STUFF Premiere

Date: 24 March 2011
Time: 6.30PM onwards
Where: Riverside Parramatta, Lennox Theatre

I know it’s been a few months since the premiere, but with school having caught up with me, I’ve not found the time to jot my thoughts down. Still, now that I’m back (sort of), I’ll attempt to recollect what had happened that night.

I had the privilege of attending the premiere of all the films that had been going hard in production since the STUFF workshops. For over eight-nine months, each of the writer/directors (including myself) had been hard at work, slaving on our edits, cleaning audio, creating work. The premiere previewed all of our work, and personally, I was both excited and nervous about it. It didn’t really help that I arrived late as well… A director should never arrive late! Shame on me.

Otherwise, when my family and I (yes, my family) seated ourselves, we all indulged in the films that were about to screen. Everyone’s film turned out excellently well. Throughout it all, many can’t tell the hard work and long hours that had been slaved to even make a short film come to life. But it has only made me cherish the time and effort I, as well as many others, had put into making these films, and for that, I don’t regret one bit of it. Watching my film for the first time was unnerving. It was especially made so because I invited my parents and my youngest sister. As soon as my film was announced, I kid you not, I hid myself in my jacket. I dreaded the screening for what type of reception it would bring. The scenes played. I did not look up to see what was going on. I’ve viewed the final cut to the point that I know every nuance and line that spoke in it. To me, I wanted to be away from this film, as far away as possible.

But then, something happened in the theatre. A crack of a giggle, then a snigger.

Everybody was laughing.

Everyone (or at least the majority of the crowd) was laughing in response to the dinner scene – the scene that took the longest to shoot. I even heard my parents laugh and saw a smile on my little sister’s face. I may never know what I’ve done, but whatever it is, I’ve done something right. It may not be the best thing I’ll ever make, but I felt like I’ve connected with people… at least on a humourous level.

Many thanks again goes to Amin Palangi and Billy Marshall Stoneking for teaching us, enlightening us, and for giving us the opportunity to open our creativity to different places. Thanks to ICE for holding these workshops, and hoping that they are one of the first to continue on in the future. Congratulations to all the participants of the workshop for their screenings of their films: Gary Paramanathan (The Lebanese Wallet), Saber Baluch (The Job Hunter), Sadia Saeed (apologies, I don’t quite remember the name of your film… for shame), Lidia Luna (Mother’s Day), Peter Yu (Ad Man), and Mike Kang (It’s About Survival).

Also, thank you to the cast and crew for making Fairytale possible. You have captured the hearts of many others, including my own.

IF article: http://if.com.au/2011/03/18/article/STUFF-The-Drama-Of-It-All—short-films-to-premiere-in-Parramatta/VFTDRQUVWS.html

Concrete Playground article: http://sydney.concreteplayground.com.au/event/16228/stuff-the-drama-of-it-all.htm

Colourfest Film Festival

Where: Riverside Parramatta
When: Saturday, 4 June 2011

Last Saturday I attended the Colourfest Film Festival, coordinated by Gary Paramanathan.

Again, a second screening of my film still unnerved me, but I was able to engage more with it and take part in what the audience was engaging with as well. I still got a few laughs, that increasing a bit more with the last scene. Many have said it was a common story, relatable and that no matter from where you come from, everyone has gone through misguided and misgivings based on first impressions and values.

Still, I had a few personal highlights of the night. Many films from both sessions have caught my eye. It’s only inspired me more.

Drowning – very raw story-telling. I kid you not, this film was well-written and the performance was just as intense.
Sosefina – one of the few films that received laughs in the crowd. It was endearing and reminded me a lot like the children stories I watched when I was younger.
Vinyl – beautifully shot, well-told. It deserved to win Best Film.
Amanacer – I loved the story-telling in this piece and how it conveyed struggle, love, and helplessness. I felt that it reminded me how fragile we all are.

And now for the congratulations to follow:

Congratulations goes out to all the filmmakers who had entered their films into the festival. Lidia Luna for her second screening of Mother’s Day. Maria Tran for her second premiere of Hot Bread Shop. Vinh Nguyen for his second screening of The Tech Effect.

