In the last of our articles on the overseas Chinese film festival, Tay Ung captures an intimate glimpse into the emerging British Chinese film industry. He asks artist Pamela So and film maker Chiew Siah Tei, about their perspective and experiences with the festival, to demystify some of the processes involved when embarking on a journey to make a film.

Pamela So, a lens based artist from Glasgow, participated in the Ten Thousand Li exhibition at the Open Eye Gallery in Liverpool last year. Some of her works have involved making short films and videos, within the gallery context. As a new member in the policy discussions, and the only Chinese artist on the Scottish Arts Council, Visual Arts Committee, has been regarded as a big step forwards, to accepting artists from culturally diverse backgrounds into the mainstream Scottish art scene.

She has recently returned from a month-long residency with Syracuse University in New York, arranged by Autograph. The London based Association of Black Photographers, enabled Pamela to explore new possibilities, with the help of Light Work Community Darkrooms Digital lab and advance ink jet printing facilities. Large-scale works printed digitally onto silk were produced, some of which will be published in Light Work's magazine 'Contact Sheet' next spring.

Chiew Siah Tei, film writer of the short film "Night Swimmer", is currently developing the feature script, 'Mr Wong's Homeland Dreams'. It centres around the relationship between father and daughter, bringing to light the cultural conflicts between the first and second generation immigrant Chinese, who are brought up in contrasting social and cultural environments.

Chiew is also working on a documentary, aimed at filming two Chinese families from very different backgrounds. "Changing Festivals, Changing Facts", explores the three major forthcoming festivals: Christmas 2002, New Year 2003 and Chinese New Year (1st Feb 2003). Traditional values and practices are observed for the affects of living in a foreign environment.

Film Festival Final Night.
The following were shown to end a successful and well received event. Sarah Yeh our very own editor gave a great introduction, together with the key organisers who made this happened. Thank you Scotland-China Association for all your hard work, you must make this an annual fest!

Lemon Crush a 15 minute short, written and directed by Shane O'Sullivan is a contemporary realist film. Memories and friendship are sparked back to life, after a Chinese waiter's high-school sweetheart, is stood-up by her French teacher on a date. Night Swimmer by Hannah Robinson and written by Chiew Siah Tei, is about Emily and Kenneth Tan who are having problems with their marital life, since they moved from Malaysia to Scotland. Her experiences in the changing rooms at the local pool, might be the answer to their relationship? Peggi Su a full feature length written by Kevin Wong, in its tenth anniversary, is a romantic comedy infused with the life within and surrounding a Chinese laundry business in 1962 Liverpool; a slice of history.

A short debate took place after each showing and one of the issues raised, highlighted a common theme emphasized in all three films. Humour was used as a vehicle, to deal with the unique complexities facing the British Chinese Diaspora. In the context of Peggi Su, humour gave the audience an lighthearted and approachable perspective. Will this be a key characteristic defining an emerging genre?

In conversation with Chiew Siah Tei and Pamela So.
Why did you want to make a film?
Chiew: I am more interested in screen writing, so focus on my involvement in screen writing instead. I am interested in both film and writing. Screen writing combines these two fields. As an observant and imaginative person, film provides a channel to release and realise my observations, imagination and fantasy. In addition, I always think that film is one of the mediums that allow minority voice to be heard. As I am particularly interested in cultural issues, I try to bring forward these subject matters to the audience to foster better understanding. Night Swimmer is one of the examples.

Name some of the key stages involved?
Chiew: Pre-production: screenwriter, producer and director are the key persons involved, to compose and finalise the screenplay and get everything ready (funds required, budgeting, casting, getting the crew, scouting for locations, ect.). Shooting: the vital part, while the director takes charge of the shooting, the producer is to ensure everything is as planned. Post-production: editing forms the major part.

How much of your initial ideas changed from the final outcome?
Chiew: The initial idea (the major theme) has not been changed. The script was expanded to 26 minutes from the initial 10 minutes. So changes in some details are, however, inevitable. Film is a product of collaborative effort. All parties involved must be willing to accept comments and advice.

How long was the schedule in total?
Chiew: The initial script was written in 1997. Only three years later it was made into film. Film-making is a process that really tests one's patience. Once you have decided to be involved in it, perseverance and determination are the most important criteria you must possess.

Do you have any useful advice, what not to do and what to do?
Pam: Get as much training in script-writing, camera work as possible before thinking about making a film. Some of this kind of training is available in local colleges, some in more specialist places like Glasgow Media Access Centre, Albion St Glasgow and the equivalent in Edinburgh. Some knowledge of camera work is useful when writing a script.

Chiew: For a beginner, putting your idea down on paper is essential. Do not hesitate to submit your idea or script to your local film office, for instance, Scottish Screen. They read every story submitted and feedback with comments and advice. This could be your starting point, and that's how I got started.

What do you think is the biggest hurdle to overcome being a Chinese film maker in the UK?
Pam: No more hurdles to being Chinese in the film industry than being any other nationality.

Chiew: You may be expected to be a "Chinese film" maker, i.e., to make Chinese film only, and if you make Chinese films, there is economic consideration when comes to raising funds for your film. Generally, funding bodies are skeptical about the market for Chinese film in the UK.

Are there any advantages to being a Chinese film maker?
Pam: Yes, we have unique material from which to work and the rest of the world knows little about the details of our culture.

Chiew: As there are not many Chinese film makers, especially writers in the UK, when there is a need to cater for ethnic minorities, we are in a better position in the competitions.

Do you have other plans to continue exploring the Asian Diaspora?
Pam: I am always exploring the Asian Diaspora but it depends on which opportunities arise whether these come to fruition or not. Chiew: Yes, I am working on a documentary about the Chinese community in Glasgow while at the same time, developing a feature film set in Manchester Chinatown.

There are many new directors, who is the most interesting and why?
Pam: I like the work of Lynne Ramsay, a Scottish born director who is enjoying great success at the moment. She takes a very visual approach to film making and since I work from a Scottish perspective, I can identifywith her work.