Suggested List Of 2012 Oscar Nominations [as of Jan 2012]

Wednesday, January 04, 2012 at 11:09 PM
Updated Feb 55.

Oscar-potential films yet to see
In The Land Of Blood And Honey ... ... The Lady
Extremely Loud And Incredibly Close ... ... My Week With Marilyn
J. Edgar ... ... The Iron Lady ... ... Hugo ... ... Shame ... ... The Deep Blue Sea
A Dangerous Method ... ... The Conspirator ... ... Albert Nobbs
Take Shelter ... ... Coriolanus ... ... Martha Marcy May Marlene ... ... Miral


BEST PICTURE
Anonymous
Limitless
Midnight In Paris
The Help
Water For Elephants
War Horse


BEST DIRECTING
David Fincher – The Girl With The Dragon Tattoo
Tate Taylor – The Help
Woody Allen – Midnight In Paris


BEST ACTOR IN A LEADING ROLE
Dominic Cooper – The Devil's Double
Jean Dujardin – The Artist
Owen Wilson – Midnight In Paris


BEST ACTRESS IN A LEADING ROLE
Bérénice Bejo – The Artist
Rooney Mara – The Girl With The Dragon Tattoo
Tilda Swinton – We Need To Talk About Kevin
Viola Davis – The Help


BEST ACTOR IN A SUPPORTING ROLE
Corey Stoll – Midnight In Paris
Ryan Gosling – Crazy, Stupid, Love.


BEST ACTRESS IN A SUPPORTING ROLE
Allison Janney – The Help
Charlotte Gainsbourg – Melancholia
Elle Fanning – Super 8
Jessica Chastain – The Tree Of Life
Octavia Spencer – The Help


BEST WRITING, ORIGINAL
Anonymous
Bridesmaids
Contagion
Crazy, Stupid, Love.
Midnight In Paris


BEST WRITING, ADAPTED
Limitless
Sherlock Holmes: A Game Of Shadows
The Help
The Ides Of March
Water For Elephants


BEST CINEMATOGRAPHY
Limitless
Rise Of The Planet Of The Apes
The Girl With The Dragon Tattoo
The Tree Of Life
War Horse


BEST COSTUME DESIGN
Anonymous
Immortals
Sherlock Holmes: A Game Of Shadows
The Three Musketeers
The Help


BEST ART DIRECTION
Anonymous
Cowboys And Aliens
Immortals
Sherlock Holmes: A Game Of Shadows
Super 8


BEST MAKEUP
Anonymous
Midnight In Paris
X-Men: First Class


BEST FILM EDITING
Limitless
Midnight In Paris
Sherlock Holmes: A Game Of Shadows
The Girl With The Dragon Tattoo
The Help


BEST SOUND
Kung Fu Panda 2
The Eagle
The Tree Of Life
Transformers: Dark Of The Moon
We Need To Talk About Kevin


BEST SOUND EDITING
Captain America – The First Avenger
Kung Fu Panda 2
Rise Of The Planet Of The Apes
The Tree Of Life
War Horse


BEST VISUAL EFFECTS
Cowboys And Aliens
Captain America – The First Avenger
Rise Of The Planet Of The Apes
Super 8
Transformers: Dark Of The Moon


BEST ORIGINAL SCORE
Kung Fu Panda 2
The Artist
The Eagle
The Help
Water For Elephants


BEST ORIGINAL SONG
"A Thousand Years", The Twilight Saga: Breaking Dawn, Part 1
"Iridescent", Transformers: Dark Of The Moon
"When We Were Young", The Three Musketeers


BEST ANIMATED FEATURE
Kung Fu Panda 2
Puss In Boots
The Adventures Of Tintin: The Secret Of The Unicorn


BEST SHORT FILM, ANIMATED
Dead Island Trailer
Slimtime


BEST FOREIGN LANGUAGE FILM
Let The Bullets Fly (China)

Best Teasers Or Trailers Released In 2011

Wednesday, December 14, 2011 at 11:03 AM
It's very simple really. The more the trailer makes me want to watch the movie, the higher it's ranked.

THE DEVIL'S DOUBLE



MISSION: IMPOSSIBLE – GHOST PROTOCOL



THE GIRL WITH THE DRAGON TATTOO



 SUPER 8



WAR HORSE




WEEKEND



THE IRON LADY



THE ODD LIFE OF TIMOTHY GREEN




CHRONICLE




PREMIUM RUSH



THE HUNGER GAMES



ACT OF VALOR

REVIEW: "Klue, Doh!"

