June 2010 Archives

1.2 Part IV: Dancing to the Beat of My Own Drum

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It happened in class. It happened in cabs. It even happened at convenience stores. "It" is what I call the dance. The most round about conversation one could have, the one that started with the most ambiguous and for some, contentious question that could be asked &mdash"but where are you really from?"

For me, as for others, the question is not as simple as it seems. Yes we may be able to identify on a map a physical geographical location, an address that implies "I was here." But what does that mean? What value does that hold? For those of us who are of mixed heritage and identify, it may or may not be about location.

This isn't real estate we're talking about; location isn't necessarily everything.


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So why "the dance?" The but where are you really from ? question is not so much a question, as it is a banter back and forth, where the "interrogator" tries to guide me to a tempo that they're familiar with, while I simultaneously try to side step their predictable moves and move to the beat of my own drum.

Interestingly, while the question is posed by a spectrum of people, for me, it is primarily posed by South Asians who try to pinpoint me as Indian, Pakistani, or Bengali (I've even heard Persian) as if to validate this sense of familiarity that I may convey. Dim the lights people, it's time to dance.

"Sooo you are Indian?"

"Me? Oh no, I'm Canadian."

"No, but you were born elsewhere? Maybe Pakistan?"

"Um...nope just Edmonton."

"But your parents, they are Indian?"

"Oh, no my parents are from Africa."

"Oh yes, Africa! Oh...Africa? But you are not....Oh no your grandparents must be from India, you look more Indian."

Note that the above conversation is certainly a much more condensed form of a conversation that can take nearly fifteen minutes, trying to explain why despite my brown skin tone, I identify as a Kenyan rather than an Indian.

Just as with everything else, this story has a history. Over four generations ago, my family emigrated from India to Kenya to start a business. By the 1970s, soon after independence, the rise of Idi Amin in Uganda forced masses of South Asians out of East Africa. Many decided to settle in Canada, which is where I was born. Try and casually slip that into a conversation while waiting to receive your change at the cash register.

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I have inevitably found myself in discussions where I am found not "dark enough" for some people to be considered African, although my family has lived in Kenya for generations, while not being "light enough" for people to believe my family has been in Canada for over 30 years.

This brings us back to the concept surrounding to what degree we place on a geographical location as an identifier to an individual's personality and what they represent. In a my recent talk at the University of British Columbia, I listed nearly 20 different identities that resonate within me. However, I must momentary digress. As someone who is in awe of the human experience, and the constantly morphing concept of Canadian diversity, I appreciate the opportunity to share a part of my story, and to learn about the lives of others around me. What I don't appreciate is when a question is posed with a preconceived answer in mind, before I even have a chance to respond.

Here's a thought: the next time you want to ask someone about where they are from, ask yourself what it is that you really want to know. If you're looking for a one word answer, and a quick exit by the respondent, then the but where are you really from? may be your best bet. Looking to get to know the person? Why not &mdash and I may be going out on a whim here - try: tell me about yourself.

You'd be amazed at how much you'll learn.

So whether people see me as Canadian, Indian, or African, what bearing should that have on the multitude of other traits that I embody?

Young Liars | A Band On The Rise

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They're not your typical shaggy haired, indie-pop, sweater vest-wearing guys. And they certainly aren't another Vancouver-based band you should overlook. Instead Young Liars are 5 guys that have found a way to fuse the sounds of electronic and catchy pop beats to something that doesn't resemble the other 100 bands creating the same sound. Just take a listen to their song "Colours" and you'll start to understand what I'm saying.

Young Liars is comprised of band members Jordan Raine, Tyler Badali, Andrew Beck, Angelo Ismirnioglou and Wesley Nickel. The first impression I received when meeting the members of the band was how nice these guys are. It's always a strange and somewhat nerve-racking feeling meeting someone for the first time, let alone 5 strangers, but their personalities just oozed nice. They are probably the 5 nicest guys living in Vancouver.

The meeting of the 5 nicest guys in Vancouver to form Young Liars would be a great VH1: Behind The Music biography. Andrew and Tyler went to the same high school, but never knew each other during Tyler's brief stay at the school. Coincidentally Andrew ended up playing with Tyler's old band.

"The first time I met Tyler, I was coming into band practice" Andrew remembers,

"and he was on the phone with his girlfriend at the time and they were yelling at each other. She said something like "What's more important to you? Me or your band?"

