tag:blogger.com,1999:blog-15988182013127283592024-03-12T18:29:06.519-07:00Kumbukumbu Za Mti Uunguao | Memories of a Burning Tree ~ a film by Sherman Ongみんあんhttp://www.blogger.com/profile/06055071045221001102noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-1598818201312728359.post-2718916095417989102010-01-04T09:11:00.000-08:002013-02-22T16:37:29.531-08:00Synopsis and Production Credits<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;">Rotterdam International Film Festival 2010 (World Premiere)</span><br />
<span style="font-size: small;">Goteborg International Film Festival 2010 </span><br />
<span style="font-size: small;">Hong Kong International Film Festival 2010</span><br />
<a href="http://www.filmfest.org.sg/displayFilm.php?filmID=41&filmCat=3"><span style="font-size: small;">Singapore International Film Festival 2010 (Asian Film Competition)</span></a><br />
<a href="http://www.festivalcinemaafricano.org/eng/index.php?pag=press_comm&sot=press_sot"><span class="titpag">African, Asian & Latin American Film Fest, Milan 2010</span></a><br />
<span class="titpag"><a href="http://www.ukzn.ac.za/cca/durban_international_film_festival.htm">Durban International Film Festival 2010</a></span><br />
<span class="titpag"><a href="http://www.ffm-montreal.org/liste_doc_ang.html">Montreal World Film Festival 2010</a></span><br />
<span class="titpag"><a href="http://www.asianfilmfestival.eu/index.php?option=com_content&view=category&layout=blog&id=2&Itemid=14&lang=it">Rome Asian Film Festival 2010 (In Competition)</a> </span><br />
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<span class="titpag"></span><span style="font-size: small;"><span class="UIStory_Message"><a href="http://www.tiff-jp.net/en/lineup/works.php?id=86">Tokyo International Film Festival (Winds of Asia Competition)</a><br />
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<h3 class="UIIntentionalStory_Message" data-ft="{"type":"msg"}" style="font-weight: normal;">
<span style="font-size: small;"><span class="UIStory_Message"><span class="text_exposed_show"> </span></span></span></h3>
"MEMORIES OF A BURNING TREE is the work of Singapore-based director <a href="http://www.sudplanete.net/index.php?menu=pers&no=22221">Sherman Ong</a> who made the film in Tanzania and shot it in Swahili. The result is a riveting ensemble piece that is a truly global piece of cinema. ...Beautifully shot, with a cast of non-actors and an improvised script, this is a stirring and original film.<span class="titpag">"</span><br />
<span class="titpag"><a href="http://www.sudplanete.net/index.php?menu=film&no=11296&lg=_en">~ www.SubPlanete.net</a></span><br />
<span style="font-size: small;"> </span><br />
<span style="font-size: small;">" </span>A Singaporean director has made a movie in Tanzania. In Swahili. With a cast of non-actors. And it's amazing. <b>Kumbukumbu Za Mti Uunguao</b> (<b>Memories of a Burning Tree</b>) is a multi-layered ensemble drama that cuts to matters of the heart and soul."<br />
<a href="http://thaifilmjournal.blogspot.com/2010/04/hkiff-2010-review-memories-of-burning.html">~ Wise Kwai's Thai Film Journal</a><span style="font-size: small;"> </span><br />
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"With understated performances from non-professional actors speaking Swahili, the film gives a striking impression of urban African life without pushing violence, poverty or disease."<span style="font-size: small;"> ~ <a href="http://www.sensesofcinema.com/2010/festival-reports/where-is-africa-the-39th-international-film-festival-rotterdam-2010/">Ian Mundell, senses of cinema</a></span><br />
<span style="font-size: small;"> </span><br />
<br />
<span style="font-size: small;">IFFR 2010 Forget Africa Programme Notes by Gertja<span style="font-size: small;">n Zuilhof</span>:</span><br />
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<div style="text-align: left;">
A film maker who makes friends quickly settles in Dar es Salaam, Tanzania. Because he can't afford to pay much to the actors, he teaches his new friends to act. Because he hasn't written the screenplay, he asks his new actors for stories. Because he can film, the result looks great.<br />
<br />
Just like the other film makers in the Forget Africa project, Sherman Ong had never previously been to Africa. His budget was also not higher than that of his colleagues. He did stay rather longer in Dar es Salaam, Tanzania, because he stretched his financial means to the limit, but that does not explain the fact that Ong was able to make a full-length feature in that short time, in a strange country and with such limited means.</div>
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<br />
The secret is in his approach. Previously, Ong showed in his film <a href="http://hashithefilm.blogspot.com/"><b>Hashi</b> (2008)</a>, shot in Japan, that he was able to improvise a feature in a strange country where he doesn't speak the language. <b>Memories of a Burning Tree </b>also came about in improvisations. Ong loves the approach of dancers and theatre makers who put together a show step-by-step. Here, all the performers were amateurs. Most had no acting experience at all. Ong's answer to that is to rehearse calmly and patiently and to involve his actors in building up the story and situation.<br />
The basis is simple. A man called Smith arrives in Dar es Salaam to sort out some affairs. He meets the tourist guide Link, who wants to help him. Gradually he needs more helpers, such as the grave digger Abdul and the scrap collector Toatoa. Each of them is searching in his own way.<br />
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<span style="font-size: small;"> </span></div>
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<span style="font-size: large;"><a href="http://www.paddypictures.com/">Paddy Pictures</a> and <a href="http://13littlepictures.wordpress.com/">13 Little Pictures</a></span><br />
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<div style="text-align: center;">
<span style="font-size: small;">present </span><br />
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-large;">Kumbukumbu Za Mti Uunguao</span></div>
<div style="text-align: center;">
<span style="font-size: x-large;">{Memories of a Burning Tree}</span></div>
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<br />
<span style="font-size: small;">Commissioned by</span></div>
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<span style="font-size: small;">the <a href="http://www.filmfestivalrotterdam.com/">Rotterdam International Film Festival</a> in 2009</span></div>
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<span style="font-size: small;">for their programme FORGET AFRICA</span><br />
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<span style="font-size: small;">Directed by Sherman Ong</span><br />
<br /></div>
<div style="text-align: center;">
<span style="font-size: small;">Written by Sherman Ong</span></div>
<div style="text-align: center;">
<span style="font-size: small;">with Peter Mbwago & Nkumi Hamis Mtingwa</span></div>
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<span style="font-size: small;"><b>Synopsis</b></span><br />
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<span style="font-size: small;">Smith comes to Dar es Salaam to tie up some loose ends. He meets Link, a tourist guide, who agrees to help him. Along the way they are offered help by Abdul, a grave digger, and Toatoa, a metal scavenger, who themselves are searching for answers to their own journeys. Their search eventually leads them to realise that this is a never-ending journey of dreams and disappointments. With an ensemble cast of non-professional actors and an improvised script, this film is an homage to the road movie genre, where ultimately the road ends when you want it to end.</span><br />
<br />
<span style="color: #eeeeee;"><span style="font-size: small;"><span id="yui_3_7_2_1_1361446744881_99573" style="font-family: Tahoma; font-size: x-small;"><span id="yui_3_7_2_1_1361446744881_99572" style="font-family: Tahoma; font-size: 10pt;"><b>Trailer:<span style="font-size: x-small;"> </span></b><a href="http://www.youtube.com/watch?v=F2dGl-mOX0A" id="yui_3_7_2_1_1361446744881_99576" rel="nofollow" target="_blank">http://www.youtube.com/watch?v=F2dGl-mOX0A</a></span></span></span><span id="yui_3_7_2_1_1361446744881_99510" style="font-family: Tahoma; font-size: x-small;"><span id="yui_3_7_2_1_1361446744881_99509" style="font-family: Tahoma; font-size: 10pt;"> </span></span></span><br />
<span style="color: #eeeeee;"><span id="yui_3_7_2_1_1361446744881_99510" style="font-family: Tahoma; font-size: x-small;"><span id="yui_3_7_2_1_1361446744881_99509" style="font-family: Tahoma; font-size: 10pt;"><b>Download stills:</b> <a href="http://dl.dropbox.com/u/696430/MBT_300dpi-Stills.zip" rel="nofollow" target="_blank">http://dl.dropbox.com/u/696430/MBT_300dpi-Stills.zip</a></span></span></span><br />
<span style="color: #eeeeee;"><span id="yui_3_7_2_1_1361446744881_99460" style="font-family: Tahoma; font-size: x-small;"><span id="yui_3_7_2_1_1361446744881_99459" style="font-family: Tahoma; font-size: 10pt;"><b>Behind the scenes:</b> <a href="http://sindieonly.blogspot.sg/2010/04/siff-production-talk-memories-of.html" id="yui_3_7_2_1_1361446744881_99458" rel="nofollow" target="_blank">http://sindieonly.blogspot.sg/2010/04/siff-production-talk-memories-of.html</a></span></span></span></div>
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</span><br />
<object height="505" width="853"><param name="movie" value="http://www.youtube.com/v/F2dGl-mOX0A?fs=1&hl=en_US"></param>
<param name="allowFullScreen" value="true"></param>
<param name="allowscriptaccess" value="always"></param>
<embed src="http://www.youtube.com/v/F2dGl-mOX0A?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="853" height="505"></embed></object><br />
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<span style="font-size: small;"><b>Technical Specifications</b></span><br />
<span style="font-size: small;">86 mins | Colour | Stereo | Swahili with English subtitles</span><br />
<span style="font-size: small;">Countries of production: Tanzania, Netherlands, Singapore, Malaysia</span><br />
<span style="font-size: small;">Year of production: 2010</span><br />
<span style="font-size: small;">Original Format: HD Video </span><br />
<span style="font-size: small;">Screening Format: HDCam 60i</span><br />
<span style="font-size: small;">Website: <a href="http://memoriesofaburningtree.blogspot.com/">http://memoriesofaburningtree.blogspot.com/</a></span><br />
<span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;"><b>Main Cast</b></span><br />
<br />
<span style="font-size: small;">Smith K. Kimaro Smith (Man looking for a grave)</span><br />
<span style="font-size: small;">Link Reuben Link (Tourist guide)</span><br />
<span style="font-size: small;">Abdul Khalfan Malaika Abdul (Grave digger)</span><br />
<span style="font-size: small;">Khalid Saleh Bilal Toatoa (Metal Scavenger)</span><br />
<span style="font-size: small;">Mariam Rashid Mariam (Food Seller)</span><br />
<span style="font-size: small;">Grace Mathayo Grace (Toatoa’s sister)</span><br />
<span style="font-size: small;">Miriam Emanuel Miriam (Toatoa’s girlfriend)</span><br />
<span style="font-size: small;">Raheli Augustino Link’s Aunt</span><br />
<br />
<b><span style="font-size: small;">Supporting Cast</span></b><br />
<span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;">Rase Ndunguru<br />
Stephen Josephat<br />
Silvan N Mkude<br />
Abdullah Saidi<br />
Halima Hassan<br />
Gladness Charles<br />
Christina Jumas<br />
Zaina Saidi<br />
Gwamaka Mwakalinga<br />
Khadija Borna<br />
Khadya Mohamedi<br />
Joruh Jackson<br />
Amina Irajabu<br />
Secemani Husseni<br />
Sikoca Zoni<br />
Shomaki Zumk<br />
Zuena Lawi<br />
Ramadhani Shabani<br />
Mohamed Abdalah<br />
Earohiney Njoki<br />
Goodlucky Simon<br />
Adamy Hamizi<br />
John Kachile<br />
<br />
</span><br />
