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Wasp – Review and Interview with Lead Actor Simon Haycock and Director Philippe Audi-Dor

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WIDE poster Wasp

Director: Philippe Audi-Dor

Cast: Simon Haycock, Hugo Bolton, Elly Condron

Released: 27 September 2015

Reviewed By: Stu Greenfield

 

 

Love. Friendship. Lust. Relationships. Sexuality. They can all get so complicated and questionable at times. One minute you feel besotted with somebody, as if you never want them to leave your side. The next you are questioning everything you once believed to be true, everything you felt. This is not news for short film director Philippe Audi-Dor who has used the complexity of human nature and relationships as a focus of a number of his short films. 2014’s Bis and But We Love Each Other spring to mind as good examples. Audi-Dor returns this year with another tricky relationship with Raindance Film Festival contender, Wasp.

Wasp focuses on three individuals. The term ‘friends’ seems a little fake in this instance. Olivier (Haycock) and his boyfriend James (Bolton) visit Olivier’s family home in Province in the South of France. A romantic weekend break for the two of them a year into their relationship. A private home with a pool in a stunningly isolated location in the French countryside. It sounds perfect doesn’t it? And it would be, had James not invited an old University friend Caroline (Condron) to join them after she breaks up with her long term boyfriend. James’ sweet intentions turn sour as Caroline’s presence turns a beautiful trip into something ugly. Emotions turn raw and relationships are not the only thing that gets questioned in this subtle yet honest drama.

What is striking about Wasp is the simplicity in which it is presented. The setting is simple, the house feels like people have lived in it and there are few locations that are not in or around the house itself. The music is understated yet atmospheric and the cast consists solely of the three houseguests. This fits in well with director Pilippe Audi-Dor’s production ethic. He has been quoted as saying that the importance of his work lies in the silences, simplicity and subtlety. Talking to Movie Marker, Audi-Dor explains this style that shines through in Wasp.

P A-D – ‘My style will always be influenced by the story I am trying to tell. That said, I believe that overly complicated or ‘showing off’ shots often distract the audience from the story.

What I want to do is force my audience to truly pay attention to what is happening on their screen. If you spoon-feed them every single bit of information, they don’t need to properly focus on your film and will soon forget it.

If you’re courageous enough to treat them like the mature spectators they actually are, you’ll see that audiences do like to engage with a subtle piece. We live in an age where we are constantly surrounded by (on demand) movies and TV series, so the general public is very well trained in ‘movie-literacy’ so to speak. As a result, I really don’t think we should be scared to create multi-layered characters and films.

This is done very well within Wasp and the lack of adornment in terms of cinematography and production mean that the audiences focus is purely on the three characters and their individual journeys and combined suffering. The audience are given little back story to the characters other than what crops up in their own conversations so there is a distinct feel of being ‘in the moment’ much as the characters are. Both viewer and character are dealing with what is happening then and there without concern for excess erroneous information or over-complication. This encourages the audience to focus on the nuances in relationships between the three and how those relationships transform and grow. Or disintegrate, as the case may be.

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The relationships in Wasp are tangible and the actors display a bond that drives the film forwards. This may be in no small part due to the actors living together in the same house used in the film and sleeping in the same films as lead actor Simon Haycock explains when talking to Movie Marker.

SH – ‘We got to spend a lot of time together during the shoot.  Hugo and I were sharing a room upstairs, and Elly was downstairs – as in the film.  We shared every meal together too, so with the great French food and beautiful sunsets there was lots of time to bond’  

This unique way of preparing not only helped the cast develop the bond that is so obvious during the film, but also aided Simon in developing the character of Olivier.

SH – ‘The location was where the character spent a lot of time growing up.  He had never taken a boyfriend there before, so that was a whole new thing for him.  It was really useful investigating how Olivier might feel about that – and then how did he feel about a near stranger invading his family’s holiday home, his first holiday with James’

Given the honest portrayals and the insight into the emotional turmoil and confusion that is so often the ugly part of such situations, the audience may be forgiven for assuming this is written from the perspective of somebody who has been through a similar situation. In turn the portrayal of Olivier, that is played with such charm and conceited intrigue, must come from some sort of inspiration. Both the director and the lead actor explain:

P A-D – ‘Wasp definitely stems from the frustrations I went through as a sexually confused young man. I knew I wasn’t straight, but defining myself gay didn’t feel quite right either. During my studies in Cultural Sociology I discovered the Klein Sexual Orientation grid (mentioned in the film), which explores the complexity of sexuality in an in-depth but approachable way. It helped me understand who I was, while simultaneously planting the seed for Wasp in my mind. I felt as though sexually complex characters were too rarely portrayed on screen (unless they were unbalanced psychopaths…) and wanted to contribute to changing that.

