 Rhaid i'w gwirionedd. Nolwg ymddangos i'r sefydliad yng ngyroedd. Mae'n ddigonwyd o'r sefyllfa sefyllfa a'r sefyllfa'r sefyllfa'n sefyllfa'n sefyllfa'n sefyllfa. Nghymru iddyn nhw'n gwirionedd i'w gwirionedd i chi. Yn y fyddechrau, mae'n cael ei wneud yma eich ysgolodau sydd, Ieithiwn ni'n llwyth i'r gweithredau sydd yn 50 y byd. Rhyw gydig yng Nghymru i'r cyfrif yma o'r cyfrif sydd yn 100 y byd. Rhyw gydig y cwylwg ffwrdd i'r gweithredau sydd o'r cyfrif a'r cyfrif o'r cyfrif. Rhyw gydig ym Mwngerthyn yw'r cyfrif o'r cyfrif o'r cyfrif i'r cyfrif yma i'r cyfrif o'r cyfrif yma. I commission represented today by Cheryl Toe, who I think is here. There she is. The Singapore International Foundation who funded the project that you are about to see, which is itself the Singaporean film community's response to the celebration of Singapore's 15th birthday. One of the directors of the seven short films that you're about to see, Westin Tang, is here with the audience. And next to him is Chris Berry from King's College down the road. And the two of them will be in a conversation after this, a Q&A after that once the film has been shown. So obviously if you need to leave, you're allowed to leave. But if you're about to stay and listen to Westin talking to Chris about the film, a project in general, then you're very welcome. Westin's also told me that different directors of this collection of short films have been dispatched around the globe to where screenings have been taking place. He was in Mexico very recently and is now here by Singapore. And I think he's about to jet back, so please be kind when you put your questions. But we're very delighted that you're here to represent the project. I think I'm probably supposed to say that the fire exits are over there and here. And this is at their hosting place here. And if the power line goes up, then it's not real. So do you make your way outside here? So without further ado, we look forward to the season screening of Seminatys, and I enjoy it very much. But while you're gathering your thoughts, I get to ask the first question. I think you had a great time and I was very happy to see the film. The first question I want to ask you is, so you came up with that idea because it's a sort of Singapore 50th and birthday film. Did the government come to you guys or did you guys have the idea of making this film? Well, when I was in this Singapore SJ50 competition, there were a lot of turns and representation from different communities coming out of different projects. So I think the minister asked me, like, also, you know, the theatre, the drama team, they're all having a project and what about the film community. And I was a little shocked. I didn't know what the answer was, so I just said, maybe I just get on with the film. Next day, I received a phone call. It's a good idea. That's where it seemed very strange for the other one. I was like, how am I going to come in so many films? It wasn't because it was a wrong issue, so what happened was the invitation was not wrong. I don't know if you're going to explain it. That is the future cover. You co-ordinated it. It was a nightmare, yeah. So has that been you got to pick what oil you're going to pay? No, because the whole concept was to write a very personal letter to Singapore on the 50th birthday and say it off. All the film community, we have a film company which is home. What is the definition of home and the era that you're most concerned with? So you have film makers who are very, very young, and you have film makers who are very, very old, and film makers who are very old and very young. So very easily, you know, the era has been established very quickly. So what is the kind of logic of starting with the era that you're going through with the last film? I mean, I just wondered how, what is the point of the reverse? I wonder why choosing to put them in that role? It's building based on the era period of every one of the 50s, and Jack is familiar with the 60s and 70s. So if all is very old anyway. And also because we wanted to give a surprise to the seven directors because they didn't know what each other were doing. So they only know by definition of which era they're going through. So when the whole film came out, it was both the first time they watched it, and they are similar things. Right. That's what I noticed. I mean, it's a celebration of 50 years of Singapore, but the films are very pointed, actually. I mean, they're very often about parting, about missing people, and also it's very often about the connection to Malaysia. So I wondered how people responded when you showed the film in Singapore, how they thought about that. Because, as I said, it's not some sort of, you know, lava nationalistic celebration film at all. It's much more in context. I think Libye can actually talk about when this film premiered in Malaysia, the reaction was very, very strong. They felt that they had never left us. We were just separated by one river, and I think this film is also a reflection of what we have achieved and what we have lost. I thought that very strongly, and it's very good. How about the government? Since they founded it, they're happy with it. I think this is a, this project is a project, because this is the one and only project that has no interest from the government at all. It's based, surely based on the trust that's what I told them. SG50 should also be based on trust. So the whole entire project was only presented with two pieces of paper. That's what we're going to do roughly, and I said no script, but when we finally put it up and saw it, they looked at it. That's very interesting, because when I deal with government people, they're not usually that sophisticated about these kinds of things. For birthday celebrations, national celebrations, they usually want something much more, as I say, a celebration of the future. So it's interesting to hear today that Scotland is so positive. Do you think there have been changes? Because people in the Singapore film industry have had it passing through themselves. I think sometimes not such easy relations. So do you think there's been some changes? It seems very different. The environment has definitely opened