The entries for the 2013 CSV Video Pitch Competition Finalists have been winnowed down to three finalists by their panel of judges. But who exactly will win $2000 worth of equipment rentals is up to YOU.

Take a look at the three finalists, watch their pitch videos, and let us know which of these projects you want to see!

Votes will be accepted until midnight on May 26, 2013. The winning pitch will be announced on May 31, 2013.

View the finalists’ pitch videos here and remember to vote!

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• A Master’s, LLB or J.D. degree or higher.
• Significant knowledge of and demonstrated commitment to equity and will have 5-7 years of experience and a track record of demonstrably improving equity at a large, decentralized and complex institution.
• The intellectual acumen and political savvy that will facilitate credibility both internally and externally.
• The professional confidence and communication skills to effectively engage senior university leaders on what can often be contentious or delicate issues.
• A strong understanding of systemic issues and analysis, and of the legal and legislative frameworks related to equity and human rights.
• The ability to develop and communicate a compelling and credible vision for the equity agenda.
• Experience effecting organizational change, including policy, procedural, practical and behavioural change.
• A high level of interpersonal skills and the capacity to listen effectively and sensitively to a broad range of diverse stakeholders, including students, faculty and staff members.
• Experience working with members of a senior leadership team working on organization-wide committees and collaboratively with multiple stakeholders.
• Substantial experience creating and leading change for policies, programs and practices with the framework of equity.
• The ability to conduct research of superior quality on improving equity at research intensive universities.
• Experience as a change agent, equity advocate and collaborator.

Information for Candidates: Consideration of candidates will begin immediately and continue through late May, with an anticipated successful candidate chosen by June/July.

To learn more about the opportunity or to apply for this exciting opportunity, please connect directly with Logan Atkinson, Secretary of the University of Waterloo at logan.atkinson@uwaterloo.ca or 519-888-4567 x84012.

Applications must include a cover letter describing your fit with the position and a detailed resume.

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This is just one of the revelations in Mountains That Take Wing, a documentary about the intersecting lives of activists Angela Davis and Yuri Kochiyama.  It was Kochiyama who was on the stage with Malcolm when gunmen assasinated him, and it was she who cradled the mortally wounded civil rights leader.

During Asian Heritage Month, we often reflect on the historic struggles faced by Asian Canadians: the plight of Chinese railway workers, the Japanese Internments, the South Asians turned away aboard the Komegatsu Maru, just to name a few. It can be instructive to see how those struggles can be linked to the struggles of other, non-Asian people – and how our liberations are also entwined.

Together with the Yuri Kochiyama 92nd Birthday Celebration Committee and the Canadian Auto Workers Union, Reel Asian is proud to co-present a screening of this remarkable work on Thursday, May 23, at Beit Zatoun House, a cultural community gathering space on the edge of Koreatown. Doors open at 7:30pm and the programme begins at 8pm. Admission is PWYC (pay-what-you-can).

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Eva: Thank you for meeting with me today to do this interview. Can you both please introduce yourself and tell me what you do? How did you both get into filmmaking?

Althea: My name is Althea Balmes. I’m currently working on a comic book project called Kwentong Bayan: Labour of Love. I got into filmmaking kind of by accident. My background is actually in anthropology and international development. That’s what I studied in school. My first experience with filmmaking is actually with Reel Asian with the summer youth workshop. That was really cool. I kind of just applied without really thinking that I was going to be a filmmaker

Albert: My name is Albert Zablan. I’m a recent graduate from the University of Toronto. I did a double major in economics and cinema studies… so I guess that’s where the film plays in. It was more watching films and writing about them, reading texts and theories. I guess I wanted to get more of a hands-on experience and make films. This opportunity came up with Reel Asian and I saw the Summer Workshop program so I thought “Why not?”

Eva: This leads to our next question – the Reel Asian Summer Youth Production Workshop. You both went into this program with no prior filmmaking experience – directing, setting up shots, storyboards…etc. It was almost like a crash course, right? Tell me a bit about it. How long was the program, again?

Albert: I think it was about a month

Eva: Wow, so you just had to dive right in

Althea: Yes. We just had to go for it. Well the good thing is we went into the program with an idea already. This really helped. The program itself was divided in certain groups like writing, directing – to refine your idea, basically.

