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of genres and experimentation to grow.
We’re still negotiating that space and that
will take time. The heart of the arts is its
people, the talents.
Youpublishedabooklastyeartitled
Behind
the Camera
. A reviewer recommended
it as “important for present, struggling
filmmakers ... whenever obstacles seem
too tough to endure”. What would you
personally say to these strugglingartists?
All artists go through very tough creative
processes that challenge them. Talent
is one thing, but perseverance, good
instincts, hard work and hope are also
keys to a long career in the arts. What I’ve
learnt is that most artists feel a deep calling
and the struggle is part of the journey to
discover who they are. My advice to young
filmmakers is as you struggle to build your
career, don’t neglect your loved ones who
have supported you through the tough
times. It’s good to have a balance between
your career and personal life.
Haveyoueverwantedtothrowinthetowel
andwhat kept yougoing?
I have a bohemian outlook on my career
and I’ve been lucky to have opportunities
come my way. I have old-fashioned work
values and believe in hard work and
integrity, but if things aren’t meant to be,
it won’t come your way. At the same time,
I think it’s important to reward peoplewho
have worked hard with you and not take
it for granted.
What attracted you to
Ilo Ilo’s
storyline?
When choosing projects one has to rely
a lot on instinct. When Anthony and I
discussed his project, the story stayed
with me for a long time. Plus Anthony
also has a great track record with his
short films.
Whendidyou realise that
Ilo Ilo
wason the
brink of something big?
When we secured our international
sales agent by the end of 2012. They had
experience handling one of the biggest
films of the year – A Separation – which
won the Academy Award for Best Foreign
Language Film. For us to have them by
our side during our premiere in Cannes
gave us great confidence. I think the
takeaway from
Ilo Ilo
is that there is no
exact success formula.
Ilo Ilo
managed to
do well for both festivals and box office.
It’s been an amazing journey.
Whatdoyouthinkresonatedthestrongest
among
Ilo Ilo’s
viewers?
The story is very relevant to the modern
day family today with working parents
and concerns about the economy. I
think that’s why this modest film from
Singapore has been able to travel and
touch audiences in so many different
countries.
How has Objectifs contributed to the
photographyandfilmindustryinSingapore
since its set-up in2003?
Since we started we’ve had artist
in residencies, specialty professional
workshops, international exhibitions
and screenings and also set up Objectifs
Films to distribute short films and
documentaries.
Wheredoyouhope to takeObjectifs in the
next fiveyears?
Our focus has never been on hardware.
Technology is a tool, but what we’re really
building is a community.
Funding has always been a thorn in the
sideofcreativearts.You increasedfunding
five-fold forThe SubstationCentre for the
Arts during the four years that you were
there.Whatwas your strategy?
I think I was at the right place at the right
time, and started building a good track
record which helped build confidence.
As an arts manager you have to develop
strong instincts for spotting good work
and also have goodwork ethics - just good
old-fashioned hard work.
How much more would you like to
see Singapore blossoming in the creative
arts? Singapore has infrastructure and
money – both important elements to
build anything. But the arts is like a living
organism, it needs more than that. It needs
air, water, space and light to breathe and
flourish. It requires space for all sorts