<br />
<span style="font-size: small;"><b>Excerpts of poems by Shaaban Roberts </b><br />
Hali Halisi (Real condition)<br />
Punda (Donkey)<br />
Nipate Wapi Mwingine (Where do I find another) <br />
</span><br />
<span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;"><b>Production Team</b></span><br />
<br />
<span style="font-size: small;">Director Sherman Ong </span><br />
<span style="font-size: small;">Producers Sherman Ong, </span><span style="font-size: small;">Gertjan Zuilhof</span><br />
<span style="font-size: small;">Co-Producer </span><span style="font-size: small;">Tan Bee Thiam</span><br />
<span style="font-size: small;">Writers Sherman Ong with Peter Mbwago & Nkumi Hamis Mtingwa</span><br />
<span style="font-size: small;">Director of Photography Sherman Ong</span><br />
<span style="font-size: small;">Editor Ming An, Kent Chan</span><br />
<span style="font-size: small;">Assistant Director Peter Mbwago</span><br />
<span style="font-size: small;">Sound & Boom Operator Nkumi Hamis Mtingwa</span><br />
<span style="font-size: small;">Camera Assistant & Sound Malto Tambi</span><br />
<span style="font-size: small;">Script Supervisor Edgar Chatanda</span><br />
<span style="font-size: small;">Fixer/Location Manager Link Reuben </span><br />
<span style="font-size: small;">Music The 'Tribute to Mardana' gang</span><br />
<span style="font-size: small;">Sound Post Takuya Katsu</span><br />
<span style="font-size: small;">Publicity Designer Catherine Chia </span><br />
<br />
<span style="font-size: small;"><b>Generously supported by</b></span><br />
<span style="font-size: small;">Rotterdam International Film Festival</span><br />
<span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;"><b>Special Thanks</b><br />
<b>Netherlands</b><br />
Gertjan Zuilhof<br />
Inge de Leeuw<br />
Rotterdam International Film Festival<br />
<br />
<b>Tanzania</b><br />
Link Reuben, Itangaze Tanzania<br />
Raheli Augustino<br />
Mosses Samseni<br />
Raymond & Willy, Big Willy Production<br />
Jaywin<br />
Uli Schueppel<br />
Ulrike Schwerdtfeger, Goethe-Institut Tanzania<br />
H.D.H. Pramukh Swami Maharaj Temple<br />
Korini Hotel, Magomeni<br />
Safari Inn, Dar es Salaam<br />
<br />
<b>Singapore</b><br />
Asian Film Archive<br />
Canon Singapore (Edwin Tan, Nelson Tan)<br />
Singapore Film Commission (Kristin Saw)<br />
The Substation<br />
Dr. Ulrich Nowak, Goethe-Institut Singapore<br />
Nyagela Carren Gaya<br />
Pak-Juan Koe<br />
<br />
<b>Malaysia</b><br />
Jaggu Singh<br />
The 'Tribute to Mardana' gang<br />
<br />
Our sincere thanks and gratitude to the kind souls<span style="color: #0000ee;"><span style="font-size: small;"><span style="font-family: Tahoma;"><b> </b></span></span></span>and kindred spirits who have helped us along the<span style="font-size: small;"> </span>way to make this film a reality. Asante Sana!</span><span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;"><b>Press / Sales Contact</b></span><br />
<br />
<span style="font-size: small;">Sherman ONG</span><br />
<span style="font-size: small;">Studio ShermanO </span><br />
<span style="font-size: small;">ben [at] shermanong [dot] com </span><br />
<span style="font-size: small;"> <a href="http://www.shermanong.com/">www.shermanong.com</a></span><br />
<span style="font-size: small;"><b><br />
</b></span><br />
<span style="font-size: small;">Bee Thiam TAN</span><br />
<span style="font-size: small;">13 Little Pictures</span><br />
<span style="font-size: small;">bthiam [at] gmail [dot] com</span><br />
<span style="font-size: small;">+65 9768 9986 </span><br />
<a href="http://13littlepictures.com/"><span style="font-size: small;">13littlepictures.com</span></a><br />
<br />
<br />
<span style="font-size: small;"><span style="font-size: large;"></span></span><br />
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<h3 class="singlePageTitle" style="text-align: left;">
<a href="http://www.taxidrivers.it/10167/festival/recensioni-film-visti-ai-festival/asian-film-festival-la-densa-attesa-dellafrica-memories-of-a-burning-tree.html"><span style="font-size: large;"><span style="font-size: large;">R<span style="font-size: large;">ome A</span></span>sian Film Festival: la densa attesa dell’Africa. Memories of a burning tree</span></a></h3>
<div style="text-align: justify;">
<b>Memories of a burning tree</b> (2010) è un esperimento decisamente riuscito. L’Asia si mescola all’Africa nella sezione <i>Concorso</i>, attraverso l’occhio del regista malesiano <b>Sherman Ong</b>,
già collaboratore ‘atipico’ di Festival e Biennali internazionali. Il
suo ultimo lavoro si colloca dentro un’operazione assolutamente
congeniale alla propria forma mentis (con <b>Hashi</b> nel 2008, Ong si era intrufolato in Giappone, paese di cui non conosceva neanche la lingua, assorbendone l’aura e lo spirito).</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b>Memories of a burning tree </b>è frutto di <i>Forget Africa</i>, progetto nato dalla collaborazione tra il<i> Festival del Cinema Africano</i> e<i> </i>l’<i>International Film Festival di Rotterdam</i>,
che ha visto 12 registi stranieri, in maggioranza asiatici e mai stati
nel continente africano, approdare in 12 paesi dell’Africa centrale e
australe, per mescolare il proprio occhio con lo sguardo dei registi
locali e dare vita ad un incrocio singolare e promettente. Sherman Ong è
arrivato in Tanzania con un budget appena passabile per girare. Ha
sostato più tempo a Dar es Salaam, riuscendo attraverso
l’improvvisazione degli attori teatrali non professionisti coinvolti a
costruire una storia tanto semplice quanto stupefacente nel rivelare,
per mezzo dei personaggi che prendono forma da essa, la realtà
dell’Africa, la sua bellezza compressa dentro l’impossibilità di
spiccare il volo da parte di risorse materiali ed intellettuali
costrette a fare i conti con un senso di attesa e impotenza costante… Un
giovane uomo di nome Smith giunge a Dar es Salaam, alla ricerca della
tomba di sua madre. Incontra la guida turistica Link, che si offre quale
