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thepermanentrainpress · 1 year

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THE PERMANENT RAIN PRESS INTERVIEW WITH JASON KARMAN OF GOLDEN DELICIOUS

An Asian-Canadian coming-of-age film about family expectations, sexual identity and peer pressure, Golden Delicious is all that and more. It is charming and sentimental, with family at its core. Jake Wong’s (Cardi Wong) story as he navigates his final year of high school is all too familiar in one aspect or another, and a look inwards into how we define and perceive stability and happiness is much needed.

I watched Golden Delicious when it first premiered at the Vancouver International Film Festival in October, and it was a special night. Since then, the film has screened at many festivals (including Seattle Queer Film Festival, Reelword Film Festival, Vancouver Asian Film Festival, Rainbow Visions Film Festival and Mardi Gras Film Festival).

Does each new festival bring about a new excitement for you & your team?

Watching this film with diverse audiences is exciting and invaluable because one can see which moments transcend different groups and resonate strongly with specific identities. When making a film, one is often in a silo, making creative choices that feel true within the world of that story. I want viewers to empathize with my characters, so it is enriching when strangers come to me and say they are moved by the film.

How has the reception been? Have you been able to connect with many of the viewers as well as other filmmakers?

Many viewers, especially in the LGBTQIA+ community, appreciate the uplifting tone of the film. Many come away feeling empowered. Golden Delicious is a coming-of-age story, but it's also a family drama. In fact, I frequently hear how surprised viewers are that they are rooting for the sister or how much they can relate to what the parents are going through. Other viewers who are filmmakers, they are often interested in how I made the leap from shorts to features and what the most significant differences are. Managing your subplots and not cutting corners in post-production are some of the most critical differences between shooting a feature versus a short film.

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Tell me about collaborating with the film’s writer Gorrman Lee and producer Kristyn Stilling. Were you always on the same page in terms of bringing Gorrman’s script to screen? How did you work through any creative differences?

Each of us had areas we were responsible for, and I understood these areas because I have also been a writer and producer. These roles take work. When collaborating, it is about understanding intent, so if Gorrman or Kristyn had a note, it is about understanding what their intentions are and respecting that, but also really know your interpretation of the themes well so you can defend it. Both Gorrman and Kristyn were great at articulating their notes. On the rare occasion, a creative difference comes up, we would discuss it privately with the other person and allow them to respond while recognizing timelines. Fortunately, we were on the same page regarding bringing Gorrman's script to the screen.

In your eyes, how did the script appeal to you? What about Jake’s story were you keen on exploring?

I liked how the script explored relationships through comparisons. We compare Jake’s relationship with his girlfriend with that of his parents. We see how his parents' treatment of his sister differs from their treatment of him. Even Alek's relationship with himself compared to how Jake sees himself is a commentary on how happy you can be if you don't regularly suppress an aspect of yourself. Through contrast, we reveal a hidden truth that must be addressed to move forward. This is what appeals to me about the script.

Regarding Jake's story, I was keen on exploring how Jake could be different from his Dad. I analyzed identity and whether it can be chosen and earned.

I thought the film was both charming and bittersweet, and with the strong family aspect, can appeal to multiple generations. On the coming-of-age spectrum, it drew similarities to a film I enjoy, Alex Strangelove. What films or projects inspired you when making Golden Delicious?

Thank you so much; I know Alex Strangelove. I was inspired by Beautiful Thing, Spa Night, Front Cover and Love Simon when making Golden Delicious.

I found myself drawn towards Jake’s family - mother Andrea, father George and sister Janet - and their own narratives with expectations, happiness, and identity. How did you hope to define family, and what did you seek to question about an Asian immigrant family in this film?

Saving Face is a core value in many Asian immigrant families: it is a strategy to avoid embarrassment to survive. The Wong Family use this and keeps activities that they find fulfilling separate and hidden, except for Janet. This is one of the reasons why many people love Jake's sister, Janet because she is not ashamed. I was looking at the notion of shame in this Asian immigrant family and what happens when you suppress an aspect of yourself. Can you reach your maximum potential? How does that affect others in your circle?

I want to define family by the different people we relate with, not just biological ones.

While Jake is the central character, Janet has her own dreams of entering the restaurant industry while being dissuaded by her parents. How does her story, voice and personality differ from her brother’s?

Janet's story differs from her brother's because she knows what she wants and likes. Janet embodies the theme of the film. Her parents constantly dissuading her while supporting her younger brother creates questions about Asian parents preferring sons over daughters.

Cardi Wong (Jake) and Chris Carson (Aleks) had been friends for years prior to being cast. Did you notice a natural chemistry between the pair and in how they interacted with each other?

I noticed a natural chemistry between the pair when I did a chemistry test on Zoom during auditions. They were very comfortable and open with each other in their communication. Both were charismatic on screen, and it is essential to have this balance.

What can you say about Cardi and Chris’ performances as their characters, and how they contrasted each other?

Cardi and Chris's performances as their characters were authentic. Both have good instincts. As actors, they were brilliant to work with; they were curious and open while also protective over their characters’ needs and wants.

In terms of how their performances contrasted, Chris’ character is proud of who he is, but he could be more empathetic. In contrast, Cardi's character has incredible empathy for others but feels ashamed because of his secret. You put these two characters together, and they naturally want to complement one another.

Did you have a lot of one-on-one discussions with your cast members to shape and define their characters?

Gorrman wrote a great script, and the characters felt clear. I didn’t have a lot of one-on-one discussions. The cast members were all professionals, so they did their homework.

