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Interview with “Ilo Ilo” director, Anthony Chen
An earlier interview with Award winning local film maker, Anthony Chen on his film, “Ilo Ilo”
Why did you choose the topic that your film was based on?
When I graduated in 2010 from my masters at the national film and television school in the UK, I knew I wanted to do my first full life film. And at that time I was wondering what should I work on, what’s the story that I should be making. And of course, when you’re in your mid twenties, your childhood comes back to haunt you.
When I was growing up, we had a domestic helper, a Filipino maid. Her name was Theresa and called her Auntie Terry and she actually share the exact same name as the helper in the film. She was with us for 8 years, she left when I was 12 years old. I think for over 16, 17 years, we lost contact completely. We didn’t meet again but as I said in your mid twenties, your childhood comes back to haunt you and memories of her started flooding in of what it was like growing up and I realized that I saw things differently. When you’re growing up, you are probably more naive, being a child is more innocent, you’re thinking of fighting and playing most of the time. But now looking back, you realize that it is not as simple the ways thing are. Like there is jealously between your mother and the maid, that there is tension brewing between your parents and within the dynamics the maid and the kids and all that. You can feel that things are not as simple as it is when I relook at the past.
So I was very intrigued by that, so I wanted to explore that further and of course the more I thought about it, the more I thought about how brutal the system is, I don’t think the system can be changed or needs to be changed but unfortunately it is what it is especially in Asia economies like Singapore, like Hong Kong. Where you invite a stranger to your home and spend time with your family, with your kids. After a certain time, they almost become part of the family but what is so cruel and brutal is when at the time where circumstances has changed, the kids have grown up or you are moving house or you ran out of money or you think its an excess. You decide “let’s send home the maid”.
What is so brutal is usually because the adults make those decisions but the kids are the ones that have really built that kind of bond with this foreigner who almost become part of the family. Especially they are there for long enough. Because most of the time, the parents don’t know the helper well at all as they are usually at work. It’s the kids who spend the most time with the helpers so I wanted to explore that which became the starting point for the film I guess.
What challenges did you face for the production or prior to the production?
In terms of funding for the film, MDA and Singapore Film Commission came very early because obviously they supported a lot of my short films. I would say I have been nurtured and supported through that system. And in fact, my career was literally supported through that system. So they came in support very easily because I have a track record in my other short films that won in Canne and then offered in Berlin. I think they took a leap of faith and they believed in what I was doing. We had Ngee Ann Poly that came on board, it was the first time that a school has actually backed an alumni in that sort of way but I was very moved as well because they believed in what I could do. It’s really finding the other bits of the money, we didn’t actually make this for a lot of money. It wasn’t a five, one million sort of budget, it was more like a 5, 6 hundred thousand sort of budget.
There were other small pots of money that we needed to find and of course it was difficult because if you were to think of subject, it is very easy to brush it off as oh who wants to watch a film about a Filipino maid and then Singapore being like “it’s so boring” and its being not commercial, it’s not a big comedy, it’s not a horror film. It doesn’t fall into the genre that we know very well that usually take the box offices. But it is a lot of good will and a lot of belief, leap of faith that people such as Leong Sze Hian. And we have a few individuals that also took a leap of faith without questioning it, exactly how much would they earn. And I moved by that, I think this film was made above every thing else with a lot of goodwill and a lot of belief. I would use the word ‘belief” because people believed that I am do something very sincere and honest and hopefully, it will have its results.
Casting was a huge challenge, the lead character in the film is a ten year old boy. He is a bit older in real life but I wanted a very very naturalistic performance from all my actors. In fact we spent ten months going to 21 primary schools, and we looked over 8,000 children and out of those we auditioned 2,000 of them. Eventually 150 of these children actually made it to my workshop and I conducted like 100 hours of workshop over 6 months during weekends before we were very sure that this is the kid that we want to cast.
So it was very laborious… This whole project is literally a labour of love. For both me and the actors/actress as well. I flew to the Philippines, we didn’t have much budget so I took budget airline went over for a weekend. Before that I had my Filipino film maker friend who sent the word out, so I was auditioning. Actually, it sounded very dodgy as we were doing it because there were 30,40 actresses in Philippines and we are doing it in my hotel room. So it was really dodgy having women going in and out of the hotel room like the whole day, for the whole few days. So we casted our Filipino actress from there, it was a lot of hard work even for the actors/actress. Even though Yeo Yan Yan and Chen Tian Wen, they are known in Singapore. I have met a lot of other actors, I scoured the whole of Singapore, current existing actors, theater actors, those that are already retired from acting before I made those choices and locked down my characters.
And of course, the film was set in 1997 and we all know how Singapore have transformed and modernized so rapidly that it is impossible for me to find the right locations. Alot of locations was actually from my memories, from photos of my childhood. So there were times where we were looking for places and we couldn’t find that, in fact the 5 room flat that the family is living in was the exact same layout I wanted, the flat that I was living in when I was growing up. So we went to the HDB database and we fished out the model of the flat that was built in the 80s. We went all over Singapore, knocking on doors, going to blocks. I think we have looked at hundreds of blocks, knocked like on tens of thousands of doors before we found a flat that we got.