ausilio nel ritrovamento. I due si imbattono in figure che popolano la
città: Abdul, un becchino che attende gente da seppelire e appena può va
a trovare Mariam, la donna di cui è innamorato, corteggiandola senza
un’apparente speranza. Toatoa, che vende metallo e trafuga le croci al
cimitero per trasformarle in merce da usare e studia recitazione. Sua
sorella, giovane studentessa malinconica che legge poesie sul senso di
peso e sacrificio di una nazione desiderosa di sbocciare, ma con poca
acqua a cui attingere per crescere. La stessa Mariam, donna poco
istruita ma ben addestrata alla vita, lontana dalle fantasticherie
sentimentali, talmente realista da guardare all’amore per l’unico valore
che, in luoghi come Dar es Salaam, può avere: un modo per cercare di
sopravvivere con più sicurezze rispetto a quelle che un becchino
potrebbe offrirle.</div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
Il regista ha dimostrato intuito nel
contestualizzare all’atipicità del luogo e della realtà che andava ad
esplorare la forma road movie che aveva in mente, lasciando che a poco a
poco la storia prendesse vita da sola, sciogliendo nell’improvvisazione
e nella lingua <i>swahili</i> gli attori alla loro prima esperienza,
che ci rendono un ritmo e un respiro dell’Africa nella sua essenza: un
senso del tempo dilatato, dove si resta a pensare, a sperare, a sognare,
o semplicemente ad aspettare; una quotidianità nella quale comprendiamo
tutto il valore dell’acqua, ne percepiamo la reale e incommensurabile
necessità; un rapporto con la morte e gli spiriti senza mediazione,
perché palpabile è l’indistinto confine che segna la vita e la morte, il
suo più immediato e frequente scambio in un mondo segnato da un senso
di precarietà col quale si nasce e con cui si è costretti a convivere
ogni giorno; una cultura dove l’uomo e la donna mantengono ruoli ben
distinti, e nella quale fanno capolino l’istruzione e lo studio, le
forze più importanti (e lo avvertiamo quanto vengano considerate
indispensabili da chi le pratica) e preziose che cominciano a
germogliare e a dare frutti. E Sherman Ong crea un corrispettivo di
sguardo fatto di camera fissa e movimenti di macchina di pari
significato, dove le figure entrano ed escono, oppure semplicemente sono
contenute nel senso di attesa e nei silenzi che raccontano.</div>
<div style="text-align: justify;">
<i><b>Maria Cera</b></i></div>
<div style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/_yVbJekhASz8/S0JyNvORhTI/AAAAAAAAAac/ZoW8on5On-I/s1600-h/MBT7_fotocredit-ShermanOng.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://4.bp.blogspot.com/_yVbJekhASz8/S0JyNvORhTI/AAAAAAAAAac/ZoW8on5On-I/s640/MBT7_fotocredit-ShermanOng.jpg" /></a></div>
<br />
<br />
<h3 style="text-align: left;">
<a href="http://www.sentieriselvaggi.it/292/37788/VIII_ASIAN_FILM_FESTIVAL_-__Memories_of_a_Burning_Tree_e_Flooding_in_the_Time_of_Drought,_di_Sherman_Ong.htm"><span style="font-size: large;">VIII ASIAN FILM FESTIVAL - "Memories of a Burning Tree" e "Flooding in the Time of Drought", di Sherman Ong</span></a></h3>
<h4 style="text-align: left;">
</h4>
<h4 style="text-align: left;">
<span style="font-size: large;">Filmmaker e fotografo di Singapore, Sherman Ong lascia la propria firma su questa edizione dell'<i>Asian Film Festival </i>attraverso
due opere distanti tra loro ma legate dall'interesse del regista a
“guardare oltre”, laddove “oltre” può stare a significare sia lontano
geograficamente che al di là del quotidiano, con maggiore attenzione e
consapevolezza</span></h4>
<br />
<img align="left" alt="sherman ong" height="269" hspace="3" src="http://www.sentieriselvaggi.it/public/articoli/37788/Images/sherman_ong%281%29.jpg" title="sherman ong" vspace="3" width="403" />Filmmaker e fotografo di Singapore, Sherman Ong lascia la propria firma su questa edizione dell'<i>Asian Film Festival </i>attraverso
due opere distanti tra loro ma legate dall'interesse del regista a
“guardare oltre”, laddove “oltre” può stare a significare sia lontano
geograficamente che al di là del quotidiano, con maggiore attenzione e
consapevolezza.<br />
Presentato in anteprima mondiale all'International Film Festival di Rotterdam 2010, <i>Memories of a Burning Tree </i>suscita
immediato interesse per la singolarità del progetto: promuovere in
Europa un film di fiction girato in Tanzania, da un regista asiatico,
con attori africani non professionisti, è un intreccio di per se
insolito, attira per la possibilità che concede allo spettatore di
immedesimarsi in uno sguardo alieno su di una cultura altrettanto aliena
–all'autore quanto al pubblico. Ma è proprio questa radicata non
appartenenza che finisce, alla lunga, per non convincere, poiché non
consegna chiavi d'accesso sufficientemente suggestive sull'universo
rappresentato, suggerendo il panorama confuso di un'Africa sospesa, dove
la trama principale - due ragazzi cercano la tomba della madre di uno
dei due - si perde per strada, si fa pretesto per parlare della stasi di
una nazione, di una immobilità interiore in cui anche la realizzazione
dei propri sogni avviene in sordina. Nessuna tragedia umana -e questo
può essere un punto a favore- ma anche ben pochi spunti per coinvolgere,
laddove qualche scelta registica più azzardata avrebbe potuto proporre
una lettura più profonda, ma ci si limita piuttosto a mimare la
staticità dei contenuti. <br />
Certo, non ci si poteva aspettare un cambio di rotta da parte di un
regista ossessivamente dedito al piano sequenza a camera fissa, un
autore che risente in ogni scelta della costruzione fotografica
dell'inquadratura, e che sembra ipotizzare quale unico movimento
possibile quello dei personaggi all'interno del quadro, e mai movimento <i>del</i> quadro.<br />
<br />
Ma quali possono essere, allora, gli effetti di scelte tanto
drastiche quando si passa ad analizzare un contesto ben noto, ossia
l'odierno Singapore? <i>Flooding in the Time of Drought, </i>commissionato
dalla Biennale di Singapore nel 2008, conduce a risultati radicalmente