Sunday, December 04, 2011 at 11:58 PM

... And Malaysian theatre continues to inspire hope.

Well, this one's a collaboration between "theatre makers from Australia and Malaysia", but that does not diminish at all the creative contribution of the Malaysian talents, who supply at least the writing team and the entire cast. I shan't spoil the story because you really must see it if you can (the play runs until 17th December), but suffice to say it involves a deeply dysfunctional family with truly messed up characters causing all kinds of mayhem when the PDRM drops by to investigate the case – as usual, it consists of the pair of the oblivious senior officer and the hapless junior. I'd venture to guess that there's a hint of influence from Agatha Christie's "The Mousetrap" somewhere there.

That it's a murder mystery set in a rich mansion in Ipoh makes it very interesting, that it chose to present it as a comedy (and a successfully manic and witty one at that) made perfect sense, but even that wasn't enough – the play is presented twice to the audience, who are split into two equal groups and placed into two separate auditoriums that faces two separate but connected rooms in the house: the study hall which is also the scene of the crime, and the living room. In effect, you get half the information (and sometimes, half the joke) watching one side of the play, then get a complete understanding (and sometimes, laugh-out-louds) after the intermission when you switch to the other room. It is an immensely brilliant idea, and the way it was done was not in the least bit tacky or contrived. (Though not surprisingly, a certain amount of improv is required from the actors to keep the proceedings on both sides in sync.)

Another interesting choice was to have every single major vernacular language in Malaysia represented here – while the play is primarily done in English and Bahasa Melayu, on occasion the characters break into Cantonese or Tamil, so as a result, you the audience won't get all the facts. Unless you happen to speak all four languages (rare indeed). At any case it won't prevent you from understanding who actually dunnit.

The roles were perfectly casted, and it was a truly ensemble cast. Perhaps the characters are a bit stereotypical – Davina Goh is typecasted as the ditzy, sexy girl who happens to be an unrepentant gold digger while Jon Chew is typecasted as the effeminate guy who happens to be a consummate wedding planner – but that works for a comedy of errors like this. Anne James excels as the spurned ex-wife, JD Menon channels Hishamuddin Rais in his portrayal of the brother-in-law who is also a filmmaker, Terence Conrad is breathlessly hapless as the son, Nabihan Yaacob emanates a quiet, almost dangerous anger with her role as the maid with a secret (she starts the play for half the audience in a placidly absurd scene), and last but not least, Iqmal Shafiq and Ley Shahrwind embodied the archetypes of their characters (the senior officer and the junior) very well, and served as vehicles to poke harmless fun at the boys in blue as well as a certain, very recent sport event.

In short, there wasn't a single false note in the acting, or indeed, the whole play. (Okay, there probably were, but that's going beyond nitpicking.)

Shan't say much more. It's entertaining, hilarious, and unless you're offended by vulgar language and some scenes of a sexual nature, go watch it. It's well worth the price of the ticket.
 

P.S. - Yet another example of the production's attention to detail ...
The media launch for its latest theatrical production, an original whodunit titled Klue, Doh! took the form of a mock engagement party for two of the characters — business tycoon and toilet hygiene magnet, Datuk Jackson Mo Les Ting, and [his fiancee and former GRO from Jinjang,] Charity Ho Mun Mun. From the get-go, the company showed attention to detail. The media invite came with a soft-copy of an engagement invitation card. Upon arrival, we signed the guest book, received our door gift (a miniature wedding cake) and were ushered to our seats and a buffet spread by Gangbang Sukajolo, the Indonesian maid sportingly played by actress Nabihan Yaacob.

Notes On 2011 BMW Shorties Finalists

Thursday, November 24, 2011 at 1:45 PM
[Reminder: All opinions are subjective. They always are.]

Just watch one. Forget the others. (Okay, that's not a very democratic suggestion. Watch them all to make up your own mind about them. But if you want to save time, then yeah, take this recommendation.)

Just watch Quek Shio Chuan's GUANG.



You see, for years in Malaysia we've been suffering through (mostly, but certainly not entirely) purportedly symbolic or metaphorical arthouse short films that are pretentious in a muddle-headed manner, or else moralistic and didactical short films that shallowly portray what (the filmmaker thinks) is good and what is bad without a serious attempt in actually telling an engaging story. Repeat finalist Tan Ce Ding's short film "How To Say I Love You" is one such example.

