As my Charlie
Chaplin film was nearing completion, the colour Super 8mm footage
that I brought back from that first trip to China suggested to me
that the next logical step would be to make a 30 or 40 minute film,
but in colour, with professional actors and a more convoluted storyline.
I could shoot interiors digitally in Ireland
and intercut them with the exteriors I had already shot in Shanghai,
and I was drawn to a similar cultural transposition that I had made
with the Chaplin short in the challenge of receating an Asian background
The simple colour breakdown and textured
quality of the colour Super 8mm also appealed to the painterly sensibility
that I had started to develop with the previous film.