diversi. Si tratta di un'opera complessa e densa, dove l'autore
intreccia le vicende private di una serie di coppie di personaggi
-consorti e non - in una Singapore oppressa dalla siccità. La siccità
quale motore di insoliti meccanismi relazionali non è una novità per il
cinema asiatico, se si pensa che le perversioni amorose di <i>Il gusto dell'anguria</i> di Tsai Ming-Liang sono conseguenza della stessa, mortifera, mancanza d'acqua. Anche <i>Memories of a Burning Tree </i>allude
all'importanza dell'acqua per il naturale scorrere dell'esistenza, ma
se il vuoto di sentimenti del film africano generava distanza nello
spettatore, qui si raggiunge una maggiore partecipazione alla solitudine
dei personaggi, e la profonda conoscenza del regista riguardo il
contesto preso in esame gli permette riflessioni storiche sulle vicende
politiche che hanno segnato l'estremo oriente e sulle ripercussioni di
queste nella esistenze private. Senza discostarsi da uno stile
rigorosamente statico, riflessivo e, a tratti, estenuante, il film vanta
il pregio di costruire un ritratto variegato, sincero e spassionato
dell'immigrazione a Singapore, e concede, proprio in virtù dei tempi
dilatati, il lusso di immergersi in usanze ibride e relazioni
interpersonali inconcepibili alla cultura occidentale.<br />
<i><b>Articolo del 14/07/2010 di Elena Di Nardo</b></i><br />
<i><b> </b></i><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/_yVbJekhASz8/S0JpVDE4M4I/AAAAAAAAAaU/MXkoZovNWdc/s1600-h/MBT8_fotocredit-ShermanOng.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="http://1.bp.blogspot.com/_yVbJekhASz8/S0JpVDE4M4I/AAAAAAAAAaU/MXkoZovNWdc/s640/MBT8_fotocredit-ShermanOng.jpg" /></a></div>
<h3 class="post-title">
<span style="font-size: x-small;"></span></h3>
<h3 class="post-title">
<span style="font-size: x-small;"> <a name='more'></a></span></h3>
<h3 class="post-title">
<span style="font-size: x-small;"> </span></h3>
<h3 class="post-title">
<span style="font-size: x-small;">Tuesday, April 13, 2010</span></h3>
<h3 class="post-title">
<a href="http://www.sindie.sg/2010/04/siff-production-talk-memories-of.html">SIFF Production Talk - 'Memories of a Burning Tree' by Sherman Ong</a> </h3>
<h3 class="post-title">
<a href="http://2.bp.blogspot.com/_yMG6v2D4V-I/S8U09z-zvjI/AAAAAAAADuQ/DEDbyRgR1Pc/s1600/MBT4.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459828359786905138" src="http://2.bp.blogspot.com/_yMG6v2D4V-I/S8U09z-zvjI/AAAAAAAADuQ/DEDbyRgR1Pc/s400/MBT4.jpg" style="display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="font-family: arial; font-size: small;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span">Synopsis</span></span></span></h3>
<div style="text-align: left;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial; font-size: small;"><span class="Apple-style-span">Smith
comes to Dar es Salaam to tie up some loose ends. He meets Link, a
tourist guide, who agrees to help him. Along the way they are offered
help by Abdul, a grave digger, and Toatoa, a metal scavenger, who
themselves are searching for answers to their own journeys. Their search
eventually leads them to realise that this is a never-ending journey of
dreams and disappointments. With an ensemble cast of non-professional
actors and an improvised script, this film is an homage to the road
movie genre, where ultimately the road ends when you want it to end.</span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial; font-size: small;">
</span>
<br />
<div style="text-align: left;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial; font-size: small;"><br /></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial; font-size: small;">
</span>
<br />
<div style="text-align: left;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial; font-size: small;"><span class="Apple-style-span" style="-webkit-border-horizontal-spacing: 2px; -webkit-border-vertical-spacing: 2px; border-collapse: separate;"><span class="Apple-style-span" style="font-weight: bold;"><span class="Apple-style-span">Biography</span></span></span></span></div>
<span style="font-size: small;"><br /></span>
<br />
<div class="yiv1591653082MsoNormal" id="yui_3_7_2_1_1361446744881_100852">
<span style="font-size: small;"><span id="yui_3_7_2_1_1361446744881_100851" style="font-family: Arial;">Sherman is a filmmaker,
photographer and visual artist. His practice has always centred on the human
condition and our relationships with others within the larger milieu.</span></span></div>
<span style="font-size: small;">
</span><br />
<div class="yiv1591653082MsoNormal" id="yui_3_7_2_1_1361446744881_100899">
</div>
<span style="font-size: small;">
</span><br />
<div class="yiv1591653082MsoNormal" id="yui_3_7_2_1_1361446744881_100850">
<span style="font-size: small;"><span id="yui_3_7_2_1_1361446744881_100849" style="font-family: Arial;">Winner of the 2010 ICON de Martell
Cordon Bleu Photography Award, Sherman has premiered works in Art Biennales,
major Film Festivals and Museums around the world, including the Venice,
Singapore and Jakarta Biennales, Mori Art Museum Tokyo, Fukuoka Asian Art
Museum, Martin-Gropius-Bau Berlin, Musee du Quai Branly Paris, Centre Pompidou
Paris, Institute of Contemporary Arts London, Noorderlicht Photo Festival,
Rotterdam International Film Festival, VideoBrasil International Electronic Art
Festival, Singapore Art Museum, Centro Cultural Banco do Brasil, Queensland Art
Gallery, South Australia Contemporary Art Centre and Vilnius Contemporary Art
Centre, Lithuania. </span></span></div>
<span style="font-size: small;">
</span><br />
<div class="yiv1591653082MsoNormal" id="yui_3_7_2_1_1361446744881_100848">
</div>
<span style="font-size: small;">
</span><br />
<div class="yiv1591653082MsoNormal" id="yui_3_7_2_1_1361446744881_100863">
<span style="font-size: small;"><span style="font-family: Arial;">He is an Associate Artist of the Substation and </span><span style="font-family: Arial;">a founding member of 13 Little Pictures, a film collective based in Singapore.
