GUANGXI — In the world of entertainment journalism, even a ten-minute one-to-one interview with an artiste can sometimes be a luxury.

This is why I couldn’t help but feel gleeful about having Singaporean film-maker Anthony Chen and Taiwanese heartthrob Chen Bolin all to myself for 45 minutes, when I met them in Guangxi, China, for an interview about their upcoming omnibus feature, Distance — especially since I loved Anthony’s award-winning 2013 film Ilo Ilo and have nursed more than a little soft spot for Bolin since he played the charming Li Da Ren in the popular Taiwanese drama In Time With You.

Here is how our conversation went down.

(Distance will open in cinemas at the end of the year.)

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Q: Bolin, what was your greatest challenge making Distance?

Chen Bolin: I had to portray three different characters in the same film during a very short turnover time. I think that was the greatest challenge. Each character had its own problems, as well as different ways of dealing with them. I had to make a lot of adjustments in terms of my pacing, because I only had two days in-between playing each character.

Q: Where do you find the breadth of emotion to portray such complicated characters? Are you a sensitive person by nature?

B: As an actor you have to play by your instincts. Even when the script doesn’t mention something about your character, you have to have the imagination to create it and to fill in the gaps yourself. I’ve also gotten a lot of help, in terms of my wardrobe, or the set. or the environment. I think that helps, in terms of making my performance more layered.

Q: What about you, Anthony? It’s your first movie as executive producer, so isn’t it crazy to shoot it in four cities?

Anthony Chen: I think it’s not so crazy to shoot something in four places. It’s crazier to try and be an executive producer of essentially a movie made up of three films that have to be conceptualised and linked by a common theme, because I feel like I’m the one who has to see the bigger picture, whether it is the consistency of the performance or the quality of the film-making. Of course, all the directors have different styles. I think it’s a completely new role. Executive producers don’t go on set. They just appear on the first day or at the press conference. But I’m literally there every day. Every day, when the actors and the team arrive, I arrive. When they wrap, I wrap. That’s how I’ve done this.

Q: Why didn’t you just direct the movie yourself?

A: That’s where it’s challenging. I think it’s also about giving everyone space to do what they do. But being on the side, giving suggestions and countering ideas … Actually I find it’s quite an interesting learning opportunity as well, because I question my decisions, like why do you choose this? Why would you let the person walk from here to here and not here to there? I just feel like we’ve just created a new role.

B: We have to invent a new term for (what he’s doing). It’s called Anthony-style producing.

A: I think I’m very involved and it’s very collaborative. I think that’s what’s very interesting, challenging and fascinating about this project. I literally brought (the three directors helming this film — Singapore’s Tan Shijie, China’s Xin Yukun and Thailand’s Sivaroj Kongsakul) together to London where I live, locked them up in a room and came up with ideas.

Q: Did you try to control the, in your own words, control freak in you?

A: Yeah, a lot of times. The thing about directors is, every time a film-maker comes in to make a film, he comes with a certain vision or certain ideas. And of course Director A would do things differently from Director B, like the focus on a scene or how one might rig a scene differently. And a lot of times it’s about trying to understand why it’s done this way and not that way. I see my role as trying as much to bring out the best of their style or the best of what they have, what they are trying to convey, without putting too much of my own footprint, like “you have to do it my way”. Because it would then become a completely different film. I am very glad that it didn’t become that, because now, all three films have a very distinct pacing, style and tone. If I were to imprint myself on the film, I think you would see an Anthony Chen film throughout the whole thing and it would be less interesting as a project. But of course, you have to go in (and tell yourself) “Ah! I am not the director!”

Q: Was there any pushback from the directors?

