SUDDENLY, HONOLULU (2016)

Another sketch in an ongoing look at transitions on Oahu, this time looking at places from my youth: my childhood home, theaters, malls, skate parks, nighttime beach parties, the state mental hospital, summer bon dances.

ISLAND MEMORY for Fandor's Keyframe

An essay I made for Fandor's Keyframe:

Last year, I watched close to forty films about my home, Hawai‘i, and collected what I was seeing into a film, OCCASIONALLY, I SAW GLIMPSES OF HAWAI‘I. When I screened this piece in Hawai‘i, what fascinated me most was the deep nostalgia that some felt while watching these images. As if this piece was analogous to flipping through an old photo album. This was unexpected, and really got me thinking: Who controls our memories?

POSTCARD FROM WAILEA VILLAGE

Hidden somewhere between Honomu and Hakalau, about 30 minutes up the Hamakua coast from Hilo is a small town called Wailea.

I'm here scouting for my film, digging for some remaining traces of Hawai‘i's past lives. Driving up the coast from Hilo we visit the old sugar plantation communities on the Hamakua coast, quaint towns with insane views of the Pacific Ocean. A lot of the former plantation workers have passed on and moved out, and the mainlanders are starting to build.

But then we arrive at the ghost town of Wailea. No development here, all the main street shops are boarded and abandoned. It smells like cat piss. Empty chairs and metal signs. I walk up the street -- there are a few homes left, and the old timers eye me like the suspicious tourist that I am. 

"How many people live here?" I ask Akiko, our host. 

"30? Every month it's less and less. Another one passed over just last month." Akiko closes her eyes when she speaks. Originally from Honolulu, she moved out here decades ago, opened a bed & breakfast in an old plantation home and built a zazen space next door. A storyteller at heart, she cares about the community. Every week she organizes a farmers market, and every month she holds a community lunch at the Japanese temple.

She changes the subject to a local artist that just passed, Randy Takaki, but I'm still stuck on the town. Who is left? Who calls this place home?

Nights in Wailea, the coqui frogs sing a chorus you wouldn't believe. This loud invasive species of frog has infested large swaths of the island, and without any natural predators to keep the population in check, they've flourished. One local told me that they've begun mating with other species of frogs; another told me that they've started to eat their own kind.

At night, these mutant cannibal frogs are all you hear.

As I lay in bed, listening to their mating song, all I can think is: the old timers are dying and the mutant cannibal frogs are thriving. 

Randy Takaki's "Guardian" (credit Noe Tanigawa)

Randy Takaki's "Guardian" (credit Noe Tanigawa)

The next morning I look up Randy Takaki and realize that the artist Akiko mentioned had just passed was a fucking genius. I'd previously seen his work in passing but had not known his name. Now, I wanted to know everything. I find out that he worked as a parking attendant, or maybe a real estate agent, and that he struggled financially. That he died suddenly after visiting his ex-girlfriend, his muse, at her workplace. Or maybe he was at the library and later with his mother. That he lived like a monk. That his studio was full of unused slabs of wood he'd collected over the years. 

That morning at breakfast, as I contemplated asking Akiko how I could visit this deceased man's studio without seeming crass, another visitor mentioned that Justin Bieber was staying at a home down by the shoreline. He was paying $10K a night to party at a mansion built on old plantation farmland.

Randy Takaki is dead, but Bieber thrives.

SOME THOUGHTS ON THE TAIWANESE NEW WAVE

I recently had the pleasure of seeing Chinlin Hsieh's Flowers of Taipei, along with the documentary Our Story, Our Time that's included on the new A Brighter Summer Day criterion disc, and thought it a good opportunity to write a few thoughts on Hou Hsaio Hsien and Edward Yang.

"They were the spark that made me believe our memories have value." - Apichatpong Weerasethakul

I can't remember which film I watched first, it was either Hou Hsiao Hsien's Millennium Mambo or Edward Yang's Yi Yi, but I remember thinking about islands. Islands with deep colonial histories, struggling through an awkward adolescence into modernism. I knew almost nothing about Taiwan other than that my good friend Gene had told me that while he had grown up speaking Taiwanese with his family in Hawai‘i, when he returned to Taiwan all the young kids spoke Mandarin and he got teased for speaking like an old man. This fascinated me, how quickly history moves. History, memory, islands.