He also serves on the committee</span><span id="yui_3_7_2_1_1361446744881_100897" style="font-family: Arial;"> of the Singapore International Photography Festival,
as an educator at schools and universities, and as a member of juries at
various film festivals. In 2009, he was invited to participate in the Singapore
Pavilion, Venice Biennale which garnered a Special Mention. His works are in
the collections of the Fukuoka Asian Art Museum, Singapore Art Museum and the
Seoul Art Centre Korea. He is nominated for the APB-Singapore Art Museum Signature
Art Prize for 2011. He collaborated on a project headed by Olafur Eliasson
which premiered at the Tate Modern London in Sept 2012.</span></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial; font-size: small;"><br /></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="font-size: small;">
</span></span>
<br />
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;">
<span style="font-size: small;">
</span></span><br />
<div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;"><span class="Apple-style-span" style="font-weight: bold;">What is the Forget Africa project about?</span> </span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span">This is the statement by </span><span class="Apple-style-span">Gertjan Zuilhof, progarmmer of IFFR and initiator</span><span class="Apple-style-span"> of Froget Africa:<br />He was assisted by </span><span class="Apple-style-span">Inge de Leeuw</span><span class="Apple-style-span">, IFFR.</span></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span><span style="font-weight: bold;"><span class="Apple-style-span">Forget Africa, International Film Festival Rotterdam:</span></span><span class="Apple-style-span"> </span><span style="font-style: italic;"><span class="Apple-style-span">“Forgetting
Africa is of course intended slightly provocatively in this case. It is
not the intention to give up on Africa, to turn our backs on the lost
continent. We do want to take a new look at Africa. See whether it’s
possible to develop a fresh view. To see Africa for the <span style="font-size: small;">first time as it
were, also partly in a literal sense. The way economic and humanitarian
aid organisations have also asked themselves for about 50 years whether
they have helped and have not only evoked a call for help, that’s how
questions about African cinema could also be asked afresh.</span></span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><span style="font-size: small; font-style: italic;"><span class="Apple-style-span">We
shall first ascertain whether they are really there. Then we will
become acquainted with them, because we have more than a simple
suspicion that they do indeed exist. Then we’ll invite several of them
to show their work within our project. A project in which the
imagination of Africa is brought back to the earth.</span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><span style="font-size: small; font-style: italic;"><span class="Apple-style-span"> “They”
are the still anonymous film makers from African countries like Uganda,
Rwanda, Tanzania, Zambia, Namibia, Angola and Zimbabwe. Countries that
have been less visible internationally than other African countries with
their cinema. Countries that seem to have fallen off the
cinematographic map. Research still has to be carried out into a number
of countries.</span></span><span class="Apple-style-span" style="font-size: small;"><br /></span><span style="font-size: small; font-style: italic;"><span class="Apple-style-span">Films
are made in Africa. If you include the commercial melodrama production
of Nigeria, for instance, then a lot of films are made and even good
films get made, even though there aren’t really very many for such a
huge continent. In addition, the few serious films come from a
relatively small part of the continent. North and West Africa, and it’s
no coincidence these are the former French colonies, are
over-represented which means that a large area is under-represented. If
you look at the programming of international film festivals, and even of
specialised African film festivals, you could conclude that no films at
all are made in Eastern or Central Africa. Will have to see whether
that is really the case and that is the aim of this project.</span></span></span><br />
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span><span style="font-style: italic; font-weight: bold;"><span class="Apple-style-span">The Journey</span></span></span></div>
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="font-style: italic;"><span class="Apple-style-span">The
driving force within this project is an open curiosity about
the position and work of film makers who work in the countries that are
not really included on the map of cinematography. That doesn’t mean the
work doesn’t exist, but it does largely mean that their work does not
play any significant role – probably for a variety of reasons – in the
international circuit of festivals were virtually every country in the
world plays some kind of role.</span></span></span></div>
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span" style="font-style: italic;"><br /></span></span></div>
<div>
<span class="Apple-style-span" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" height="300" id="BLOGGER_PHOTO_ID_5459829489016600098" src="http://3.bp.blogspot.com/_yMG6v2D4V-I/S8U1_isJdiI/AAAAAAAADu4/IPfgIrcZiAo/s400/MBT11.jpg" style="display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" width="400" /></span><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="font-style: italic;"><span class="Apple-style-span">The
most effective and also the most elementary way to become acquainted
with the film makers of unknown cinematographic countries in Africa is
to visit them. Research in other areas of the world, for instance in the
poorer countries of South-east Asia, has taught that saying for some
time on the spot, making use of the network of local film makers and
other film professionals, does not take long to offer a survey of what’s
going on in such a country in the field of film.</span></span></span></div>
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span><span style="font-style: italic;"><span class="Apple-style-span">Through
this approach, the survey itself will form an interesting part of the
project. A next step within the project also emerges from this. The open
and curious encounter with local film makers gains extra significance
and quality if they can in turn be introduced to film makers from other
parts of the world who do have contacts and experiences in the
international circuit of festivals and markets for film projects. The
encounters and exchanges are fertile for both parties in this way. For
the local film makers, it provides an opportunity to acquire concrete
knowledge and experience from a colleague. For the visiting film maker,
it is an equally concrete acquaintance with an unknown cultural world.</span></span></span></div>
<div>
<a href="http://1.bp.blogspot.com/_yMG6v2D4V-I/S8U0-PXxkaI/AAAAAAAADuY/8Y4QquV8t1Y/s1600/MBT1.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459828367139377570" src="http://1.bp.blogspot.com/_yMG6v2D4V-I/S8U0-PXxkaI/AAAAAAAADuY/8Y4QquV8t1Y/s400/MBT1.jpg" style="display: block; height: 267px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span><span style="font-style: italic;"><span class="Apple-style-span">Several
international independent film makers with a wealth of experience for
their relatively young age have displayed an interesting incorporating
on the project. After this text, we summarise their names with a concise
description of their lives and work.”</span></span></span><br />
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span><span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">How did you seek help?</span></span></span><span class="Apple-style-span"><br /></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span">I
made contact w another Tanzanian, Hamis Mtingwa who also attended the
Berlinale Talent Campus. From him, I got to meet his other classmates in
University of Dar Es Salaam who are in the fine arts faculty which incl