A: Yes, of course. In film-making, you are always challenging one another. It’s the same way when I try to get an actor to do something — if he doesn’t agree with it or he doesn’t believe in it, he can’t play it as well. (But) it’s not about countering for the sake of countering. Film-making is very much the process of different minds challenging one another. As much as we think it’s about one person, it’s never about one person. I wish it was so simple, but it’s a project. Film-making is always a project where you have so many people and every one plays their part. Sometimes you wish you could just control everything, shoot it yourself, but you can’t! Unless it’s just one person in a room — you act in it, shoot it, direct it and sound record it yourself — it’s just not possible! It’s about learning new ways of collaboration.

Q: What do you think Bolin brings to the film?

A: I was very moved by the whole experience working with all the actors, especially him, because he’s the only constant in the three films. Everyone else does maybe 12 or 15 days of work. But from Day Zero to the last day, he’s there all the time. It was fascinating and very interesting to watch him on his journey as an actor, going from one role to another, and watching him grow. These are characters I’ve never seem him play before. But in terms of age, social status, the emotional quality of the actors, I feel that is where it actually moves me. I feel like I’ve actually seen an actor transform into something else, I’ve seen him delivering something I’ve never seen before. And that for me is surprising and quite gratifying as well.

Q: Bolin, why did you want to work with Anthony?

B: We met one time, about four or five months ago. We chatted for about half an hour, and we thought our wavelengths were quite similar and we were quite suited to work together. Film-making is all about teamwork and when you have to work with someone for one or two months, you have to have very good chemistry. He’s someone I can chat with, work with and even dine with. I didn’t really consider that much after he explained the concept of the whole story. I thought he was very nice and enthusiastic and very passionate about movies, so I thought we could work well together.

Q: How often do you dine together?

B: Every day!

A: We eat together every day! And actually the foods we love are quite similar. The things we like and don’t like are quite similar. No, I am not a (Guangxi delicacy) Lao You Fen person.

B: Me neither. I don’t like it! But Guilin Mifen is okay.

A: Bolin and I don’t eat (animal) innards. And we love seafood. We love prawns, crabs. I think that’s our way of rewarding ourselves. It fills all the pain and heartache he gets from his characters or, for me, from very long shoots. And it’s been great. I think what’s interesting is working with him. I respect actors who come in with a very good working attitude. And I am not trying to slight anyone else but I feel it’s very rare for a younger actor to still have that. Usually I am very wary of actors with a huge fan base. It’s very easy to just earn some form of cult status and you’re just in love with yourself so much that you forget about why you’re doing this. And I feel like there’s this humility that is quite rare; every day he is continuously challenging himself. It’s never “It’s okay, f*** it”. It’s always “Let’s do another take, it’s not good enough, let’s try”. I think a lot of times, it’s very easy, especially as a layman, to imagine an actor of his age, of his fan base, of his type, to take all of that for granted. But you don’t find that with Chen Bolin. You just see that there’s so much commitment and hard work. I really applaud that.

Q: What has surprised you the most about each other?

B: I thought he was a serious person (when we first met), but I never thought he’d be *so* serious. We were talking about how he was a control freak, but I don’t think he is a control freak. He likes to ask questions, he’s not someone who likes to control. Because he wants to understand what you’re trying to do. (Looks at Anthony) See, I’m helping to speak up for you! And of course, after he asks questions, he comes up with all sorts of solutions to help you achieve what you are trying to do. He tries to make every scene, part and character richer. I really admire that about him. He also questions himself and other people, and comes up with an answer that balances everyone’s opinions.

A: What I was definitely surprised by was how easygoing and how easy to work with he is. Because there are a lot of people that are very hard to work with. To be honest, I find it very hard to even work with myself! (Laughs) I have very high standards of not just myself but everyone around me. It pushes my film-making but it can drive people nuts. I hate it when people give up. It’s one thing to try and not attain, but another to not even try and push yourself. And what I feel is amazing is that he’s not a person who (gives up). He doesn’t throw in the towel. I think the way we work is we just keep testing those limits. That is one great thing about serving the army in Singapore. Once you’ve been through National Service you realise you think your limits are this far. But when people push you all the way, you realise, oh, you can go so far!