Albert: We also had to be realistic because it was such a short shooting schedule and we had a lot to learn. So we had to be realistic about what type of films we could make. For me, a huge problem I had was getting actors and that sort of limited what I wanted to do

Althea: We had really good mentors. Without our mentors, I don’t think we could have been successful with our movies. Especially with Tony Lau – he was really there for us to support us

Albert: And Arthur

Althea: Yes, and Arthur

Albert: They were literally there every step of the way. We had mentors who would come in weekly and assist us with certain aspects of the filmmaking process

Althea: When it came to the actual shooting – they were also there. They were pretty available. So it was really nice having so many people who were experienced to help us out. Also our other members were really supportive! You need a really good crew to make a movie and I think we were there for each other

Albert: There were definitely some grueling moments where we had to do back-to-back shoots and go 24 hours but I think we stuck it out pretty well.

Althea: Yeah, that was intense. Like these guys, they came to my shoot sleep-deprived

Albert: and we had pizza for breakfast…

Althea: There you go! But when they were there, they were really professional

Eva: Any interesting anecdotes or memorable experience?

Althea: (laughs) A lot

Albert: For some reason, when you first said that, I thought of Simu. Out of all people. He’s the actor in Thila’s film, “Summer Child”. He was just a cool guy (laughs) and very willing to take his shirt off on camera

Althea: Of course he is!

Albert: That was interesting… I don’t know why!

Eva: Haha that’s the one thing you remember most?

Albert: His abs just immediately went to my mind (laughs)

Althea: For sure, our first shoot was really memorable. We were there really early in the morning so it was pretty intense. But it was a good first day for shooting because it set the tone for the entire shoot. That was really memorable

Eva: What was your biggest takeaway experience from the workshop program?

Althea: For me, I think it would be the networking. Meeting all the emerging filmmakers and mentors who are all really willing to help you out. I still keep in touch with some of them. It was really good learning from them and having that connection

Albert: I completely agree with the networking. Reel Asian really put us in a good place to make a film and to sustain it. I always feel like they’re always nudging us to continue it

Althea: Yes, that’s so true!

Albert: I needed that encouragement constantly and I feel like Reel Asian always has my back (laughs)

Althea: I like that you guys do maintain that relationship and always talk about your talents and to not forget about them.

Eva: Yeah, I think it’s easier to second-guess yourself along the way. One of the most reassuring things ever is to have that sort of encouragement. And like you said, even after the whole workshop, Reel Asian always asks if you have any updates, or asks what you’re up to. It’s like they’re continuing to nurture right?

Both: Yeah

Albert: I think that’s one of the toughest things because we went through that experience and we really needed that continuity

Eva: Can you tell me a little about the film that you made for the workshop and the inspiration behind it?

Althea: My movie was called “Suman Ladies”. It’s about this Filipina lady who was selling these sticky rice called “suman” on the streets of Toronto. Visually, you follow what her motivations are for doing it. But the narration is about a bigger thing – about food and culture and politics of migration. My inspiration was my own personal experience when this one woman approached me while I was walking with friends and she called me and said “Psst! Are you Filipino?”, which is what I used in the film because that’s what happened. She was selling suman and it was a fundraising. That whole experience…it was interesting to me because I was in Toronto and you don’t really see that happening because it’s illegal. But because I was Filipino, they were able to connect with me and be on the down-low that kinda thing. So that was my inspiration. A lot of the narration was based on what I learned in school through anthropology about food and culture and relationships with people. And it’s also people’s memories of suman.

Albert: My film, “New Home”, is kind of about the back-and-forth correspondence between a mother and her sister-in-law who’s taking care of her children in her native country. I primarily used voiceover narration, matching captured scenes of the neighbourhood to the audio. I don’t want to say it’s experimental but I kind of smashed together images of my neighborhood I grew up in with the voiceover running over it. It’s autobiographical and it was borne out of conversations I would have with my mom. I was genuinely curious to know what it was like for her when she first moved to Canada so I continued to prod and form the basis of the story. At it’s core the film is about a mother going through the hardships of transition: moving to a new country, leaving her kids, taking on temporary work and fear of the future. Being from a multicultural city, I hoped that the film would be accessible to a wider audience, beyond the immediate Filipino community.

Eva: So your mom starred in it right?