Or, as you can find in themed short film competitions like BMW Shorties, contestants often produce not a narrative short film but what is really a visual essay that addresses a theme – they often consist of monologues laid over some images, or have lots of title cards that try to be poetic. Repeat finalist Moh Chee Leong's "Let The Plastic Fly" is one such example. (Malaysian Chinese filmmakers love doing this, to my disappointment. It's an import from HK and Taiwanese filmmaking. "Bringing others joy is the happiest thing in life." "Finding happiness is more important in life than chasing after money." Siiiiiiiigh.)

Is there a story? A little bit, perhaps. Nothing that would satisfy me though; I look for stuff like setups and payoffs, conflict, rising stakes, etc. (Not these elements by themselves, but working together to tell the story.) And these are inevitably absent when directors look at the theme, "Joy", and simply think of what words or what images can be associated with it and just added those things together as if it's arithmetic, with less emphasis on character and plot.

Which is why GUANG pleased me so much – I've been waiting for a short film like this to emerge from Malaysia for so long.

GUANG basically takes what I think of as the Hollywood approach – a balanced and synthetical marrying of theme and storytelling (without making it on the nose; you certainly don't go through the short film thinking about "Joy", it's just inherent in the scenes). Watch the film till the end - did you notice the editing and the sound editing? I didn't. Now watch it again, see how smoothly it transitions from shot to shot, from one scene to the next? Pacing is just nice, not too indulgent, not too rushed. Did you notice the cinematography? It looks beautiful at places, when it counts, but it doesn't try to look stylistic in every shot. You would've noticed the rainbow colours in certain shots – there, that's the director inducing a theme into his film without having to comment on it. The camera movement isn't flashy, but unlike so many Malaysian short films they are also not static.

And of course, the story touches your heart. A very good reason for that is because it's the director's own story – that old adage, start with what you know. But he didn't make the easy mistake of making it too autobiographical, or at least, it didn't feel like it. It's not a diary, it's a story.

Quek Shio Chuan will go far in his career if he keeps this up, even if he doesn't win this thing. But, if he and his team don't sweep all the awards à la Titanic or Lord Of The Rings: The Return Of The King (except for the actress category which it wasn't nominated for) then it's a travesty. I've seen all the nominated short films (disclaimer: some I only skimmed through because they were just too blah to sit through), and almost without contest this was the best film in all the categories – Actor (my, so naturalistic, so buried into the role), Cinematography (more than the other nominees, it was all about telling the story through the camera ... how on earth did "Come Home" get nominated here?), Editing (didn't notice it, unlike the other nominees), Sound Design (didn't notice it, unlike the other nominees), Production Design (just works), and Screenplay (tells a narrative tale and uses many film storytelling tools to great effect, right down to details like the setup of the 'retarded brother' line; how on earth did "Come Home" get nominated here?).

I would be very interested to see what Quek does with the RM75,000 when he wins that. And I hope, for once, that it's a short film that improves on the winner's entry sent in for BMW Shorties and that it looks like RM75,000 was spent on it.

Alright, now, to be fair, of the remaining nominees THE LONG DISTANCE RELATIONSHIP was a reasonably well-made short film as well, so after watching GUANG do check that out. Can't say the same about most of the other ones; I'm sorry to say that I felt that this year's crop of nominees were not as interesting or engaging as last year's.

And, of course, clearly some of the cast and crew behind GUANG were experienced industry people (the DP for this was also the DP for Yeo Joon Han's Sell Out! for example), which almost all the other productions probably did not have access to and are thusly disadvantaged. But you work with what you have.

And to give credit to BMW Shorties, their format for the nominations where not just the top 10 finalists but any of the 107 entries can potentially be nominated for the smaller categories makes a lot of sense, makes it a bit more Oscar-like. They should stick to it next year.

REVIEW: The Adventures Of Tintin - The Secret Of The Unicorn

Thursday, November 03, 2011 at 1:20 PM
 I just love how the title sounds in the other languages:

L'aventures des Tintin et Milou
De Avonturen van Kuifje en Bobbie
Die Abenteuer von Tim und Struppi

Anyway, on the movie itself, Tintin fans worldwide will definitely get the film, thanks to the copious references to all things Tintin, like the random appearances of the tin can with the crab with the golden claws, the unexpected appearance of the Milanese Nightingale, wall plaques on Tintin's flat displaying his articles on adventures past, which for non-Tintin-fans would just register as "oh, he's a reporter", but for ardent Tintin fans each of those wall plaques are an entire 62-page comic book adventure in itself. Then there's the very affectionate cameo of Herge in the beginning. I hope the late Monsieur Remi is pleased.