up. Maybe also because I'm a little bit more update, right? So the way I speak to them is a little bit rude. I think, okay, if somebody comes through your birthday celebration, then would you want to check their receipt for the present that they're going to give you? The relationship between the artist as well as the person that we're going to celebrate for. So think of this as a celebration of the artist. And we are the real artist and not of that. It's not being very honest. So I'm wondering at this point, maybe I can open things up. Do you have any questions or any comments? I think we'd love to hear from people with microphones. So if you'd like to put your hands up and we'd be happy to hear your reflections. Let us know what you thought about the film. Can you hear me? Hello, hi, my name is Gens. I'm in a quarry and I've been working here for a year and a half. And this is my Malaysian friend May. She's been working here for 13 years. So I came to London a year and a half ago because I wanted to reinvent myself. And after I watched this, especially the last one, I thought I wanted to go home. Isn't that something in me? And my question to Royson is, what's the inspiration behind your part? I was wondering about back in my 57s in the 80s that there was a lot of people in English that had been speaking Mandarin, or this can be, but I do feel like back then, when life was similar, you don't need to use all this can be to communicate. Sometimes they're very basic 40 languages. I'm also very fascinated by our HDB culture, how people communicate sometimes through the window. It's like when it's raining, and you look out and shout to the neighbours to bring their clothes. And also this is from some of my personal experiences. So I was wondering if there was a little bit of a background. Yes, there was a period of time where there's no more thing. Mine is a little bit more sensational. I just read in Nick Gertz's. What's the idea behind this one? Quite corny part, where you have the rainbow. What's the idea behind your destination of that? It was just myself and the audience. I always say musicals, and I just wanted to have one musical. That's why. That's all, thank you. Many of you are here from, many of you are Singaporean, I guess. I'm wondering how you felt about the film. Seen to be enjoying it. How many Singaporeans? Yeah, many Singaporeans. We have five more. Ni hao. Po. Po. Dwi'n meddwl. Dwi'n meddwl. Dwi'n meddwl. Po. Po. Po. Po. Dwi'n meddwl. Po. Po. Po. Po. Po. Po. Po. Po. Po. Po. The Place that we have now become used to and really felt loved with that role for is going down. The HGB is there which I think is absolutely poetic and needs all to bring people into context. That's really quite lovely. I was thinking of something that you said about the government with the trust, there is something that you add, ond eich o rhai gynyddu yn ythbydd ac yn ymddangos meddwl awr am y dyfodol. Cymru oedd yn 1L hefyd yn y rheiddiad hynny, lle mae'r ysgol yn ôl yn nôl i chi fod yn llwyconu'r wahanol. Rwy'n rhai cyllidol, yn ymddangos ar y mynd i'r awân, o ychinkendu am y gallu ateb. Ychynodd iddyn nhw wedi cynghraffon ar ôl hwnnw. Mae'r bwysig iawn, yw gwirionedd yn cael ei ddweud y mynd i'r newid, ac yn cael ei bod chi'n gwybod atys yn gweithio'r mawr. Rhaid i'n ffodol. Yn ymgyrch, mae eich gweithio'r rhaid. Mae'r ddweud os yw, sy'n gael cymaint i'r wneud yma, ychydig yma. Felly, fyddwn yn maen i ei wneud maen nhw hefyd yn maen nhw hefyd yn maen nhw hefyd. A bod yw'r Cyflawn Cymru maen nhw eisteddill, hwn ni wnaeth yn gweld yn argynno ar gyfer mae ffordd, achos yw ymlaen i'r gyfo'r cyfrancau 3amaidd yma. Yn y grwyr yw'r cyfrannu sydd wedi hyd wedi'i cyfrannu 3amaidd yma, ac yn y gallan i'r cyfrannu sydd yma yw his. Mae'r cyfrannu sixa mwy chymu ar hyd wedi'u cyfrannu yma eudhaf. I guess it's just purely out of the stories that really matters to us and that's what we want to do. Maybe can this from now, when you look back, when somebody passed away in your family, at a team where you can't relate to them? That was what my grandmother did when she was alive and I was just looking at her and I was just looking at her and I said, why are you repeating the same thing over and over again? Is that what she passed away and I realised that, now I do as well, now I can relate to them. Thank you. I wanted to say a few words about the last film you made last week. I was going to say that he was talking about how things changed at Rathaway in Singapore and in the film of course in that last film, one of the important points is that having 12 grandmothers, 12 grandmothers, this has been knocked down by the shopping centre and this way to Rathaway. I understand that you've become very involved in efforts to preserve Singapore's heritage and I wonder if you just want, before we get to the next question, I want to say a little bit more about that. I've spent six years not making any films, I've been doing a lot of documentaries, like the old series, the old cases, it's about canishing pictures, old romances, it's about vanishing stories and the last film you just did, it's about old friends, it was completed last year. It's about vanishing food, the taste of food is also changing in Singapore. So we've spent six years, two years each, to document all these things because I just felt that if you make a... maybe right now, whenever we are doing this, it's not very simple, but 20 or 30 years on the road, it's not very simple. So my question is very trivial, but dying to have a filmmaker say that Julia had been off, he had been off on a bridge next to a road key, the circumstances around that would be fascinating to me. I'm not going to talk about that. So what happened was that Julia was a very good friend with Eric Rood and she just happened to be at the Singapore National Film Festival and she wanted to visit Eric and he was doing the sound recyclitis and Eric took the opportunity and asked her whether she wanted to do a small interview. She said yes to provide the next film if she has to be the lead. So that's how it was. And it was a surprise that we all didn't know about this thing, the final interview. All right, it's all right for me. Good bye. Hi. I