Years later, Wasp was based on questions and feelings I was going through at the time of writing (a first relationship simultaneous to enrolling in art school and moving to three cities in the space of 6 months has a funny way of playing with your mind!), but is in no way a portrayal of real events. Let’s not forget we were dealing with cinema here – though it tries to stay realistic, it’s definitely more eventful than my daily life!

Overall I’d say Wasp is an emotional autobiography, but not in the facts it portrays’

SH –I have been in a situation where I was in a relationship but then became attracted to someone else at the same time, something I think a lot of people can relate to. I definitely felt torn in the same way that Olivier does; do you act on that attraction? Although the situation I was in did not cause me to question my sexuality, it definitely caused me to question my values and existing relationship’

Audi-Dor has previously explained his fondness for allowing the audience to work aspects of the story out for themselves and for not spoon feeding them detail of the story. One of the aspects of Wasp that raises questions and encourages the audiences to think is its title, and the relevance of the wasp that is shown at certain points throughout the film. The innovative director explains his reasoning for using this imagery to Movie Marker.

P A-D – ‘To me, wasps evoke both a sense of summer (with its sunshine, swimming pools, etc.) as well as danger, which corresponds perfectly to what our story is all about. For this reason, I couldn’t imagine any other title for the film.

The way these insects behave is fascinating. Contrary to a bee, a wasp can sting repeatedly without fear of putting its life in danger. I felt the slightly reckless way in which the characters behave reflects this quite accurately. I also recently learned that the venom in wasps contains a pheromone that causes nearby wasps to become more aggressive. Who is the ‘wasp’ in the film is up for the audience to decide, but personally I believe that all characters become the wasp at one point or another, as they all end up ‘stinging’ each other – as if one’s venom had triggered aggressively in all the others.

The use of the wasp in the film is fairly straightforward. The opening sequence is my way of saying that even amongst the beautiful Provencal nature hides something dangerous – symbolised by the wasp. It will find its way into the house, and will do everything in its power to survive there. The final shot of the wasp is open to interpretation: Either negative (the death of the characters’ relationship), or positive (leaving behind what caused their disarray), or even as a bad omen – the danger that threatened them, though weakened, isn’t dead.

As you can guess I do love ambiguity, as I feel it forces the audience to discuss the film after watching it.

Last note on this insect, know that after a male wasp mates with the Queen, it dies shortly afterwards…’

Aside from the imagery within the film, the use of music is simple yet meaningful. With a variety of pieces used in the film including native French songs and operatic pieces there does appear to be a purpose in the music that is used within Wasp. In many films music is used to build up an emotion, such as tension on a horror film or sadness in a drama. In Wasp the film and music work together to communicate to the audience what is happening within the narrative. The musical choices mirror the internal struggles of each of the three individuals and eventually culminates in bringing them all together. Audi-Dor explains the importance of the careful use of music within his work.

P A-D – I like it when music has a particular meaning, so I was very careful as to how and when we used it. I was determined to use the French song ‘Tous les garçons et les filles’ by Françoise Hardy in the scene where Caroline and Olivier dance together. Though fairly upbeat, it’s actually a very sad song about someone telling us how unlucky in love they are. I saw it as an indirect way of expressing how Caroline feels (or even more interestingly how Olivier might feel). The song is again used when James, alone, starts to suspect something…

In regards to the score, brilliantly composed by Quentin Lachapele, we were very specific as to when we introduced the songs. If you pay attention, you’ll realize we first introduce an accapela version of the operatic piece when the camera is on Caroline, her attention turned towards Olivier. Later on, we introduce an instrumental piece during the solo car shot of Olivier who is searching for Caroline. In the finale we actually combined ‘her’ singing with ‘his’ instrumental, and introduced the last song when James finally confronts the other two characters. It’s both a culmination of the film and the music

The beautiful location of Wasp adds more than majestic vistas. It is in itself a representation of the isolation the characters feel at certain points within the plot. It highlights the claustrophobia Olivier’s character may be feeling in a relationship where he cannot explore his full spectrum of feelings and desires. But why did Audi-Dor pick this particular area?

