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Ray Pride

By Ray Pride Pride@moviecitynews.com

Exoticism doesn't exist anymore, says Malaysian-born Taiwan filmmaker

Malaysian Star inquires of waterlogged, deadpan festival favorite, director Tsai Ming-liang, about being the Malaysian-born son of a Chinese who works in Taiwan. “Being a Malaysian filmmaker working in Taiwan, Tsai Ming-liang would naturally have a unique perspective on the filmmaking scene here in Malaysia. Having been based in Taipei for more than 20 years, Tsai has been through everything from the end of martial law to the democratisation of Taiwan that led to a flood of new opportunities for filmmakers there… When asked about the Malaysian obsession with creating a national identity for our films or promoting our culture, Tsai, who was in town last week for the 50th Asia Pacific Film Festival, replied: “The worst thing one can do is to promote an image before everything else. It is not very smart to do so. There are no such things as exotic elements that you can sell in this modern world. The world is so global and well-informed, so exoticism doesn’t exist anymore.” … Tsai believes that [staying] true to himself that he has gotten this far. Apart from his ever-increasing collection of awards from film festivals around the world (the latest being a Silver Bear at Berlin for The Wayward Cloud [pic], he has also been invited, along with five other auteurs, to make a film to commemorate the 250th anniversary of Mozart’s birth. France has also invited him to make a film about the Louvre. For the Mozart anniversary, Tsai will be shooting a film, next year, about immigrant workers in Kuala Lumpur. It will be his first film to be set in Malaysia.
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“I hope that our government will give the independent filmmakers more support,” he said. “I understand that our government may be concerned that the independent films are very personal or very artistic in nature, but it does not need to give the filmmakers large sums of money. It could just give a small sum for them to start things off and see what they can come up with…” Does Tsai see the irony of him being a Malaysian filmmaker attending a festival in Malaysia but representing Taiwan? “I’m fine with that… There are, in fact, a lot of filmmakers who don’t make films in their own countries but the people of their countries are still proud of them. My father who came from China inspired me to believe that it doesn’t matter where you are, as long as you do good things.”

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon