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雲翔:拍電影能夠獨立走多久,就走多久

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雲翔穿著黑T-shirt,上面印著「I am the most well-known homosexual in the world.」

2008年他與名導劉國昌共同創作《無野之城》,這是雲翔首次執導,也是香港第一部棒球電影。《無野之城》根據香港棒球隊的往事改編,片中的男體、裸露、性愛,向香港電影圈投下震撼彈,也開啓雲翔的情慾經典三部曲。他的作品風格強烈,三部曲之二的《永久居留》《安非他命》討論性別取向及毒品議題,當年作為「香港國際電影節」閉幕電影的《安非他命》,為了剪片問題與電檢處周旋許久,雲翔甚至寫了公開信給特首曾蔭權。2011年的《愛很爛》,由一場混亂的婚禮開始,把轟動香港的六起新聞事件巧妙交織,再度引發電檢尺度爭議,在台灣送審時也無法過關,最後以噴霧方式逃過修剪的命運。

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同中求慾-雲翔作品影展

到了2013年的新作《遊》,雲翔在愛情之外,深入探討憂鬱症及自殺,海報主視覺是男女老幼赤裸的背影,集體往海邊走去。雲翔笑說,「《愛很爛》被電檢弄得焦頭爛額,有這個心情後,適合拍憂鬱症跟死亡。我想拍憂鬱症很久了,因為以前有嚴重的憂鬱症,也認識很多這樣的朋友。故事夠多了,所以選了這個故事出來拍。」《遊》由幾段故事組合,其中一段的母親/算命仙角色,他考慮過許多人,最後屬意邵音音。之前幾部電影給人的印象太過深刻,等到兩人終於見到面,「邵音音見到我就問:導演啊,我已經兩天沒睡了,你到底要找我拍什麼啊!」

「今年發生的事情都很奇怪,十月去芝加哥影展,突然頒了藝術成就奬給我。在華山光點還辦了『同中求慾』作品回顧展,這些好像是那些快要死的影人才會發生的事。」他透漏,《遊》是他拍過出最多狀況的電影,其中一段在蒙古拍攝,遠離人類文明,即使在附近的山頭放旗子路標,劇組還是天天在草原裡迷路。零下20度的低溫,對必須赤身裸體的演員是大考驗,劇組準備了三隻狼,拍到後來,冷到跑掉了一隻狼。拍攝中途,銀行曾經發信來要暫停貸款,剛好雲翔有房子賣出,銀行又發信來說沒問題。「當時我都在拍片,好險都沒看到這兩封信,不然又要憂鬱症了。」雲翔拍片向來獨資,一直有人說要投資他的電影,也有知名演員表達演出意願,然而為了保有自己的堅持不被左右,也不讓電影的光環被明星蓋過,他都一一回絕了,「能夠獨立走多久,就走多久。」
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雲翔常常與素人演員合作,也不諱言對於俊男美女的偏愛。「之前跟一位名導聊天,那個導演的片我都很喜歡,只有一點不好,演員都太醜了!他回我,可是帥哥美女不會做戲啊。我跟他說,這就是導演的工作啊,要讓所有人都能做戲,不能為了自己方便就找不好看的人來演戲。」對雲翔來說,指導演員演戲的工夫絕不能省,在試鏡時候看見的神情動作,他會自然地加進電影裡,讓演員有尋找角色的可能。「我剛拍完第六部電影《同流合烏》,13天就拍出來。我用了30多個演員,誰演哪個角色呢?我請他們一起圍讀這劇本,問他們有沒有看見自己,有的話圈起來,就這樣。」他說這部片要向導演法斯賓達(Rainer Werner Fassbinder)致敬,全片都使用長鏡頭,困難的新嘗試,卻用這麼短的時間拍攝完畢,連他自己都非常意外。

藉由回顧展回顧自身,他覺得深受小時候看的電影影響,大到自己都沒有察覺,帕索里尼(Pier Paolo Pasolini)、阿莫多瓦(Pedro Almodóvar)、格林納威(Peter Greenaway)都是來源。「比方說《安非他命》裡面,卡夫卡從精神病院跑出來,跟帕索里尼三部曲有一幕,一個小孩在沙漠裡跑幾乎一樣。40多年前的片已經進入我的潛意識,連我自己都不知道。」

接下來雲翔想拍中國近代歷史。他祖父是國民黨的大官,當時有四張票可以來台灣,但祖母無法決定要帶走七個小孩裡的哪幾個,決定不走。他的祖父1973年在高雄海軍醫院過世,祖母到死也沒能再見丈夫一面。他說,「這段歷史有很多人拍,但我想拍的角度會不一樣。」

