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Filmmaker Jennifer Phang (photo: Shameel Arafin) JENNIFER PHANG blew people away at Sundance with her 2008 feature debut HALF-LIFE, and was named one of Filmmaker Magazine’s 25 New Faces of Independent Film.  (If you haven’t seen the film, it is now streaming on Netflix. For you New Yorkers it will be at the Anthology Film Archive May 11 ). She’s also a really good friend of mine, but we feigned some professional distance for the following interview in which we talked about production vs. promotion, the Tokyo International Film Festival, and her new projects LOOK FOR WATER and CRAZY BEATS STRONG EVERY TIME (directed by Moon Molson). ***** ‪me: ‬ ‪So, I first met you at SFIAAFF where HALF-LIFE had somewhat of a “coming home” screening in 2009, ‬but you guys had already been all over the world with the film by that point. Which part of a filmmaker’s life do you enjoy more?  the long process of putting a movie together, or the (sometimes) even longer process of getting it out there and engaging an audience? ‪Jennifer Phang: ‬ ‪I think the great thing about filmmaking is that you rarely have time to get bored of any part of the process. Each step relieves us from the last step.  But I think I’m most happy in the creation phase.   Working with other talents and being able to marvel at their creativity is something that can feel really “pure.”  And I think everyone wants to feel that as much as possible in their lives. I think we’re all searching for the freedom to be creative and honest about our perspectives and visions.  How about you?‬ ‪me: ‬ ‪It’s hard to say.   Whenever I’m promoting a film, I get really impatient to get back to the creative work.‬  But whenever I’m shooting or editing, I just can’t wait to get to the end. ‪JP: ‬ ‪Well maybe your impatience is what makes you so prolific ‬… me: Just purely out of curiosity, what was your experience at the Tokyo International Film Festival like? ‪JP: ‬ ‪Tokyo International was pretty much the most glamorous festival I played at.  Where to begin… I got to meet my childhood idol director Nikita Mikhalkov who directed “Burnt by the Sun.”  I praised him and he gave me a cheek kiss of appreciation. Also sat down for drinks with Jon Voight.‬ ‪me: ‬ ‪Haha!  Of “Anaconda” fame?  Nice!‬ ‪JP: ‬ ‪Very nice. He did an impression of Toshiro Mifune in SEVEN SAMURAI at one of the receptions.  ‬ me: Whoa… JP: Yeah…right? I also got to talk a lot with Cesar Charlone (DP of CITY OF GOD) who was a fan of the HALF-LIFE, thank goodness. ‪me: ‬ ‪Wow, not exactly lightweights.  I’m impressed.  If I was in the same room as either of those guys I would sip my Diet Coke, and mind my business.‬  I’m a coward. ‪JP:‬ ‪No, you’d find a way to charm the pants off of them. Overall the...
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[youtube]kySsodNxIKs[/youtube] I shot this without the intention of turning it into a film, but I figure there’s so many of you out there who won’t be able to make it to MOCA – Art in the Streets. This is another way to see it. In my opinion the “Street Market II” is the best part of the entire exhibition. The three, Barry McGee, Todd James, and Steve Powers – TWIST, REAS, ESPO respectively, made an effort and succeeded in creating an actual environment, so I isolated it into it’s own video. No where else in the exhibition did I feel that I was being pushed into a very different space. Street Market? There definitely is a place that deserves such a name and it’s at MOCA. On a side note, when the first Street Market took place in Philadelphia, I was invited to go by Mr McGee himself. Perhaps I should have gone, but Todd James did say, “this is even better!” I may post more video from the rest of the exhibition, but again, this part is my favorite.
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Damon Naomi Van

In the van with Damon & Naomi (and Helena and Bhob)

 

When I was selling T-shirts for Damon & Naomi on tour with Boris back in 2007, a lot of the audience didn’t understand the pairing. Especially fans of the latter band. Why would the red-hot heroes of stony, noisy doom rock from Japan hit the road with the acid-folk offshoot of slowcore pioneers Galaxie 500? I told the black-shirted vinyl freaks that the answer wasn’t exactly right before them, but rather on the side of the stage.

