Ending “the torch” - what light remains

For more than one and a half years “The Torch” has been engaged in an effort to promote a heightened awareness and a more profound understanding (and with it, hopefully, a better appreciation) of film aesthetics as per 21^st century requirements. In the course of so doing, it touched upon many deeply sensitive issues. By keeping a clear focus on current developments in exemplary Singapore its objective has always been twofold: to answer the specific and to extract and explain the general type.

Methodically, it has never attempted to profess any dogmatism, or to be exclusive. Rather, its pursuit has been from the outset to try and instigate an open and qualified debate about what it is that defines film as an art form and what it requires us, who are involved in some way or another in its making, to always bear in mind, to never lose sight of and to be uncompromising about. Although this column has run its course now, the case which it has been but a humble part of remains open and continues to be in need of further reviewing. As it is with every kind of legacy, however small, that it is those who come after who will determine its worth, so “The Torch” may very well be carried on in private or in public by someone else – as with hope, the passion lighting it will not cease to shine!

My heartfelt gratitude to a most perfect host-site, that brilliant and forever friendly link, Sinema.sg! The salute can be found: here.

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“the torch” #43 – What about quality? - putting the Singapore instant into doubt

When I first noticed that little sticker on the DVD of 881 calling it a “true Singapore instant classic” I thought it was a joke, really. But no, they actually mean it!
What, then, lies behind that craze about efficiency, rapidity and the instantaneous in every moment, experience and every conceivable kind of product especially, that we witness in the ambitious island nation of Singapore today? How does the seemingly all-pervasive obsession with everything quick and easy affect the country’s blossoming movie industry, and young independent filmmakers in particular? Can quality truly be achieved – let alone maintained – in an environment that doesn’t seem to cherish the essence for which there can never be a short-cut, never a substitute, and that is time? Give it a moment to reflect on the topic, then join this controversial discussion right: here.

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“the torch” #42 – In the crux: short films - what is the art in being short?

For some young filmmakers and aspiring directors a short film is but a showcasing vehicle to prove themselves to the outside world and possible investors. The format serves as a platform to perform a visual stunt or two, and all effort is directed at maximizing the self-promotion effect attesting to advanced professionalism, or so. For some, though, making short films is an art form and a vocation. The genre in itself can be fulfilling and there are numerous examples (some of them coming out of Singapore in recent years) that unless being taken seriously for what it is, a short film will be nothing but an exercise in vanity: hollow, and amounting to little more than an overlong trailer to a would-be movie at best. But there are rules to obey, the intrinsic markers of quality in this particular kind of motion pictures, and all the good genes they might carry have one prime information inscribed in them: be short! What this means in practical terms and how originality in a short is defined by the ability to meet the criterion – you can read it up: here.

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“the torch” #41 – Visualize – Customize – Iconize?

The question is on and can no longer be avoided: Can that conflict between substance and surface in our digital age finally be resolved, if not all form is empty to begin with? To copy to produce and in turn have it copied again by somebody else (or even oneself for that matter) – the endless cycle of self-consumption and self-repetition is a topic that has been addressed many times before. It comes with various deep and difficult implications and provides ample incentives for debates profound or shallow, just as it makes for sleepless nights among that precariously idiosyncratic breed of artists, and some filmmakers among them. But does it really have to be that way? What exactly is telling in a picture? Where does that quality stem from, and how can it be meaningfully defined? Isn’t there a lot of usable substance in the stereotype, the cliché, as well? And, lastly, what is the common ground of our (post)modern world – its view and representation – anyway? “The Torch” features these burning questions: here.

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“the torch” #40 – Your film's emotional balance sheet

If indeed Oscar Wilde was right in saying that it is only shallow people who can’t let go of a feeling, then, probably, our films’ tendency to elaborate on emotions should equally be discarded as sentimental bravery? While I’m not so sure about the former of these two statements, I can, however, agree with the notion that more often than not, less would have been substantially better in much of what we see come to our silver screens as supposed filmic renditions of our life reality. Undoubtedly, there are limits to what refinement and level of subtlety works in a movie and where it begins to be just cryptic, dim, or outright pretentious. So, film at times needs to paint in bolder strokes in order to bring its story across as colourful and vivid as we like it; even in its darker tones. But when it comes to consolidating your draft with strong effects, “The Torch” (here) argues that it is a task of striking the right balance, first and foremost.