P A-D –I go to the village where we shot the film (Gordes) every single year, so it’s definitely close to my heart. From the point of view of the plot, it was very important for the characters to be on holiday. I feel you allow yourself certain liberties and indulgences you wouldn’t normally do when stuck in your daily routine. The sun, the swimming pool, and the cocktails… all these elements also add to the film’s sensual atmosphere, which was crucial. Then the added fact of having it take place in an isolated village was also a way of making sure the characters only had each other to interact with, adding to the overall claustrophobic atmosphere’

On the surface Wasp appears to be a simple story of a love triangle, but when you delve into it there are a number of subtexts and nuances that culminate in a story that is well paced and intriguing. Although the low budget is a factor, this does not affect the flow of the film or the effectiveness of how the story is told is any way and in fact offers a subtlety that adds to the film. The performances are strong and well developed, which is no small part due to the preparation for the film and the fact that the actors and director all attended the same university so there was a previous bond to build on. Simon Haycock can next be seen in Kaleidoscope Man which is currently filming in Lanzarote, worlds away from Wasp.

SH –It is a very different film from Wasp – lots of green screen, loads of locations and a much bigger cast’

Wasp will be released on the 27th September at the Raindance Film Festival and it is sure to cause a buzz. The film is clever in its simplicity and honest in its portrayal. Well written and well executed, dare to look beyond the surface and unwrap the layers underneath.

 

 

Interviews

Up Close with Autumn Kendrick

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Movie Marker got up close with leading Canadian actress, Autumn Kendrick to chat about life before Los Angeles and her hilarious new TV show, ‘Scuba Love’. 

Can you tell us about your early beginnings growing up in Canada, and how you transitioned to life in Los Angeles?

My first trips away from home to perform started around the age of 11 and took me to Montreal, Winnipeg, Louisville and New York City. I put some roots down in Indianapolis, while at Butler University studying not only ballet and Arts Administration but also getting my degree in Sociology Social Work. After school I was able to continue dancing professionally with a small contemporary dance company in Indiana. Eventually the wear and tear on my body caught up with me and that brought me to a career in modelling. Modelling was supposed to be a short escape but turned into a full and wonderfully successful career. It was modelling that definitely gave me the travel bug – getting to work in countries around the world: Milan, London, Paris, Hong Kong, Tokyo, Sydney, New York and eventually Los Angeles.

My transition to loving Los Angeles took a bit, but once I got into acting, I felt like I found a home. I originally came to escape New York City winter for a couple months and stayed a couple years. Canada is my home, but I do not think I could survive another true Canadian winter. Los Angeles is my home, and where I have my career as an actress.

You have had an exceptional dance and theatre career in Canada so far, what inspired you to take the acting journey?

Dance to acting seemed like a natural step. I never had the greatest technique or was the most flexible, but my success came from my ability to perform and bring a character to life. I remember being young and auditioning for the Royal Winnipeg Ballet School and them liking me not because I had the perfect body or technique but because I has a unique passion and quality I brought to my performance. When I would win competitions, it was not because I did more turns or bigger leaps, but because I would move the audience and just live the story.

With my last dance company, I would be cast in leading roles because I could bring them to life. When I started modelling, I always missed the make-believe time so, even for small shoots I would make up this crazy backstory for who I was and what this character was thinking – meanwhile it would be a simple white backdrop beauty shoot. But that depth is what I think made me stand out from other models and helped me make an easy transition into TV commercials. I just love everything about being on set and working in film, from the moment the director called “action”. I was hooked. It was the first time since leaving the dance world that I felt fulfilled and happy. I was born to act.

You recently worked with Wes Craven for a lead role in the crime-thriller film ‘The Girl in the Photographs’. Can you tell us about the film, and what it was like to work on such a big film?

It was a lot of fun. I mean getting to work with such an amazing cast and crew was an honour. Plus, everyone was so sweet and supportive the entire shoot. I remember Kal Penn coming up to me after my first take and giving me the sweetest compliment ever. He was also great at sharing his own stories to help me out and feel more comfortable on set. We were a really close crew and it felt like I was gaining a second family during this shoot, and we are still all super supportive of each other and close.