Which leads to the point that I'm not entirely convinced that non-Tintin-fans will necessarily enjoy the film. In fact, the film is 50% Herge's Tintin and 50% Spielberg, with his trademark style of progression storytelling (this happens, so protags need to get this from there, then that happens, then that happens, then that happens, then that happens, etc) and John Williams score. So the Spielberg part, those audiences might enjoy. The rest of it, I have a feeling that they wouldn't be able to see what the fuss is all about this oddly-named boyish European reporter (who never seems to file a report nor report to any newspaper editor for his work).

They might come out saying that the main character is bland. That the story lacks emotional connection.

Totally agree. It's one of the reasons that I don't seem particularly elated or enthusiastic after having watched the movie, which, mind you, is the only comic book adaptation I can ever get excited about since the bookshelf of my childhood comic-reading days consists only of one single comic book series. Strangely enough, that's fine. It's fine that my mind isn't blown away by the film adaptation.

If there's any disappointment at all, however slight, it's that there's too much Spielberg in it. I know, sacrilegious, eh?

The obvious problem with being a Tintin fan, of course, is that you've been reading the comics all your life and you have a set of voices assigned to each of the characters already, which is ingrained and hard to dissociate from the Tintin that you feel you know so well. Certainly, on paper, the decision to cast Jamie Bell and Andy Serkis and Simon Pegg and Nick Frost can't be faulted, excellent choices in fact. But then as soon as they start speaking, even though some (not too many) of the dialogue were lifted straight off the speech bubbles in the Tintin comics ("Here! ... I'm downstairs already!"), I couldn't help but nitpick -- that's not how Thomson and Thompson should sound like!

Or take Captain Haddock's swearing. One of the most enjoyable parts of Tintin for me was when Haddock is greatly frustrated and irritated and launches into extended tirades that includes "Pithecanthropus! Diplodocus!" or "Sea gherkin!" or "Thundering typhoons!" or "Billions of bilious blue blistering barnacles!" I've always heard them in my head as a continuous stream, without stopping for a pause (not quite comparable to Stephen Chow but that comes to mind), whereas here Serkis delivers it slowly and with pauses in between each one.

Or take Bianca Castafiore. I have always wondered how her Jewel Song from 'Faust' actually sounded like. "Ah! My beauty past compare ... These jewels bright I wear ... Margharitaaaa!" In my head I imagined it as a descending tune before exploding into a high-pitch, ear-shattering blast. Unfortunately, she sings here but doesn't sing the Jewel Song.

Which illuminates this little insight: perhaps everyone imagines the Tintin characters a little differently from everyone else. Which means that there is no way Spielberg and team could've created a film that satisfies everyone, or even just a significant minority. But I also think, Tintin lovers generally being sensible, considerate, knowledgeable and more matured types, they've been rather forgiving with the film, as I was. Hence Tintin fans have, by and large, embraced the film, whether they felt the Tintin they saw was a good replica of what they had in mind or not (at least, that's my impression).

Crucially, the problem with the Tintin characters having actual eyes is no longer a problem.

As for Spielberg, now that the shackles and constraints of live action filmmaking have been taken away, he gleefully went into overdrive mode with his sweeping motion camera moves. He's always been good with those but used them sparingly, partly because it's difficult to do them in the real world without encountering problems like shuddering, or figuring out a good (or at least possible) way to lay the dolly tracks.

The best thing he did here, though, is the soon-to-be much-talked-about 5-minute long uninterrupted shot of an insane action setpiece that, in 3D, comes closer than any film I can remember in simulating the amusement park ride sensation in a cinema, as well as outdoing Alfonso Cuaron's then-mindblowing long tracking shots from Children Of Men by a friggin' mile ... just coz he can. (Performance capture with full CGI, fuck yeah!) That sequence more than anything makes me want to go back and watch the movie again. In 3D again.

John Williams' music does nothing for me, except that the intro music reminded me of Catch Me If You Can. Felt a bit rarefied.

In the end, not the glorious adventure with the romantic, nostalgic European feel that one hopes for when one wished for a Tintin film, but not a terrible adaptation either. Given that Peter Jackson will be pre-occupied with The Hobbit, I don't know how many years will pass before we get to see the next one. (Don't forget, the performance capture work for this was done back in April 2009. That's how long it takes.)