雲翔的電影很難形容,他自己則說,「不看白不看,就算被嚇倒,也不會死掉啊。說不定看了覺得蠻特別的。我覺得我的電影,你只有看過之後,才知道是怎麼一回事。」
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(轉載自博客來閱讀生活誌,原文鏈接http://okapi.books.com.tw/article/2623)

背負「偽同志片」標籤 雲翔:別把我當成同運代言人

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《無野之城》引發的風波,令雲翔一直背負「偽同志片」導演的標籤。

「雲翔」,一個叫本地同志圈又愛又恨的名字。

2008年他到電台節目宣傳第一部作品《無野之城》,期間有男演員在訪問中爆出恐同言論,引發同志社群揚言杯葛。雲翔的作品,從此被冠上「偽同志片」四個字。

之後十年,他合共執導了七部電影,幾乎全部充斥激烈的同志性愛場面。有人堅持杯葛罷看,有人選擇乖乖付錢入場。

背負「偽同志片」的標籤,走過十年電影生涯,如今雲翔依然堅持當日演員的言論沒有問題。他拒絕與同志運動扯上關係,相信藝術作品不一定要具政治性。

「我當然覺得要平權婚姻,但我本身不喜歡婚姻制度,所以覺得不太值得去爭取。這些的確是我的想法,若你因此認為我衰,不為你發聲,咁對唔住囉。」雲翔如是說。

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新作三十人男男輪姦成焦點

最新作品《三十儿立》近日剛開始在台灣上映。上月雲翔與一眾靚仔演員走遍寶島南北,出席了24場電影分享會與觀眾對談。他形容,相比起之前的作品,新戲算是票房「開紅盤」,觀眾反應比想象中熱烈得多。
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雲翔指自己以往作品大多探討情情愛愛,但新戲格局更大,談的是人生、生死:「對我的電影而言,裸體是濕濕碎,性愛通常都會有。但今次多了一些以前電影少見的、較殘酷的場面,有觀眾會不理解,例如是藏傳佛教對死亡、地獄的境象,我將之真實地拍出來。」

《無野之城》內大量的球員裸露鏡頭,到《安非他命》的雞姦場面;從《愛很爛》的真實口交劇情,到《同流合烏》一鏡到底的自慰射精畫面,「情色」已成雲翔的代名詞。

新片講明是要探討生死輪迴,然而大眾更關注片中三十人男男輪姦的場面,以及同志色情片巨星包晗(Eric East)在片中的露肉程度。

有人認為雲翔的電影是過份賣弄色情,他卻覺得順理成章,反問道:「為何不涉及性?我們每日都想著性,做性的事。這是人生,為何要不說?性佔據我們思想上多少時間?相當多。我按這個比例放回電影中,又有何問題?」
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雲翔:將「性」妖化 偽善令人嘔心

他透露電影在台灣能夠一刀不剪在戲院播放,泰國方面亦應正洽談相關安排。唯獨在香港,電檢問題一直未能過關,香港觀眾何時才有機會觀賞新片,仍是未知之數:「香港,唔好意思要等等。我們過不了電檢,無辦法一刀不剪的情況下,就有排拉鋸。」

他認為與全球各地相比,香港社會似乎是在原地踏步,「以亞洲來說,以前我們(香港)算是先進,其他地方文化上保守一點 … 以為是這樣,想不到原來不是」。

「社會要將『性』妖化,這種偽善很令我嘔心。一部電影,爆腸、手腳亂飛都不會影響青少年,但做愛卻不行,連成人都不能看。」

雲翔

雲翔

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首部作品即遭杯葛

2008年雲翔推出首部電影作品《無野之城》,由本地棒球代表隊親身演出,推廣香港棒球發展。電影穿插不少裸露、同性劇情,新穎的題材引來不少關注。同年5月導演帶同一眾演員,到香港電台的同志節目《自己人》宣傳新戲。主角之一的梁宇聰卻在大氣電波中爆出恐同言論,聲言會對同性的追求者動粗。

一眾演員之後接受《壹週刊》訪問,梁宇聰恐同態度沒有絲毫收斂,說道:「係佢哋(同志)覺得自己懶正常!…(鍾意女人抗拒男人)係自然反應,唔使人教,好似睇四仔唔通要阿爸阿媽教?」