You worked with intimacy coordinators Karyn Mott and Megan Gilron. Had you worked with intimacy professionals prior?

Megan Gilron, Phay Moores, and Karyn Mott were fantastic to work with. They made the process very easy and made me aware of some steps I had taken for granted. It was my first time working with intimacy professionals prior.

What guidance and support did they provide on-set and for the actors? How important were they for the production?

They could articulate an intimate moment through choreography, deconstructing the actions regarding escalation and consent. They also created a safe space to talk about intimacy and mental health. They helped set a precedent for safety, which was very important since we were shooting at the height of the COVID-19 Pandemic.

The pitfalls and fascination with social media were used throughout the film. Did you have discussions on how you wanted it used as a mechanism? Were any teenagers consulted on how social media is used, as it is constantly evolving?

In the past, I have made short films experimenting with frames and containers and knew how much I could push it without not confusing the audience. I regularly discussed with my cinematographer Alfonso Chin, art director Stafford Matthews and Production Designer Jordan Bent how I wanted to portray social media in the film. Yes, teenagers were consulted, and yes, it is constantly evolving.

The movie was based in East Vancouver (we can’t not recognize the exterior of local Chinese staple, Pink Pearl!), and you also shot in New Westminster and Burnaby. What can you share about the locations you used and any challenges you faced? Was it important to embrace the city and not glamourize it?

Yes, it’s the Pink Pearl! We shot in March 2021 before anyone got vaccinated, so locations had to be big enough to accommodate social distancing, amongst other things. We wanted to shoot at a smaller Chinese restaurant but could not. Location scouting relied on connections and what was available online. The Pandemic made the process very uncertain, and rehearsal space took a lot of work to come by. Fortunately, I had a great location manager who loved the script and worked tirelessly to lock down locations.

Queer stories and ones that focus on male fragility are important, but not a constant in mainstream cinema. How has the film/TV landscape changed in this respect since you’ve been a filmmaker, and what progress still has to be made?

I see more male fragility in mainstream cinema with projects like The Whale, Banshees of Inisherin, and White Lotus Season 2. The characters are more diverse, which is excellent, but there is still this association with queerness if one is fragile. You can be straight and cry, and it doesn't mean you are queer. Men should be able to express themselves however they want, independent of their sexual orientation.

What do you hope viewers take away from Golden Delicious?

I hope viewers, especially from underrepresented communities, use this film to discuss more complicated things holding them back.

I also hope viewers, especially older ones, can empathize with the younger generation and what they are going through with social media being so prevalent in their lives. Being inundated with imagery on who to be, how to be and when to do things can be anxiety-inducing, especially during one's formative years. It is vital to not instantly judge someone until we understand the context of what we are looking at.

You’re currently working on a second feature film. What are you excited about, and is there anything you can share?

I am working on a couple projects that will grow into my second feature. I am excited to explore legacy and sacrifice in my new works while still working with the idea of diminished role models.

Thank you to Jason for answering our questions, and Touchwood PR for coordinating this interview.

For more information on Golden Delicious, visit their official website and Instagram. Purchase your tickets for their Canadian Film Fest screening at Scotiabank Theatre Toronto on March 30.

Photo credit to: Syd Wong (film stills)

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uwmspeccoll · 1 year

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Staff Pick of the Week

My staff pick this week is the trade edition of The Tale of the Shining Princess by Japanese-born writer Hisako Matsubara (b.1935) and Japanese-Canadian artist-printmaker Naoko Matsubara (b.1937), published by Kodansha International LTD. Tokyo, Japan in 1966.

As a artist-printmaker and bookmaker who makes woodcuts, I am greatly inspired by Naoko’s prints. Naoko Matsubara’s work carries on traditions of Japanese printmaking while having its own contemporary flavor. Her woodcuts are ecstatic, they are vibrating with movement. Her use of bold shapes and the white line of the the carving tool makes the most of what woodcut has to offer. In the book form, the active images carry the reader’s eyes through the book space. Her use of negative space activates the page. Additionally, her woodcuts have translated beautifully to commercial printing.

The Matsubara sisters are daughters of a senior Shinto priest, and were raised in Kyoto. Both studied, lived, and worked in the United States. Hisako received her Master of Arts degree from Pennsylvania State College, moving to Germany where she continued her studies and became a prominent writer, publishing her work in Japanese, English, and German. In the 1980s she moved back to the United States, this time to California where she worked at Stanford University.

Naoko received her Master of Fine Arts from Carnegie Institute of Technology in Pittsburgh, now Carnegie Mellon University. After her studies she traveled across Europe and Asia. She returned to the United States and became the personal assistant to the artist and wood engraver Fritz Eichenberg, an artist who has been featured many times on our blog. Naoko taught at Pratt University in New York and at the University of Rohde Island. She also lived in Cambridge, Massachusetts for a time. Naoko is currently living and working in Canada in Oakville, Ontario, where she continues to work and exhibit nationally.

The work of both Hisako and Naoko have had great influence inside the United States and around the world. So lets celebrate their accomplishments!

This book has end sheets of mulberry paper with inclusions of Bamboo leaves, the cover is a red textured paper with a gold stamped design by Naoko.

View some of our other AAPI selections for this month.

View our other Staff Picks.

- Teddy, Special Collections Graduate Intern

#staff pick of the week #The Tale of The Shining Princess #hisako matsubara #naoko matsubara #Japanese artists #Japanese writers #Japan #AAPI Hertitage Month #Asian American and Pacific Islander Heritage Month #AAPI #canadian artists #trade edition #Matsubara #woodcuts #printmaking #color printmaking #fiction #stories #teddy

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