at Cinema Europa and grossed nearly double of our distributor’s projections. That was very encouraging.

Soon after, it was time to travel again. First stop, Toronto in September for its North American premiere. Then Vancouver, Chicago, Pusan, London, Hanoi and Hong Kong. It went on to a few other festivals but I couldn’t travel with it. It picked up the Best Film, Best Director awards and NETPAC Jury Award for Best Film at the Vietnam International Film Festival, and Special Mention at the Hong Kong Asian Film Festival.

In between the travels, I also directed Not So Secret Lives 3, an interactive web film commissioned by the Health Promotion Board, and also helped put together Short Circuit 4. And in mid December, after 13 cities and 32 flights (I know because I collect my boarding passes), I finally took a holiday to Bali with xd, and then Cambodia with my family.

Wah lau. And the year isn’t even over!

Things seem so different now from when the year started. Xd is back, Auntie Lucilla is only around on skype, Sandcastle did not turn out to be a disaster and I’m now an iPhone-convert. It’s nice to know 2011 won’t start with a nervous breakdown!

Thank you everyone who has been a part of my 2010! It’s less than 11 hours to new year! Have a great one!!

On the shoot of Sandcastle with my assistant directors Chao and Kim.

On shoot of Sandcastle with Sharon.

On the way to New York in late January.

Hunter Mountain in New York.

Team Sandcastle departing for Cannes.

Pink Dot in Cannes too!

Moments before the premiere of Sandcastle in Cannes.

In Cannes with xd.

Caméra D’Or red carpet with Raymond.

Presenting my short films at NUS to promote Sandcastle.

Presenting at Rojak to promote Sandcastle.

Q&A with Nick Shen at Against The Tide, a screening of my short films at GV Cinema Europa.

Q&A with Swee Lin at Against The Tide.

After the Q&A session at Cinema Europa with Elena, Josh and the team at GV.

With Auntie Lucilla.

Posters outside Sandcastle’s charity gala premiere in Singapore. Supported by Far East Organisation, Singapore Tatler and St James Power Station.

Q&A with Giovanna in Toronto.

In Vanvouver with Raymond.

In Vancouver with Charmaine.

In Chicago with Zihan and Dennis.

In Pusan with Sharon.

Hye Jung in Pusan.

Accepting an award in Hanoi.

Q&A in Hong Kong.

In London with the [sin]efest organisers – Steven and Brian.

Uluwatu Temple – Bali

Angkor Wat – Cambodia

It’s a wrap! with the cast and crew of Sandcastle.

The Saigon Times:

Read other news reports:
The Hollywood Reporter
Film Business Asia

Catch SANDCASTLE for just $6.50*!

Present your student card at the box office to enjoy this offer from 6 to 17 Sept.

Available from Mondays to Fridays, for sessions before 5pm at GV VivoCity.

Terms and Conditions
- This promotion is valid for full time junior college, polytechnic & university students in Singapore.
- A valid student card is required for purchase of the student-priced ticket at the box office.
- Valid from Mondays to Fridays, for sessions before 5pm at GV VivoCity for SANDCASTLE only.
- Promotion is valid from 6 Sept to 17 Sep 2010.
- Not valid on eve of public holidays and public holidays (9 & 10 Sep).
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I’ll be presenting on SANDCASTLE tonight! Join us at the charming 1970s void deck of Waterloo Centre!

Blk 263, Waterloo Centre. Sat 28 Aug, 7pm.

Other artists presenting include Neo Xiaobin – Photojournalism, Yeo Shih Yun – Fine Arts, Daryl Tan – Illustration, Frayn Yong – Fine Arts, Johnny Gao & Calvin Chua – Architecture, Natasha Gan – Fashion, Ong Swee Hong – Lighting, Justin Zhuang – Graphic History, Joshua Teo – Architecture.

Bring drinks and beer to share for the beloved ROJAK dingy! Bring friends too!

Dearest Auntie,

I still can’t believe that you’re leaving. The past 22 years have been wonderful with you around, and I really can’t imagine a home without you.

It’s going to be a tearful goodbye, but we have to remind ourselves that this is but the end of a chapter, and the start of another. We will definitely see each other again. It cheers me up to know that you’ll be returning to your children, and your newborn grandchildren.

The sacrifices you’ve made for your family and ours all these years and your courage to face the realities of life have taught me so much about love and humanity. Thank you for being a part of our lives.

I promise you I’ll come and visit you when I can. Please take care of your health. When I visit, I want to see a healthy, happy Auntie!

I’m going to miss you very very much. Remember you’ll always have another home here.

Yours with love,
Feng