事件引來同志圈不滿。有網民質疑電影一方面以同志劇情吸引觀眾,一方面卻任由演員公開發表仇恨言論,只是掛羊頭賣狗肉的偽同志片。網上出現了「罷看《無野之城》」的群組,呼籲大眾杯葛電影。

近十年後,雲翔對於當年的批評仍感不悅。對於被指「偽同志片」,他直斥這些言論戇居,「就算他們說得對,我只是拍一部電影而已,呃極你都只是數十元去睇戲,洗死咩?洗鬧到咁樣咩?」

「這些人不願付出,只問何處下載(電影),但卻對人如此多要求,這就是香港社會的表現,一日到黑都在鬧,但自己做了甚麼?」

當年力挺演員過火言論,令雲翔慘成箭靶。如今他堅持會站在演員的一邊:「我作為藝術工作者,只是講我想講的故事,做我覺得是好的藝術品,讓大家去評估,你不能要求我有政治目的。」

「我不是政治性的人 平權婚姻不值得爭取」

如今他仍然選擇為該演員辯護,批評當日主持人刻意引導,才會令演員說出毆打同志的言論:「(主持)係咁引導佢,好似差佬盤人:『如果真係強吻你、搞你,咁你會點呀?』佢(演員)就話『如果真係太離譜,我會推開、甚至打佢。』」

他認為該等暴力言論並無問題:「如果一個我唔鍾意的人,無論係男定女,如果佢真係咁對我,我真係會推開佢、打佢,我認為大家都會。有咩理由因為對方是同性或者異性,就一定由得佢黎?呢啲算是咩邏輯?所以我覺得佢(演員)講得完全無問題呀。」

對於本地同志圈多年來的批評,他不屑一顧:「我不知道他們(同志圈)對我是甚麼態度。其實我對香港的興趣愈來愈細,我的工作範圍及觀眾已散落四周。香港,我覺得算囉,係點咪點囉,無咩所謂。」

以「藝術工作者」自居,他認為作品不一定要具社會性:「可以有、可以沒有,這不應影響本身的藝術性。我反而覺得藝術家的真誠更重要,如果他是帶著太多的目的,反而不美。」

「梵高畫畫,是否一定為了改變別人的觀念?應該不是。他就是用最真誠的方法,表達當時的情感。」

他拒絕與同志平權運動扯上關係,甚至認為婚姻平權不太值得爭取:「有人覺得我拍這樣多同志片,一定是(同志)運動的代言人。千祈唔好!就算我想做也做不到,因為我不是政治性的人 … 我當然覺得要平權婚姻,但我本身不喜歡婚姻制度,所以覺得不太值得去爭取。這些的確是我的想法,若你因此認為我衰,不為你發聲,咁對唔住囉。」

雲翔

雲翔

梁兆輝成平權核心人物 雲翔大嘆:好可惜囉

當年訪問他的電台主持梁兆輝,如今是大愛同盟總幹事。記者形容梁是本地平權核心人物,雲翔即大嘆一句「好可惜囉」,「梁兆輝就是這樣的人,覺得順我者生,逆我者亡。你一對同志、平權有偏離其希望的言論,他就會非常反感。我認為這就是他的為人,他只是做回他自己而已。」

他認為香港同志給予社會不良印象,是因為他們未有讓大眾輕鬆地互相了解:「你有一個(平權)運動,不能只說『我好可憐,我需要人幫,你唔幫我就是仆街』。我不覺得這樣就可以爭取到,你應該要讓其他人明白你。你要別人接受你,你就要先接受別人。」

梁兆輝接受本網記者訪問時,澄情當日只是詢問演員如何應對同性示愛,而不是談論性騷擾的行為。他否認當年是刻意引導,稱正是因為《無野之城》片中出現同性示愛的情節,他才會追問演員現實生活中會如何面對:「咩誘導性?我的問題是基於你的電影劇情。」

他認為雲翔既然是拍攝同志電影,理應表明不接受任何形式的恐同暴力:「如果你要為同志界做一些事,對暴力言論應該帶頭譴責,不可以因為那是你的演員而去護短。」

「面對恐同暴力言論,身為同志電影導演,非但不予以即時譴責或代出言者向社群及公眾致歉,竟然還砌詞狡辯企圖為演員開脫、護短,似乎說明導演真正關心的,只是電影的利益成敗,而不是社群的權益和感情。」