And now for the actors (of whom I recognised):

Congratulations to Andre Boiteux for his film appearance in Beyond Blood. I seriously had a couple of double takes when I saw him onscreen. Congrats to Andy Minh Trieu as well for his appearance in Vinyl.

AFTRS screenwriting seminar w/ Richard Walter

Date: 19 March 2011
Time: 10AM – 3PM
Location: AFTRS – Main Theatre

Thanks to ICE and Maria Tran, I was given the rare opportunity to attend AFTRS Open Program led by UCLA Professor and Screenwriting Chairman, Richard Walter as a representative of Information & Cultural Exchange. After a good drive and a warm cafe latte, I made my way to sit in the seminar. I walked out enlightened and a little more wiser. Curses to the fact that I had no recording device with me, and the fact that I could only take photos from the low-quality pixels of my iPhone. However, the notes I’ve jotted down during the seminar resonate with everything that I had learnt insofar with International Film School Sydney. He illuminated to a few contingencies with the art and craft of screenwriting. It had only furthered my understanding of its practice, and complemented with what I had learnt by pounding it further into my mind like a second sense. Sadly, my eyes were starting to fail me in between a good half-hour, like this sudden wave of drowsiness enveloped over my entire being. This was due in part of the school hours and the time to drive in between… plus I had a late night beforehand. But I was able to take down notes in my semi-catatonic state and continued learning the bare essentials that make up a compelling and overall great script for a film. I even tweeted every little interesting note that was mentioned in the seminar, now forever on record in my online existence.

But for now, let us review my petty little notes:

• STORIES are central to the BUILDING of the art and craft of screenwriting.
• Industry thought (i.e., the professional approach) follows these principles: GAUGE TRENDS / GROSS EARNINGS / DESIGN APPROACH. They believe writing personal stories is a mistake!
• Screenwriters must write INTIMATELY & SERIOUSLY: NEVER BE SAFE! BE BOLD! BE VULNERABLE! Only ever write a PERSONAL screenplay.
• Richard Walter’s believes that a great script, an interesting screenplay, all comes together when INTEGRATION occurs inside its making. What is integration?
• The conglomerate of two major characteristics (i.e., sight & sound) along with character.
  Little tid bit: 99.9% of a film is what we hear! Whether that is in sound or dialogue.
• Every sight and sound moves the story PALPABLY & MEASUREABLY forward! <== IFSS reference!
• Great examples of engaging EXPERIENCE to the audience include “About Schmidt” and “Sideways”.
• CHARACTER-CENTRED screenplays are GOOD SCREENPLAYS. This goes all the way back to Greek scriptures and Shakespeare!
• Richard’s rules in screenplay writing:

1. No restaurant scenes! (but if you do attempt to use one, don’t make the characters order food!)
2. No voiceover narration!
3. No flashbacks!
4. No “writer” protagonists!

• Being the writer means being the CHARACTER. YOU MUST EMBODY! <== Billy Marshall Stoneking reference!
  The unfortunate thing is that people tend not to do this because it is time-consuming. This is a form of PERSONAL INTEGRATION into your screenplay.
• Three rules to a successful and poignant screenplay:

1. $$$: try to reach as big an audience as possible. This means reaching the populist masses. Hollywood believes in two types of cinema: commercialism & arthouse. For yourself, there is only one way to go: ACHIEVE BOTH ITEMS to reach a large audience!
2. Sex & Violence (S/V): create as much conflict in your screenplay as possible. The more drama, the more inticing!
3. Truth?: You actually need to LIE! You must create the PLAUSIBLE IMPOSSIBILITY over IMPLAUSIBLE POSSIBILITY.
   The only truth in a screenplay is the EMOTIONAL TRUTH. You have to make the audience FEEL!
   In other words, DON’T BE BORING!

• Screenplays work similar to how communication theory and rhetoric works (… now we’re coming back to my uni studies…). Following the minds of Aristotle and Plato:
  
  SOURCE ===> MESSAGE ===> RECEIVER

  In this way, we see the structure of the screenplay as so:

  IDEA ===> STORY ===> THEME

  Even so, screenwriters must be clear, concise, and deliver a manuscript that is easily readible for the reader receiving the product.

