What's On / Moving Images / Our Film Partners

 

SOME WORDS BY OUR PROGRAMMERS:

Audrey Wong

Programme Manager (1997-1999), Artistic Co-Director (2002 to present)

In 1997, when T Sasitharan (artistic director of The Substation then) asked me to start a film programme, I never thought that we'd one day celebrate its 10th anniversary.

We started with a $5000 grant from the National Arts Council and many hopes. The Singapore Film Commission hadn't come into being then. Why start a film programme, and what was the original vision of Moving Images in 1997? Well, there was a noticeable growth in the number of people making short films, which was evident in the number of entries received by the Singapore International Film Festival (SIFF) Short Film Competition each year. Ngee Ann Polytechnic, Temasek Polytechnic, and Nanyang Technological University were equipping students with the new film/video/animation skills. The Singapore government had identified film and new media as a sunrise industry to be encouraged, while the stalwart SIFF was educating an increasing number of Singaporeans in the pleasures of independent, arty, and non-mainstream film. Despite the 'failures' of the original Picturehouse and Lido Classics, there also seemed to be a rise in the number and diversity of film festivals (which mostly involved the Singapore Film Society). We sensed that we were on the cusp of a new development, and Moving Images deliberately attempted to fill in the 'gaps' in the Singapore film scene then: the emphasis was giving a platform to local filmmakers, particularly new filmmakers; on promoting alternative film genres; and promoting the appreciation of film - in terms of aesthetics, history, and practicals.

In the first couple of years, we held an experimental film appreciation workshops; talks by Singapore filmmakers such as Eric Khoo and Glen Goei; a Documentary Film Festival and Seminar with Nick Deocampo among others; and launched Local Flavour - a regular showcase of Singapore short films, which one could say is the precursor of First Take, and Young Guns - a showcase of student and youth filmmakers which is still running today. Moving Images was the first programme in Singapore to organise regular showings of Singapore short films, and I clearly remember the air of excited anticipation at some of these early screenings, such as a screening that included a compilation film called "7 Colours" which was initiated by Royston Tan and his friends. I wonder if the filmmakers still have copies of this film?

Moving Images and The Substation also supported an experimental initiative called The Guerrilla Filmmaking Workshop teaching 16mm filmmaking, by Monster Films (set up by Phillip Lim who later worked for AXN, and Jonathan Foo who later made "Song of the Stork"), an initiative which sounds almost quaint today . . . Yet I daresay these 'shoot-from-the-hip' initiatives gave Moving Images a certain underground and unpredictable air that seemed appropriate for those times. I suppose screening films on VHS, 16mm and 35mm film on dodgy old equipment (if not prehistoric) also added to that flavour. But then, we were definitely less jaded then; you still felt a buzz attending full-house screenings at the SIFF.

With only a bit of funding, Moving Images in the first couple of years was just one of The Substation's annual programmes, albeit a regularly-running programme with at least one event every two months. My job portfolio then wasn't exclusively to run Moving Images: I was also producing theatre and helping to manage conferences and festivals at The Substation. I am incredibly indebted to the passion and support of our early audiences, the filmmakers who were drawn to the programme, the advice, support, and eccentricity of long-standing film devotees like Philip Cheah, Tan Pin Pin, Juan Foo, Wee Li Lin, Kenneth Tan, Toh Hai Leong, and many more.

I feel that I ought to squeeze in a few sentences about technology and Moving Images. The programme has developed alongside the technological revolution of our times as we get increasingly wired-up and gadgetised. For one thing, Moving Images was the first Substation programme to have an email database - we figured that was the best way to reach our audiences as the media would not cover every single Moving Images event. I wouldn't be surprised if some of those names are still on our current email database! I believe that this helped the growth of the programme and helped us find a core, niche audience. Filmmakers, after all, tend to be the first to embrace new technology. Today, the explosion of the image industry, the availability of cheap quality equipment which means people are making and editing their own films using their home computers, the easy availability of DVDs, Amazon, the internet and YouTube, have all changed our film viewing habits. In 1997 - 1998, to get a film from overseas, I had to locate a distributor, festival or film commission through an embassy or a print catalogue, and write a letter or a fax. To finally to view a film after a process of faxing, long-distance phone calls and so on, was an intense pleasure - occasionally, even magical. Yes, we're more jaded now. Today Moving Images has to compete not only with a slew of film festivals, workshops, and screenings at numerous other venues, but also with the change in individual viewing habits. We have many new challenges ahead as we enter our second decade.

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Yuni Hadi, Snr Programme Manager, Moving Images (1999-2003)

Presently Arts Manager at Objectifs and S'pore International Film Festival

The beginning of my career in the arts started at The Substation 12 years ago when I took up a part-time job there as a student of LASALLE College of the Arts. I was the first batch of graduates from the Arts Management programme but little did I know that I would have a life-long affair with film. Building a film programme in those days when 4 programmers had to share 1 computer was indeed a challenge, but someone must have been watching over us because look where Moving Images is today! I started during the time when it was the beginnings of the "digital revolution" and Moving Images was running on a miniscule annual budget and only had a VHS player and a 3-gun ancient projector. But I was a little tyrant that questioned everything - why isn't there a full-fledged film programme?; why can't we get more money?; why are Singapore films not seen overseas at festivals?; why isn't this film shown in Singapore?; why can't we get a new projector? I answered every question by putting them into action. I remember doing everything from cutting hundreds of tickets, to projecting films and sending out films to film festivals. It became a great training ground for me.

