.jpg)
Day 9, Film 9
Enjoy!!!
Literally not helpful
3 months ago
Wednesday, February 11, 2009
Tuesday, February 10, 2009
Monday, February 9, 2009
How to Blog Without a Computer
Day 7, Film 7.
HOW TO BLOG WITHOUT A COMPUTER (a film about what blogging is really about)
Enjoy!!!
HOW TO BLOG WITHOUT A COMPUTER (a film about what blogging is really about)
Enjoy!!!
Sunday, February 8, 2009
Secret Hong Kong Kung Fu
Day #6, Film #6.
This was especially fun to make because So Jene gave me a hand. She's awesome!!!
Forget the doom and gloom. Stay positive and smile. At least we have a roof over our heads...
SECRET HONG KONG KUNG FU (a short film about a martial art that is uniquely Hong Kong)
Enjoy!!!
This was especially fun to make because So Jene gave me a hand. She's awesome!!!
Forget the doom and gloom. Stay positive and smile. At least we have a roof over our heads...
SECRET HONG KONG KUNG FU (a short film about a martial art that is uniquely Hong Kong)
Enjoy!!!
Saturday, February 7, 2009
Coolest Bar in Hong Kong
Spent the morning doing freelance translating. Spent the rest of the day out with So Jene. Great day. Ate tons of tasty treats.
By the time we got home, it was dark out and it looked like my streak of making short films in consecutive days would end with four.
But, four is such an unlucky number, especially in Hong Kong.
So, I rushed out and shot this at Waterfall Bay Park next to Wah Fu Estate, startling a bunch of gawking barbecuers nearby. I can't exactly blame them. I do come across like a madman most of the time.
The film is sort of a downer, but short. And I'm sure plenty of people have felt this way at one time or another...
Enjoy!!!
By the time we got home, it was dark out and it looked like my streak of making short films in consecutive days would end with four.
But, four is such an unlucky number, especially in Hong Kong.
So, I rushed out and shot this at Waterfall Bay Park next to Wah Fu Estate, startling a bunch of gawking barbecuers nearby. I can't exactly blame them. I do come across like a madman most of the time.
The film is sort of a downer, but short. And I'm sure plenty of people have felt this way at one time or another...
Enjoy!!!
Thursday, February 5, 2009
Thank You Vojtech Jasny
I'm still looking for actors to get a feature film on its feet here in Hong Kong... In the meantime, I've started making short films to see how many consecutive days I can go making one short film per day. Many of these will be duds. Some will be good. This is #3 on day three, shot at Aberdeen Country Park. I was inspired to do this by the great Vojtech Jasny. Enjoy!!!
Here's a video response to this short film from the filmmaker Jonny Stranger. Thank you, Jonny. Like Vojtech, you also rock!!!
Here's a video response to this short film from the filmmaker Jonny Stranger. Thank you, Jonny. Like Vojtech, you also rock!!!
Hong Kong Apartment For Rent
For anyone looking for the perfect Hong Kong apartment, boy have I got a deal for you...
Enjoy!!!
Enjoy!!!
Wednesday, February 4, 2009
Tuesday, February 3, 2009
The Economy, Empty Malls & Revolutionary Road
We have returned from a much-needed but also thoroughly exhausting trip to New York. The flight seems to get more draining every time, and going from warm weather to frigid cold is a real shock to the system.
Due to the wintry conditions and a bout with a nasty cold, So Jene and I didn't get to do as much as we would have liked. But call us doe-eyed losers, just being in the city reinvigorates us somehow. The cliche about distance allowing for clearer vision and truer appreciation applies in our case. NY is absolutely the most diverse city in the world with the most energetic and edgy people.
Seeing DEFIANCE at the Ziegfeld was a treat, not so much for the movie but the Ziegfeld itself, which seems ever more special as large single-screen theaters all but disappear from nearly much of the industrialized world. We also caught an Indonesian film called THE PHOTOGRAPH at the MoMA, which is a great place to see films. It was the first movie from Indonesia I've ever seen.
The general feeling from seeing friends and our brief stay seems to be the same as what must be in other financial capitals. People are anxious about the economy, many people have lost jobs, and there's less foot traffic in stores. But cities are, by definition, crowded places, so the impact of a recession may not be as obvious.
