Sundance 2022 Girls Administrators: Meet Amanda Kim – “Nam June Paik: Moon Is the Oldest TV”
January 25, 2023 0 Comments
Amanda Kim is a Korean American director and producer. A former inventive director at Vice Media, she led U.S. video path for i-D, Creators, and Storage journal. Kim additionally labored on Viceland, Vice’s TV channel, as a inventive producer in an experimental incubator the place she directed a manufacturing crew to check out pilots and progressive content material codecs.
“Nam June Paik: Moon Is the Oldest TV” is screening on the 2023 Sundance Movie Pageant, which runs from January 19-29.
W&H: Describe the movie for us in your personal phrases.
AK: It’s a playful and emotional story about video artist Nam June Paik’s creative and private odyssey.
Although he’s most famously often known as the daddy of video artwork, the movie facilities round Nam June’s phrases following him on his journey from East to West and his discovery and want to make use of video/tv as a creative device. He skilled firsthand the methods during which know-how was used to amplify ideological division, splitting his nation and forcing him to depart his dwelling nation.
Via video artwork, he investigated the methods during which know-how could possibly be used for higher communication and international connection relatively than division. He created an digital Esperanto by way of his video artwork, a brand new strategy to talk with the world.
W&H: What drew you to this story?
AK: I used to be drawn to Nam June’s story due to my very own itinerant background as a Korean rising up in Japan after which shifting West. I associated to his nomadic life and multicultural identification. He didn’t see the world in black or white phrases however as a hybrid and I actually gravitated towards that perspective. It’s inspiring and refreshing at a time when every thing appears to be categorized in binary phrases.
I used to be additionally inquisitive about his work, which is stuffed with humor and leaves you with questions. I needed to study extra and found how layered his artwork was.
W&H: What would you like individuals to consider after they watch the movie?
AK: I hope individuals will really feel the necessity to query and problem the world round us and the applied sciences which have turn into so ubiquitous. I hope individuals will really feel hopeful in regards to the potentialities that we now have but to uncover.
I hope individuals will really feel the enjoyment and humor Nam June introduced into the world by way of his presence and work. I hope individuals really feel the facility of artwork as a method of communication and investigation.
W&H; What was the most important problem in making the movie?
AK: The largest problem was convincing folks that I might do it as a first-time function director after which ensuring I might inform the story I believed in whereas navigating a number of events that had various concepts of what they thought the story must be.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
AK; That is my first function. I had by no means even directed a brief. So it was understandably fairly difficult to search out funding sources at first. However my good friend David Koh, who’s a producer on the movie and was Nam June’s assistant in his school years, inspired me to make a therapy and to begin recording my analysis interviews with Nam June’s contemporaries.
You don’t have to be absolutely funded to make a documentary, so I began filming utilizing an iPhone and cameras I had entry to by way of good friend favors. Then I used to be accepted into the IDFA discussion board, the place you get to pitch your venture to a bunch of worldwide co-producers and distributors.
I obtained cash from personal traders, grants, and Korean authorities funds by way of my Korean co-producer whom I met at IDFA. What was additionally a bonus was the topic intersected between artwork and movie, so I used to be capable of search for funding choices within the artwork world as effectively.
W&H: What impressed you to turn into a filmmaker?
AK: I by no means thought I used to be going to be a filmmaker however I used to be all the time desirous about storytelling by way of artwork. I labored in numerous inventive industries from music, trend, artwork, and media however couldn’t select one. I discovered myself at Vice the place they threw me into the deep finish of manufacturing once I had zero expertise, and it was a sink-or-swim state of affairs. Regardless of near-drowning experiences, I discovered that I actually loved telling tales by way of shifting photographs.
Filmmaking introduced collectively all of the totally different inventive disciplines I loved. It’s a must to be a painter, composer, designer, author, and put on many different hats to make a movie.
W&H: What’s one of the best and worst recommendation you’ve obtained?
AK: Greatest recommendation: Belief your instincts however be open to something that comes up. An accident or mistake would possibly turn into proper.
Worst recommendation: “This isn’t business sufficient.”
W&H: What recommendation do you might have for different girls administrators?
AK: Don’t let anybody inform you you could’t do it or that your movie isn’t “business” sufficient. Hold going!
W&H: Title your favourite woman-directed movie and why.
AK: “Morvern Callar” by Lynne Ramsay
I couldn’t cease fascinated by the movie weeks after watching it and it impressed me to begin writing.
Nobody is aware of how they may take care of grief till it occurs to them and “Morvern Callar” offers with that query in a really surprising manner. Although the primary character makes a questionable resolution, Samatha Morton and Lynne Ramsey, created a multi-faceted character and you continue to root for her — no less than I did.
I feel these are the strongest sorts of movies – when a personality surprises you. The movie is darkish, unusual, absurd, and shifting.
W&H: What, if any, obligations do you suppose storytellers must confront the tumult on the earth, from the pandemic to the lack of abortion rights and systemic violence?
AK: I feel storytellers subconsciously or consciously are responding to the world, nonetheless delicate or overt that messaging is of their work. I don’t suppose it’s a duty a lot as an inevitability.
It’s arduous to make a movie, so the one strategy to endure the lengthy and turbulent journey is when you really feel the story is necessary sufficient to inform. Even when it’s not a “confrontation,” it’s a response to the experiences of partaking with the world round you.
W&H: The movie business has a protracted historical past of underrepresenting individuals of shade onscreen and behind the scenes and reinforcing — and creating — unfavorable stereotypes. What actions do you suppose have to be taken to make Hollywood and/or the doc world extra inclusive?
AK: I feel it’s necessary for the business to offer more room to underrepresented individuals in a considerate and fluid manner. Shifting casting/hiring practices are necessary. I wish to see extra Asian faces behind and on display screen, however I feel sure methods of promoting movies as “Asian movies” can create unfavorable reinforcement and emphasize the “distinction” additional. I perceive this may be a necessary first step in course correcting however generally I feel we’ve gone too far.
That being stated, I feel it’s actually optimistic to have extra of those conversations and it’s necessary to have the ability to discover position fashions or be position fashions in these communities.