Survival for the filmmaker is conditioned by the fact that film is an industry. Which doesn’t exclude art from happening; art as the true and free expression of self will always originate on its own accord with anyone who struggles and aspires to a better self.

However, there are confines of the medium, as well as those imposed by the circumstances which sustain and limit its coming about, that one has to be aware of and respect. This is a way of accepting the realities of a profession which everyone is free to take up – or to let be. But it is what you owe the craft you wish to honour through the quality of your own work.

Short film is a genuine art form in its own right. As such, it is highly developed, has a history and is alive. It is alive through the contributions every one filmmaker at whatever level of professionalism, accomplishment or expertise adds in. There may be different approaches and the genre is so exciting and rich because it allows for so much freedom of expression. But its prime virtue lies in each film’s being short! Every shot, every second of film, every frame counts and it will testify to your respect and inner understanding of the art form that you do justice to the thrill and benefits of brevity: the fitting argument, the precise observation, the concise expression and a measured tone. It is from there that a short film can take any risk.

Even with the apparent democratization through ready availability of digital equipment, processes and resources to the young generation of filmmakers today – your medium still is film! No effort is wasted if it aims at perfecting the result, your own invention.

Your creativity shall not be limited, every exploit and experimentation is fruitful – if and when it feeds back into the magic that is film. Your idea, your vision and your own voice on the big screen – this is the scenario which demands your utmost dedication to always exceed the commonplace, to rise above the average in whatever picture you frame to be your take, your personal rendition of reality and that which lies behind. Plainness is the biggest insult to the power you have with an image. Don’t waste it; use it with great care and single-minded dedication!

Less can be so much more if you know your scope – and limits. If you wish to penetrate the mere pleasant surface and proceed from imitation and description to representation and a powerful invention that has a life of its own, you need to exert control over your material.

To do that you need to be on intimate terms with it. The filmmaker has to feel and to understand what they are putting up, be it a show, a spectacle, a case study or any kind of inner or outward situation. The camera observes a loving distance that has the capacity to become so much more intimate than the everyday – that is why film has the power to touch and affect us so deeply. Be one with your material and your film will be an entity, organic.

Through observing these principal rules of the short film you will not only achieve a more satisfactory outcome for yourself but also show your respect for the audience. Films are being made in order to be watched by others. The unknown friend is the addressee of any work of art.

Do not fear criticism, for you are your own harshest critic. Judgement is never fully objective but every honest reaction is legitimate. The filmmaker lives off the public and exposure of their product, literally (and more than in just a material sense). Every viewer has a right to expect your best; and their time well spent when watching your film. It takes both sides to join and share your vision.

–– Mathias Ortmann

The Panasonic Digital Film Fiesta runs for two days, starting tonight at 8pm, so don’t miss it!  This is Andy Chung’s interview for his film, Grieving Conscience.

Catch Grieving Conscience, and more, during the Panasonic DFF screenings on the 24th and 25th of February.

***

How long have you been making films, and have you been doing it full time or part time?

Have been doing films for 8 years now, it started when I enrolled into polytechnic. After that I’ve been working freelance in the industry. While studying for my BFA, I continued to make my own short films as well as working freelance.

Can you tell us a bit about your film?

Mr. Loong and Madam Yang are a couple who have troubles within their relationship, but yet are bound to be together because of their believe in marriage.

When Mr. Loong dies it seems that fate has finally answered Madam Yang’s desire, things change in a second when she receives a phone call announcing that her husband is still alive.

Where did you get inspiration for your film?

Grieving Conscience explores the idea of marriage and technology in Singapore, perceived through my own eyes as a Singaporean who grew up overseas.

Marriages can simply lead to divorces now a days, but for previous generations, who exchanged vows based on Asian cultures, divorce was simply out of the question.

Divorces weren’t really an option for the older generations, so how did those cope with their marriage?

The second idea explored is the “technological advanced” image of Singapore, as a foreigner, it was exciting to finally arrive at the high technological filled island of South East Asia.

But all the imaginary visions in my head never made it up to expectations in Singapore. In the end, the hospitals still used the same facilities etc. The intentions to make it seem that someone is kept alive in the film, through technology, was purposely juxtaposed with the imagery of the bare human brain and eye; the only necessary organs who can sustain our life and sense of vision.

Which is your favourite scene and why?

The dining scene where Mr. Loong faints is a very powerful scene that shows the change of dominance in characters. The whole scene is tense yet a bit quirky.

What were some of the things you learnt from the mentorship?

My mentor was Ric Aw and he was very helpful as a mentor. Always ready to give advise and listen to any problems encountered before and during the production.

It is nice to see experienced film makers helping out young film makers.

Any plans for your next project?

Another short film currently in pre-production stage.

The Panasonic Digital Film Fiesta is happening just tomorrow, and here’s an interview with one of the finalists, N. Mohamed Yahssir, about his film CheckMATE.

Catch CheckMATE, and more, during the Panasonic DFF screenings on the 24th and 25th of February.

***

How long have you been making films, and have you been doing it full time or part time?

I have been doing films full-time for the past 5 years in this industry. Other than doing shortfilms, I have directed for Vasantham,Mediacorp whereby i had finished a 50-episodes drama “Devathaigal” and a 44-episode Info-Ed series “Naam”. A major milestone in my career was producing Mathimayangum, the 1st HD Tamil Telemovie in 2008 under my own production house, Millenia Motions Pictures.