He said the band and he shuts the phone off and turns to us and says "Ok, lets practice"."

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Andrew knew Jordan in a previous band they had played together in (yes, it seems that Andrew gets around). The 3 of them started playing together but realized another guitar player was needed. Craigslist was their answer. They found an ad placed by Angelo, who was looking to get into a band. The guys forced Angelo to drive 1 ½ hours to Maple Ridge for their first session. Angelo recalls, "at first I thought I can't do this. But as soon as I got there and we started jamming, I realized that I was going to have to suck it up." But something was still missing - a certain kind of "glue" perhaps?

Angelo met Wesley when he was 16 through their girlfriends at the time. They hadn't seen each other in years and randomly met at a dress up party in West Van. Cue scene: Wesley dressed as a French Man with 2 bottles of wine and Angelo in short shorts, singing "Hey Jude" together. Well one thing lead to another and Wes joined the band. Previous to Wes joining, the boys hadn't really gone anywhere with the band. Jordan explains that "ever since Wes had joined we actually did something. We had been a band and not done anything for a long time." Wes was the "glue" they were all looking for. Tyler actually called Wes "glue" for a long time after that.

It just felt like we were complete when we were all together, when we were all playing. That was when we all started pushing each other to do stuff. Everyone had all these ideas that were all great. Everyone just jumped on board.






Their first single "Colours" is a rare gem. It's the type of song that no matter how many times in a row you listen to it, its just not enough. It's the type of the song you wish you wrote if you are in a band. As catchy as "Colours" is, there's something so pure and simple to it. The simplicity of the song marks Young Liars as very capable and talented songwriters that know restraint. It's easy to over embellish and over produce a song, but these guys seem to have mastered a very nice balance between the two extremes.

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Left to right: Tyler Badali (Drums), Wesley Nickel (Synths), Andrew Beck (Bass), Jordan Raine (Vocals/Guitar) and Angelo Ismirnioglou (Guitar)

Jordan talked a bit about the band's evolution as songwriters: "We had gone through lots of writing styles. "Colours" was the first song that came out of our new writing style. It was just a couple of us sitting at home with a laptop, vamping idea after idea. We then just came together as a group and jammed with the idea. I think you get a lot of bands, and we use to do this, where you play as a band all the time and you only get this loud, raw sound, and there's no delicacy to your tracks. I think "Colours" was a breakthrough for us. We had a chance to coax it in the studio."

Angelo sees this as the band's rebirth, where they began to write as a unit instead of writing individually - "We just started working together as a family." This realization was felt throughout the band, especially for Wes: "I learned to write music for other people. As a starting musician you mostly write music for yourself, but now it is realizing we want the public to enjoy our music as much as us. " For Tyler, a big part of writing is dealing with criticism.

I think we're all really good with it. I've found that when it comes to writing, you just have to try things out. Make it your own.




Right now the focus for the band is the release of their debut EP in the fall. Andrew mentioned that while "we don't want to rush into anything, we do want to get the EP done as quickly as possible." During the writing stage for their EP, the guys revealed to me that David Bowie was constantly being played, while the sounds of synth legends New Order and The Cure found a way onto the album. Jordan admits that "there is a touch of 80's to our music. Not intentionally though." Tyler chimes in, telling us that the 80's influence may have to do with Jordan's voice: "I've heard from 3 different people that I've shown "Colours" to, they say your singer sounds like the Flock of Seagulls."

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Along with the EP the band is also working on their live show. Its something they are all very excited for, and from the sounds of it, I'm looking forward to what they have in store. "It's going to be completely different from what we've done before" Wes tells me. "We want it to be a show, not just us playing music." As Angelo had mentioned earlier about the band's rebirth, he also brings the idea over to their live show.

We want our live show to really portray (the rebirth). So when we come out we want it to be big.



The live show aspect of Young Liars is a pretty significant side to the band. Jordan provides us with more insight: "Our live shows are really important. We enjoy going to live shows. I find that a lot of bands are playing to tracks now, and while that can work out really well, I've seen a couple of shows where it just didn't do it for me. I come to see a band play live and I find that I'm listening to a recording? When people come to our shows I want it to be an experience. It's us putting on a show in the truest sense, trying to make it theatrical as possible." And that is why they have been known to use lasers. Yes, they put lasers on stage.