Albert: She starred in it, yes so… She definitely went through torture. I made her go through some torture, like fold clothes, do laundry…

Eva: Right, because she’s not used to someone saying “Ok, action! Take one! Take two!”

Albert: Exactly. “Do that five times. The first three takes weren’t good”.

Eva: “That same shirt – again!”

Albert: That’s exactly how it was! It was kind of fun (laughs). I feel like the short film format itself lends to the more personal stories. It seems the feature films focus more on the larger sweeping histories whereas for my film, I wanted to make a more personal history

Eva: Cool. Next question – why do you think it’s important to have more Asian filmmakers out there?

Althea: I think it’s important because of the amount of diversity you can get from multiple voices. “Asian” is a BIG term – this could expand from Central Asia all the way to Southeast Asia and all these different environments change depending on where they’re from. So I think it’s important for that diversity to be represented because our stories are not always the same. We all have different experiences and I think it’s good to capture and present that. It goes back to self-representation. You have a voice. Other people have a voice that might not resonate with you. But to have someone who’s similar to you or has had similar experiences, you can see that. That’s why it’s good!

Albert: I definitely think that maybe Asians have a stigma – they’re more associated with more conventional professional careers. So I think we’re actually under-represented in Canada. Even though Toronto prides itself on being a diverse environment. But I still see a lack of Asians in films and Asian content.

Althea: From my experience, a lot of the artists that I know are politically conscious of where they stand. In terms of arts in general, you have this idea that art has to be beautiful and it’s all about creating something like a story that’s magical or whatever but it’s also a statement. You can make a statement through arts. It’s good to just have that channel or venue to use especially if you’re a minority (laughs). It’s one of the best ways to have people listen to you

Eva: Are there any filmmakers or creative individuals that inspire you?

Albert: Althea Balmes (laughs)

Althea: Albert (laughs)

Albert: haha and Henry Wong

Eva: You’re just naming everyone from Reel Asian

Albert: Yup everyone here…Arthur Yeung (laughs). The list goes on…

Althea: A lot of the local Filipino artists here are a big inspiration to me. I think it’s cool – they’re so talented, like this musician Alexander Junior, Catherine Hernandez. These are all Filipino artists who are very conscious of Filipino culture and politics and they bring that into their work. They make it fresh. It’s really cool and you see it doesn’t have to be depressing all the time (laughs). In terms of filmmakers, I going to say this Filipino filmmaker, Lino Brocka, who was also politically self-conscious and he made a lot of these films back in the seventies. They were really well made and just one of those films where even after you finished watching it, you can always think back and kind of reflect back on the message

Albert: I’m going to say this Finnish director – Aki Kaurismäki. I think I’ve only seen two or three of his films but I really like his working class background. How he started off doing odd jobs like being a dishwasher and stuff so different from films. But he ended up being a pretty major filmmaker.

Eva: Right, it’s inspiring to see how you can go from there to here. So many times when we express an interest in being a filmmaker, it almost seems like there is a shelf life.  Like if I don’t become a filmmaker by this particular year, then I might as well not be a filmmaker at all. The first example that comes to my mind is Ang Lee and how he did not achieve international status and acclaim until much later into his career. So I understand what you mean! Everyone has different starting points. You can still achieve great things and time should not be a limiting factor to what you can and want to do

One of the cool things about both of your stories is that now you seem more confident of yourselves as filmmakers, would you say that? A lot has happened in the past year. Did you imagine yourself to be in this sort of position a year ago?

Albert: I honestly was kind of praying for an opportunity like this because going back to what you were saying about the shelf life thing, I felt like I missed out on the workshops and all that stuff when I was younger. Just looking back, it was a definite whirlwind  – we actually made a film. We went through the vigorous process of writing, directing, everything…and we got a pretty grand screening with interviews and all that. To see it still relevant and going forward, it’s really cool and encouraging

Eva: A lot of the film programs and grants out there – they usually require you to already have some experience or credits under your name. These types of requirements are discouraging for a first time filmmaker. It’s like what about the people who just want to try? I think that’s what’s good about this program

Althea: I think it’s kind of cool that I made one film… and I guess it turned out kind of successful having won the award

Eva: It’s like the film had legs! And it ran! (laughs)

Althea: Haha yeah! For sure! I was really surprised that it won an award at Reel Asian. I was like “What? Seriously? That’s awesome”. It became a stepping-stone for more art projects. Like I never considered being fully committed as an artist for a career because most people don’t really consider being an artist as a job

Eva: (laughs) Right. It’s hard to confidently say to people that you are an artist; this is what you do and have it taken seriously… especially being young

Althea: Yeah. So that was a big stepping-stone for me because I just graduated too and I didn’t really know what I was going to do. Then the Reel Asian program came along and I just went for it.