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“the torch” #39 – Bonus material on your DVD - does it add up?

Really, how versatile is that disc you just bought? A legitimate question, for sure, and one that has every content shopper scrupulously studying the back cover of whatever DVD they think about purchasing – if they are smart enough to consider before leaving their cash to the counter. The flipside to our products’ packaging is a selling point, whichever way you look at it. And to investigate as to what we want – and what we get – as consumers of films, is worthy of taking a moment to deliberate on. No battle over formats sees the movie-lover as winner, unless there is bonus material included to match expectations. The option is on the table for any producer and designer to make their costumers happy – if only they bothered to care about demand; which should be in their own best interest, should it not? Let’s compile a list, then, of what makes for real added value in a hard copy release, so that next time we will truly enrich ourselves (and not just the shops and companies) when buying another item for our private film library. First attempt you will find: here.

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“the torch” #38 – in the crux: location scouting

The Here and Now is ideally located between the Then and There and all that which it is impossible to foretell: our forever elusive future, wherever it may lead us. On this we have common ground, and an acute awareness – as well as an existential need – to reassure ourselves of who (and where) we are by relating the stories of our individual pasts and weave them into one large and sweeping fabric of togetherness and human belonging. To this end we apply all kinds of expression to forge a narrative that has the coherence (and resiliency) to support. As history manifests itself in our minds and finds itself often attached to objects or places we hold dear or dread, every filmmaker is confronted with the task of identifying the one and only perfect setting for their movie. “The Torch” in this week’s edition probes into the choices and options, their various deep implications, in the matter of scouting for the right location and handling of place in a motion picture coming to life. You find it: here.

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“the torch” #37 – A cinephile’s truism: film conquers reality

The Spanish without doubt are among the most accomplished when it comes to all kinds of conquering. From “La Reconquista” to “La Convivencia”, those Conquistadores apparently knew what they were doing and profited greatly, even winning almost an entire new continent for themselves and their King (temporarily at least). If reality was to gradually become a colony to our fantasy and secret wishes – maybe that is what is happening right now? “The Torch” this week maintains that a cultural acquaintance doesn’t always have to end in the dispossession of the other. But, if not of triumph, what are we talking about here? That films should have it in them to implant attention-grabbing details in our heads and with guerrilla-like persistence to penetrate our imagination, this is undeniably true. What power does the medium hold over reality, then, one might come to ask. This truism is put to the test right: here.

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“the torch” #36 – High trash

Be funny or die trying – well, that’s a way to put it. Whether you think it particularly tasteful is another matter, but one probably worth looking into. The humorous adventure of serving something which is not quite in line with common taste and liking – in film, it must be handled with good care and graciousness if it is not to spoil everything and make a movie lose all audience support. Where tackiness is concerned, we do have our very distinct and personally defined limits, each and every one of us, that would tell at which point fun is ending and a nuisance begins (or vice versa). Not to overstep this border, or if so, to do it discerningly and as just a minor offence which is entertaining because it is tolerable, that’s the task precisely and needs to be negotiated every time anew. “The Torch” addresses this issue of (im)moderation in generating the right effects: here.

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“the torch” #35 – in the crux: Acting - what role does the actor play?

To identify and empathize – these are two of the most fundamental capacities and distinguishing us as human beings as to set us apart from the animal world. What the arts can provide us with, in the best of cases, is a deepened insight and heightened awareness of our shared condition and nature, by giving a representation that we can relate to – if the part is convincing. And this too often proves to be the crucial point and Achilles’ heel in much of what we can observe in the contemporary film landscape: the acting. What is being neglected, or wherein exactly do we need a renewal of effort to improve the record on this count to successfully enhance the performance of our movies and to make the cinematic real have an impact again? The actor nowadays, in a world of constant and all-inclusive display of self-re-enactment (the simulacrum-dilemma of modern times you might call it), appears more challenged than ever and therefore must get back to the very basics of their craft. Such is the appeal made by “The Torch” this week, here.