We are trying to do electronic music without the backing. It works for a lot of bands, but we don't want to fall flat. Not everyone can be Daft Punk.




While there is truth behind Andrew's words, I think its safe to say that Young Liars don't have to worry about being Daft Punk - they're already pretty awesome in my books.

Another reason to catch these guys in action is to see lots of people pick up different instruments. They all play multiple instruments and enjoy jumping from instrument to instrument. "I love that part in the show. If no one else in the audience does, I still love it" Jordan adds. When I pushed further as to what we can expect from their live shows, well, Andrew had this to say: "We're working on some pretty interesting things." I guess I'll have to wait like everyone else.

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At the end of the day the members of Young Liars are just a bunch of guys, doing what they love, and loving every minute of it with each other. "As a band we get along like a family. We are pretty much a family" Wes revels. "I've been with other projects before and I've never experienced this type of closeness that I do with these guys. That really works for us. You can spend an entire weekend in a studio together and love being in each other's presence." Angelo puts it in perspective:

There are 5 of us and we're all trying to paint the same picture.





Are they really just one big happy family? Well after getting to know them as a group, that's a definite yes. But Andrew jokes that "one day everything will just boil over. All the unspoken tensions and something will break.... Hey Wes, what's that axe for?"

The guys don't seem too worried about loosing momentum. I'm not either. With a band like this I don't think that will ever be a problem. But if there's one thing they want to be known for, it's their music: "We want our music to be timeless. If we go with certain music trends right away, it might not be as interesting in 10 years and nobody will listen to it anymore. We just hope people manage to get their hands on our EP and come to our next show."

Young Liars will be on tour from August 5th to the 10th. They are playing in Nanaimo, Duncan Garage, and Victoria. The are playing at the West Coast Rock Fest on August 7.

You can download the track "Colours" here. You can also check them out on Facebook and catch up with the band on their blog!

1.2 Part III: A Piece of Me

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My father and I have an interesting relationship. Because we are both busy people, we often talk while driving in the car. We usually talk about things going on currently, but recently, my father has brought up a new topic: marriage.

Little did I know that this conversation wouldn't really be about marriage, but rather about who I am, who we are. I never thought that my own family would be the ones to ask me, "But where are you really from?" on me.

"Joy, I think you should marry a Korean boy."

"Why, appa?" I had only dated one Korean boy.

"Because we are Korean."

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For me, my identity was never just Korean for me. I am a 2.5 generation Korean Canadian-American.
My father is a first-generation Korean. He was born and raised in Korea. My mother is 1.5 gen. She was born in Korea, but raised in South America and the United States. When my parents were married, they started working in the ministry in Korea for a few months before deciding to move to California. They lived in California for about 5 years, where they gave birth to both of my older sisters. The four of them obtained U.S. citizenship and when the opportunity knocked, my family moved to Alberta, where I was eventually born. My father became the pastor of a Korean church in Alberta, and shortly after, their American citizenship became my citizenship, and my Canadian citizenship became a part of their identity. We had three titles under our belt: Korean, Canadian, and American.

But, how was I going to deny what my dad said? Yes, I am Korean.



"But appa, I'm not just Korean and I don't think that I can marry a Korean boy from Korea. Plus, I know next to no Koreans who are from here. Our mentalities are different."

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We are Korean, but my family is Westernized. We eat rice everyday, go to a Korean-speaking church, and growing up my best friends were Korean international students. But on Thanksgiving we eat turkey. My sisters and I feel more comfortable with English. In fact, I'm an English lit major.
Silly me though, I forgot it was the same case for my parents.

My father mentioned how the pool for 1.5 or 2nd generation Koreans is very small and 2.5 gens like myself is quite rare. With few people to choose from, it's a hard concept to grasp but it's not impossible. Many of us are among the first generations out of Korea and we are still trying to find the meaning of who we are and where we really come from.

After a while he replied again, "You're right but we are Korean. We share the deep roots of culture and language. And when you and your sisters are married with children, we can all gather and talk."

By talk he didn't really mean verbal language comprehension. Culture encompasses so much more.

What my father said really touched me. I'm not convinced to marry a Korean boy, nor have I made up my mind not to marry one. But he made a point: it's not just where I am from, but who we are. Our family history painted the intricate details of our understandings of who we are, and where we come from.

The name of the place I'm from might have been a sufficient answer for some, but not for me.