Wes Craven is a legend, and the most giving person to work with. Having him cast me when he has started the careers of so many big stars of today, well breathless. Wes came to the first table read and at the end of the reading he talked about how special this project was, how excited he was for it and how he felt like us as a cast were going to be spectacular.

Filming near my childhood home was also a great plus. I had the chance to visit family and keep my feet on the ground. However, every day on set I just kept being in shock and pinching myself to be working with people that I idolize and admire. It was an incredible film to work on, and to play one of the leads was beyond amazing.

As an actress-producer, we understand you have just released a hilarious new series. Can you tell us about ‘Scuba Love’ and how it came about?

‘Scuba Love’ came from spending time in so many dive shops and thinking either someone needs to make a reality show on a dive shop or make it into a scripted comedy. Finally, I grabbed some courage and friends who were cinematographers and directors that also loved the dive world – sat down and said let’s make this. Now instead of seeing a hilarious interaction and thinking that should be in a skit, I jot it down for a future scene in Scuba Love.

It’s a comedy that follows a young female instructor who losses her job and her boyfriend in one fell swoop and decides to jump into the pool (jump all in) and make her life all about scuba and begins working at her local dive shop. We follow my character, Aly, as she helps bring a large scuba shop up to date, while also facing a male dominated world. As we follow her life we also get introduced to the wonderful joy of underwater. The exciting feature of this web-series (beside being on the only script series about scuba diving) is with each episode there is an educational clip on a topic related to diving, be it how to clean your gear, or steps to help protect our oceans, or even interviews with crew on why they love scuba diving – yes everyone involved is a diver.

Scuba Love

Can you tell us about your character, Ali, in ‘Scuba Love.’ What is she like, and did you have to carry out much research before filming?

Aly is such a fun, strong women who doesn’t let any obstacles stop her. She doesn’t allow unfortunate events to dissuade her but instead powers ahead to fully embrace the world of scuba. She also does not let men underestimate her, just like in a lot of sports where women are often over-looked as a source of information, Aly doesn’t back down from showing her wealth of knowledge and empowerment in this environment.

As for research, I am one of very few female Instructor Trainers. Not only do I teach people how to scuba dive, but I also teach potential instructors how to teach scuba diving. Being at an elite and unique level in the scuba diving world is something I never imagined I would excel in when growing up, but it certainly is a passion that I discovered during a trip to the Belize. So yes, I had just a little bit of training before filming and I loved every moment of it.

What type of genre of film or TV show are you drawn to traditionally?

I adore old musicals, if only I could sing! Actually, science fiction and fantasy films are what I gravitate to, and what I hope to work on soon. One of my favourite shows growing up ‘Star Trek’, with Patrick Stewart in the role of Captain Picard.

This year I have been doing some major binge watching of fast pace dramas such as ‘West Wing’ – I mean how great is that show. I basically can get behind anything that isn’t too scary and not too much gore…I am sadly squeamish (yes, I know that is ironic since I was in a death scene that Wes Craven was quoted saying that was very gory).

What can we expect to see you doing over the next few months?

We have many more episodes laid out for ‘Scuba Love’, of which I star, as well as some fun commercials and films I can’t talk about just yet.

To learn more about Autumn Kendrick, visit her video channel: Scuba Love
Instagram: @AutumnKendrick
Twitter: @AutumnDmonkey
Facebook: Scuba Love Web and Autumn Awesome Divers

 

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Interviews

An Interview With… Steve Hodgetts & Arabella Burfitt-Dons (Love Possibly)

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In the mockumentary, Love Possibly a documentary film crew follows the hopelessly romantic, Alex, on his quest for love. Following their wins for “Best Feature” and “Best International Feature” at the LA Edge Film Awards and Catalina Film Festival, Che Grant and Michael’s Boccalini’s new feature is now screening at the Raindance Film Festival.

Lead Actor Steve Hodgetts and Producer Arabella Burfitt-Dons sat down with Movie Marker’s Marion Donnellier to talk about Love Possibly

Q. Steve, your transformation into “Alex” is impressive. How did you prepare for the role?

SH: Alex is very different from any character I have played before. In terms of research, I watched a lot of youtube videos to try and master the lisp as best I could. Alex is a very anxious and socially inept person so I tried to remember certain traits people tend to have when they are nervous. For instance, he uses his hands to mask his face and dances his eyes around. These are all different traits I took from people I have met. Also I think everyone deals with anxiety to a certain extent and I just tried to amplify my own anxiety x 1000.