• Industry thought when writing a screenplay: NEVER BE GUILTY! ALWAYS FOCUS! BUT! We should do the opposite to deliver the best out of a script.
• It’s all about BREAKING DOWN. We DISCOVER rather than BUILD AND/OR CONSTRUCT a script.
• The World Vs. The Country?: US films centre around the basis of humanity and humankind. Thus creating a more international response. Most countries internationally focus more on their regional audience without thinking about international notice. (In a way, it makes me question about the Australian film market and industry right now after Richard mentioned that.)
• All in all, the nature of art/film/cinema is an intricate, beautiful, poignant reflection of LIFE!
  
• “E Pluribus Unum”: One made out of many.

On a side note, I had also grabbed a copy of Richard Walter’s book that was selling at the front desk. In it, he lists 66 principles of a screenwriter. That’s right. 66! All integrated into the book like a trail of breadcrumbs to follow. I suggest if you’re interested in a read that may help guide you as a screenwriter, this book is a good start.

Just for a little plug, to grab a copy, I give you the courtesy of visiting its Amazon page: http://www.amazon.com/Essentials-Screenwriting-Business-Television-Writing/dp/0452296277

Overall, the seminar had given me a better understanding of the writer and their relationship with their work and others who view it, especially since evrything Richard Walter had imparted onto us was what UCLA students were taught. It didn’t complement structure, or any technical/mathematical equation to it. It pushed that aside in order to focus on the core essence: the character, the story, the heart of the script. It surprised me that the seminar ended earlier than I thought it would, but it was a fountain of knowledge, one that will always keep me believing that everything I’ve been doing so far, and everything I’ve learnt, all ties in together.

Good Morning Mad World

Allow me to re-introduce myself.

For the past half-year, I’ve been strolling past life, busy with projects, activities, decisions, and my direction in life. I know it’s been a long while since I’ve updated this blog, but ceasing to post anything isn’t the end of it. I’ve just found myself enough time to write up something on my progress thus far.

A lot of projects I had mentioned earlier in my posts have come and gone. Some have stayed with me, others had been put away. It all came down to timing, whether that was in interest or resources for that matter. But a lot has changed over the course of these passing months. And when I mean a lot, I mean a smorgasbord.

Since 2011 rolled in, I’ve been busy with a few things (which haven’t put any coin in my pocket), but has been progressing to a stage where I am now being serious about what I want. I mean, dead serious. We’re talking about taking the leap of faith, that giant step forward. I don’t want to be meandering around, hoping and believing something will happen. I WILL make things happen. For better of for worse. It all comes down to pushing yourself and becoming all you can be. I know I’m sounding a lot like some hacked up morning show or whatnot, but yeah, it’s been a long time coming.

In a way, it’s a new year’s resolution… only the resolute decided to visit me two months after.

Since February, I’ve enrolled into IFSS, the International Film School Sydney. It’s been a whirlwind of a ride, having to embark long driving trips every morning to reach the school and then endure the rest of the day… attempting to stay awake. Reasons being that I once was a nocturnal insomniac didn’t help the situation and I’m slowly weaning myself off of my usual late nights. How unfortunate that my inspiration only works at night and it’s been clashing with my moral high ground to actually sleep. For the past couple of weeks I’ve been falling asleep in class, which isn’t a good sign. DAMN MY INSATIABLE NEED TO STAY AWAKE AT NIGHT. It has got to stop. Unusually, unlike my days of working as a casual office hand/telemarketer for the past two years, I actually WANT to take that hour/hour-and-a-half drive to the school, even if it means waking up before the sun touches the sky. Too bad my body’s going to cop it one day.

The decision to even attend the school came about from coincidence, perfect timing, and frankly, my need of direction for myself. I’ve been considering film school since my sister brought back an info pack from the Careers Expo 2010. I sifted through it and read on everything the course would offer… and so I attended Open Day. I have been past the school a fair handful of times due in part of an acting friend of mine, Laurent Boiteux, who attended auditions there last year, but I’ve never really stepped foot into the place. Needless to say (and I’m not saying this to impress mind you), I was impressed. Truly. That was my first instinct walking into the school. Cosy, relaxed, everything in one place. Of course, now known to be the largest intake of students IFSS has ever had, it gets a tad bit crowded inside.