I know the answers they want. I can offer a piece, but it doesn't identify with where I'm from. All of it is a part of me. Even this small conversation with my dad.

1.2 Part II : My Point Of Reference

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The directions to the dinner party in downtown Kobe include an underground stroll through a pedestrian tunnel and an elevator ride to the 34th floor of a business highrise. Since some of the best meals I've had in Japan were in unlikely locations hidden from passersby--an unmarked restaurant in an apartment suite, an Okinawan buffet in an obscure corner several floors above a department store--I'm hoping that the route is an indication of the dinner's calibre.

The Japanese guests, whom I had already met at my friend's afternoon wedding reception, are already seated on tatami mats at a low table in the dusky, intimate room when I enter wearing a yukata (summer kimono) I'd just purchased on the way at Comme Ça Du Mode (a Gap-like Japanese chain). The group utters a choral expression of amazement, "Hehhhhhhhhh".

Amidst the laughter, the first plates of food arrive.

"Dozo," I say, offering kinpira (braised burdock root) to my fellow guests.

"Wow, you seem almost nihonjin (Japanese)!" a fellow to my left observes.
As plates circulate around the table, slowly, the conversation swerves toward a dreaded subject.

"Where is your girlfriend?" a gregarious girl asks.

I shrug and say I don't have one.

"Well, Chiyoko is single," a guy offers, presenting her as if she were a dish.

The table bursts into laughter. Chiyoko covers her mouth as she giggles nervously. Caught off guard, I smile back shyly. But perhaps my hesitation is too perceptible, or there may have been unwitting resignation in my expression. A faint look of puzzlement washes over Chiyoko's face. An uneasy lull settles upon the conversation. It's not the first time I've stumbled into such an awkward situation; several Japanese hosts have tried to play matchmaker for me. Alas, I've become no more adept at handling the predicament.

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How do I leave an issue politely unspoken without resorting to lies? Explaining that I'm gay to Japanese friends has always required education and discussion that it's not a mental illness, a choice, or a result of faulty parenting.

Often, it seemed to be an uphill battle that I wasn't well equipped for. The lack of understanding has always made me feel uncomfortable, and removed from fully feeling a part of things. I busy myself passing the arriving plates of food and the guests occupy themselves with murmuring the sing-song "Itadakimasu" (an expression of gratitude before eating).

There's a saying that Chinese food pleases the stomach but Japanese food pleases the eye. On visits to Tokyo, I loved perusing the food floors of Japanese department stores--just looking, not buying. There was so much to take in: artfully displayed wagashi (Japanese sweets), orderly bento boxes stuffed with gorgeously arranged seafood and rice, neatly stacked rows of tempura, all presented so carefully, so thoughtfully. On subsequent trips to Japan, I've spent most of my time just window-shopping, devouring every detail and curiosity--from oden (hot pot) in convenience stores to the clamour of pachinko parlours. Just looking and not touching is emblematic of my overall experience of Japan.

Although it's my family's country of origin (four generations ago), there's an invisible barrier I doubt I could ever penetrate.

A Japanese American second cousin who lived in Japan for years had once told my mother that after working piously on becoming fluent in the language and culture, picking up the nuances, and assimilating as best he could, he had never felt accepted.

The reverential treatment that most gaijin experience in Japan isn't necessarily bestowed upon me--my foreign identity remains invisible.

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While I've experienced the impeccable manners and selflessness that Japanese people are renowned for, I've occasionally taken the brunt of jarring impatience and intolerance by those irked by my slow uptake with Japanese customs or language, apparently because they were unaware I'm from Canada.

When opportunities for teaching English in Japan had arisen in the past, my enthusiasm for living there had always been tempered by anxieties. I was reluctant to relinquish what gains I'd made by shedding the residual Japanese etiquette I grew up with that had impeded me in Canadian society: learning to speak up, becoming more assertive, taking initiative. Not to mention coming out of the closet. I feared that moving there would feel regressive.

If I had to, I'm sure I would learn to adapt. A lesbian family friend had done so. She had to evade her students' questions. "Why are you single, Miss Nishi?", "Why don't you have a husband, Miss Nishi?"

"You just have to put up with it," she advised me.

I could--for a limited amount of time. But I'd miss the social freedoms I enjoy in Canada.