It was a lot of hard work just for the flat not including me driving around Tuas knocking on doors of different offices and factories to get spaces and textures that are relevant and authentic to the period. It is a good thing but being the nostalgic filmmaker, Singapore has really changed so much. Even though the film is in 1997, a lot of people would say “oh, its not very far away. I’m sure you can just cheat it as now and then just film it”, but it is 16 years ago. This is a period film we are not talking about.
I had no idea over how much effort you have put into this film’s production!!!
This is why I think you will read it as just a family drama, a simple film shouldn’t be hard to make. But it really is 3 years in the making, it’s a lot of hard work. Not just myself, I couldn’t have made it myself. With the cast, with the crew, with everyone putting in so much to make things happen.
Given the success your film has garnered, many aspiring film makers would probably take you as a role model. Any advice for them to take up?
I think my biggest advice really is that whatever industry especially in film, you really need to be driven by passion, you really need to love cinema. I think that is very important that you love it so much that you would almost die for it.
It is becoming so trendy now, when I went to a film school in Singapore which is Ngee Ann Polytechnic because that was the only choice, there was only one film school. Now you have Laselle, you have NYU, you have video production at ITE, you know its like everywhere. But its so trendy now to be involved in film or in the media industry because you think about the glamour, you think about the glitz but behind all that is a lot of hard work, there is a lot of blood, a lot of sweat, and a lot of tears. Instead of giving advice, my question to young film makers would be, you have to ask yourself, are you really in love with film making or in love in directing, in wanting to make films or in love with the idea of being a film director, being a film maker?
Makes a lot of difference isn’t it?
It makes a lot of difference. I think alot of people are in love with the idea of being a filmmaker and not really because they love cinema. I think that’s is what gives you longevity and keeps you going and keep you pushing on for the many years, because it is not as simple as it is. It is a lot of hard work, it is a very audacious journey, it is a very lonely journey sometimes. And you really need to know that it is cinema that you love, it is films that you love, that is why you are in it.
Are you by any chance planning for a second film?
If you are talking about second feature film, I have ideas buzzing in my head. As I am based between UK and Singapore, there are one or two projects I developing here (London), there are something else I am thinking of in Singapore. It is still very early days, so I wouldn’t want to vocalize those thoughts. It took me 3 years to come up with the film, so hopefully the next one would be much shorter. It will take some time for me to come up with something more tangible and concrete.
What do you think will be the reception of the film by Singaporeans in Singapore?
I think this film is a very honest and sincere film, it was made from the heart. I am almost so sure that Singaporeans will see a bit of themselves or the people around them in the film. They can relate with the people in the film and the scenario. I don’t think people should go to see the film because it won a film. I think people should try and embrace it because I am quite sure that people will be moved as it is such a Singaporean subject, it is a very simple film that is about a Singaporean family. But that has moved so many people to tears miles away in Canne and France, and the film has been sold to so many countries, US, UK, to France, to Switzerland, Australia, Taiwan, Hong Kong. When all these distributors, all these audiences everywhere else feel so strongly about this film. I am quite sure it will strike accord when the subject is so much closer to home. So I hope that they will be able to support the film, NOT just because the film won an award. I think its a honest film telling an universal story of our shared experiences.
[divide]The film will be released in Singapore cinemas on 29th August. Do look out for it!
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Netizens question NTU’s choice of timber for Gaia Building amid mould issues
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SINGAPORE: The Gaia building at Singapore’s Nanyang Technological University (NTU), which opened in May 2023 as Asia’s largest wooden structure, was initially celebrated for its sustainable design and architectural beauty.
However, just over a year later, the S$125 million (US$95.5 million) timber building is facing an unexpected challenge: mould growth.
The 450,000-square-foot Gaia building, constructed with sustainable timber beams and panels, has developed mould on its walls, raising concerns about the suitability of timber for large-scale construction in tropical climates like Singapore’s.
The mould issue highlights the global challenges that timber structures can face, especially in environments with high humidity.
According to Bloomberg, the mould problem at Gaia underscores the difficulties that timber buildings encounter worldwide.
The Gaia building’s timber supplier claims that the structure sequesters over 5,000 tons of CO2, even when accounting for shipping, as trees absorb carbon dioxide during growth.
However, Singapore’s tropical climate, with its high humidity and frequent rainfall, has revealed the limitations of using timber in such environments.
The wood used in Gaia, primarily Austrian spruce processed into mass-engineered timber, is less resistant to mould compared to other species.
In Singapore’s humid conditions, untreated spruce is particularly vulnerable to mould and rot, according to Andrew Wong of the International Wood Culture Society.
Erik L’Heureux, an associate professor of architecture at the National University of Singapore, emphasized that different climates present unique challenges for timber construction.
He noted that in tropical regions, special care is required to prevent issues like mould, while in other climates, such as deserts or freezing environments, timber faces other risks like cracking and splitting.
Singapore has used mass-engineered timber in over 20 projects in the past decade, but it remains unclear if other buildings are experiencing similar issues.