Q: Do you ever second-guess yourself?

A: I think it’s always about discovering. I think a lot of times, especially in a film or a piece of work, there’s only 50, 60 per cent where you are sure of something. And that 40 per cent is all gut feeling. And as you push and push and push, you start re-affirming that gut feeling. But I think if you just make assumptions about that 60 per cent, you’ll never push yourself until you hit the limits of that 40 per cent.

B: (Nods in agreement)

Q: Anthony, what has life been like after Ilo Ilo? Do you get a lot more offers? How do you decide what projects to take?

A: Yeah, it’s so easy for me to find money! Money is never a problem now, whether in Europe or Asia. It’s funny how one film changes your life. In fact, I am less concerned about money because I’ve realised I don’t really love money! For me, the bigger question is, what can I challenge myself with next? What can I do so I can grow and not stagnate? It’s very easy to look at yourself that way — you’ve done all these things, you’re the youngest film-maker to win the Camera d’Or at Cannes. But then I put myself in a very low place and ask what else I can do. Are there offers? There are a lot! I’ve read so many scripts through my agents in the UK and US. Hollywood scripts with big stars and all that. I’ve been sent a lot of material, mostly trashy material from China, obviously. But I think one big thing I learned is that if you don’t connect with the material, you can’t make a film out of it. It’s as basic as that. It’s so easy to just say yes and kaching! But it’s just not my way of doing things. It’s the same reason why I need to be on set every day for this project. My wife hates me for being here, I could be at home with her in London and working on my own projects. But this is my project as well. Everything that I attach myself to, everything that I get involved in, I care for them a lot. Sometimes too much! I get very emotionally involved in whatever I get my hands dirty with. It’s just the way I work.

Q: I hear you have an upcoming movie to be shot in London?

A: We are still working on that. We will see. We are casting the film. The thing with films is, things change. And with a director like myself, if it’s not the right cast, it might happen. Because I really need to feel this is the best possible version of the film I can make. Unfortunately with every film, you will compromise, but as much as possible, I hope not to. The earlier you make the compromises, the more the film will suffer.

Q: Let’s go back to your friendship with Bolin. Besides food and movies, what do you talk about at dinners?

B: Only movies, I think.

A: It’s quite fun, actually. Because he will come to me and say, “Hey, have you seen that film? I saw it yesterday” and we will talk about it. Why he likes it or this performance or that performance. It’s been fun and we both love to eat I think, which is great. The only difference is, I’ve put on weight and he hasn’t!

B: I have lah.

A: For a male actor, I think he eats a lot. It’s very rare! I’ve been to a lot of sessions with actors, actresses and you don’t see them eating. Maybe one grape or just one fruit or something like that.

B: I don’t like to waste.

A: I am a real foodie, so I love it when people eat heartily. For me, it’s probably one of the other things that I love doing. I love to cook, and I love to eat.

B: Me too, I love to cook!

A: Yeah, he should come to London and I’ll cook for him. I love it when people enjoy their food. I hate it when people are just there and they just drink their tea. So I think it’s been great. On set and off set I think it’s been great.

Q: Bolin, have you thought about becoming a director yourself?

B: Not so quickly, we’ll talk about it in the future. I think it’s not really about wanting to be a director, but about having a story you really want to tell and share with everyone. Right now, other people have stories that are much more exciting than anything I could tell. I’ll just focus on my work as an actor.

Q: You starred in this hugely popular Taiwanese drama, In Time With You, several years ago. And now people call you by your character’s name.

B: I think the worst thing that can happen to an actor is that audiences don’t remember the roles he’s played. That is the scariest thing. Of course every role, every movie has to run its course. I think I should do my best in every role, and it will have its own place in the world.

Q: Bolin, where do you think Anthony will be in ten years?

B: He’ll be a very famous director! He’ll collect a few gold men to pair with his gold horses. Four Oscars for his four Golden Horses.

A: Actually I would be quite interested to see what he feels like.