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“the torch” #34 – Mainstreaming: On bringing your film in line with the system

To go with the mainstream is but one option for successfully launching (or maintaining) your career into filmmaking – if only too mundane for some to keep them from pursuing their alleged higher calling. The separation on closer observation soon enough will emerge as somewhat artificial and self-serving when in fact the so-called “artsy-fartsy” and what’s being labelled as “commercial” oftentimes are considerably less than worlds apart. For even the main stream of things has its branches and inlets to sport some sweet indulgence from time to time, that anyone so inclined can take their time and brain space off and foster their creativity forever fresh and anew.
The legend whereby film industry and art-house film are mutually exclusive – I want it thrown right out the window once and for all. Let this counterproductive myth rot on the garbage dump of history where it belongs and let real innovation make sense out of entertainment. Do you agree or not? You will find the main thesis: here.

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“the torch” #33 – Idealism in film: or how to generate a visual message

Images arguably hold an immense telling power, they can move us to tears or to action, in some cases achieve both without preaching. What is it about film that invests it with such might, and in our times more than ever before? Is it that we as viewers are just too willing, too much in need of purpose and explanation that we can’t resist but read so much into them? Or does the bottom line message so purposefully visualized effectually come across and give us something we didn’t have on our own up until taking the seat and watching? The give-and-take equation – is it an equilibrium or a one-sided outpouring, influx and consumption of ideas only? And how does it work anyway, idealism in film that is gripping, vehemently entertaining even, but not lofty? Take a look and read up on “The Torch”: here.

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“the torch” #32 – in the crux: sounds and scores

Music being probably the first art form ever practiced by mankind, and music being also the most mysteriously assertive expression of life (for it is well established how it works its wonders not just on us human beings alone), it is only reasonable to investigate its role in film. The acoustic layer of our perceiving a movie has been an issue from the earliest days, and the silent era certainly no exception. Whether it is meant to accompany a picture or to speak its own voice, music has the power to enlarge what and whomever it touches upon. Accordingly, any filmmaker has to be aware of the manifold implications that come with utilizing a score to enhance the visual performance, and to explore what further potential for innovation of the craft this may hold in store. If you want to follow up on the ongoing discussion about what a film should sound like, or join in yourself – you’re most welcome: here.

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“the torch” #31 - Death or Humour?

All the world is a stage – and death no joker! (But in film, a good joke can be a killer.) To keep us entertained with their movies, a filmmaker has to bear in mind the first principle whereby excess is not advisable, but moderation is: healthy and safe. While the latter is arguably true, the conviction that a taste for health is what gets us into those seats sounds considerably less convincing; how much appeal insanity has in store is the very formula each thriller of whatever genre tries to calculate anew – and results should differ. An extension of this line of thinking would have to ask where exactly the aimed for emotive value can be found in balancing the distribution of film’s strongest assets (narrative devices both): death and humour. Whether to factor out, or in, and to what degree, this is the calibrating task between fun and credibility you absolutely have to get right with your audience if you want your film to do well and connect.
Interested in finding out more about what we want from our movies? Get “The Torch”: here.

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“the torch” #30 – in the crux: literary adaptation

When words and images collide – there are most certainly going to be all losers in that game. To write for film, or to film after writing – is it merely a priority issue and your classic master-slave situation calling for good guidance and decisive action? Or is there a real conflict at play, more challenging and possibly less likely to be swiftly resolved by good will alone? This week’s edition of “The Torch” makes it an unambiguous case for the latter notion, and arguing that without the right amount of mutual respect for the art form of literal or visual representation respectively, there can be no coming-together in any way convincing and fruitful. If “know thy neighbour” be a rightful command with some grounding in past experience (learning from mistakes, that is), then the crafting of a good literary adaptation of a deserving text affords both sides involved to heed the rules of each profession alike and honour their differences. For what is incongruous by nature can only be overcome by real creativity, never force. Your point is: here.