This was far from the case in a small town about 2 hours north of NYC. We went to a small mall just to walk around. Granted this mall was always a small one and never drew huge crowds, but it seemed to have less shoppers than stores at 11AM on a Sunday morning. We wandered into a rather large OLD NAVY and found just 2 other shoppers. This emptiness actually spooked us a bit and spoke volumes about the current recession.
The downturn in the economy impacts everybody, and we've definitely been affected. Fortunately, we have long lived beneath our means, and I rarely buy things. I'm just not as hung up on things as the average person. I'm not into gadgets at all. I honestly couldn't care less what our furniture looks like, what car we drive, etc. And on those rare occasions when I do go to malls or stores, I'm never gripped by an intense desire to buy anything.
So what?
The last thing I want to do is preach to anyone about the evils of materialism or tell them what to do with their money---I'm just a schmuck with a typewriter, after all, and the only money advice I have for anyone is for them to give their money to me.
So what's the point of all this? Simple. Sam Mendes' REVOLUTIONARY ROAD, which I also saw during the trip, is a piece of crap.
Sure Leonardo DiCaprio is a great actor, and ditto for Kate Winslet. I've long been a fan, and they have plenty of other movies, in which they show off their acting chops. But they stink in this movie because the movie tells a story that's without substance.
SUMMARY OF REVOLUTIONARY ROAD
Winslet's character gave up acting to be a housewife. DiCaprio's character works as a marketing guy for the same company his old man worked for and hates it. After some domestic disputes fueled by resentment and dissatisfaction with their dull middle-class existence in 1950s suburbia, Leo and Kate decide they will leave their familiar life in the 'burbs behind and go live in Paris, where they can be true to themselves. They vow to pursue passion & whim, and escape the drudgery of middle-class suffocation & convention. This plan seems so perfect, however social pressure and lack of courage ultimately derail it. They never get to live in Paris. The wife is devastated. Husband is also sad.
THREE REASONS IT SUCKED
I'm sure plenty of people found the picture to be poignant. God knows there are more than enough people who hate their jobs and being in the rat race. Still, I found the film to be cloying, irritating, and disingenuous. Here are three reasons why:
First, its structure is as follows: Characters are miserable, miserable, miserable, miserable, and then they die.
Second, its central conflict is hinged on pseudo-angst.
What do I mean by that? This is all a bit difficult to describe clearly, so I'll use an analogy. This film is like people who say that they would have been 'artists' but were dissuaded by their parents from pursuing their dream, and thus were forced to settle for a more stable and secure profession.
Both the film and such people cling to reasoning that is, at a certain level, disingenous.
The truth is, no person can dissuade or persuade anyone else to go into or out of the arts (that is unless they hold a gun to the other person's head). People become artists because they simply do (for a million+ reasons). It's not because someone persuaded or dissuaded them.
Likewise, if a person really wants to move to Paris, he or she will do so. (This is especially so for bourgeois Americans at a time when the dollar was so much stronger than the franc.) And if a person really doesn't want to, he or she won't. That's all fine. But it becomes annoying when the person, and a rather privileged one at that, doesn't, and then the blame is placed on 'society'.
Third, the film makes its rather obvious point in a clumsy manner.
It actually takes itself so damn seriously and thinks its message is so damn profound and above the audience's head that it uses a supporting character, a neighbor's grown-son recently released from a stint at a mental hospital, to spell out over and over (profundity apparently needs to be translated for mass consumption) the ennui the couple is going through. He declares, "You two are being stifled by this empty existence..."
The scene that follows is even more inane and has the couple reflect on their encounter with this clear-seeing madman. They tell each other: "He is the only one who sees things as we do. The madman is the only one who understands us..."
Some of this clumsy storytelling has to do with adapting a book, but this truth-seeing madman character could have been dropped, or at the least, the ensuing scene (described above) should have been cut.
Having trashed this movie thus, I'll add that for whatever it's worth, all this is not to discount stifling conformity of 1950s life and real social pressure. Peer pressure and conformity are real and powerful social forces. No one questions this. Conformity was stifling in 1950s American suburbs for many people who were really creative on the inside and is still resonant today. We get it.