Eva: I love how when it happened and with the award, you were so surprised. It was almost a moment like “Hmmm…maybe I do have it. Maybe I’m supposed to be doing this” and that’s such a good feeling

Althea: Yeah! Exactly! It was a really big encouragement! Coming from an Asian background, art is not something that you commonly pursue as a job. It could be a hobby – fine, but go get a real job or something (laughs). So being able to do something that you love is great

Eva: It’s weird how we need that validation for the arts

Althea: Ya oh my gosh, for sure

Eva: It’s like you need someone to say to you, “Hey, you’re pretty good” and then you ask yourself, “Am I? Am I really?”

Althea: Yeah. The validation is really good

Eva: Now you guys are doing the school tour as well. There has got to be young people out there in the audience who might never have picked up a camera or never even thought about making a film before. Any words to say to these individuals?

Albert: Pick up that camera (laughs). Honestly, I’d say just start. If you feel that you have an inclination, then just do it. Filmmaking is so accessible now. There are so many venues and online channels to show your work that there’s really no excuse to not try.

Althea: Yeah – just experiment. Tell people that you’re a filmmaker! Or that you want to make films because eventually there will be someone who comes along and they’d want to help you out

Eva: Are either of you currently working on anything? What are some next steps that you have planned?

Althea: For me, I think this year would be more focused on my comic booksRight now I’m doing a comic book project. It’s a community-based comic book project about the lives of live-in caregivers. We work closely in collaboration with caregivers about their lives and I’m illustrating for that project. We’re trying to publish it next year some time in May. I’m also in the Hot Docs accelerator program right now.

Eva: Cool!

Albert: I am working on a film with Althea… right?

Althea: Yes!

Albert: We’re doing it, right? Ok. So I’ll be working on a film with Althea soon but right now I’m currently enrolled at Ryerson for accounting. I’m still trying to keep the film thing going so we’re in preliminary talks. Tossing ideas around.

Eva: Sounds great! I can’t wait to see it! Thanks so much for your time today.

Keep an eye out for our 2nd edition of “Unsung Voices: Reel Asian’s Youth Summer Video Production Workshop”.

Read the other interviews in this filmmakers series! Stephanie Law, Leslie Supnet

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CFC
The Canadian Film Centre is looking to hire a TECHNICAL COORDINATOR for a one-year part-time contract. Deadline to apply is Wed May 15 @5pm. More info here

TIFF

Film Circuit, Intern Deadline: May 10
Assistant, Festival Programming Deadline: May 10
Sponsorship Intern Deadline: May 13
Sponsorship Assistant Deadline: May 13
Coordinator, Reel Comfort Programme Deadline: May 13
Intern, Adult Learning Deadline: May 15
Assistant, Government & Foundation Relations Deadline: May 17
Assistant, Industry Registration Deadline: May 21

Trinity Square Video (TSV)

THE OPPORTUNITY

Trinity Square Video is looking for a dynamic Programming Director to envision, lead and manage the implementation of programming at TSV, one of Canada’s leading artist-run centres dedicated to the creation, exhibition and educational possibilities of Video Art.

THE POSITION

Trinity Square Video’s Programming Director is responsible for conceiving, developing and implementing the vision and focus of the organization through exhibition initiatives both on site and off. The Programming Director plays a leading role in creating a programming vision for the centre and has a strong and demonstrated background in the theoretical, technical and practical aspects of Video Art and gallery installation. The Programming Director ensures that the programming reflects the values of the organization.

The Programming Director is responsible for selecting and working with artists in TSV Gallery’s exhibitions, the Themed Commission Program, Master Classes, Artist Talks and Panels with the support of the Programming Committee. TSV’s scope in the arts community and public is enhanced by the Programming Director’s ability to connect to other arts organizations to build TSV’s audience. Dedicated to creating skilled artists, TSV offers workshops throughout the year which the Programming Director will take a lead role in developing.