對於被批評是「順我者生,逆我者亡」,梁兆輝反指恐同言論才是所謂的「逆我者亡」:「導演口中的『逆我者亡』,不就是恐同暴力言論的恐怖思維?為何他不予以強烈譴責?」

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雲翔

雲翔

雲翔:我好像不存於主流世界內

作品一直未能走入主流,雲翔歸咎觀眾狹隘的眼光:「我好像是不存在於主流世界內,由第一部電影已經是這樣。當你做比較古怪的事情,他們(觀眾)根本不會理會。這是一個落後、退步社會的表象」。

他斥現在的觀眾一窩蜂看荷里活電影,卻不把本地電影當中一回事,眼界不及舊時的觀眾遼闊:「80年代甚麼電影都有人看,色情片、三級片都很多觀眾,多麼奇情的電影都有捧場客。」

雲翔坦言過去的作品,全部蝕本收場。未來創作資金未明朗,他希望把每部作品當成最後一部。

「我不願拍假的、裝飾的東西去吸引觀眾。如果我這樣做就沒有存在的價值,因為其他導演都在做。我拍電影,不是為了做那些導演,亦不是為了賺錢。」

懶理同志圈對他的批評責罵,雲翔自有其藝術堅持。

另見《三十儿立》Facebook專頁。

(轉載自立場新聞,原文鏈接https://goo.gl/KQmZJY

Win the tickets for the Thailand Premiere of Thirty Years of Adonis!

อะดอนิส รักแรงข้ามเวลา thirty years of adonisremember this redband trailer that blazed 2 million views?

For the 30-year-old Songkran Festival 2018, Zeero-S invites you to enjoy the full movie experience when the Thailand premiere happens this year!

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Share this post on your social media.

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Good luck!

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Bare Emotion: An Interview with Scud on Voyage

By Gary M. Kramer.

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The mono-monikered Hong Kong writer-director-producer, Scud (born Danny Chan Wan-Cheung) has been making distinctive films for the past decade. His debut, City Without Baseball (2008), co-directed with Lawrence Lau, was based on stories of the Hong Kong baseball team, who also starred in the film. The entertaining film generated headlines for its extensive full male nudity, first on display during the opening credit shower sequence.

Scud’s sophomore effort was Permanent Residence (2009), his poignant, semi-autobiographical drama about Ivan (Sean Li), a gay man in love with his straight best friend, Windson (Osman Hung). Throughout the film there are several moving scenes of Ivan lying next to or embracing Windson, the love of his life, and basking in their bromance. That they will never be friends with benefits is a situation that causes Ivan tremendous heartbreak. Permanent Residence also features Scud’s emphasis on examining death, depression, suicide, and the afterlife, themes that were expanded upon in his later films, most notably Voyage (2013).

As Scud found his footing as a director – his background was in IT – he garnered international acclaim for his subsequent films, Amphetamine (2010) and Love Actually…Sucks (2011). These dramas depicted the pain of love as well as characters struggling with trauma, addiction, and depression. While playing the festival circuit, they helped establish Scud as a unique filmmaker of palpable emotions. He captured the speed and intensity of an unexpected if doomed affair in Amphetamine; the longing of a love not meant be in Permanent Residence; and a jaundiced view of romance in Love Actually… Sucks as six interwoven stories chronicled bad love affairs.

Scud’s films are stylish, glossy productions that showcase attractive actors expressing their passions and naked bodies in showers and bedrooms, on beaches and outdoors. His films are sexy, but they are not necessarily erotic. Despite the frequent full nudity, his emphasis is more of an expression of the character’s freedom. The characters often portray their emotions on their sleeves, since Scud focuses on unrequited love throughout all his work. His characters are obsessed with someone they cannot have, or a love that is forbidden in some way. What resonates is the yearning the characters and the audience feel.

His romantic dramas are engaging because his actors communicate their desires, longing, and heartbreak through their intimacy and intensity. Byron Pang, as the troubled lover in Amphetamine, and Haze Leung, as a despondent policeman in Love Actually…Sucks, are especially noteworthy discoveries.

Both actors appeared in Scud’s 2013 film Voyage, an anthology of short films, all thematically linked by depression. The stories range in length and content as a psychiatrist (Ryo van Kooten) reflects on his patients, including Yuan (Byron Pang) who goes off to inner Mongolia as part of the Chinese re-education program; Ming (Haze Leung), a mentally disabled young man; and Sebastian (Sebastian Castro), an artist romantically involved with a young woman in the Netherlands.

While Voyage contained many elements from the director’s earlier work – the uninhibited nudity and distressing romantic entanglements – the film specifically addresses suicide and the afterlife from multiple perspectives. Voyage received an Artistic Achievement Award at the Chicago International Film Festival, where Scud was honored back in 2013. The film is only now getting a U.S. release on DVD, along with all of his earlier films.