Just don't try to pass off a nothing-of-a-movie that's mostly about bourgeois whining as if it's saying something new, poignant, or... (sorry, can't help myself here)...revolutionary.
Due to the wintry conditions and a bout with a nasty cold, So Jene and I didn't get to do as much as we would have liked. But call us doe-eyed losers, just being in the city reinvigorates us somehow. The cliche about distance allowing for clearer vision and truer appreciation applies in our case. NY is absolutely the most diverse city in the world with the most energetic and edgy people.
Seeing DEFIANCE at the Ziegfeld was a treat, not so much for the movie but the Ziegfeld itself, which seems ever more special as large single-screen theaters all but disappear from nearly much of the industrialized world. We also caught an Indonesian film called THE PHOTOGRAPH at the MoMA, which is a great place to see films. It was the first movie from Indonesia I've ever seen.
The general feeling from seeing friends and our brief stay seems to be the same as what must be in other financial capitals. People are anxious about the economy, many people have lost jobs, and there's less foot traffic in stores. But cities are, by definition, crowded places, so the impact of a recession may not be as obvious.
This was far from the case in a small town about 2 hours north of NYC. We went to a small mall just to walk around. Granted this mall was always a small one and never drew huge crowds, but it seemed to have less shoppers than stores at 11AM on a Sunday morning. We wandered into a rather large OLD NAVY and found just 2 other shoppers. This emptiness actually spooked us a bit and spoke volumes about the current recession.
The downturn in the economy impacts everybody, and we've definitely been affected. Fortunately, we have long lived beneath our means, and I rarely buy things. I'm just not as hung up on things as the average person. I'm not into gadgets at all. I honestly couldn't care less what our furniture looks like, what car we drive, etc. And on those rare occasions when I do go to malls or stores, I'm never gripped by an intense desire to buy anything.
So what?
The last thing I want to do is preach to anyone about the evils of materialism or tell them what to do with their money---I'm just a schmuck with a typewriter, after all, and the only money advice I have for anyone is for them to give their money to me.
So what's the point of all this? Simple. Sam Mendes' REVOLUTIONARY ROAD, which I also saw during the trip, is a piece of crap.
Sure Leonardo DiCaprio is a great actor, and ditto for Kate Winslet. I've long been a fan, and they have plenty of other movies, in which they show off their acting chops. But they stink in this movie because the movie tells a story that's without substance.
SUMMARY OF REVOLUTIONARY ROAD
Winslet's character gave up acting to be a housewife. DiCaprio's character works as a marketing guy for the same company his old man worked for and hates it. After some domestic disputes fueled by resentment and dissatisfaction with their dull middle-class existence in 1950s suburbia, Leo and Kate decide they will leave their familiar life in the 'burbs behind and go live in Paris, where they can be true to themselves. They vow to pursue passion & whim, and escape the drudgery of middle-class suffocation & convention. This plan seems so perfect, however social pressure and lack of courage ultimately derail it. They never get to live in Paris. The wife is devastated. Husband is also sad.
THREE REASONS IT SUCKED
I'm sure plenty of people found the picture to be poignant. God knows there are more than enough people who hate their jobs and being in the rat race. Still, I found the film to be cloying, irritating, and disingenuous. Here are three reasons why:
First, its structure is as follows: Characters are miserable, miserable, miserable, miserable, and then they die.
Second, its central conflict is hinged on pseudo-angst.
What do I mean by that? This is all a bit difficult to describe clearly, so I'll use an analogy. This film is like people who say that they would have been 'artists' but were dissuaded by their parents from pursuing their dream, and thus were forced to settle for a more stable and secure profession.
Both the film and such people cling to reasoning that is, at a certain level, disingenous.
The truth is, no person can dissuade or persuade anyone else to go into or out of the arts (that is unless they hold a gun to the other person's head). People become artists because they simply do (for a million+ reasons). It's not because someone persuaded or dissuaded them.
Likewise, if a person really wants to move to Paris, he or she will do so. (This is especially so for bourgeois Americans at a time when the dollar was so much stronger than the franc.) And if a person really doesn't want to, he or she won't. That's all fine. But it becomes annoying when the person, and a rather privileged one at that, doesn't, and then the blame is placed on 'society'.
