Interview with experimental artist Fanfan Zhou
Welcome Fanfan, we are very excited to have you today with us to discuss about your work.
Who is Fanfan Zhou and how did the passion for filmmaking begin?
I am a Chinese-born filmmaker currently residing in Los Angeles. I graduated from the California Institute of the Arts with an MFA in Film Directing. Presently, I am working independently, primarily as a director and producer. My passion for movies has been a constant since childhood. Beginning my professional journey as a photographer, one day I realized an insatiable desire to see and hear more, a hunger for visuals that had stealthily grown within me. It became clear that I had to transition to filmmaking, to capture images in motion and allow them to flow on their own accord.
Can you tell us about your previous work?
"Another Great Night" is a short, one-take narrative film that I produced in 2019. The film portrays a daily quarrel of a young couple who find themselves entangled in their relationship, grappling with a persistent existential crisis – the belief that life is meaningless. The film has been showcased at prestigious venues, including REDCAT in Los Angeles and the Ulsan International Film Festival in Korea. Collaborating with Xuege Cai, the director of this film, was truly a rewarding experience. We embraced the challenge of shooting the entire film in one take, and it turned out to be a resounding success!
CONVERSATION ABOUT: TEEEETH
How did you decide to shoot "Teeeeth" on 16mm film? What was the significance of this choice for the visual and thematic aspects of the film?
I have a sentimental connection to my teeth that stems from childhood memories. My grandmother used to tell me that I needed to toss my fallen baby teeth up high, all the way to the roof, for new teeth to grow quickly and healthily. I want to capture this image of throwing teeth onto the eaves in a hand-drawn still frame. My immediate thought was to use a Bolex camera because of its extensive control over the shots, allowing me to achieve frame-by-frame shooting. Consequently, 16mm seemed like the perfect fit. The distinctive color contrast of 16mm film, coupled with its nostalgic feel, aligns well with the memories of my oral cavity, making it a fitting way to express the original intent of my childhood.
"Teeeeth" is a unique exploration of the role of human teeth in contemporary diets. What initially sparked your interest in this topic and led to the creation of this project?
The idea about Teeeeth began one afternoon when I focused on observing my own teeth. On that sunny afternoon, the sunlight revealed the semi-transparent edges and cracks on the surface of my teeth through the mirror. I suddenly realized that my teeth were in a state of wild growth. They are far from perfect; from a dentist's perspective, my teeth need immediate correction. However, at the same time, they also possess a unique personality.
Many times, it seems like I forget the existence of my teeth, but use them naturally as tools for eating. I rarely pay attention to them, even though they grow unevenly and ruggedly, they have always faithfully served me. At that moment, I was inspired to capture and document the imperfections of my teeth.
"Teeeeth" features an aggressive editing style and a distinctive metallic sound design. Can you share your creative intentions behind these choices and how they contribute to the overall impact and storytelling of the film?
Firstly, I'd like to introduce the background music used in this short film. It is derived from a Korean traditional instrument known as the "Haegeum." This is an East Asian string instrument, with a similar instrument in China called the "Erhu." Additionally, I incorporated the Japanese traditional instrument, KOTO. All the background sound effects throughout the entire short film are personally performed by me, utilizing the Haegeum and KOTO. The 16mm film itself can be considered traditional cinematic, so I chose traditional musical instruments to complement the presentation of the 16mm film. However, in the context of the modern era, the 16mm film appears particularly unique, even somewhat avant-garde. This to some extent reflects the evolution of East Asian traditional music after undergoing the crucible of history.
Can you talk about any specific challenges or memorable moments you encountered during the production of "Teeeeth"? How did you overcome these challenges, and what did you learn from the process?
Shooting on 16mm film posed a significant challenge from the start. While I had some experience with shooting film photos, my exposure to film footage was limited. Fortunately, my familiarity with various technical specifications, including the use of lighting to achieve the desired contrast, proved helpful. Despite the film being only a brief 1-minute duration, the shooting process took several hours as we meticulously sought suitable lighting in a completely dark studio. Additionally, for macro shots, the viewfinder of the vintage 16mm camera was not precise enough, making it difficult to ensure that our current focus was 100% accurate. The older macro lens also had a somewhat inaccurate focus scale. We took great care in measurements and focusing, but it wasn't until the film was developed that we discovered many shots had inaccurate focus. Interestingly, these out-of-focus shots conveyed a unique atmosphere, prompting me to include several of them in the final cut.
What is the target audience of your project ?
My target audience consists of those who enjoy watching experimental films and appreciate visual stimulation. I overheard someone mentioning that the sight of extremely large teeth and oral tissues creates a compelling mix of fear and irresistible fascination. I couldn't help but think, 'That's my perfect audience, haha.
What is the message the audience should convey leaving the screening of your film ?
I hope the audience can perceive an alternative perspective on some common aspects of life through this film. Filmmakers often delve into unique angles of daily existence, and "Teeeeth" is a reimagination of the often-overlooked microcosm that doesn't typically capture the average person's attention. The act of chewing, the fragmentation of meat when we dine, our concern is primarily focused on the appearance of things before they reach our mouths. We contemplate their cleanliness and visual appeal. However, once these elements enter our mouths, they transform into a pulpy amalgamation, reminiscent of meat in a grinder, where our teeth tear everything apart. I simply wish for my audience to recognize these nuances. A gentle nudge to remind viewers that there are perspectives in this world existing without sufficient acknowledgment.
Could you share any upcoming projects or themes that you are excited about exploring in your future work as a filmmaker?
I’m producing a new project called Z Project which will also be shot on 16mm. It’s an experimental film about a protagonist going into a mystery elevator where they get trapped. Another project I’m working on is a documentary film called Unreachable Object exploring the told and untold intergenerational relationship of Asian families.
This marks the conclusion of the interview featuring our esteemed artist, Fanfan Zhou. Our community is growing steadily, with a continuous influx of skilled filmmakers and screenwriters joining us. Explore our other interviews, and consider scheduling one for yourself to showcase your creative endeavors.
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