"It was like the match I'd been waiting for." - Hirokazu Kore-eda

This was around 2002 and I was devouring Asian art cinema. Up until this point, growing up in Hawai‘i, I hadn't seen many Asian faces in movies. And when I did it was Hong Kong action, or old Bruce Lee, or B&W NHK films I watched with grandma. But here was a group of ragtag Asian filmmakers making artful, progressive, deeply personal works about their people and their home. For the first time, very briefly, I saw a future for myself in filmmaking.

I was only just starting to understand film language -- a language that still overwhelms me -- but I felt an immediate connection to Hou Hsiao Hsien's formal ambition. He wasn't making experimental films, but his composition and pacing felt unlike anything else I'd seen up until that point, one that captured a pace of life that felt lived in and real. I remember thinking: oh wow, Hou kept his distance, but it wasn't cold like Antonioni; Hou focused on the movement of bodies in a frame, but it wasn't theatrical like Fellini; Hou's films were elliptical, essentially plotless, but weren't heavy on allegory like a lot of plotless Western films were. Taiwanese New Wavers used real locations and real people. They were slow, relaxing, measured, and even though I could never understand the nuances of Taiwanese life, I felt there was a deep sense of history.

My favorite of Hou's films. Good Men, Good Women has it all: a film about filmmaking, obliquely connecting an untold historical trauma to the personal disaffection of modern life. A meditation on what it means to reconsider and recreate history, and on what stays constant over time: people and sadness.

And then there's Yi Yi, a masterpiece, I believe one of the best films of all time. I am trying to think of a few words to write to about this film, but fuck it, if you haven't seen it just go watch it. Then start from the beginning and watch the rest of Edward Yang's work. He's a fascinating, confusing director. Each film seems disconnected from the previous, but taken as a whole his work speaks to a profound understanding of how humans run from and collide into other humans, stumbling through life. While I was at USC, I would constantly think about how Yang was also at USC, but had dropped out, then later returned to Taiwan and just started making films. I wondered, if he didn't stay, why should I? Should I drop out, return home, and just start making films? Ultimately I stayed, because, alas, I am not Edward Yang.

"They were part of the reason I returned to Thailand. His work reminded me of home." - Apichatpong Weerasethakul

Fifteen years out from my discovering these works, they still continue to nourish me. Whenever I'm confused about what the fuck I'm doing or where I'm heading, or just, why, these are the films I turn to, the gospel of Hou Hsiao Hsien and Edward Yang, and I immediately know ah, of course, this is why:

A BRIGHTER SUMMER DAY

Allow me to quickly fanboy out for one second: FINALLY.

Coming in March 2016. I am more excited about this than any other release next year. Fuck, this year even. But to be honest, I've gotten strangely fond of the aesthetic of my crappy video rip, watching a 4k restoration will be like watching a whole new film.

GO FOR BROKE

I'm currently working on a personal project and one of the films I came across in my research is this gem, Go For Broke. Produced by MGM, released in 1951, the film is a retelling of the infamous 442nd, employing Japanese-Americans many, many key roles. In 1951! The 442nd story has been told many times since over the years, and this film isn't perfect, but after watching many studio films of the era, consistently enraged at the Hollywood representation of Asian-Americans at the time, this film is a fucking miracle. Moving stuff.

SEIJUN SUZUKI

Can't stop thinking about this pair of films I saw last last weekend. Highly involved. Seek 'em out.

zigeunerweisen (1980)

kagero-za (1981)

SUDDENLY, HONOLULU

Back home in Hawaii this past summer, the one thing that mesmerized me was the massive amounts of development in the city. This shifting skyline — 22 condos going up in Kakaako alone, I’m told. I’m neither for nor against all this change but I’m not ambivalent either, transitions are always powerful.

SUNDANCE DIRECTORS LAB

My feature film in development, "I Was a Simple Man," has been invited to participate in the Sundance Directors Lab this June:

2015 Sundance Directors Lab Press Release

I'm not sure what I've done to deserve such good fortune this year. It makes me nervous and I keep waiting for the other shoe to drop -- too much good news is weird in that way.

But I'm looking forward to workshopping these scenes at the lab. Because for the first time in a long time I've written something that is outside of my normal formal range. And I'll be pushing myself to try new things, new visual tactics, to really try to capture what I think is the core of this film: this film is a beautiful dark silence, but it's also an acceptance of transience.

And every morning I'm waking up to new images, coming in from who knows where. 

OBAKE ON CINEPHILIA & BEYOND

Cinephilia and Beyond is one of the best filmmaking resources out there -- a daily dose of must-read inspiration. So you can imagine my elation that they've chosen to feature OBAKE on their site. Such an honor.

You can read their post on OBAKE here.