Third, the film makes its rather obvious point in a clumsy manner.
It actually takes itself so damn seriously and thinks its message is so damn profound and above the audience's head that it uses a supporting character, a neighbor's grown-son recently released from a stint at a mental hospital, to spell out over and over (profundity apparently needs to be translated for mass consumption) the ennui the couple is going through. He declares, "You two are being stifled by this empty existence..."
The scene that follows is even more inane and has the couple reflect on their encounter with this clear-seeing madman. They tell each other: "He is the only one who sees things as we do. The madman is the only one who understands us..."
Some of this clumsy storytelling has to do with adapting a book, but this truth-seeing madman character could have been dropped, or at the least, the ensuing scene (described above) should have been cut.
Having trashed this movie thus, I'll add that for whatever it's worth, all this is not to discount stifling conformity of 1950s life and real social pressure. Peer pressure and conformity are real and powerful social forces. No one questions this. Conformity was stifling in 1950s American suburbs for many people who were really creative on the inside and is still resonant today. We get it.
Just don't try to pass off a nothing-of-a-movie that's mostly about bourgeois whining as if it's saying something new, poignant, or... (sorry, can't help myself here)...revolutionary.
Sunday, February 1, 2009
A BUG'S LIFE (a review of LAS CUCARACHAS)
The Following is a review of my second novel LAS CUCARACHAS from the FAR EASTERN ECONOMIC REVIEW (Sept. 9, 2004)
Please click on the scanned document to enlarge it for reading on a new screen.
Here is another review in Japanese of my novel BOY GENIUS and a reading I did at the Calabash International Literary Festival in Jamaica.
from Mighty Mules' Bookstore Home
カラバッシュ・フェスティバル2004 レポート（最終日）
とうとう最終日。朝10時から「Akashic Books Presents」というセッションがスタート。前々から楽しみにしていたニーナ・レヴォイラはじめ、韓国系アメリカ人のヨンゴス・パークの朗読が印象的だった。 まず第一にレヴォイラは日系アメリカ人で「Necessary Hunger」「Southland」と続けて日系をテーマにした作品を書いている。
彼女自身の生まれ育ったロスのクレンショーに対する愛情、思いは作家として成功した今もなぜ彼女をつかんではなさないのか非常に興味があったし、日系アメリカ人の作家がカラバッシュに参加していることも同じ日本の血を分かつ者として誇らしかった。ヨンゴス・パークも同様。話し方、身のこなしは完璧なニューヨーカーだが、実はわたし、彼がステージに上がるまでずっと日本人オーディエンスの一人だと思っていた。（笑）アジア系が二人もカリブの文学祭に出ているとはとても嬉しい。と同時にカラバッシュのコンセプトに広がりを感じたのもこの時である。年を重ねるごとに出演者の国籍、バックグラウンドが多様になっているこの文学祭だが、ジャマイカ人アーチストを除けばそのほとんどが移民／ディアスポラの作家。これは何かの偶然だろうか。
まずは韓国系アメリカ人ヨンゴス・パーク Yongsoo Parkの朗読から。
彼は2001年の作品 「Boy Genius」と新作「Las Cucarachas」を披露。どちらも8才から12才の韓国系少年を主人公にしているので、「たぶんオレがまだ子供だからかな？」と冗談を言いつつ、自らも7歳のときＮＹへ移住し、それまでの韓国時代の経験とアメリカでの生活がどのように作品に投影されているかについて触れる。意外にも今回のカラバッシュで作品の背景や作家自らのことを話して朗読に入ったのはパークだけだったので、30分という持ち時間の使い方がうまいなと思った。フェスティバルに来ている人の中から「ずっと朗読を聞くのはちょっと退屈」という声もチラホラ聞いていたので、自分の経験をプロのスタンダップ・コメディアン並に笑わせながら話すパークのイントロや流れ作りは際立っていた。そして作者と作品の関連性を聞けた分、オーディエンスもより朗読される内容に関心が高まったことは言うまでもない。
実際「Boy Genius」も「Las Cucarachas」も頭のよい少年が少し過激とも思える行動をとったり、調子のよいくらいに自分の立場をコロコロ変えるので「まったくもう。。。」と失笑させられるのだが、前者では国がスポンサーとしてついているテレビ番組で天才として持ち上げられているボーイ・ジーニアスがアメリカの影響力色濃い韓国でいかにサバイバルしていくかという真摯なテーマを扱っているところが素晴らしい。韓国と日本。全く状況は違うだろうが共感できる部分はとても多かった。丁度第二次大戦後の日本社会といった感じ。そして新作「Las Cucarachas」は舞台をアメリカのＮＹに移し、主人公ピーター・キムが韓国系移民として人種・貧困の問題が残るプロジェクトでいかに戦っていくかをブラックユーモアを交えて描かれている。
どちらも作者パーク自身の経験や思いが100％そのまま書かれているとは思わないが、両作品に通じるプロットも多く、彼自身のバックグラウンドや年代の重なりを考慮してもパークと主人公達につながりがあることは間違いないだろう。韓国では「アメリカ万歳！」と国に見離されたボーイ・ジーニアスが極端なアメリカ支持者になり、在留軍人につきまといながらいろんな品物（タバコ、チョコレートなど）や人脈を手に入れていく。そして実際アメリカに移ったピーター・キムは「ブルジョアなんて嘘くせぇ！」とでも言わんばかりに、韓国で知った「アメリカ」と「実際のアメリカ」の違いに激していくのだ。
作者パークは気のきいた笑いでプロのコメディアンかと見まごうような才能のほとばしりをみせたが、今後の楽しみなアーチストとなる。今回読んだ作品はどちらも日本で人気のでそうな予感。