TSV MANDATE

Trinity Square Video is a not-for-profit centre that provides artists and community organizations with video production/post-production support and services at accessible rates. Here since 1971, TSV is committed to providing a broad spectrum of services related to video: workshops, screenings, gallery exhibitions, artist residencies festival sponsorships and community partnerships.

QUALIFICATIONS:

• A Master of Fine Arts degree from an accredited university program or the equivalent combination of arts education and experience and formal training in arts/cultural management.
• Proficiency in technologies needed for Video production/installation (Final Cut Pro, AfterEffects, Adobe Premiere).
• Curatorial experience.
• Writing skills.
• Exhibition installing experience.
• Familiarity with Canadian art scene, particularly Video Art.
• Experience in design software: Illustrator, InDesign, Photoshop.
• Excellent interpersonal skills and the ability to communicate effectively in writing and verbally.
• French and/or other languages an asset.
• Ability to establish and maintain positive working relationships with public and staff and to represent Trinity as a dynamic resource to the community.

Hours:
TSV opening hours are Monday to Friday from 10 to 6pm. Meetings, events and duties outside gallery hours contribute to a work week of 28 hours.

Salary:
Renewable, 10-month contract + health and dental benefits.
Trinity Square Video is an equal opportunity employer. We strongly encourage applications from qualified individuals who reflect Toronto’s diversity. TSV thanks all applicants for their interest; however only those selected for an interview will be contacted.

CONTACT
Please send a cover letter and resume along with the names of three references to roy@trinitysquarevideo.comwith “Hiring Committee re: Programming Director in the subject line.
Applications can also be dropped off or mailed to

Trinity Square Video – HIRING COMMITTEE
401 Richmond St. West, Suite 376
Toronto, ON M5V 3A8

DEADLINE: June 15, 2013, 5PM.

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The idea for Silent Retreat was born out of 10-day silent meditation retreat that Tricia took in December 2011.  Her writing partner Corey Brown told her “think of a thriller while you’re there”.

LOGLINE: A creature feature.  In this quiet horror film, Janey is sent to a silent retreat in the middle of the woods for rehabilitation, only to discover that the men who run it are brainwashing women to be quiet and submissive, and if she breaks the rules, she’ll discover what lurks beyond the trees …

Help crowdfund Tricia’s project by donating the Silent Retreat’s IndieGoGo campaign. Behind-the-Scenes campaign video

Tricia Lee was the winner of 2010 Reel Asian So You Think You Can Pitch Award and premiered her film, “Searching For Wonder“, at the 2011 Toronto Reel Asian International Film Festival

Filmmaker Lesley Loksi Chan and former Reel Asian Industry Coordinator Arthur Yeung are back with a brand new music video collaboration. Both artists took part in Reel Asian’s commissioned Suite Suite Chinatown in 2010, with Arthur composing the musical score and Lesley as one of the participating filmmakers. Lesley was also Reel Asian’s 2011 Canadian Spotlight Artist

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To start off, please introduce yourself and tell us what you do. How did you first get into filmmaking?

My name is Leslie Supnet, and I’m an artist now based in Toronto, originally from Winnipeg, MB. I dabble in animation, drawing, filmmaking, printmaking, and more recently sculpture. I first got into filmmaking after taking a few workshops at Video Pool Media Arts Centre and the Winnipeg Film Group.

What was your favourite animation as a child? And your favourite now as a grown-up.

I watched Disney’s Beauty and the Beast about a million times. I was obsessed. As a grown up I’ve become obsessed with Barry Doupe’s Ponytail.

Tell us a bit about your film, Hang In There, that screened at Reel Asian in 2011. What was the the inspiration behind it?

I was thinking about those Hang in There cat posters, and how they came to be. I replaced the cat with a raccoon and developed a story about chugging through the hard times! And boy, there are many.

Why do you think it’s important to have more Asian filmmakers out there? This can probably be applied to Asians in creative industries, in general.

I think it’s important for voices in the margins, in general, to be heard, and our stories to be visible, to balance out historical othering and sidelining.

It seems that today Asians are still struggling to be better represented in film, acting, Hollywood…etc. This can include fighting Asian stereotypes or getting more key creative roles. In your opinion, how are Asians represented in the world of animation? Are there any key players or up-and-comers that we should know about?