was born in Singapore but I spent a lot of time of my life there growing up as a young child. Just like to say that I found a lot of the film very touching. Some of the early ones really reminded me of even some of the stories that my mother used to tell me when I was young, from her childhood. So I guess my question to you actually is, I would like the films apart from your own, but out of the films there, which one is your favourite and why? Which is my favourite. I think my favourite has to be The End Credit, which is the longest credit ever, because really when I start writing, when I start writing credits, because if you see, in fact all the films I want to make because when you approach them, when they agree to do this project, you are all making their own picture film. They put all their projects aside to finish this. The film industry in Singapore is like a little seven, it's like mafia games, you know. We'll mix with this, we'll make with that. But for one, in this film, everybody appears together and that was something very magical. I think it brings everything together. Thank you. It's a very interesting aspect of the film. With that particular film industry in Singapore, with Eric Cysfil at the beginning, he talks about this being a legacy that has continued, right? I feel like the exact sentence that he talks about as being a legacy. But actually as we know, there was a gap, there was no teacher film in Singapore, because one Singapore in Malaysia was separate from the market and the films that we made in the 1950s was not there in Singapore anymore. It's only recently that Singapore film industry has come back. I wonder if you have any comments on why you think, not just why you think it's come back, but why it's been able to sustain itself because it's grown and grown and that's been really remarkable. Story of where in the rest of the world we're seeing national cinema as more and more disappearing, not down by Hollywood behind us. But somehow Singapore film industry has come back from making no teacher films to a fairly steady annual output. I wonder what your reflections are on that. I think there are two very important factors. First, we see what the National Film Festival has opened up a lot of windows to local filmmakers to interact with local filmmakers and the local audience to watch a more diverse kind of films. And also with the new grants coming from MBA, which is a Singapore video authority, many grants have been given to you first time, second time director and even established filmmakers also. And also we have the co-production treaty with different countries, especially in Malaysia. So on the right now we have co-production. There's a lot of collaboration with Malaysia that's happening now. So these are the two main factors. It's always my personal wish that we were Singapore's and I sometimes wish that we would just slow down a little bit over the generation or even for people who aren't able to catch up. So this is something that I always try to... Thank you. I really enjoyed the films, they were really great. I just have a couple of short questions. My first question is that in the film there are the use of a lot of dialects and I'm just wondering whether that is a conscious decision by the directors. Obviously some of the stories call for that when they're talking about the 70s and early lives, etc. But given the government campaigns to speak Mandarin to get rid of the dialects in the 1980s and 1990s, do you think this is a kind of a tacit acknowledgement by the government that dialects are actually a very vital part of the culture and for a culture to survive, it really has to also survive? So that's my first question and my second question is that do you think that has an impact on encouraging the younger generations now to actually go back to speaking a lot more dialect? Because I know that there's a whole generation in between and they were wiped out. I mean a lot of them actually may still understand some dialects because it's still spoken among the older generations but they can't speak the dialects anymore. The use of dialects was to touch on these stories. So there was no restriction and also I think in the next coming one or two years I guess the whole environment is in voice changing. There seems to be an opening to be more open to that. In fact, I just directed a three-minute campaign and it was all in on national TV. It's for the senior citizen on healthcare. So there was a pocket one, there was a 221 and there was a kind of this one. So it seems that the environment is changing and it's opening up and recognising that dialects are all very important. I think it's going to be open to that. I guess because some of that is very self-reflective because there wasn't if you were in Singapore the Edge of 50 celebration was a lot of fireworks, a lot of welcome to the future a lot of different aspects of the celebration and we just thought that we just want to quieten ourselves and since all the directors are from many many eras and do the self-reflection thing in our individual way and it would ask me what are the things that I want to catch up today I think it would be cool. I don't know what I think because this is changing the taste of the food this week of all the chicken rice that is in this case different things. So I didn't have good dreams at all this session so I kind of just hope that it's not a big deal. Right? Yes. So, but I'm not talking to the boys with that. Yeah, I think that maybe that's just being on the screen quieten us up. I think that, yeah, once again thank you very much for bringing it up. It made me see Singapore in a very different way. It's so different from the usual kind of presentation of Singapore that we're getting. I think I appreciate that very much and I think the audience too. So please join me in thank you for everything. On behalf of SOAS, I'd like to invite on this Cheryl Toll, Secretary of the Second World High Commission in London to present a token of appreciation to Mr Royston Tun first conference. Yeah, so maybe out there. In case your friends are in mentioned letters, we have a screening this Sunday. 3.30 p.m. Yeah, just better word. Thank you very much.