Here is a rough translation from the web:
カラバッシュ festival 2004 report (last day)
Finally last day. Morning the session, "Akashic Books Presents" starts from 10 o'clock. The ニーナ レヴォイラ beginning and the recitation of the ヨンゴス park of the Korean type American which beforehand have been enjoyed were impressive. First レヴォイラ continuing with "Necessary Hunger" "Southland" with the Japanese-American, has written the work which designates Nikkei as theme.
As for love and the thinking for クレンショー of the loss where she herself grows why grasping her who succeeds as a writer even now, whether you do not release there was an interest very it was proud and, the writer of the Japanese-American participating in カラバッシュ the same Japanese blood as an amount and a person.
Also the ヨンゴス park is similar. Way of talking, without the body saw it is the perfect New Yorker, but until to tell the truth you transfer, he rises to stage, you thought that directly it is the one of the Japanese audiences. (Laughing) the Asian system as many as two has appeared in the Caribbean literature festival with very is delightful. With also what the extent is felt simultaneously in concept of カラバッシュ is this time. Whenever year is repeated, nationality of the performer, the background becomes various it is this literature festival where, but if you exclude the Jamaican human artist, most the writer of immigration/ディアスポラ. Is this something probably accidental?
First from recitation of the Korean type American ヨンゴス park Yongsoo Park.
As for him work 2001 "Boy Genius"With new work"Las Cucarachas"It announces. Because both from 8 years old has designated the Korean type boy of 12 years old as the protagonist, therefore "perhaps I still the child, kana? While "with saying joke, also the self at the time of 7 years old immigrates to NY, concerning Korean age and the life in America how are projected to the work to experience of that, it comments.
Speaking the background of the work and the thing individual of the writer even unexpectedly with latest カラバッシュ, because those where it enters into recitation were just the park, method of using the time limit, 30 minutes is good, you thought that is. Because "that directly recitation is heard, it had heard also the voice, just a little boredom" sporadically from midst of the person who has come to the festival, your own experience amuse in like the stand-up comedian of the professional, introduction and the flow making of the park which you speak had been prominent.
And the amount which can inquire about the connection of the writer and the work, from the audience until you say, interest has not increased in the contents which are recited. Actually "Boy Genius" also the action which the boy where "Las Cucarachas" the head is good can think also radical a little is taken, being the roller roller to change his own standpoint in the extent whose condition is good "completely another. . . "
With you can laugh, but the place where the true 摯 theme is handled with former the country with the television program which has been attached as the sponsor boy ジーニアス which is raised as the genius keeps doing how the survival in the American influence color dense Korea, is splendid. Korea and Japan. Completely, circumstance probably will be different, but as for the part which you can sympathize it was very many. The feeling such as the Japanese society of after the second next great war exactly. Mixing black and new work "Las Cucarachas" moves the stage to American NY, protagonist Peter キム how keeps fighting with the project where problem of race poverty remains as the Korean type immigration, humor, it is drawn.