Scud has since released two more films, Utopians (2015), and Thirty Years of Adonis (2017). He chatted with Film International about Voyage, his experiences with depression, his admiration for his actors, and his penchant for full nudity.

Voyage is a change of pace for you in that while it has some queer content, it is not an overtly queer or homoerotic film, unlike much your earlier work. Was there a reason you shifted your focus away from sexuality?

Everybody thinks I have a purpose, but it’s just a story I want to tell. City Without Baseball was an accident. I was still living in Australia, and I thought about becoming a filmmaker. One of my colleagues in my IT career was in charge of the promotion of the Hong Kong baseball team, and he wanted me to do a documentary. I thought it was better to make it a drama. So I did. Permanent Residence was more of my own story, and I wanted to make that film because it was in my heart and mind for years. That helped me reduce my depression.

So every film I make happens because the story is compelling to tell. People think I’m doing this to promote sexual equality, but that’s not my purpose. I have no political reasons. I just wanted to tell a story. I made Voyage because of my own depression. Samaritans is a British organization for suicide prevention in Hong Kong, and people there thanked me for making the film. They showed it to their clients. The film helped prevent suicide.

Can you talk about your interest in depicting romantic trauma, suicide, and mental illness?
Scud

ScudWhile I was making Amphetamine, I fell back into a wave of depression. It was a dark and sad movie, and I was sad making it. The character being raped by a few guys in a tunnel was a difficult scene to shoot, and my depression returned. After that I made Love Actually….Sucks!, and that was the end of my fantasy with love. That’s why I made the film, because for a long time I depended on passionate love to survive. I’m a very depressed person, and I tried to have some love to keep me going.

I am constantly standing on the edge of the cliff, and I could fall any time. But I want to live, so I tried to build some walls around me. I used to think that wall should be love and I tried that – but that’s the most unreliable wall on earth. If I leaned on that wall, I would fall. Now making films is my wall. That’s what keeps me going. As long as I have a project going on and have a story to tell, I will move on.

I had a bad experience making Amphetamine, despite the result. I like all of my films. Love Actually… Sucks! is one I like in particular. So I decided before I die, I should make a film about depression since I’m so well versed with it. I know my problems, and my friend’s problems, so I packaged them into a filmable format and made Voyage. All the stories were true stories.

What can you say about structuring Voyage as an anthology?

I make every film with the feeling it might be my last film. That’s always a possibility. Since it might be my last, I wanted to put as much as possible in it. For Voyage, everybody said I should tell one story and it would have a greater impact. Why dilute the impact with multiple stories? When I was writing Voyage, I just selected the stories I wanted to tell. I wanted to give different perspectives to depression. Voyage was the most difficult film for me to make. It took 3 years to shoot and because it was about depression, it brought me back to depression.

In Voyage, there is the story of the German lady, Leni. I met her when Amphetamine was screening in Berlin. She told me her story about the suicide of her mother, and if you recall that part of the film, after her mother died, her family was in a sad mood for years. She told me her story, and got her family to be in the film, too. Her father was her father, her sister was her sister, but we had a British actress playing her mother – since her mother wasn’t alive anymore. I wanted to present different places and time.

Voyage is your first film shot mostly in English and largely without dialogue. Can you discuss this decision?

It’s my first film in English because of the stories. Only the one with Ming is set in Hong Kong. The others are elsewhere in Asia and Europe. In all of my films, I let the actors speak their language at that time. Voyage was criticized for the English accents of my actors, but I made them speak as if they are in real life. The woman who plays the Filipino maid for Haze’s character can speak perfect English – better than I do. But I made her speak like a Filipino maid in Hong Kong. When audiences don’t hear what they are accustomed to, they think it’s a bad production. But I made them use their language as much as possible. I used English because they spoke in English. But they do speak English because they don’t know Cantonese. I’m trying to be realistic.

You work again with Haze Leung and Byron Pang, who you cast in key roles in earlier films. You also feature out actor-singer Sebastian Castro in Voyage. Can you talk about how you created roles for each actor?
Amphetaminepic04
Amphetamine

I think one thing that kept me going is that I have luck with actors. I come across these guys and girls who are devoted to my work. I’m in debt to them. When I make a film, I just tell the story, with no purpose, as I said. But I do want the film to be successful to do my actors justice. For me, I don’t fucking care. I have no regrets, but the people who work for me and give their all, they don’t get the return they deserve – the recognition and fame. It makes me not sleep well.