In contrast, Singapore’s colonial shophouses, built with regionally native hardwoods, are naturally resistant to mould.
However, sourcing these traditional hardwoods today is both difficult and costly.
Loh Kee Soon, the lead architect for Gaia at RSP Architects Planners & Engineers, explained that while thicker protective coatings could have mitigated some of the mould issues, his team opted against it due to cost concerns and a desire to showcase the natural wood grain.
Despite its aesthetic appeal, the presence of mould has raised health concerns among staff and students.
While the mould is not expected to affect the building’s structural integrity, NTU has implemented a comprehensive maintenance plan, which includes reapplying sealant to the timber, adjusting air-conditioning settings, and instructing staff to keep windows closed to reduce condensation.
Experts also recommend treating surfaces with bleach, applying thicker coatings, installing dehumidifiers, and running the air-conditioning continuously, although these measures could undermine the building’s sustainability.
Netizens question sustainability of NTU’s Gaia building amid mould concerns
Under Mothership’s Facebook post, netizens have expressed various concerns regarding the mould issue at Nanyang Technological University’s (NTU) Gaia building.
One user questioned whether continuing to use the building is worth it, given the upcoming maintenance and potential health risks to staff and students.
They suggested that if maintenance is not feasible, it might be better to endure a one-time inconvenience of demolition rather than face ongoing issues.
One commenter questioned the logic of using wood in Singapore’s hot and humid climate, suggesting that protective coatings should have been applied to prevent mould.
They pointed out that NTU should have had the resources to implement such measures.
Another netizen proposed that demolishing the building and replacing it with a concrete structure might be a better long-term solution than continually dealing with mould.
Netizens raise concerns over material choices for NTU’s Gaia building
Several netizens focused on the choice of wood for the building, criticizing the decision to use Austrian spruce instead of locally sourced tropical wood that is more resistant to humidity.
One commenter pointed out that using wood from Austria hardly seems sustainable or environmentally friendly when considering the carbon footprint.
Another suggested that the building should have used hardwoods like teak, ebony, or mahogany, which are more resistant to termites and mould.
Further criticism focused on the project’s planning, with some questioning why wood from a cool climate was used in Singapore’s tropical environment.
They speculated that the original committee might have prioritized reducing construction costs, leaving the current management to deal with the consequences.
One commenter expressed disbelief that the project proceeded with wood susceptible to mould, despite the availability of more suitable materials like teak and cedar.
They criticized the $125 million price tag, suggesting it reflects a “lowest cost wins” mentality that overlooks potential long-term costs.
One netizen also raised doubts about the building’s sustainability, questioning whether the cost of treating and preventing mould might become exorbitant over time and ultimately undermine the building’s sustainability claims.
The post Netizens question NTU’s choice of timber for Gaia Building amid mould issues appeared first on Gutzy Asia.
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Malaysian burger vendor duped by repeat scammer: Calls for safer payment protocols
In a viral TikTok video, an Ampang burger vendor recounts how he fell victim to a scam, losing nearly RM100. This incident sheds light on a notorious scammer’s modus operandi, prompting calls for improved payment procedures in the local food scene.
MALAYSIA: A roadside burger vendor in Ampang, Selangor, fell victim to a scam, losing nearly RM100 (US$21.3) in the process.
Taking to his TikTok account “mohdazroyampang” on Wednesday (20 Sep), the burger vendor shared his ordeal, and the video quickly went viral, garnering over 218 thousand views.
@mohdazroyampang Dengan rendah diri aku halal kan makanan yang kau ambil, semoga ada rezeki untuk aku pada masa2 akan datang amin #crispybitesburger #burgerayamcrispy #chickencrispyburger #scammers
According to Azroy, the incident transpired at approximately 08.30 pm (local time). A middle-aged woman and a young man, seemingly a mother-son duo, arrived at his stall riding an electric scooter.
They placed an order for two triple-crusted chicken burgers, a double venison special, and a double meat special but requested to collect the food later due to a sudden influx of customers.
True to their word, the duo returned to claim their order and inquired about the total cost. They also mentioned their intention to place another order based on the receipt.
The initial order cost RM48 (US$10.20), which the son promptly paid and left on his motorcycle.
Subsequently, the mother asked Azroy to prepare another meal, bringing the total to RM96 (US$20.5).
Then, as she pretended to scan the QR code, she suddenly claimed to be short on credit and needed to return home for money.
Seizing this opportunity, they both abruptly left the stall, taking the first set of burgers with them.
Azroy shared that they waited until closing time, but the duo never returned.
He expressed relief that his wife had stopped him from making the second order, thus preventing further financial loss.
In the video, Azroy went on to reveal that the individual involved was a notorious scammer in Ampang, with several other food vendors falling prey to the same modus operandi.
A fellow seller in the comments section confirmed that they almost had been scammed by the same individual.
Many viewers expressed sympathy for the burger seller and called for improved payment procedures to prevent such incidents from recurring.
One commenter suggested that, moving forward, the seller should request payment upfront before allowing customers to leave with their food.
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