Can you tell us a bit about your film?

CheckMATE is a story about two different lives from 2 different eras and where their lives becomes intertwined, one fine day through a game of chess.

Where did you get inspiration for your film?

I got my inspiration from the people I have met or seen in my daily life.

Which is your favourite scene and why?

My favourite scene is the inital part where the boy(Surya) tries to engage the old man in a conversation. I like the way the boy continues talking without a care even when the old man ignores him.

What were some of the things you learnt from the mentorship?

I learnt many things during the mentorship with my mentor, Victric. However, the thing that struck me the most and the one which I am trying to follow now is to put my heart and soul into whatever I am doing.

Any plans for your next project?

My next project is still under progress. It could be either a drama series or an info-ed programme.

Ain’t It All, is yet another of the nine films that will be screened here at Sinema later this week. We speak to creator Chantel Li, on her film about overcoming challenges.

Catch Ain’t It All, and more, during the Panasonic DFF screenings on the 24th and 25th of February.

***

How long have you been making films, and have you been doing it full time or part time?

Started out in Oct 2008 by taking a short film course. I am doing it as a hobby and this is currently my third film.

Can you tell us a bit about your film?

I started out with the concept of exploring what dexterity means and how we use it in daily life to handle challenges. So i weaved a story that showcases how two individuals , each one lacking in either physical or verbal adroitness, deal with it in their own ways.

Where did you get inspiration for your film?

Hmm, no particular source actually. But loosely from reading articles of teenage bullying on the rise, some books on bruce lee….

Which is your favourite scene and why?

Franky, i like the NG scenes best. Haha. But if i were to choose, probably would be the face-off between the 2 characters.

What were some of the things you learnt from the mentorship?

I would say that all elements which includes cinematography, music, acting and story must all blend together. Miss out any one element and you wouldnt get a good broth. Making a film is very much like cooking. It’s a very delicate balance and probably years of working on the craft.

Any plans for your next project?

A couple of ideas, but i need to take a break first and then look for funding.

The next Panasonic DFF film, entitled Beam, was written and produced by finalist Lee Chee Tian.  The film revolves around a boy in the 80s and his relationship with a beam of light.

Catch Beam, and more, during the Panasonic DFF screenings on the 24th and 25th of February.

***

How long have you been making films, and have you been doing it full time or part time?

My first attempt at filmmaking was back in 1999. I applied for the inaugural Short Film Grant from the newly-established Singapore Film Commission then, and wrote + produced + co-directed a 20-minute short entitled “When The Haze Was Up And The Network Down”. Being very gung-ho but absolutely untrained, the output of that venture proved to be visibly unprofessional and lacked production value (I didn’t even know there’s such a term back then).

After that failed attempt, I got carried away by other priorities in life and did not get an opportunity to try again, until 2007, after attending a screenwriting class and meeting some professionals in the media industry (I was working in the IT industry), I gathered my newfound resources, applied for an SFC Short Film Grant, wrote + produced + co-directed a new 9-minute short entitled “Colours”.

This time, thanks to all the professional help (including my co-director Derrick Lui, cinematographer Lim Beng Huat, post-production house BLK A Pictures) that generously came on board the project, the output was much more acceptable, and it proceeded to be selected for screening at more than 30 international film festivals, winning Best Film awards at several of them.

I subsequently wrote + produced + co-directed a short documentary entitled “Peter” at the invitation of the organiser of i-CREATe (International Convention on Rehabilitation Engineering & Assistive Technology) for screening at the gala dinner of the event attended by Guests-of-Honour including Thai Princess Maha Chakri Sirindhorn and Dr Vivian Balakrishnan in 2009.

While working on the above projects, I was still holding a full-time employment in the IT industry.

I have just put aside my IT job at the beginning of this year so that I could concentrate on making this film for the Digital Film Fiesta, and open myself up for more filmmaking opportunities that may come.

Can you tell us a bit about your film?

“Beam” is a heartwarming story about an unusual friendship that a boy establishes with a beam of light that enters his room after he has moved in to his new place. The story is set in the 80s, to coincide with the relocation of kampong dwellers to HDB flats.

Where did you get inspiration for your film?

Our cinematographer Beng Huat was sharing with us his childhood memories of moving in to a HDB flat for the first time, and playing with a kid in the opposite block by flashing their electric torches at each other. The image stuck in our heads, and I came up with the screenplay that surrounds this scene.

Which is your favourite scene and why?

There’s one scene where our lead boy plays by himself under his blanket, using two toys to mimic the loving young couple in the opposite block whom he just peeped at, but suddenly the tables turn and the two toys are biting each other’s head off, imitating the boy’s parents who had been quarrelling over the dinner table earlier that night.

My director, Lawrence Ong, also loved this scene when he read the script. It shows how children derive sense out of the quiet observations that they make of their surrounding world.

What were some of the things you learnt from the mentorship?

My mentor, Yee-wei, unreservedly shared with my team a lot of his practical experience that he earned during his previous works. His guidance saved us a lot of guesswork which we would otherwise have spent much time on.

Any plans for your next project?

I have a few stories brewing, but I’ll take it a step at a time. Let’s see what comes out of this Digital Film Fiesta first, and I’ll make the best out of it from there.