Directed by Matt Moroz @matt_moro
Starring Yoe Yo and Zwe Yati @yoeyoma1995 & @yatizwe
Produced by May Thu Khin @may.t.khin
Cinematography and Edit by Matt Moroz @matt_moro
Han Xia @hlydiahh
Ku Kue (Cool Kid)
Phoe Thar @timothyphyo
Sol Ye @blondechinese
National University of Arts and Culture (Yangon)
Thet Zaw Win@tzwin
Booooooom TV @booooooom
Nowness China @nowness
Processing and scanning at G2D Bangkok
Chinese title by Han Xia @hlydiahh
Burmese title by Myo Thant Naing
Nowness China premiere here: https://mp.weixin.qq.com/s/UuLbehsQQmbkL1HJnzRHEg
Here’s my interview from Nowness in english
From Yiwu girl in “Second Tier City” to Japanese underground Fighting, Asia has been one of the main themes in your past works. What are some memorable moments in Yangon?
On my first trip to Yangon I got food poisoning and couldn’t leave the hotel room for two days. I left thinking I would never go back. A few months later I was looking at the photos I took before that dinner and thought the city looked incredible, so I had to return. Now I’ve spent two years there trying to produce a feature film and fell in love with it. There’s been a lot of great moments but there’s a balloon festival in the city Taunggyi where hot air balloons full of fireworks explode one after another all night over a crowd of thousands of people, that was maybe the most memorable.
Most of your works are narrative stories. What kind of story do you want to show us about the Burma’s female dancers in “Walking In A Boundless Dream” ?
My goal is to show people and stories onscreen that you haven’t seen before, or in a way that you haven’t seen them. So I wanted this film to be a new perspective on Yangon. Some of my favorite artists are dancers. I was lucky to find Yoe Yo when she came to a casting session for a totally different project. We started shooting small scenes that ended up becoming this video. Dance just transforms a space and takes you somewhere else, basically that’s the simple idea.
3. 为了在 MV 中传达梦境的概念，在色彩的运用上有什么特别的安排？场景和拍摄时间上会如何进行选择？复古镜头与梦境有着怎样的联系？
To show us the concept of a boundless dreamland, what are the special arrangements for the use of color in the video? And how did you choose the scene and shooting time? How’s the connection between dreamy and retro lens?
Color is important to this project which is why I shot on film and struggled to get film cans through the airports in Yangon and Thailand. It’s not easy convince these security personnel you can’t scan or open a bag full of film cans. I have a ‘dumb tourist’ outfit I wear to get through security easier. In the early part of the year the colors in Yangon are psychedelic – purple and orange skies, so I wanted that be a part of the film. For me Digital video doesn’t have the same dream- like quality that film does. The shoot was extensive, each scene was shot at magic hour, usually early morning so I did a few weeks of scouting from 4am to 6am. For many of the shots I could only get one per day, so I went out day after day to be in the right place at the right time. In the past I was never happy with the results on shoots that last one or two days, so I decided to change my process on this and shoot for a few weeks. I also love film from the 80s and 90s, movies I watched on VHS over and over, I wanted this film to feel like that.
Lately I’m obsessed with Sichuan food so now I think I want to go to Chengdu and find a story there. The more I travel the more I realize my preconceptions of a place were wrong so traveling through Asia has been a great experience. As for emotion, I’m always trying to tell an emotional story. The more emotion the better. I like to improvise and keep anything imperfect. If something is overly-polished I find that takes the emotion out. Casting is the most important, then location and cinematography. On a project like this directing is just setting up those elements.