Suggested List Of 2012 Oscar Nominations [as of Nov 2011]

at 12:26 AM

Oscar-potential films yet to see
In The Land Of Blood And Honey
The Artist ... ... Hugo ... ... Shame ... ... The Deep Blue Sea
The Lady ... ... The Iron Lady ... ... Moneyball ... ... The Girl With The Dragon Tattoo
War Horse ... ... J. Edgar ... ... A Dangerous Method
The Conspirator ... ... Anonymous ... ... Albert Nobbs
Extremely Loud And Incredibly Close ... ... Tinker, Tailor, Soldier, Spy
Take Shelter ... ... My Week With Marilyn
Martha Marcy May Marlene ... ... Coriolanus ... ... Miral

BEST PICTURE
Limitless
Midnight In Paris
The Help
Water For Elephants


BEST DIRECTING
Tate Taylor – The Help
Woody Allen – Midnight In Paris


BEST ACTOR IN A LEADING ROLE
Dominic Cooper – The Devil's Double
Owen Wilson – Midnight In Paris


BEST ACTRESS IN A LEADING ROLE
Tilda Swinton – We Need To Talk About Kevin
Viola Davis – The Help


BEST ACTOR IN A SUPPORTING ROLE
Corey Stoll – Midnight In Paris
Ryan Gosling – Crazy, Stupid, Love.


BEST ACTRESS IN A SUPPORTING ROLE
Allison Janney – The Help
Charlotte Gainsbourg – Melancholia
Elle Fanning – Super 8
Jessica Chastain – The Tree Of Life
Octavia Spencer – The Help


BEST WRITING, ORIGINAL
Contagion
Crazy, Stupid, Love.
Midnight In Paris
Source Code


BEST WRITING, ADAPTED
Limitless
Sherlock Holmes: A Game Of Shadows
The Help
The Ides Of March
Water For Elephants


BEST CINEMATOGRAPHY
Limitless
Rise Of The Planet Of The Apes
The Tree Of Life


BEST COSTUME DESIGN
Immortals
Midnight In Paris
Sherlock Holmes: A Game Of Shadows
The Three Musketeers
The Help


BEST ART DIRECTION
Cowboys And Aliens
Immortals
Sherlock Holmes: A Game Of Shadows
Super 8
The Three Musketeers


BEST MAKEUP
Midnight In Paris
X-Men: First Class


BEST FILM EDITING
Limitless
Midnight In Paris
Sherlock Holmes: A Game Of Shadows
The Help


BEST SOUND
Kung Fu Panda 2
The Eagle
The Tree Of Life
Transformers: Dark Of The Moon
We Need To Talk About Kevin


BEST SOUND EDITING
Captain America – The First Avenger
Kung Fu Panda 2
Rise Of The Planet Of The Apes
The Tree Of Life


BEST VISUAL EFFECTS
Cowboys And Aliens
Captain America – The First Avenger
Rise Of The Planet Of The Apes
Super 8
Transformers: Dark Of The Moon


BEST ORIGINAL SCORE
Kung Fu Panda 2
The Eagle
The Help
Warrior
Water For Elephants


BEST ORIGINAL SONG
"A Thousand Years", The Twilight Saga: Breaking Dawn, Part 1
"Iridescent", Transformers: Dark Of The Moon
"When We Were Young", The Three Musketeers


BEST ANIMATED FEATURE
Kung Fu Panda 2
Puss In Boots
The Adventures Of Tintin: The Secret Of The Unicorn


BEST SHORT FILM, ANIMATED
Dead Island Trailer
Slimtime


BEST FOREIGN LANGUAGE FILM
Let The Bullets Fly (China)

REVIEW: "Short + Sweet Theatre Gala Night"

Monday, October 31, 2011 at 12:15 AM
The title's a lie. This is not a review.

No, I'm not kidding. There's nothing resembling a review here.

No, it's a demonstration of how I now have to
EAT. MY. WORDS. 

[Sorry, I don't have an image of that. I don't know how someone eating his words looks like, alphabet soup jokes aside.]

I've spent the better part of the last few years thinking that almost none of the plays and musicals written by local playwrights are worth watching; I've seen a few of those and they have all disappointed to some degree, even the better ones. The only plays that I can thoroughly enjoy are those written by Western playwrights and performed by local talents; those disappoint occasionally but I'd still go for them.

Tonight throws that perception out of the window. 

Short + Sweet Theatre consists of twenty-four 10-minute plays written, directed and acted by amateurs and professionals alike (there's also a Musical and Dance segment to S+S), played out over two weeks before ending with a bang with the twelve plays surviving the first-round votes being played out on the Gala Night, which was what I attended.

