Key practitioners working throughout Southeast Asia and past unpacked the assorted processes and advantages that go into the creation of quick movies on the Singapore Worldwide Movie Pageant, a part of the overarching Singapore Media Pageant.
Filmmaker Kan Lume, whose 2012 quick “Libertas” gained the NETPAC Award on the Tripoli Movie Pageant, described the method of how he was commissioned and executed tasks from the German Embassy in Singapore, Asian Movie Archive and Nationwide Gallery Singapore.
Sangchul Lee is the chief working officer of C47 Funding, a primarily Korean outfit that’s now additionally working in Southeast Asia, having simply launched a brief movie distribution grant for filmmakers within the area in partnership with Singapore’s Momo Movie. C47 additionally commissions shorts.
“When there’s a talented filmmaker that we really want to work with and build a relationship maybe as an investment to that person and that person’s potential future project, we can commission a short film with them,” mentioned Lee.
Whereas C47 is open to direct contact from filmmakers, they’re extra comfy when a proper introduction is made to them, Lee mentioned.
“I think by the time you are in a position of a commissioner, you know what you’re looking for and, you know, you have a good guess who can deliver, so I would say that from a filmmaker’s point of view, you already have a voice,” mentioned Lume. “You already have a distinct voice or style in your film and you’ve already proven yourself somewhat.”
Filmmaker Tan Wei Ting’s whose debut quick, Ca$h (2018) was chosen for worldwide competitors on the 41st Clermont-Ferrand Worldwide Quick Movie Pageant and gained greatest directing at Singapore’s Nationwide Youth Movie Awards, mentioned, “Whether it has been commissioned or you find your own thing, at the end of the day, it’s about the craft.”
Producer Fran Borgia of Akanga Movie Productions (“A Land Imagined”) mentioned that shorts are superb stepping stones in direction of the purpose of constructing function movies, however sounded a observe of warning. “We have to be careful because [if] you get too comfortable making short films, you might not want to take the next step.”
The dialogue was moderated by producer Jeremy Chua of Potocol (“Motel Acacia”).