Neither writer park itself experience and the thinking think 100% are written with that way, but as for plotting which leads to both works being many, considering his himself background and the pile of age, it being being connected in the park and the protagonist you probably will not be wrong. In Korea "the American hurray! "With you see in the country and you become the American supporter whose boy ジーニアス which is separated is extreme, while hang on in the residency soldier, the various article (the tobacco and the chocolate etc.) and you keep obtaining connections. And as for Peter キム which really moved to America "the bourgeoise how lie habit ぇ! "With with as if to say, you knew in Korea, it keeps encouraging in the difference" of America "and" actual America ".
As for the writer park whether with the laughing where the air is effective the professional comedian you saw and you showed the gushing out of the talent the ま う way, but you become the future pleasantly everyone artist. Both work which this time was read so, being popularity in Japan, foreboding.
Please help get my novels BOY GENIUS and LAS CUCARACHAS into the Hong Kong public library by filling out an on-line request. You can do so by clicking on the prompt on the upper right corner of this blog. Thank you.
Please click on the scanned document to enlarge it for reading on a new screen.
Here is another review in Japanese of my novel BOY GENIUS and a reading I did at the Calabash International Literary Festival in Jamaica.
from Mighty Mules' Bookstore Home
カラバッシュ・フェスティバル2004 レポート（最終日）
とうとう最終日。朝10時から「Akashic Books Presents」というセッションがスタート。前々から楽しみにしていたニーナ・レヴォイラはじめ、韓国系アメリカ人のヨンゴス・パークの朗読が印象的だった。 まず第一にレヴォイラは日系アメリカ人で「Necessary Hunger」「Southland」と続けて日系をテーマにした作品を書いている。
彼女自身の生まれ育ったロスのクレンショーに対する愛情、思いは作家として成功した今もなぜ彼女をつかんではなさないのか非常に興味があったし、日系アメリカ人の作家がカラバッシュに参加していることも同じ日本の血を分かつ者として誇らしかった。ヨンゴス・パークも同様。話し方、身のこなしは完璧なニューヨーカーだが、実はわたし、彼がステージに上がるまでずっと日本人オーディエンスの一人だと思っていた。（笑）アジア系が二人もカリブの文学祭に出ているとはとても嬉しい。と同時にカラバッシュのコンセプトに広がりを感じたのもこの時である。年を重ねるごとに出演者の国籍、バックグラウンドが多様になっているこの文学祭だが、ジャマイカ人アーチストを除けばそのほとんどが移民／ディアスポラの作家。これは何かの偶然だろうか。
まずは韓国系アメリカ人ヨンゴス・パーク Yongsoo Parkの朗読から。
彼は2001年の作品 「Boy Genius」と新作「Las Cucarachas」を披露。どちらも8才から12才の韓国系少年を主人公にしているので、「たぶんオレがまだ子供だからかな？」と冗談を言いつつ、自らも7歳のときＮＹへ移住し、それまでの韓国時代の経験とアメリカでの生活がどのように作品に投影されているかについて触れる。意外にも今回のカラバッシュで作品の背景や作家自らのことを話して朗読に入ったのはパークだけだったので、30分という持ち時間の使い方がうまいなと思った。フェスティバルに来ている人の中から「ずっと朗読を聞くのはちょっと退屈」という声もチラホラ聞いていたので、自分の経験をプロのスタンダップ・コメディアン並に笑わせながら話すパークのイントロや流れ作りは際立っていた。そして作者と作品の関連性を聞けた分、オーディエンスもより朗読される内容に関心が高まったことは言うまでもない。
実際「Boy Genius」も「Las Cucarachas」も頭のよい少年が少し過激とも思える行動をとったり、調子のよいくらいに自分の立場をコロコロ変えるので「まったくもう。。。」と失笑させられるのだが、前者では国がスポンサーとしてついているテレビ番組で天才として持ち上げられているボーイ・ジーニアスがアメリカの影響力色濃い韓国でいかにサバイバルしていくかという真摯なテーマを扱っているところが素晴らしい。韓国と日本。全く状況は違うだろうが共感できる部分はとても多かった。丁度第二次大戦後の日本社会といった感じ。そして新作「Las Cucarachas」は舞台をアメリカのＮＹに移し、主人公ピーター・キムが韓国系移民として人種・貧困の問題が残るプロジェクトでいかに戦っていくかをブラックユーモアを交えて描かれている。
どちらも作者パーク自身の経験や思いが100％そのまま書かれているとは思わないが、両作品に通じるプロットも多く、彼自身のバックグラウンドや年代の重なりを考慮してもパークと主人公達につながりがあることは間違いないだろう。韓国では「アメリカ万歳！」と国に見離されたボーイ・ジーニアスが極端なアメリカ支持者になり、在留軍人につきまといながらいろんな品物（タバコ、チョコレートなど）や人脈を手に入れていく。そして実際アメリカに移ったピーター・キムは「ブルジョアなんて嘘くせぇ！」とでも言わんばかりに、韓国で知った「アメリカ」と「実際のアメリカ」の違いに激していくのだ。
作者パークは気のきいた笑いでプロのコメディアンかと見まごうような才能のほとばしりをみせたが、今後の楽しみなアーチストとなる。今回読んだ作品はどちらも日本で人気のでそうな予感。
Here is a rough translation from the web:
カラバッシュ festival 2004 report (last day)