I won't go into what I thought about each of the plays. I can't, they were simply all good. Sure, there's some difference in the quality between the different plays, but the differences felt so marginal that when in the end they asked the audience to each vote for just one play out of the twelve I felt like voting for just one out of any of them is unfair; it crossed my mind to tick all of them, but that's breaking the rules.

I feel very jealous of these guys – performers, playwrights, directors alike. People who know me know that that's very, very high praise from me.

And [self-pity wallowing commencing; avoid next two paragraphs if cringing hurts your cheeks] I also feel rather ashamed of myself throughout the whole show (stole some of my concentration from the show unfortunately). There I was this past year (and these past years) perpetually drowning in that void known as writer's block, while suddenly here a kaleidoscope of talents burst out right in front of my eyes, unexpectedly, undeniably ... shockingly. And some of these people are amateurs! (Which I am, incidentally, but that's beside the point.) It really proves the point my encouraging friends tried to tell me: that I could've written stuff, gotten stuff directed, done something anyway.

I still couldn't have. Even in hindsight. I am who I am. I wallow in self-pity, sometimes wear that as a badge, not proudly, just prominent enough that kind friends would come to provide reassuring sessions (suckers ...). I mope. I am held down by Newton's first law of motion. Tonight made me feel like I should give up. Give. The. Fuck. Right. Up. (You hack you, all critic and no substance ...)

Of course, that's just despondent talk, just more talk to snag the suckers. Don't fall for it.

I repeat, I shan't write about what I thought about the mini-plays, but I shall list down the plays and the players for my future reference.

1. Because The World Needs Unicorns
Director: Jude James
Performers: Redza Minhat, Brana Aruljothi, Farah Rani

2. Failing Elijah
Playwright: Alex Chua
Director: Dinesh Kumar
Performers: Aminda Faradilla, Priyadashini a/p Maganathan

3. Life Decisions
Playwright: BB Ostella Adam
Director: Nicole Ann Thomas
Performers: Alvin Looi Wan Su, Nor Hazlin Nor Salam

4. Who Moved My Donut?
Playwright: Tita Wariss
Director: Megat Sharizal
Performers: Sani Zainal Abidin, Tuan Faisal, Marina Tan

5. The Rice Of The Kaiser
Playwright: Cheah Ui Hua
Director: Yusuf Amin
Performers: Lee Zhi Li, Belinda Hon, Nabillah 'Billy' Aimi

6. Boleh Saya Bantu?
Playwright: Ashraf Zain
Director: Ooi Kee How
Performers: Morgan Ramanchandram, Maria

7. Cargone
Playwright: John Newman
Director: Amir Yunos
Performers: Ariff Faisal, Aidan Salman, Clarence Kuna, Shakier Shukor

8. Rupert And The Seven Russian Email Brides
Director: Kelvin Wong
Performers: Will Quah, Jon Chew, Michael Chen, Matthew Ong, Dominic Luk, Ashwin Gobinath, Alex Chua, Joe Pagnelli, Jade Presley Lewis

9. When You Can't Stop Running (不停奔跑暴走记)
Playwright: Freddy Tan
Director: Erna Mahyuni
Performers: Calvin Tan, Jeremy Ooi, Joanna Van, Jack Lua

10. Thank God We're Italians!
Playwright: Catherine Ooi
Director: Karanbir Hundal
Performers: Dennis Yeap, Emina Aliyyah, Merissa A, Sani Zainal Abidin

11. Cast Adrift
Playwright: Patrick Christopher Lee
Director: Freddy Tan
Performers: Tung Jit Yang, Lim Kok Tong, Kelvin Wong, Cheah Ui Hua, Umesh Logandran, Shern Chong

12. The Joy Of Solitude
Director: Mark Beau De Silva
Performers: Roax Tan, Douglas Wong

Songs Of The Moment [Late 2011]

Saturday, October 15, 2011 at 1:13 AM
"See No More", Joe Jonas





"The Sandpit", Human






 "Kings & Queens", 30 Seconds To Mars






"Firework", Mike Tompkins / Katy Perry






 "Good Life", OneRepublic






 "Wait", Alexi Murdoch

An Investigation Of Self

Monday, September 12, 2011 at 9:41 PM

[This was written when I was, I guess, 24, thereabouts. Again, this was never previously posted. That the same questions are still being asked today meant that I had not progressed beyond this phase.]