My brief experiences of going back in the closet in Japan have made me feel like I was holding my breath.

Yet upon my first visit to the Land of the Rising Sun in my 20s, I was emotionally overwhelmed. After touching down at Narita airport, I was awash in gratitude that I was finally experiencing the culture that I had only known in fragments and brief snatches in totality. To finally immerse myself in what had informed so much of my life and identity offered a sense of completion; I could almost hear the loose tiles of my Japanese heritage finally clicking into place. As I explored Tokyo, from winding backstreets of Shibuya to upscale clothing stores in Ginza, I marveled at how a country that I'd never set foot in could seem so familiar.

I instinctively understood how to behave; it was like slipping into an old routine.

I knew when to hold my tongue; that I should become more sensitive to a politer, less direct form of interpersonal communication; that I should think less of myself and be more considerate of the group. When my fellow Canadian travelers began to rebel against the rules set out by the Japanese organizers of our travel exchange program, I simultaneously understood both the Canadian and Japanese perspectives. But because I didn't know enough specific details about the hows and whys of how to behave, I couldn't act as an effective mediator. An awful schism I'd never experienced before was forming in my identity, and in order to avoid taking sides, I often ended up venturing off alone, seeking solace by exploring the city by myself.
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I soon discovered, however, that I was the one being looked upon with fascination. While growing up in Canada, my Japanese physical characteristics set me apart from the majority. In Japan, it was my Canadian-ness that was a source of intense curiosity. At a homestay in Shizuoka, my host family threw a party for me at the izakaya that they ran. The guests found me a novelty--a Japanese born in Canada? How could this be?

"What language do you speak at home?" a woman asked.

"English. With a bit of Japanese," I replied to soft hums of "Hehhhhhh?" from onlookers.

"What does your family eat for dinner?" another girl asked.

I shrugged my shoulders. "Anything. Sometimes lasagna, sometimes chow mein...sometimes sukiyaki."

The girl's eyes stretched animé wide. "Sukiyaki? Honto? (Really?)" she shrieked as she almost fell out of her seat.

I'd encountered similar confusion when I travelled in other Asian countries. At the Taoyuan Airport in Taiwan, a vendor asked me where I was from. "Canada," I replied. A blank look registered on her face, and she simply moved on to talking about her teas for sale.

In Indonesia, locals instantly identified me as Japanese--quite a contrast to my experience with other Asian Canadians who often aren't certain when they first meet me. Yet, the Indonesians had trouble grasping the idea that I was from Canada, even though they were familiar with multigenerational ethnic Chinese from their own country.

In all these cases, the conceptual stumbling block appeared to be that nationality and ethnicity aren't always either/or, but can be and.

Depending on the social context, the various facets of my identity--that I am Canadian, that I am of Japanese descent, that I am fourth generation, that I am a foreigner, that I am not an immigrant, that I am gay--aren't readily apparent at face value.

While it may not be necessary to reveal each of these different aspects of myself in some occasions, suppressing some of them feels dishonest and stifling. I've found there aren't any easy answers in handling these socially sensitive issues. There's only the courage to learn, and the difficult task of forgiving one's self for making mistakes.

I've also come to view all the applicable identity labels as just points of reference for others. They're places to begin. They don't define who I am in entirety. Japan, for example, may be where my lineage comes from, but it's where I end up going that will be far more important to who I really am.

The Leap Years | An Interview with Jean Yeo and Pedro Tan

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As big and as fancy as it was, the recently constructed Shangri-La Hotel in Downtown Vancouver couldn't possibly have been as intimidating as Jean Yeo, the Singaporean film director with whom I was scheduled to have an interview at 4 o'clock. At least, this was my initial thought process as I sprinted through the hotel doors out of breath and five minutes late. Surely she would be fuming at my tardiness.

Instead I found Jean, accompanied by her husband and producer Pedro Tan, reclining casually in the lobby couches, no different in demeanor from a pair of globetrotting Asian tourists soaking up the latest dry spell in a wet Vancouver summer.

We exchanged pleasantries and small talk, and soon all my fears and assumptions about Jean and the impending interview dissipated like the morning clouds.

Upon Jean's insistence, the three of us went to have high tea at the Shangri-La restaurant. This certainly added to the whole relaxed atmosphere, and I found myself putting aside my set of interview questions in favour of an entirely spontaneous and organic conversation. I learned that this was only Jean and Pedro's second time in Vancouver.