Finally last day. Morning the session, "Akashic Books Presents" starts from 10 o'clock. The ニーナ レヴォイラ beginning and the recitation of the ヨンゴス park of the Korean type American which beforehand have been enjoyed were impressive. First レヴォイラ continuing with "Necessary Hunger" "Southland" with the Japanese-American, has written the work which designates Nikkei as theme.
As for love and the thinking for クレンショー of the loss where she herself grows why grasping her who succeeds as a writer even now, whether you do not release there was an interest very it was proud and, the writer of the Japanese-American participating in カラバッシュ the same Japanese blood as an amount and a person.
Also the ヨンゴス park is similar. Way of talking, without the body saw it is the perfect New Yorker, but until to tell the truth you transfer, he rises to stage, you thought that directly it is the one of the Japanese audiences. (Laughing) the Asian system as many as two has appeared in the Caribbean literature festival with very is delightful. With also what the extent is felt simultaneously in concept of カラバッシュ is this time. Whenever year is repeated, nationality of the performer, the background becomes various it is this literature festival where, but if you exclude the Jamaican human artist, most the writer of immigration/ディアスポラ. Is this something probably accidental?
First from recitation of the Korean type American ヨンゴス park Yongsoo Park.
As for him work 2001 "Boy Genius"With new work"Las Cucarachas"It announces. Because both from 8 years old has designated the Korean type boy of 12 years old as the protagonist, therefore "perhaps I still the child, kana? While "with saying joke, also the self at the time of 7 years old immigrates to NY, concerning Korean age and the life in America how are projected to the work to experience of that, it comments.
Speaking the background of the work and the thing individual of the writer even unexpectedly with latest カラバッシュ, because those where it enters into recitation were just the park, method of using the time limit, 30 minutes is good, you thought that is. Because "that directly recitation is heard, it had heard also the voice, just a little boredom" sporadically from midst of the person who has come to the festival, your own experience amuse in like the stand-up comedian of the professional, introduction and the flow making of the park which you speak had been prominent.
And the amount which can inquire about the connection of the writer and the work, from the audience until you say, interest has not increased in the contents which are recited. Actually "Boy Genius" also the action which the boy where "Las Cucarachas" the head is good can think also radical a little is taken, being the roller roller to change his own standpoint in the extent whose condition is good "completely another. . . "
With you can laugh, but the place where the true 摯 theme is handled with former the country with the television program which has been attached as the sponsor boy ジーニアス which is raised as the genius keeps doing how the survival in the American influence color dense Korea, is splendid. Korea and Japan. Completely, circumstance probably will be different, but as for the part which you can sympathize it was very many. The feeling such as the Japanese society of after the second next great war exactly. Mixing black and new work "Las Cucarachas" moves the stage to American NY, protagonist Peter キム how keeps fighting with the project where problem of race poverty remains as the Korean type immigration, humor, it is drawn.