Back when I was small, my mind was simpler – I knew things and was sure of it. Subconsciously, I think what I craved to do was to know enough about the world to anticipate things – before people even knew them. To know before someone would do something, from the mundane stuff (how long it takes for that girl in the corner to finish her meal) to the dramatic (when someone would die).

Or, to know before a disaster happens; e.g. I was always proud to know that when one sees the waters on a beach recede and recede and recede and don't return – run.

Consequently, I was constantly learning things. I wouldn't say I was curious, I'm not one of those fucking annoying kids who ask "why?" all the time. No, I just read. I read encyclopaedia in the toilet. For fun. (Probably since I was six.) Which brings me to the next thing that I know – I was smarter and more knowledgeable than most other kids. And I was good at school. I was superior.

I remember at some point when I was twelve, I woke up one day feeling troubled. Meaning I felt severely sad and cried but didn't know why. My mom said then that it was stress - I didn't know what that word meant then and didn't recognise it. Maybe it was, maybe it wasn't. What I do know is that since then life has appeared to be complicated, not the way I want it most of the time, troublesome, often uninteresting = often unexciting, difficult. I was usually near the top of the class throughout my school years, but I arrived at university and got my first poor results in an exam; that gradually revealed itself to be a persistent phenomenon, and not temporary as I had assumed it would be. It will not go away, it is – I will always get poorer results than when I was young.

Somehow, by remaining in the status quo, my outcomes have changed. 

My friends would say stuff like "university is different from primary school" or something similar; i.e. I have stayed static for too long. Since those university days, I have been concerned – jealous – about the fact that my friends knew stuff I don't. A lot of stuff, it seems. I stayed in denial for as long as I could, but now it seems that by denying it for so long, I have lost something.

Something I had in childhood. Something abstract and not easily articulated.

For it has to be something that I lost that made it impossible for me to write nowadays.

Writing stories used to be so easy. I would see a connection between two completely unrelated things - UFOs and Titanic, being unlucky and ESP, economics and astronomy, etc.

I came back to the question today – why do I want to be a filmmaker?

Simple. To make films.

Why make films?

To tell stories.

Why tell stories in films? Why not novels or songs or plays?

Because films are more compelling and engaging, more absorbing than any other forms of storytelling. While there have been occasions when songs or books hold me in an inescapable trance for hours or days, films do it far more often, and in the most intense experiences are more intense than the other storytelling forms.

Why tell stories?

Pause.

I don't know. That's where the line of questioning ends.

A Treatise For Malaysians

at 3:30 PM
[Wrote this exactly two years ago. Didn't post it up then, don't remember why, maybe was scared ... definitely because it was rambling and incoherent.]

I was reading a book today by Joshua Cooper Ramo titled The Age Of The Unthinkable when I had these thoughts. Consider them.

Before I continue let me spell out where I stand on certain things. It may shock you. First of all, at this point I think Malaysia is beyond hope. I see the progressives fighting a losing battle. Because there are too little of us. By progressives, I mean a certain quality of which its divisive line isn't determined by race, language, education and class (though definitely influenced by those two), party affiliation, occupation, sexuality, and so on. I guess I'll say they are people I agree with - that is the most accurate way to put it, but also very vague. Sorry. I will say it includes people from both BN and PR.


I said, a losing battle. In other words, I mean that we will forever be stuck in this quagmire of racial-related issues. It should have been dead, a long time ago, but it is propped up by our government. Our government is a system, its basic instinct is to survive and propagate, like any living organism, and so it is doing what is natural to it. And I believe that despite what both BN and PR are saying, and despite the fact that at this point I am pro-PR, Malaysia's energy and talents will forever be leaking towards these unproductive arguments, and that we will not progress further, and possibly even be eaten up by some future global crisis. I believe that we do not have the capacity to change - I have not seen changes, barring the BERSIH rally, and the March 8 elections. Beyond that, all that has happened is copy cat; creativity seemed to have disappeared after those two changes, and no longer drive the engine that generates societal change.

And there will be people who will disagree. In fact, I believe many of you will. Certainly other commentators will. See what they write. It's always positive. It's always, Malaysia is having such a such issue or problem ... but hey, we have the capacity to get out of it. What I write will strike them as defeatist. And that's fine - it's not like I'm disputing them. Actually, deep down, maybe I do. At some level I do think they are deluding themselves. But then, maybe I will change my mind a year hence. Maybe some other change will happen, hopefully something unpredictable, not just something boring like Pakatan winning the next general election. In fact, maybe I will change my mind next week.