Haze happened to be my assistant director. He graduated from film school and is very educated. He was in charge of casting Love Actually…Sucks! There were many cast members in that film because it has six stories. When he showed me the choices, there was one role I didn’t say anything about. He realized I was not satisfied with who he found for me. He asked me out for a drink. He said he knew I wasn’t satisfied with the casting for the Policeman, and he asked if he could do it. I had to change the script. He was an evil policeman, so the tone changed because of his participation. I gave him the role of Ming in Voyage.

Byron is the best actor I can find in Hong Kong. He’s so natural. I have to say I feel in love with him while shooting him. I was touched when my cameraman on Amphetamine, who is a straight, said, “I will make love to Byron with my camera.” I think he did. After Amphetamine, I invited Byron to work on Love Actually…Sucks!, but he had to pass on that, so I made him do Voyage, which I think his best performance. It is deeper and better than Amphetamine.

I met Seb when Amphetamine screened in Chicago. He came forward to sit in the first row and asked me a question at the Q&A after the screening. I was impressed, and when we left, I handed him my card. He told me he was an aspiring actor but had a problem with nudity. Whenever someone tells me he has a problem with nudity, it becomes my objective to strip him bare. After that, he moved to the Philippines, and he made successful [music] videos. He asked me to make his first video, but I declined.

Of course, we have to talk about the nudity in the film. Why do you focus so much on skin?

It has to go back to City Without Baseball. Before that, there was no male nudity in Asian cinema. There wasn’t that much nudity in City Without Baseball but it caused so much controversy. A gay forum online had a powerful article that was critical of my employment of nudity in the film. But I watched European directors – Pier Paolo Pasolini, Peter Greenaway, and Pedro Almodóvar – and there was so much nudity in their films. Asians have problems with male nudity especially. It made me angry and defiant. So, in Permanent Residence, the two leading men were unclothed throughout the film. That film was praised and people don’t talk about my nudity anymore. After that, you see more gay films and sex scenes; it’s almost mainstream now.

A famous actress in Japan came to me and did an interview after seeing Voyage in Japan. When she saw the nude scene of people walking into the sea, she was shocked at first. But then she realized how powerful it was; if they were clothed, that scene would not have so much impact on her. The first shots of Amphetamine featured Kafka (Byron Pang) standing on the edge of a roof about to jump. He is wearing only angels wing. Normally, he would have his briefs on, but I convinced the actor to drop them. When he watched it, Byron told me he knows why I insisted on him being naked. It makes such a difference.

I reckon my insistence on full nudity is because I’m a purist. Butts, tits, and penises are integral parts of a body. What’s an alien piece of cloth got to do with it? I honestly only find completely naked men sexy.

What can you say about the elements of ghosts and the afterlife in Voyage?

Voyage is a very special film, even from the others I’ve made. It took on a life of its own while I was making it. It evolved, and “talked” to me during shooting. I usually don’t improvise much. But this film took three years to make, and I found myself shooting more scenes about the afterlife. From what began as a study on depression, it became a film about the afterlife too. For every story I shoot, I have wondered what happens to the guys after they die. I have to really think about what would happen after death – to them, and to me. Will I see family and friends again? I had a very unique visualization of someone after his death. This is becoming more a theme of my films, especially in Thirty Years of Adonis, which is about the afterlife.

You end Voyage with the statement, “Film is like life.” Can you discuss that observation?

I didn’t study film. I had an IT career, and my social circle was with artists. My friends weren’t surprised, but the rest of the world was stunned that an IT guy became a filmmaker. Film has taken over my life and it’s given me a cause for everything I do. I can now tell my friends that they no longer have to worry about my depression as I still have films I want to make. So I will try to stay alive for as long as possible. It’s my lifetime passion, and it saved my life, and became my life. I’m so happy with my imagination that I am not afraid of death anymore because I know how I’m going to die: on a film set. Probably sitting on a chair examining a shot and having a heart attack. If I had to take my life myself I would try to decide on such a way that the death will help my film.

Voyage will screen at 7:30pm, Friday, March 23 at Plays & Players as the Centerpiece Screening of Philadelphia’s QFLIX.

Gary M. Kramer writes about film for Salon, Cineaste, Gay City News, Philadelphia Gay News, The San Francisco Bay Times, and Film International. He is the author of Independent Queer Cinema: Reviews and Interviews, and the co-editor of Directory of World Cinema: Argentina, Volumes 1 & 2.

( Originated from http://filmint.nu/?p=23662 )

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