There are a lot of great professional and artist driven animated works made by Asians out there.  Of course there exists the dark underbelly of outsourced grunt work to Asian studios by large studios in North America. Up and comers – I’m really liking the work of The CALF collective in Japan at the moment.

Any inspiring/favorite films, directors, creative individuals?

Jodie Mack, Barry Doupé, Denis Ha, Amy Lockhart, Ed Ackerman, Mike Maryniuk, Winston Hacking, Allison Schulnik, Mirae Mizue

Do you have any words for (young) people who are interesting in dabbling into animation/film arts?

The only limits you face are the ones you make for yourself. If you have a good idea — roll with it!

What is one thing you’d like to see more of on screen?

More artistic driven experiments!

Congratulations on the upcoming screening of one of your films at the Cannes Market! Is there anything else that you’re working on lately? What are some next steps for you?

Right now I’m working on visuals for two bands, and on a longer experimental piece on Super 8. I’m also taking a stab at turning my drawing ideas into sculpture / installation.

Thank you for taking the time to do this interview, Leslie!

If you’d like to see Leslie’s latest work, come out to the TAIS Annual Showcase on May 11. More information on the event here

* Click here to read our interview with Toronto-based writer/filmmaker Stephanie Law, who is also participating in this year’s Asian Heritage Month School Tour!

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Check out the first installment of our interview series with Stephanie Law!

Please introduce yourself and us what you do. How did you first get into filmmaking?

Hey, I’m Steph! And I’m a filmmaker/writer. It’s taken me years to say that with confidence. To own up to the fact that this is who I am, and this is what I want to do with my life. Though I’ve been in love with movies since I was a little kid, I didn’t think I could actually pursue this career path until my last year of high school. Since I’m a writer first and foremost, I started writing short stories, poetry, and plays in high school, and that naturally progressed to screenwriting. I didn’t really start learning about filmmaking and making films until university – I guess I’m a late bloomer in that respect.

I completely understand what you mean when you say that it’s taken you years to confidently state your role and what you do! So I’m very happy to hear you say this.

Since you are primarily a writer, what type of genre/stories do you usually write about? i.e. comedy, drama..etc

That’s a great question! I’ve written feature/TV/short spec scripts that have ranged from animation, big budget action, comedy, satire to drama. I do tend to add humour to my work, and often with a good dose of heart. But basically, I follow the story. If there’s a story that I’m burning to tell, it usually will reveal itself to me as either a comedy or drama – I realize that sounds very weird, but it’s true. Though, in the commercial filmmaking/TV world, there is an advantage to specializing in one genre. I will rebel against this for as long as I can.

Any suggestions and tips for other writers out there who are trying to write their own stories and scripts?

You will see this in every screenwriting book, and it sounds so simple, but it’s true: write every day. Until you treat screenwriting like a job, it will only ever be a hobby for you. Athletes train intensely to stay on top of their game; it’s no different for writers. Also, find the heart of your story. Find the reason why you and ONLY you can tell this story – what makes it special to you? If you can tap into this, then guaranteed, we, as an audience, will feel where you’re coming from, and buy into your vision. Lastly, read scripts – professional scripts and scripts written by peers. Be generous and honest in your feedback, and with any luck, your readers will return the favour.

I love this answer! It’s so easy to lose sight and somewhere along the line people tend to second-guess themselves. But this really puts it in perspective that everyone has a story to tell.

Can you tell us a bit about your film, Little Miss Jihad, and the inspiration behind it?

“Little Miss Jihad” was inspired of my memory of where I was on 9/11. We were in our school basement, having our class photos taken, when our Principal came on the speaker and announced that a plane had hit the first tower. This was my first introduction to the word “terrorism” – and unfortunately, ever since then, it has never really left our collective consciousness.

I think during your Q&A at Reel Asian, someone asked what the reaction was like from US audiences. At the time, I don’t think the screening was accessible to US audiences yet – is there an update to this question?

We will be screening at the Los Angeles Asian Pacific Film Festival in May, so this will be the first time a primarily U.S. audience will be receiving it. I am curious about what the reaction will be, especially with the recent events in Boston. The film is meant as satire, and so I hope it will be taken as such – as well as its message of tolerance in the face of fear and prejudice.