Michio Kurihara with Boris

Guest guitarist Michio Kurihara would stand in the shadowy outskirts during either band’s set and add his mostly understated but always intense flourishes and effects, adding nuances to the Tokyo rockers’ explosive set and noise to the Cambridge duo’s understated arrangements. In fact, both Boris and D&N had released albums in conjunction with the insanely talented shredder from Ghost and Stars. And they’re also all just plain friends. Coincidentally, both Damon & Naomi and Boris are releasing new music this month–with Kurihara.

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What follows is a brief report on the most recent of my trips to the disaster-afflicted areas in Tōhoku. Refer to my GR piece about the four trips I took to the North during the first month of the disaster.

As I reported previously, Kazu, my brother-in-law in Onagawa, and I had devised an (admittedly vague) guerilla-style plan to distribute doner kebab, pita sandwiches, and possibly ice cream to those in need. Typically, Kazu drives his truck into Sendai and sells pita sandwiches as o-bento lunch for office workers there, and he recently augmented his truck with a Dairy Queen-type ice cream maker to entice local customers. (Though Sendai is a good-sized metropolis, Onagawa is a small fishing town, and kebab considered quite exotic there.) Obviously, the Tōhoku disaster brought business to a screeching halt. With no electricity to power the refrigeration at home, and no petrol for the truck or generator, Kazu had given away all his remaining stock to survivors the first day after the quake and tsunami, and the truck had sat idle in his backyard since. So, we envisioned, I’d re-supply him with fresh ingredients (meat, veggies, pita, yogurt, and ice cream) and he’d give away hot meals to folks living in the refugee centers. Or something like that. You hear about kids in the early days of Japan’s occupation, now in their seventies, fondly recalling the taste of chocolate and bubble gum given them by GIs; perhaps a generation of kids will grow up in Tōhoku with similar memories of their first kebab.

And, after all, who doesn’t like a good ice cream cone?

First task: acquiring 60kg of Australian topside beef in 5mm slices, and 3kg each of minced lamb and beef. Lack of power, and brownouts in some dairy-producing parts of Japan have made yogurt scarce as well (I’d recently heard about a friend’s wife outsmarting supermarket restrictions on dairy purchases by lining up in disguise). And, then, several kilos of fresh cabbage and tomatoes. Issaku, owner of my favorite Tokyo izekaya, had the meat delivered to me on ice (no point trying to cram that much into my fridge); and Mo, a brother-in-law living in Tokyo, collected requisite yogurt and vegetables. So far, so good. I also agreed to give a ride up north to Gome, a young rapper and skateboarder whose best friend was 3rd AD on my second feature, and who’d lost touch with his family in Onagawa. During the drive north Gome would keep us alert with his hip-hop demos.

I rented a 6-seater van (called, delightfully I thought, a “Bongo“) the day before setting out and rode out to Asakusa-bashi to stock up with relief supplies at Second Harvest Japan, the food bank for which I’d already made a couple relief runs to the North. Charles McJilton, director of Second Harvest, loaded me up with about 300 bananas, 40 cases of fig cookies (donated by the French), and several boxes of canned fruit, and gave me a target: a school doubling as a refugee camp in Natori City, en route to Onagawa. But Charles also warned me that a couple drivers had recently been turned away at their destinations. Multiple governmental and non-governmental organizations are now supplying the North, but unavoidable overlap and, alternately, poor coverage in the various towns and villages affected have resulted in some points oversupplied, while others still lack the basics. Meanwhile, national and local bureaucratic controls have tightened, making it difficult for many grass-roots volunteer parties to get through. So, I told Charles, I’d stop off in Natori and see if they’d take the supplies, but if not needed there, I’d continue north and locate an alternate beneficiary in Ishinomaki or Onagawa, my ultimate destinations.

We set off from my flat at 5:30 AM on April 14th and made good time getting up into Miyagi Prefecture, stopping a few times along the way to top off the Bongo’s gas tank (but, I have to admit, blasting through Fukushima Pref. without stopping). We got off the Tōhoku Expressway for our stop in Natori, but the only official we managed to meet at our target, Natori Fujigaoka Primary School, having been newly dragooned from her usual post in Kyōto, was unfamiliar with local procedures and unable to direct us towards any appropriate facilities. We’d read some recent newspaper headline about shortages in Onagawa, so we decided to continue on, lest our cargo spoil.

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