Hollywood directors often capture additional shots and angles, or “coverages,” on film sets to give them options later in their editing suite.
Not director Anthony Shim Riceboy sleeps . When his Korean-English immigrant drama had its world premiere at the Toronto Film Festival , he avoided filming coverage.
“We didn’t shoot any reports. It was the scariest thing,” Shim told The Hollywood Reporter about him and DP Christopher Lew The single camera moved to a one-shot, well-designed and continuous wide-angle lens to capture all the dialogue and visuals in a scene.
In the hands of master directors such as Martin Scorsese and his opening Copa in Goodfellas, The smallest camera coverage possible is the production of the movie legend. But for a second feature film director like Shim, one shot is fraught with peril.
“There’s a reason people shoot reports and cut scenes together, because it allows you to control the pace, be flexible and discover the nuances of the editing process,” he argues. But Shim opts against emotionally manipulating the audience as he tells of a Korean mother and son struggling to adjust to 1990 their new life in Canada and heal the rift between them.
“I really want the audience to experience a story and look at the characters from a very observant point of view…and form their own feelings and perceptions,” Shim insisted fiercely personality test.
That’s partly because Riceboy Sleeps is part of a new movement of Canadian immigrant drama that takes new immigrants and their families from the world around them.
Shim’s Vancouver-based drama raised her major Korean characters, such as her Korean mother So-Young, played by veteran dancer-turned-actress Choi Seung-yoon. Son Dong Hyun, played by Dohyun Noel Hwang as a child and Ethan Hwang at years old – front and center showing how they were made
“In the 1990 part of the movie, I often frame it so the Korean characters are in the background and the Caucasian characters are in the foreground, Their voices, faces, bodies are very dominant and often block the protagonist,” Shim said.
“And as soon as we got there 1999, I started to reverse and start focusing on Korean protagonists and racially diverse supporting characters,” Shim added Said, he also appeared in Riceboy Sleeps as Simon’s character.
His insistence that Korean characters must grow into their skin as a hyphenated citizen reflects his own childhood, who came to Vancouver with his family from Korea at the age of 8 1990 In the early days, he eventually overcame his shyness and became a film director.
“That was the real experience of my childhood 1990,” recalls Shim. “I always felt like my family and the Koreans around us were always behind the scenes, we were always hidden, sometimes voluntarily to avoid embarrassment or discomfort.”
The Riceboy Sleeps Director of the Toronto Film Festival for current Canadian immigrant dramas such as Clement Virgo’s Brothers Anto Wan Bourges Concrete Valley and Kelly Fyffe-Marshall’s debut When Morning Comes, represents a kind of rush that comes and goes fashion.
Instead, Shim said, they and other directors from disadvantaged groups who, like him, came to Canada as children, are embracing the right to pick up a camera and make their own films about the immigrant experience , just like the descendants of those European immigrants passed on from generation to generation.
Use colour to tell honest, good stories and tell them well,” Shim added.
Toronto Film Festival runs through September. .