What was your most memorable experience of Little Miss Jihad? (on set, screening..etc)

My favourite experience about shooting “Little Miss Jihad,” ironically, has little to do with the actual production, but the reaction of my neighbours when we were shooting on my street. I live in a very Asian part of Scarborough, and so, for my neighbours, the production must have looked like some odd foreign invasion of crew people and equipment! I’m fairly certain they’re probably still wondering what the heck we were doing… hahahaha.

Why do you think it’s important to have more Asian filmmakers out there? This can probably be applied to Asians in creative industries, in general.

Diversity is important in any industry – creative or otherwise. When you have the same perspective being emphasized over and over again, not only does it become predictable, but you lose out on innovation and new stories – exciting stories. I’ve had the pleasure of meeting many talented Asian filmmakers through Reel Asian, but the biggest challenge, and this goes for any artist, is learning how to manage and sustain a career in the arts. I think there are distinct historical and cultural obstacles for Asian filmmakers – obstacles that sometimes make it easier for a filmmaker to decide to leave the industry and get a “so-called real job.” I find that others I encounter in the industry (non-Asians) often have a stronger sense of confidence, in that they feel like it’s their right to succeed and follow their dreams. Whereas for Asian filmmakers, I feel like sometimes we’re almost apologetic for pursuing them – rather than a typical “profession.” But that could just be my own Asian guilt coming through!

You’re definitely not alone… and I can also see it as a cultural thing. If your family/core support group doesn’t have a background or understanding of the arts, its more difficult for them to fully support the “artiste” in the family.

Do you have any particularly inspiring/favorite films, directors, creative individuals?

I’m a writer, so I look up to screenwriters rather than the defacto “director auteurs.” I’m a big fan of Jane Espenson, who has written on everything from “Buffy,” “Battlestar Galactica,” to “Game of Thrones.” She has a wicked sense of humour, and has written for some of the most acclaimed genre series in television. Of course, there’s Joss Whedon, who I admire for being able to write for both television and film. His quirky voice, combined with his ability to infuse such heart into his work, has set off a whole generation of admirers and imitators. Count me as one of them! I don’t really have a favourite film – I will watch anything as long as it a) entertains me b) provokes me to rethink my worldview or c) makes me crumple into a ball of tears. Damn you, “Beasts of the Southern Wild”! Damn you!

Haha I missed the film at TIFF but I’ve heard the same thing from others. Tears. Tears everywhere.

One of the best things about films is that it gives everyone a voice. Everyone has a story to tell. Do you have any words for (young) people who are interesting in dabbling into film arts?

Know who you are, and tell the stories that matter to YOU. Not anyone else. You. Eventually, you can branch out from that – if you end up writing for hire or for a producer. But at the end of the day, if you don’t know what you’re trying to say (and it does take time to figure out), how is anyone else supposed to connect to your work? Finally, embrace your support network. Nobody does it alone.

Don’t be afraid to learn on family and friends for help. If they truly love you, they will understand, in their own way, that this is your life’s passion. How many people can say that?

What is one thing you’d like to see more of on screen?

I’d like to see more diverse stories being told – more diverse faces in front of and behind the camera – especially in mainstream TV and film. If we never see ourselves as “the hero,” then how can we believe that we can be? That we too can fulfill our destinies and reach our limitless potential? Confidence is everything. We draw strength from role models. If we see someone like ourselves succeeding, it empowers us to succeed and push further. When we don’t see someone like ourselves in positions of power, we begin to doubt. It’s a subtle thing, but it matters so much.

Are you currently working on anything? What are some next steps that you have planned?

Currently, I’m rewriting an action/spy feature script, which I hope to submit to producers and managers – it probably won’t get made, but could work as a nice sample.    I’m also pushing myself to develop more TV concepts and scripts.  It’s a process; TV is such a different beast.  But I’ve been working on a ½ comedy pilot, which I also hope to either pitch or use as a sample.  In short, the plan is to keep writing, and hopefully, all that hard work will pay off.

Good luck with all your projects Stephanie and thanks for doing this interview!

Little Miss Jihad is currently travelling the film festival circuit. Los Angeles followers will have a chance to see the film at the LA Asian Pacific Film Festival on May 4 and May 6. More information here. Toronto audiences will also get to see Little Miss Jihad again at the 2nd Annual Breakthroughs Film Festival on May 11. More information here

Click here to read the rest of our Asian Heritage Month interview series with Leslie Supnet!

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