film, theatre, performing, painting, etc. That's how I found Smith, the
young man who was looking for a grave. Smith is studying
acting/theatre. And Peter Mbwago, who eventually became my assistant dir
and co-writers together w Hamis. They all just graduated after we
finished shooting. My arrival coincided w their submission of the final
year project which was great cos then they have time to work w me on the
film. Edgar Chatanda and Malto Tambi are two other classmates who were
part of the crew.</span></span></div>
<div>
<a href="http://4.bp.blogspot.com/_yMG6v2D4V-I/S8SsYGUdQNI/AAAAAAAADuI/DKb2wqpiFcU/s1600/MBT3.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459678178293137618" src="http://4.bp.blogspot.com/_yMG6v2D4V-I/S8SsYGUdQNI/AAAAAAAADuI/DKb2wqpiFcU/s400/MBT3.jpg" style="display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br />I
also made contact with the Goethe Institue in Dar es Salaam. Another
German filmmaker Uli Schueppel, also on this project, was already in Dar
shooting. Link was his guide. And of course, Gertjan meeting me at the
airport lessen the disorientation of arriving in a strange city and
made my arrival more pleasant.</span></span><br />
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span><span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">And how did you arrive at this story of yours? (Though I suspect the story evolved as you were making the film itself)</span></span></span><span class="Apple-style-span"><br /></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span">I went to Tanzania w another idea of a story but I junk it when I got to Dar es Salaam.<br />The
story was conceived after I had an audition with amateur theatre actors
who live in the same suburb as Link Reuben, my guide in Dar. Link works
as tourist guide and a painter. It all started when I asked him to take
me to his neighbourhood and meet his neighbours. When I met him, he was
living w his uncle who runs a cosmetics shop and does manicure/pedicure
for women.</span></span></div>
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br />The
actors collective is like a loose grouping managed by Big Willie and
his younger brother, Raymond. They make stories like afternoon soaps
using dv cameras and edit them into VCDs, and sells them thru
distributors in the city.<br />Link brought me to a cemetary near his
home and as we were walking, he told me that some of the crosses on the
graves are missing cos they were taken by people who sells them as scrap
metal...so that planted the seed of the story. We were just taking a
walk in the cemetary and talking about general things. And the Christian
and Muslim cemetaries are just next to each other. So I decided to have
a character looking for a grave and then everything fell into place at
the audition. So it was the 'dead' that actually gave me the story and I
was just the medium who channelled the stories onto the screen. </span></span></div>
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br />So
after the audition, I sat down w Peter and Hamis to write a structure
and script in point form in 2 days. This was the blue print for the film
- 50 scenes and each scene abt 2 mins. So we had a script, "a
beginning, a middle and an end, but not necessarily in that order".</span></span></div>
<div style="font-weight: bold;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span></span></div>
<div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">What were your initial fears regarding the success of the production when you first arrived in Tanzania?</span></span></span><span class="Apple-style-span"><br /></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span">I went there w an open mind and didn't have any expectations. Very much like when I went to Japan and then made Hashi.</span></span></div>
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br />I
am sure I could make something in Dar. There is always drama in the
most mundane of things...eating , drinking, crossing the road, getting
stuck in a jam. And of course, a bit of luck and a truly wonderful
guide, Link - who made it all happen.</span></span></div>
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span></span></div>
<div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">Does Smith represent you, the filmmaker, in some way, since he is also trying to find his way around.</span></span></span><span class="Apple-style-span"><br /></span></span></div>
<a href="http://3.bp.blogspot.com/_yMG6v2D4V-I/S8U0-yfAWFI/AAAAAAAADuo/JS5RTG6WbRw/s1600/MBT8.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459828376564947026" src="http://3.bp.blogspot.com/_yMG6v2D4V-I/S8U0-yfAWFI/AAAAAAAADuo/JS5RTG6WbRw/s400/MBT8.jpg" style="display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br />No.
I had an audition w Hamis' classmates and decide to cast Smith when I
found out through my interview that he lost his mother and sister in
succession to malaria about a year before. So i felt he would have the
emotional temperament to carry the character through and his search for
some closure. But I think we are always searching for something as we
move along in life...because we all have desires and dreams.</span></span></div>
<div style="font-weight: bold;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span></span></div>
<div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">How
did you manage to get people to act in your film for free? I feel this
is sometimes the irony of wealth. In Singapore where life is stable and
comfortable, it is actually harder to get people to act.</span></span></span></span><br />
<div class="im">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;">It</span></span><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;">
wasn't for free, that was a factual error. I only met Gertjan the first
4 days in Dar and then he left to go to another African country. When I
told him I made a feature, he thought I must have really squeezed the
budget. </span></span></span><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;"><br /></span></span></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;">
</span></span>
</span><br />
<div class="im">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;"><br /></span></span></span></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;">
</span></span></span>
<br />
<div class="im">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;">Actually
all the actors got paid equivalent to half a month's salary (of an
general worker/employee in a hotel) for 2-3 days of shooting. It wasn't
much but still that they could use to tide them over. In fact, except
for Smith, the others are unemployed or day-rate workers, Toa Toa
attends primary level schooling at a private school and helps out as a
cameraman for Big Willie. Abdul(gravedigger) writes short stories for
books/magazines, which is not very often.</span></span></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;">
</span></span></span>
<br />
<div class="im">
<a href="http://2.bp.blogspot.com/_yMG6v2D4V-I/S8U0-ssMY-I/AAAAAAAADug/AyUl0LFRUXw/s1600/MBT6.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459828375009649634" src="http://2.bp.blogspot.com/_yMG6v2D4V-I/S8U0-ssMY-I/AAAAAAAADug/AyUl0LFRUXw/s400/MBT6.jpg" style="display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><a href="http://1.bp.blogspot.com/_yMG6v2D4V-I/S8U0_QnsIII/AAAAAAAADuw/flJGauUJg4I/s1600/MBT9.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459828384654434434" src="http://1.bp.blogspot.com/_yMG6v2D4V-I/S8U0_QnsIII/AAAAAAAADuw/flJGauUJg4I/s400/MBT9.jpg" style="display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a><span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;"><br /></span></span></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;">
</span></span></span>
<div class="im">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;">Mariam(gravedigger's
love interest), a single mother, cooks some food at home, puts them in a
bucket and sells them to construction site workers. Grace was taken out
of school by the family, presumably because they can't afford it.