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“the torch” #29 – Your Berlinale blueprint

‘Size does matter’ – we all know about this truism’s worth, one way or another, and have learnt how to live with it. In terms of publicizing and creating a buzz about a product to raise the level of public awareness, possibly turnover and revenue, film marketing has to go by the rules like any other business. But then again, we are talking about an art form as well, and it is in this respect that more important factors than only short term success need to be taken into consideration when promoting a movie that also aspires to be taken seriously as an act of self-expression. The festivals around the globe, self-serving as they are, provide of course the necessary platform to do just that, and when it comes to the Berlin International Film Festival (aka Berlinale), arguably one of the industry’s top events on the calendar each year, prestige, recognition, appreciation, exposure, business and a bit of calculation too, all together they form that special cocktail which has aspiring people from all over the world flock to the city with great expectations. And what presumptions exactly can tell a marvellous little lie or simple line of wisdom – at times you don’t even have to wait until the lights come down and the projection starts to figure this out. For vanity is a strategist who will not be surprised – and thus, to get yourself prepared, visit this week’s edition of “The Torch”: here.

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“the torch” #28 – in the crux: Trailers

These days there is an art to almost everything, it seems, the “art” of investing, of housekeeping, scheduling, or even relaxing. How about wrapping, then? This argument can be stretched, of course, indefinitely if need be, but what is being addressed is the issue of marketing and, to be more specific, the question of packaging and advertising a film – most pointedly by way of a striking preview to launch a substantial theatrical release. Japanese culture is known to hold some rather eclectic views about refinement in marginalia or aspects of life elsewhere perceived too common or obscure, and the opening scene in Matthew Barney’s “Drawing Restraint 9” might provide a clue to just what such visual origami could be: your meticulously crafted trailer.
All art eventually will attest to the degree of skill that brought it forth and so to match appearance with a substance matter is as well an ethical task, betraying honesty. Be careful, then, what you sell your film by (and for) – argues: “The Torch”.

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“the torch” #27 – In search of the perfect film – or audience?

This column by definition raises many a burning question and customarily tries to undermine some of the best-held beliefs in our developing filmmaking community, but no other issue, perhaps, has had a more crucial point to make, none has put more at risk than this one. Obviously, learning is essential and it is always the acquired skill that empowers the filmmaker to shape a vision and affect people in their lives and dreams by their very profession; and this is a long and winding, in fact, an unending road to travel with much patience. But education is no substitute for talent or inspiration. To stick with the rules as recorded in the books, your invaluable art instruction – it's not a choice, if only for him who already masters the craft. That’s because every game needs to be played according to the rules, or else it just amounts to brutish wilfulness but will never be fair – and yet, it is equally true that the play is the most basic principle in nature variation coming to life.
Stakes are high for we are talking about perfection and nothing less, so do position yourself: here.

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“the torch“ #26 – Reflections on “4:30” by Royston Tan

How do you describe, how do you relate a passion? No matter what you come up with, there is always some kind of wall between you on the inside and the outer world that you try to communicate your feelings to. This wall – it’s ineradicable, hardly permeable at all, and even if it happens to be a screen, this basic truth still applies. Then again, film certainly, above all else, tells us about emotions, it affects us, moves us or inspires on many different levels but always touches on our emotional strings for sure. Thence its power to impact, to change your life – rarely, but it can. As a matter of fact, emotions in filmmaking not only are the products’ most valuable asset, but also steer the process of their coming about in various profound ways and need to be tended to, their positive drive kept alive because it’s crucial. Success and commitment – these terms constitute the key parameters to measure a sustained passion by, whatever aspect of the craft you may think of. Read up on one such (very personal) account: here.

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“the torch“ #25 – Commercial Independence

Everybody wants to strike it big, win the lottery and go home with the main prize – for luck or achievement, what does it matter, really? And undoubtedly, money is a valuable asset better to be had in sufficient supply; especially so when your prime ambition is with film and filmmaking, that incurable inclination to lavishly spend as much and as unreasonably as you possibly can (and preferably somebody else’s $s at that). But there are strings attached with funding obtained from outside sources, the government’s pots or some investor’s neat calculation, and the young auteur is afforded to be just enough of the young entrepreneur as well as to prevent the thing from backfiring – commercially or artistically. For when push comes to shove, those two are inseparable and need to be balanced if not entirely reconciled.
Well, how to? Or, what’s so wrong with that? Questions unanswerable – but happily debated nonetheless: here.

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