Neither writer park itself experience and the thinking think 100% are written with that way, but as for plotting which leads to both works being many, considering his himself background and the pile of age, it being being connected in the park and the protagonist you probably will not be wrong. In Korea "the American hurray! "With you see in the country and you become the American supporter whose boy ジーニアス which is separated is extreme, while hang on in the residency soldier, the various article (the tobacco and the chocolate etc.) and you keep obtaining connections. And as for Peter キム which really moved to America "the bourgeoise how lie habit ぇ! "With with as if to say, you knew in Korea, it keeps encouraging in the difference" of America "and" actual America ".
As for the writer park whether with the laughing where the air is effective the professional comedian you saw and you showed the gushing out of the talent the ま う way, but you become the future pleasantly everyone artist. Both work which this time was read so, being popularity in Japan, foreboding.
Please help get my novels BOY GENIUS and LAS CUCARACHAS into the Hong Kong public library by filling out an on-line request. You can do so by clicking on the prompt on the upper right corner of this blog. Thank you.
Thursday, January 29, 2009
SHAMELESS PLUG for Fellow Writer and Actor
I'm still in the old Mei Gwok. It's cold but comfortable. Biggest cliche in the world, but true. There's no place like New York...
Recently heard from an old friend, another talented writer from NYU, who is now in Ventura, CA. Her name is Tania Weissberg and she wrote this episode of SUSHI PACK, a cartoon on cable TV.
I also found out that NELSAN ELLIS, an amazing actor who was in my experimental short film ANTIGONE 5000, is not only a regular on Cable TV's TRUE BLOOD but will appear in a major supporting role in THE SOLOIST, a feature film starring JAMIE FOXX and ROBERT DOWNEY Jr.
I thank him for his amazing gung-ho attitude doing ANTIGONE 5000 with me back in the day. We ran the production out of my living room and shot it in the woods out in Jersey over the GW Bridge. He never once complained even when we were shooting in the freezing cold. Out of all the actors I've worked with, he's the one whom So Jene, my wife, pegged to be a star. And he's clearly on his way. The guy is amazing.
Anyway, here's to those of us who keep plugging away at writing and acting and making personal movies despite and against all the odds.
I've also finished up a screenplay to shoot as soon as I'm back in the U.S. It's a script I wrote about five years ago and just sat on looking for perfect conditions and waiting for money to materialize. What a stupid of waste of time that was. The material is good. I just reread and polished it up today. It reads well, which makes me wonder what the hell I was doing just sitting on it all this time.
My hiatus in Hong Kong has given me renewed perspective. This time around, I'll shoot with a goddamn camcorder if I have to.
Anyway, kudos to you, Tania and Nelsan. You guys rock!!!!
Recently heard from an old friend, another talented writer from NYU, who is now in Ventura, CA. Her name is Tania Weissberg and she wrote this episode of SUSHI PACK, a cartoon on cable TV.
I also found out that NELSAN ELLIS, an amazing actor who was in my experimental short film ANTIGONE 5000, is not only a regular on Cable TV's TRUE BLOOD but will appear in a major supporting role in THE SOLOIST, a feature film starring JAMIE FOXX and ROBERT DOWNEY Jr.
I thank him for his amazing gung-ho attitude doing ANTIGONE 5000 with me back in the day. We ran the production out of my living room and shot it in the woods out in Jersey over the GW Bridge. He never once complained even when we were shooting in the freezing cold. Out of all the actors I've worked with, he's the one whom So Jene, my wife, pegged to be a star. And he's clearly on his way. The guy is amazing.
Anyway, here's to those of us who keep plugging away at writing and acting and making personal movies despite and against all the odds.
I've also finished up a screenplay to shoot as soon as I'm back in the U.S. It's a script I wrote about five years ago and just sat on looking for perfect conditions and waiting for money to materialize. What a stupid of waste of time that was. The material is good. I just reread and polished it up today. It reads well, which makes me wonder what the hell I was doing just sitting on it all this time.
My hiatus in Hong Kong has given me renewed perspective. This time around, I'll shoot with a goddamn camcorder if I have to.
Anyway, kudos to you, Tania and Nelsan. You guys rock!!!!
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