My main motivation of making an adhoc film programme into a full-fledged one was the love of the films I watched. Soon Moving Images became the home for short films and soon all the film activity helped create a supportive film community.

Many of the filmmakers making a name for Singapore today had their beginnings with Moving Images - Tania Sng, Victric Thng, Royston Tan and Wee Li Lin. It was an exciting time where our local filmmakers could meet Academy Award nominated and other award-winning filmmakers (such as Jason Reitman, "Thank You For Not Smoking" and Trinh Minh-ha) and exchange experiences. I am still in touch with the filmmakers who have passed through the gates of Moving Images and that is testiment that being a part of Moving Images was a special experience for them too.

As the first dedicated film programmer of The Substation, the opportunity was there for me to create many "first's" for Moving Images - Asian Film Symposium, The Emergency Film Project, Singapore Shorts Film Festival etc. I am happy to have seen Wenjie and Kristin keep up the good work and inject their own personalities to create their own "first's" because Moving Images is a great platform for both the filmmaker and the programmer. Just as much as I created the job, the job created me.

Cinema still inspires me today and it's what keeps me in the business of promoting films in the most genuine way possible. I wish that will continue for Moving Images for years to come.

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Zhang Wenjie, Programme Manager, Moving Images (2003-2005)

Pesently Assistant Manager, National Museum of Singapore Cinematheque

To me what is most special about the Moving Images programme and The Substation as a whole is that it gives people chances ˆ a chance to try things out, to experiment, and to fail. When I joined The Substation as Moving Images programmer in late 2003, the only thing that I’ve done so far of any significance is that I started a video store with some friends after I graduated from school. Other than a love for films, I have no prior programming experience at all. I’ve heard of the amazing work that Yuni had done for the programme, and I knew that I have some pretty big shoes to fill. To say that I’m terrified would be an understatement.

But like how The Substation and the Moving Images programme have given countless new artists and filmmakers through the years a platform to present their work and develop their art, I was given a chance. And like them, I went through my fair share of failures and success in developing the programme. For the first time, I realized that what you love and the work that you do need not be mutually exclusive.

There’s a special magic whenever you walk up the stairs to the The Substation Guinness Theatre, across the creaky wooden floors and sit in the darkened auditorium waiting for the images to come to life on the screen. It‚s the magic of a group of people and artists coming together to share their deepest passions and dreams with each other.

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Kristin Saw

Programme Manager, Moving Images (2005 to present)

I have always loved coming to The Substation to experience a bit of indie vibe, and one of my first memorable encounters with Moving Images was when Yuni organized the 2nd Singapore Shorts Film Festival in 2002. I had just made my first short film, “Danny”, and was glad to be given a chance to screen it at the Festival. Then, wide-eyed short film newbie me came to The Substation and sat in the Guinness Theatre, with the old plank-type seating, and remember feeling that this was the beginning of something bigger than I was. The packed Theatre was for me indicative of a growing independent film appreciating audience, and I was glad to be part of it.

It was a time when getting a videocamera was easy, burning a DVD even easier, and all I wanted to do was to learn how to put a film together. After my encounter with Moving Images however, I shifted gear and wanted to learn how film can sustain as an industry in Singapore. It helped that I started to be acquainted with people in the industry, like Juan Foo, Lee Thean-jeen, and later Wenjie, who taught me much and inspired me just by sharing their experiences.

From making films and organizing festivals at the National University of Singapore to writing research papers for the Media Development Authority, I decided to step out into the job-seeking arena to figure out what else was out there, particularly in film. September 2005 was when I remember receiving Wenjie’s email about a job opening for Programme Manager of Moving Images. With no hesitation, I applied for it, and now I have been here for two fruitful years.

The most fulfilling part about my job is really building relationships with filmmakers who need support in this difficult industry, and learning so much from all of them at the same time. It is also fascinating to see how the industry grows in certain areas, and seem to find a comfort zone in some. Given that there is so much heart put into filmmaking, I aim to come up with programmes that can connect young people with experienced filmmakers, and serve the community by encouraging the exchange of knowledge and making films with a difference. Reel Revolution has been an exciting new addition to the array of successful programmes like First Take and Asian Film Symposium, initiated by all the previous programmers who continue to have a strong impact on the film and arts industry.

I can only be grateful to be doing what I’m doing and learning from so many amazing, passionate people like Yuni, Wenjie, local and international filmmakers and curators, who are not just working partners but fellow film/arts enthusiasts and friends too. Indeed, there is “kampung spirit” here! I can’t wait to see what else the Singapore film scene has in store in the future.

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