Why such an uncertainty-laden, contradictory prologue? Because it is the truth. And the sooner you readers realise that every single person, every single event, and everything is as hypocritical and conflicting like that at most levels of reality, the sooner you break out of your complacency and stubbornness.

That Malaysians are being shortsighted when we argue with each other about ideologies, about racial equality (of the more-equal-than-others type), about self-interests above other concerns, especially when you have hit the sweet spot of being under the media spotlight (that refers to you, Kg Buah Pala residents), about religion, particularly under the guise of religious tolerance while the words used are still soaked in the exact opposite ...

For the truth is, we may be arguing over sand. While we were arguing about all these things over the past few decades, the Soviet Union has asserted itself and then disappeared. Meanwhile, Idi Amin was eating people in Uganda. Meanwhile, corporations have risen and taken over sovereign decisions ... Consider the image of three men, hands clasped over each others', grappling and struggling to retrieve that macguffin for god knows how many years, until the macguffin has turned to sand, and while the men are still fighting over it, pieces of it are leaking away. What was the macguffin? I doubt the men even remember.

In this context, can you see how petty it is that certain Malays are fighting for so-called Malay rights? Are you really that different, that separate from the world? Why waste so much energy to break yourself from others? This need to separate, rather than to identify and emphathise, is suicidal and insane. And at the same time, it appears sane to them.

What am I suggesting Malaysians to do?

I am suggesting Malaysians stop being Malaysians. If you can get out of the country, for the love of God please do. But don't be like the simple-minded Cina who emigrated where it is easy. You know, the ones who run off to Australia and New Zealand. Sure, they have their personal, logical reasons to do so - there always is, and I'm not saying it doesn't make sense. What I'm promoting though, is to make the entire world your living space. Malaysians need to begin decoupling themselves from the idea that there is no other choice than to remain permanently feet-planted stuck in Malaysia, mentally as well as physically.

Wales. Kenya. Antarctica. Mexico. Bosnia Herzegovina. South Korea. The Maldives. Exactly - wherever. Malaysians are already everywhere - we are not quite as ubiquitous as the Chinese or the Indians in that regard, but on the other hand neither are we as insular as them.

The world is your oyster. You see, you don't have to be Malaysian, or Singaporean because it's close enough, or Chinese because that is the next America, or whatever. You can be a global citizen in a true sense. And still come back home to Malaysia.

Come back. For it is home. It is your base, your HQ.

But at the same time, you are no longer obligated to fight for whatever it is those pro-BN or pro-Pakatan or pro-PPSMI or pro-Chinese-education or pro-Malaysia-untuk-Melayu-sahaja people are fighting for. Fight where you can - don't just abandon it.

But the act of going overseas, what it affords, is that you see what every other country is going through. You realise, that Malaysia is lucky in some ways, pathetic in others. You realise, that we have almost nothing to shout about. Really. Our government seems to revel in the whole Malaysia Boleh thing to the point of blindness - it wants to be blind, or rather, it wants us to be blind. Truth is, Malaysia Boleh, tapi belum lagi. It's like George Bush declaring 'mission accomplished'. Notice that we observe that declaration not with admiration but with derision. Let me say it again - Malaysians have very few things to be proud of.

And please vote during elections. From now on, please don't just vote because someone is from Pakatan, as I believe most of you who read this will be anti-BN. Instead, in your constituency, if your MP has done well, and hasn't done anything stupid like insinuate that Malays own the country or that the people can't control their appetite for porn or used doublespeak to imply that ISA is still needed as a tool to strike at dissent and protest against government and its interests, please vote for the person, whether he or she is a BN or PR candidate.

The reason why the people are so discontent, is because our racial-related problems could mostly be solved in a flash, just like that. It's just a matter of adopting a mental attitude, then all so-called complicated problems would disappear. The people are ready to discard the veil of racism, and have been waiting for the government for so long. The government just needs to be ruthless. Declare that anyone could be Prime Minister of the country. Declare a free-for-all in business, in university entrances. Let it go.

Screw Ketuanan Melayu. There is no such thing - if there ever was such a thing, it is no more. There is also no Chinese power to worry about, nor Indian power, nor Orang Asli power. You laugh, but it's a serious point. There are only Malaysians now. And the thing is, while we are fighting over race, race, race, the country is facing the same problem all countries in the world are facing - an aging population, shortage of drinking water, food crisis, global warming. Our energy could have been expended to solve these problems, and zoom ahead of every other country in the world. Instead, we are wasting our time in pointless squabbles, both social and political - behaving like a messy Central African country.

The way ahead -- you decide. You have to decide.

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