I was surprised though, that after Open Day I immediately filled out my application and sent it in that afternoon. Give or take a few weeks down the track and I was asked back for an interview. Now, knowing me… I ABHORE interviews. I hated job interviews really, but that only stemmed my despicable distaste for the process. I was excited, nervous, and dredding about what the heck I was going to say. I can only think back to after the interview was over, and I was relieved and happy with what I had to say. In the end, I was being myself, not some uptight girl that had to appease to the coporate man behind a desk or clipboard. I felt free to be who I was, and I think that being myself and having that confidence that I hid for so long for so many years has repaid me in kindness. Still, embarrassingly enough, I didn’t expect the Favourite Five Films question to be asked…

Yeah Marie, why didn’t you expect a question like that FROM A FILM SCHOOL?

Anyway, go check out the website: http://www.ifss.com.au It was a decision well worth it on my part.

In part of that, I’ve decided with my good friend Maria Tran that I would teach her a thing or two on what I’ve learnt. And so the act of giving and passing knowledge has been achieved. This has been going on for the past two weeks (i.e., two lessons) and a few others have joined in the long and arduous task of listening to my ramblings every Saturday. Still, with film school draining me of sleep, these Saturdays may very well be a sixth day of my week to prepare. I may even end up running out of things to teach and pass on, and all it’d be is a recapping of the week prior. Really, there’s a lot to learn, it’s just a matter of figuring out what everyone wants to hear.

Also, I’ve been hanging around ICE every now and then regarding the short film I shot last year. STUFF has finally come to a grand beginning. The launch is happening next week. In a way, I’m relieved, excited, and yet tentative about the shortcomings hereon. I’ll admit, I’m the type of person that hates to see her work towards a live audience. Truthfully, I’ll run and hide to avoid watching the looks on everyone’s faces when they watch or see any of my work in general. I feel more comfortable just being… anonymous. That’s why I love online art communities. In a way, I have to face the music one way or another. My work will always be critiqued and people will be critical. I say this now without knowing how I’ll react, but it’s for the better. Adaptation after all.

Yep, I’m plugging it. I’m entitled to.

On the side, I’ve had a project going on with Laurent Boiteux. I won’t say much on the details yet, but we’ve had tremendous help from fantastic and talented people who were willing to put in their time to shoot in a span of two days late last year. Everything’s complete except for some tidbits that still need sorting on my part. In a way, I’ve come to realise how hard a producer’s job is in this regard. Still, I’m co-producing with Laurent, so at least there’s less weight on my shoulders for now.

Aaaaaaaaaaaand really? That’s all I’ve been doing. Just re-reading this now makes my head hurt. Why do I do so much? Or at least feel like I do? I don’t know if I even have time to myself anymore. At least not as much as I wished. I miss drawing my art. There’s a heap of Photoshop files that are laying in my hard drive, incomplete. I miss writing fanfiction. I haven’t been for the past year actually. I miss playing the piano. I haven’t touched it at all, and still want to perform Tangled’s Healing Incantation again to at least upload onto YouTube for reference purposes. I haven’t touched my books still lined up in a row on my desk. I’m counting three, four, no five books I haven’t read or have yet to complete. I haven’t read the latest mangas I’ve bought, nor have I played any of my games in a long while (except for Prince of Persia: The Forgotten Sands. That was a guilt trip after the consultation I had this week).

This is just me being a geek. A very weird one unless you sympathise with my hobbies. But overall, I know I miss these things, but I know I’m doing what I love doing right now. The one thing I really miss is seeing my sisters when I return home. I never see them as often as I want (and half the time I’m stuck in my room working on assignments… or this post for that matter).

So many things have been happening. I have bigger plans to attend to soon after I make a few arrangements, but I remember a bit of advice I was given that has to be helping me so far. (It was originally in regards to co-ordinating and producing, but it still applies):

“Follow your gut instinct and trust your intuition.”

Yeah, I feel like I believe in that. That doesn’t mean I’m going to be simple-minded and stubborn about it, but I will follow what I feel is right for me. Whether that is for school, for side-projects, for teaching, for everything.

Good Morning Mad World. It’s great to be back.