Q. How much of your personal experience did you use?

SH: I think there is a little bit of Alex in everyone. I just tried to remember my own anxiety and try to magnify it as best I could.

We all know someone that looks like Alex.

SH: Absolutely. I think Alex is just very socially unaware. Especially due to his speech impediment, I don’t think he’s had an easy upbringing. I think if I’d met him, I’d be mate with him.

ABD: I think the idea behind the character of Alex is that everyone can relate to him in a way, whether it is because of his anxiety, loneliness, finding love or heartbreak. Because the story is mainly based on the cast and crew’s own experience, we hoped that people could relate to it.

Q. Such as in Alex’s favourite film, “Sleepless in Seattle”, modern rom-coms all have a similar structure. How do you think the character of “Alex” would fit in one of them?

ABD: I think it would be very interesting to put him in a very conventional rom-com and to see how it would play out. I think it would be very beautiful and would resonate with the audience of a normal rom-com.  It is kind of what we tried to do here. It is a spin on a rom-com ,which is a recurring theme throughout the film. It is meant to be an non-conventional and ironic rom-com. I think if we put him into a character in a normal rom-com, it would probably achieve a similar thing and would be relatable to the audience.

SH: I think a way it would be slightly better because he is quite relatable. He is more of an “everyman”.

Q. You mentioned most of Love Possibly was improvised. Was there a point while shooting when the story or tone deviated from what was originally intended?

SH: The directors knew the narrative they wanted to achieve from the start. The plot never changed as a result of the improve and it only allowed a couple of changes in scenes. I would say 75% of it was improvisation and brought a certain realism to the film.

ABD: Although the narrative is still very close to Che and Michael’s original vision, we stripped everything back in post production and started from scratch in terms of brainstorm, how to plot out the story and how to piece it all back together. At one point we were brainstorming without even referencing the footage that we already had just to see what came up. Whilst we pieced it back together, because it is improv and always very open, we managed to pull together the final edit. Improv opens up opportunities of changing the storyline in a positive way as well as being, obviously quite difficult.  It is exciting as a filmmaker because it allows you to take your story in another direction and it still works.

Q. How do you choose the project you want to work on? What’s the most important factor(s)?

ABD: Script! I really enjoy spotting upcoming talents and really enjoy working on under represented art forms. That is the beauty of working in independent films, you get to see such incredible and varied projects that wouldn’t normally get made by the big studios. Personally that is something I like and catches my eyes.  I also enjoy projects that really connect with the audience and with me. And obviously amazing talents as well. Working with filmmakers, directors and actors that are incredibly talented and helping them bring their talent to life.

SH: Always the script I would say and interesting characters. In terms of acting, I would definitely rather play someone that is widely different than a character that is similar to me because it wouldn’t be very challenging. Which is why Alex was always so fascinating, because he is so different.

Q. What did you learn from Alex?  

SH: Always think before you say something. Probably not to worry as much. He makes situations worse because he is so worried.  In some situations, Alex is the normal one and surrounded by crazy people. His mum is very out there and her boyfriend is nuts.

ABD: Expending on the anxiety theme, I think when you make a film that highlights and showcases a difficulty that a lot of people have, it resonates with you as a filmmaker. Everyone has anxiety to a certain extent in this day of age. There is statistic that was release recently that shows significantly high number of millennials suffer from anxiety because of the nature of the period with live in. I have learn from Alex character because I know anxiety but seeing it in that form, makes it all the more relatable.

Q. We don’t see many rom-coms dealing with mental health. Most films are either entirely focus on the topic or omits it entirely.

ABD: I would like to see it more in characters in bigger films and that is why I wanted to explore it in that film. I think when films do cover that topic it tends to be all about the anxiety but what is nice about “Love possibly” is that although it deals with that topic there isn’t a massive emphasis on it, it is just part of it.

Q. The film was financed through Kickstarter. Do you have any advice on how to run a successful kickstarter campaign?

ABD: A lot of it is about the talent behind it. Pulling together a very good pitch that justifies what you are trying to do. Show that you are serious about it. Show that is a serious project as well as a passion project. Put it out there to as many people as you can, there is no better way than to kick-start the project.

