Fast fingers.

This is something I have been wanting to address for a long time, perhaps an unpopular opinion but that’s ok. (Creatives love to engage and talk cock.) Many of us, me included, gets excited when we’re on set - we get carried away and eager to show the world what we do and the fruits of our artistic endeavours.

It’s natural. Artists tend to be narcissists.

I think it’s ok to keep the end product mysterious (especially the ACTUAL shot onscreen). Not showing the process doesn’t devalue our worth as creative human beings.

We seem to be normalizing these reveals too damn early. I admit I have also been guilty of it sometimes.

Is it healthy to reveal the set, the costume, character styling way too early in production? Would we be devaluing the artistic process in the long run? There are multiple teams of people and departments working behind that Shot.

Perhaps it’s ok to reveal screenshots, costumes and sets only AFTER the project is exhibited. Or something within a curated marketing process closer to the exhibition date for maximum hit.

Between a tease and a reveal, I’ll choose the former. It’s fine with selfies and playful wefies as long as it doesn’t take away the artistry. It takes EVERYONE on set to work together to ensure the mystery of The Shot is maintained.

Some of my collaborators may have noticed this embargo being a contractual obligation previously. This is something I want to do better at - something I have enforced, especially on reeljuice sets.

Documenting

Pandan/Teban Gardens (Singapore) neighbourhood kids, circa 2012

Besides dramatic films, my other passion is making documentaries. A documentary is another form of visual narrative but because you’re filming real people in their natural, social environment - normal people who largely have no sense of the camera language, things can/will take a tangent in location.

As much as you’ve done in-depth research prior filming to give bullet points in your script, many times you are faced with extemporaneous, offhand or impromptu situations on location. These require you to think on your feet to deliberate. I think this is where one’s maturity as a storyteller may shine. Sometimes you need to make unpopular creative decisions because you’re closer to the ground. You’re more in tune to the beat as director. Your subsequent decision to follow-up new details or go a little off-tangent may be unpopular on set or with the powers that be.

However, we ultimately need to be looking at the bigger picture - the content of the documentary. The message it is trying to convey. It’s unlike many heavy-handed, lite magazine programme/segment where much is perfect, pretty and on-point - but somewhat hollow. I’ve been there. Perhaps many avoid this process because of the hassle, but I thrive on this challenge as storyteller. The process also takes time (!!) to put together. This nature of documentary pushes your limit as a storyteller - to be that safe doco filmmaker or one that pursues the subject and questions your audience.

On that note, this picture popped up on my memory feed. It was taken 10 years ago while shooting a documentary at Pandan and Teban Gardens (Jurong, Singapore). These neighbourhood kids came out of nowhere and “shot” at us playfully 😄 I decided to film them in their element. Very impromptu indeed.

Documenting kids (as opposed to just filming) - capturing their innocence is up there among filming a socially-troubled subject or one on the brink of death, in my humble opinion.

If you happened to be one of these boys (or know them), please holler! You’ve certainly added colour to the documentary. I think this picture very much summed up the vibes of Pandan and Teban Gardens then.

Notes from the editing room.

The two people I consider my left and right arms in the directing process will be the director of photography and the post-production editor. Their effective collaboration ensures my ideas come through. While the “director” gets most of the spotlight (unfortunately, imho), often the video editor gets the least credit next to the DOP.

The DOP translates my mise-en-scene. The editor layers the images based on the narrative. (There are however the ‘glorified’ cameramen and indifferent button pushers but that’s for another post).

You develop many genuine relationships in the production process. I have my firm directions. I also give the DOP and video editor some breathing space. No one is more creative than another. We have our own skills and tastes. As much as they look up to me for guidance, there are moments when I hit the wall and they are there to support me with my vision. This is where you build relationships - your creative social capital.

I have worked with editors who overlooked the mise-en-scene and devalue actor’s performance. I have also worked with ones that chose the ego over collaboration. I appreciate the handful gems that truly “see” the shots and work around with these images that, when put together, create deeper layers. Editing is laborious. It is also an intimate process.

On that note, one of the best hands in the industry will not be spinning his magic behind the editing console together with me anymore - at least locally. One that had a hand in creating some of my best work the last few years. I am honoured that his final work in Singapore is with my upcoming film project.

Thank you Perri for your magic. Can’t wait to present this soon. 🤜🏽🤛🏽

Perri and I on his last day of editing the film, Pulang Balik. The project also marked his last project in Singapore.