In the beginning of my career I worked quite often with a theatre group and I would need to listen to
a lot of different ideas, especially from the director Danny Yeung and about the overall concept of
the theatre space in order to generate … or to discuss about how I can contribute or how I can
develop my idea within the framework of a theatre. So, I think the first important thing to understand
and allow myself to do is to listen, really. To listen and to see. To sit quietly off-stage and look what’s
happening on stage and let my brain drift (laughs) and find the ideas that are right for the theatre.
Sometimes I work as a documentation person. This kind of active … not analysis, but active thinking
of what’s happening on stage is quite important to how I film the stage, how I see the space, the
light, the actors.
But also how I will edit it at the end. So, I need to interact with the space, the acting in real-time
when I do the documentation.
I enjoy the moment that I need to have this interaction and active thinking.
But if you are talking about a method to formulate the idea, then it’s really like the light bulb. When is
the moment that the light bulb would shine? (laughs) I don’t know. But I think it has to be very
sensitive and you have to have a belief that everything can be your muse. The belief is very
A lot of people told me that the artwork has its own life. I feel the same, too: that you can’t really say,
„ok, I have this method“, and then you will go up. It won’t happen like this. But editing ‒ I have my
own style. I will make the video dirty and I would like to have low resolution. Because this is kind of
like anti-corporation, anti-news or ‒ documentary, you know. I like the messiness of this because life
is kind of messy to me, too. I have too many double life and triple … and quadruple life now (laughs).