SH: Find someone that has a lot of twitter followers or lots of money!

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Interviews

An Interview With… Selena Tan (Crazy Rich Asians)

Selena Tan, who plays Alix Young- Cheng in the film spoke to Movie Marker’s Rehna Azim about the success of the movie and her life as a ‘Dim Sum Dolly!

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At the time of writing Crazy Rich Asians has grossed $166,791,962 at the Us box office and $55,100,000 overseas for a Worldwide total of $221,891,962. Audiences are not only flocking to repeat viewings but also turning this movie with no big stars into something of a cultural phenomenon.

The film is being credited with reviving the near dead rom-com genre and boosting tourism to Singapore. Importantly, the film is also being celebrated for bringing to the Hollywood forefront an ethnic minority group that is not aggressively pushed by the media and in advertising.

Selena Tan, who plays Alix Young- Cheng in the film spoke to Movie Marker’s Rehna Azim about the success of the movie and her life as a ‘Dim Sum Dolly!

Q: You started your professional career as a litigation lawyer then moved into the entertainment world. That’s a brave leap. What made you make the change?

A: I had dabbled in theatre and singing since I was at school. From the age of 14 I had been involved in community theatre. It never occurred to me I could do it full time or make a living from it. So I did a law degree and qualified as a lawyer when I was 23 but I soon realised that I had been performing for 10 years and was a way more experienced actress than a lawyer. But law is demanding and it consumed all my time for the first 2 years. But after a while I began to get the itch to perform again. I started doing some theatrical work on the side but really it was like having two careers at the same time. I was constantly exhausted.
So I sat down with my parents and said, I can always go back to the law but I have a real passion for acting. It gives me room for expression the law doesn’t. They were supportive and that’s when I started thinking about what I could do in the entertainment field and how I could best connect with an audience as an artist.

Q: What is a Dim sum dolly?!

A: (laughs) It’s an idea I developed in 2012. Three very different girls performing together; different sizes with different talents and capabilities. I wanted to create a cabaret/comedy/musical act that was socially aware and politically topical. In particular I wanted to tackle taboo subjects. We put on a lot of makeup and that seemed to help us get away with controversial topics because we made people laugh. It was like being able to serve a fluffy cake with a raisin in the middle!

Q: Was Crazy Rich Asians as fun to make as it is to watch?

A: More so! I really lucked out with that movie. But you know, I initially turned down the audition. I’d just finished a big production with my company and had a holiday booked in Phuket. I really needed that break and took it over doing the audition. Fortunately, I was offered a second audition when I returned from holiday because they hadn’t found the right actress for the part. The stars aligned and it all worked out for me. I thought it would be great because I could just be an actor and not worry about the directing or putting the production together.

Q: What was it like on set?

A: Like a resurrection! A total new injection of zest and life. It was like I’d been jump started. I was surrounded by so much talent from around the world and everyone was so passionate about the project. I got to make wonderful new friends and show them my country, its places, its people, the food. Since the film came out I’ve been approached by so many people, including old friends from my past who have all been touched by this movie and what it’s done for our country. Young people tell me they now believe anything is possible. Tourism will go through the roof. It’s just a beautiful film about my country. It’s a love letter to the country actually. Until now people used to say, ‘Singapore? Which part of China is that?’ Now they know who and what we are.

Q: The film has been praised as a step forward for more diversity in cinema but it has also faced some criticism for focusing on one group in Singapore which is multi-ethnic. What do you think the film offers the push for diversity?

A: The push for diversity is a movement. A single film can’t do everything and yes, some people have asked, where are the Singaporean Indians and other groups in this film. Yet the spirit of representing minorities is being embraced by our film and by all those around the world who are going to see it. Certainly , there is a need for an ever more diverse Singapore to be showcased, including people on the fringes of society.
But, you know, the film has already inspired so many people around the world. I have a niece in the UK who suddenly feels that, yes, there might be opportunities for her now in the acting field which she didn’t feel before. She’s excited that maybe she could be like auntie Selena and that thrills me. Young people in India, Malaysia are watching the film and being encouraged in their ambitions. At the same time we’re reaching audiences in LA and New York. It’s mind-blowing!

Q: The success of the film has been tremendous. Of course fans want to know, will there be a sequel?

A: At the premiere in Singapore Warner brothers did say they want to do a follow-up. I certainly want to be in it!

 

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