Miriam (Toa Toa's girlfriend) and Smith are looking for a job.</span></span></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: black;">
<div class="im">
<span class="Apple-style-span"><span class="Apple-style-span" style="color: white;"><br /></span></span></div>
<div class="im">
<span class="Apple-style-span"><span class="Apple-style-span" style="color: white;">In
fact, the payment was the first thing I had to discuss before the
actors agree to be in the film. In Dar, everything is about money, you
need to pay someone (almost like a local head/leader) in charge of an
area, or ask politely for permission to shoot. So most of the time, I
was an exchange student at the university making a short project about
Dar and the people. </span></span></div>
<div class="im">
<span class="Apple-style-span"><span class="Apple-style-span" style="color: white;"><br />And we even had a wrap party by the beach w food cooked by Link's Aunt, who played his Aunt in the film.</span></span></div>
<span class="Apple-style-span"><span class="Apple-style-span" style="color: white;">I
am happy that the film has helped to make a change in the actors lives
as they now have the opportunity to go for auditions for other tv/ video
projects. And ome money from the production budget was used to fund Toa
Toa's school fees for another year.</span></span></span></span></span></div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span" style="color: black;"><span class="Apple-style-span"><br /><span class="Apple-style-span" style="color: white;">I
don't think there is a big difference between Dar and Singapore;
regardless of economic level, everyone still grapples w the discomforts
and crises of daily life because we are never satisfied or contented. </span></span></span></span></div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><span class="Apple-style-span"><span class="Apple-style-span" style="color: white;"><br />In some sense, Dar feels very much like South East Asia/Indonesia...the tempo of the city and temperament of the people. </span></span></span><span class="Apple-style-span"><br /></span></span></div>
</div>
<div style="font-weight: bold;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span class="Apple-style-span"><br /></span></span></div>
<div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">How long was the shoot? How many people were in your production team, I would imagine everyone is quite stretched on set?</span></span></span><span class="Apple-style-span"><br /></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span class="Apple-style-span">We
shot for about 8-10 days, a few hours a day and non-consecutive. The
team is about 5-6 people, as Link and Smith also helps w the production
side. We work w the limitations. Shooting w a small camera helps, Canon
5D MkII. </span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span style="font-size: small;">
</span></span>
</span><br />
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span class="Apple-style-span"><br /></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;">
<span style="font-size: small;">
</span></span></span><br />
<div>
<div class="im" style="color: #500050;">
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">What were some of the greatest challenges you met in production?</span></span></span><span class="Apple-style-span"><a href="http://4.bp.blogspot.com/_yMG6v2D4V-I/S8SsWZf0LiI/AAAAAAAADtw/VTy2ypFtzpk/s1600/MBT5.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459678149081312802" src="http://4.bp.blogspot.com/_yMG6v2D4V-I/S8SsWZf0LiI/AAAAAAAADtw/VTy2ypFtzpk/s400/MBT5.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span class="Apple-style-span">Shooting
in a Muslim cemetary without a permit in a location outside of Link's
neigbourhood/territory. My crew was Afraid that they woud be put in jail
and fine cos the police are very strict w unauthoried filming. </span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;">
<span style="font-size: small;">
</span></span></span><br />
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span class="Apple-style-span"><br />The
Tanzanian goverment was really upset about a film called Darwin's
Nightmare which was apparently shot without their permission and gave a
totally wrong perception about Tanzania. I have not watched this film,
so I can't comment further. I was told that after the film was made,
everyone in Tanzania wants money whenever you point a camera at them. </span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;">
<span style="font-size: small;">
</span></span></span><br />
<div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;"><span class="Apple-style-span" style="font-weight: bold;"><br /></span></span></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;"><span style="border-collapse: collapse;">
<span style="font-size: small;">
</span><div>
<div class="im" style="color: #500050;">
<span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">What
were some of the contraints you faced in making the film and how
different woudl the film be if there were no such constraints, e.g.
budget, location permissions, cast etc.</span></span></span><span class="Apple-style-span"><br /></span></div>
<span class="Apple-style-span">The film came out of a certain set of contraints, if the conditions are different then it would be a different film. </span></div>
<span style="font-size: small;">
</span><div style="font-weight: bold;">
<span class="Apple-style-span"><br /></span></div>
<span style="font-size: small;">
</span><div>
<div class="im" style="color: #500050;">
<span style="font-weight: bold;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">What were the other 'Forget Africa' films ahout?</span></span></span><span class="Apple-style-span"><br /></span></div>
<a href="http://www.sensesofcinema.com/2010/festival-reports/where-is-africa-the-39th-international-film-festival-rotterdam-2010/" style="color: #2a5db0;" target="_blank"><span class="Apple-style-span">http://www.sensesofcinema.com/</span><span class="Apple-style-span"><wbr></wbr>2010/festival-reports/where-</span><span class="Apple-style-span"><wbr></wbr>is-africa-the-39th-</span><span class="Apple-style-span"><wbr></wbr>international-film-festival-</span><span class="Apple-style-span"><wbr></wbr>rotterdam-2010/</span></a><span class="Apple-style-span"><br /></span></div>
<span style="font-size: small;">
</span><div class="im" style="color: #500050;">
<div>
<span class="Apple-style-span"><a href="http://2.bp.blogspot.com/_yMG6v2D4V-I/S8SsV0woAhI/AAAAAAAADto/FdrDYzWeres/s1600/MBT10.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5459678139219706386" src="http://2.bp.blogspot.com/_yMG6v2D4V-I/S8SsV0woAhI/AAAAAAAADto/FdrDYzWeres/s400/MBT10.jpg" style="cursor: pointer; display: block; height: 300px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a></span></div>
<div>
<span style="font-weight: bold; line-height: 20px;"><span class="Apple-style-span"><span class="Apple-style-span" style="color: red;">What
are the top 5 movies you wish you'd made? (This is just a fun question,
please feel free to not take it TOO seriously or intensely. And note:
it's top 5 movies you WISH YOU MADE, not top 5 fave movies)</span></span></span><span class="Apple-style-span"><br /></span></div>
</div>
<span style="font-size: small;">
</span><div>
<span class="Apple-style-span">Maybe names of directors would give an indication...<br />Tarkovsky, Hou Hsiao-Hsien, Jia Zhang-Ke, Fassbinder, Ozu.</span></div>
</span></span><br />
<div>
<span style="border-collapse: collapse;"></span></div>
<span class="Apple-style-span" style="border-collapse: collapse; font-family: arial;">
</span></div>
みんあんhttp://www.blogger.com/profile/06055071045221001102noreply@blogger.com0