Throughout the course of our conversation Jean revealed to me that she is more familiar with the television medium in general, since being a television producer is a "day job," her "bread and butter," while movies represent her "personal interest."

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Of course, just from watching the gorgeous cinematography of The Leap Years, it is apparent that Jean's "personal interest" can be compared favorably to the best that Asian cinema has to offer.

Jean has already established herself as a preeminent television director in Singapore, and now her first film, The Leap Years, is the highest grossing film in box office history for a locally produced English movie in Singapore.

With that achievement under her belt, I was surprised at how easygoing and natural our conversation was; It felt like a reunion with an old friend. Jean and Pedro have this friendly and approachable aura that made me feel as if I had known them well for a long time. They certainly did not give off a glimmer of the "rock-star persona" that seems to pervade many celebrities and artists in the Hollywood scene.

While fans of their work might vehemently disagree, Jean and Pedro do not consider themselves famous at all. Despite the surprising box-office success and the warm reception of The Leap Years throughout Asia, the pair continues to be refreshingly humble and grateful towards their new-found fame.

Their contributions to Singaporean film are significant; Jean's endeavours in both television and cinema have garnered unprecedented attention from Singaporean studios and broadcasters, attracting interest from international markets such as Hong Kong and Mainland China, markets which have been traditionally quite difficult for the tiny country to tap into.

The work ethic of Jean and Pedro is also remarkable; with the exception of a six month break after The Leap Years was finished in 2005, the duo have been filming and producing television programs and documentaries at an unceasing pace for the majority of their careers. The fact that Jean and Pedro had their six month-old son to take care of while promoting The Leap Years proves just how hardworking they had to be in order to thrive in a fledgling industry like Singaporean cinema.

When I suggested a similarity with Canadian film, which has been perpetually dwarfed by Hollywood, Jean pointed out that Singaporean cinema is in fact far younger than its Canadian counterpart.

With a history extending for less than 10 years, Singaporean cinema makes the Canadian movie tradition seem ancient and well established in comparison. Yet she still expressed hope that it would only be a "matter of time" before young Singapore rises to the heights of Hong Kong and China in the realm of moviemaking and television.

In any case, Jean notes that she would fully support any Asian country in such an endeavour, since, like many, she is tired of being constantly fed the "Hollywood diet."

When I asked Jean if she had any favourite directors, she responded with an unabashed declaration of admiration for Ang Lee, even going so far as to profess a desire to work for Ang Lee as an unpaid assistant. The passion and energy that she gave off reminded me of a star-struck fan. The irony here was, of course, that I would feel the same way after watching the screening of The Leap Years the next day. My respect for Jean and Pedro, and my awe at their accomplishment in depicting such a picturesque and emotive story against the stunning backdrop of Singapore, was matched only by my amazement at their modesty and humble nature.

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After the conclusion of the film at the screening, Jean and Pedro got up inconspicuously from their seats for a question-answer session with the piqued Vancouverites. Listening carefully to each query, they strove to give candid, honest, and thoughtful answers, and expressed their gratitude at receiving input and comments on their movie. Jean had told me in our interview how appreciative she was when The Leap Years was shown in Shanghai, and the Shanghai audience asked a number of insightful questions, in fact extending the allotted fifteen minute question and answer period to an hour. It is no surprise then that Jean and Pedro made such a long trip from Singapore for the Vancouver screening; they both are highly interested in hearing how audiences from all across the globe respond to their films.

As Jean and Pedro waited patiently for their photos to be taken with theatre and explorAsian management, I was told, to my dismay, that The Leap Years was not available on DVD. In Jean's own words, they simply did not anticipate the enormous popularity of the film, and had sold out of all their DVD copies within days of their release. Though I was saddened by this development, it reminded me of just how humble and modest Jean and Pedro have been throughout their long and prolific careers.

I feel that they are the prototypes of a new wave in filmmaking across the globe, one where the focus is placed firmly on the films themselves, and not on the self-indulgent directors and actors behind them.

Jean had mentioned to me in our interview that her lifelong dream was to direct a version of the hit TV show CSI in Singapore. I was surprised by her interest and passion in such a violent and gritty genre, especially when compared to the aesthetic beauty of The Leap Years. Then again, with Jean Yeo and Pedro Tan, you're always in for a pleasant surprises.

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