B: He always says he wished I looked a bit older.

A: It’s not about the looks because he’ll still be pretty and handsome. But I am more interested in seeing what he will be like at 40. We are very similar in one way. There is a certain maturity about life, but also a certain innocence and childlike-ness in the two of us. And I think we feel a certain bond, because we are very similar in that way. I can talk to him about very serious stuff, but when I work with him, (I can see that) there is a child inside. I am very curious to see if that stays true. I feel very, very strongly that in order to continue working — whether as a director or an actor — there needs to be that child in you. That is how you continue to question. But the moment you feel like you know everything, that is when I would be very worried because you take everything for granted. If there is always that innocence, that’s how an actor pretends. Which is why people who are overly ridiculously mature, I find them very hard to direct. So I’ll be very curious to see him as a mature, older man. And my sense is, looking at some of the performances I’ve seen in this film, I am very curious to see him as an actor at 40. I think he has still a lot to show the world.

B: You definitely have to keep your curiosity about the world. You really can’t pretend you know everything. I think it’s most scary when you think you know everything.

Q: Are you playful?

B: Definitely.

A: When you eat with us, you’ll see!

Q: Tell me more about Giraffe Pictures, Anthony. What is your biggest takeaway from making Distance?

A: I am not sure I will executive produce another omnibus! (Laughs) Because I think if you are going to help produce a director and have that one common vision, just support the director all the way towards getting all the resources and the right people to make the film great. But in a film like (Distance), where there are three different directors, and (it’s) conceptualised in a way that they are joined by a common theme, concept, and actor, my part becomes a little more challenging because it’s not like they are individual pieces (where you can be) like, “I don’t care what you shoot, I don’t care what it is, just put them together”. Everything has to be ideally seamless and well thought out. That means character A moves on and becomes character B and C, and in terms of how the character grows I feel like there is quite a lot of design in this. (Bolin) is the constant but he’s just the actor. I have to look and put things together. It’s quite tough, I find it even harder than making my own film. I am not sure I will do another omnibus of three short films, but we have two upcoming projects this year. One is K Rajagopal’s film, A Yellow Bird. He is a very, very talented director and it is a very interesting script. I have never seen that kind of story made in Singapore before, because it’s completely the voice of the minorities. We are going to shoot it in June or July this year. It’s the first time I’ve seen a film in Singapore with a dominant minority character, so it’s an Indian Singaporean and it’s 70 per cent in Tamil. And it’s a very I think it’s a very, very finely observed portrait of Singapore at its time. We also have Kirsten Tan’s film, Popeye. She is a Singaporean director making her first feature film. She is my contemporary, a few years older. She finished her masters at NYU. I’ve always loved her short films. She is a very, very smart director, and I think she’s going to be the next big thing. And she is a Singaporean girl making a film in Thailand, completely in Thai. Which is why one of the secret things I did making (Distance) was to make a film in Thailand as well. I wanted to know how it works. So now we are going to make another film in Thailand but not in Mandarin. We are going to make a completely Thai film. It is a wonderful story because the film has an elephant in it. It’s going to be very interesting because every shot has an elephant. It’s a road trip film with an elephant.

Q: Elephants! Now I want to watch it.

A: I want to watch it too! And I think the world wants to watch it. I think it’ll be very fascinating. I got the director to live with elephants for two weeks in Thailand. So that is what she did, she has seen everything – elephants eating, s***ing, making love. Everything.

Q: Are you ever concerned about whether your films will make money?

A: I wish I were a bit more interested in money. But for me, it’s very easy. All I ask is that the films have to be very, very good. Hopefully they will be recognised and people can see it. Through making my first film, I learned a lot. Everyone told me no one was going to watch the film. (Ilo Ilo) made so much money in France, it made 92,000 admissions, 600,000 euros in France. This film was sold to more than 30 territories in the world and everyone said, who’s going to watch a Singapore film about a maid and a boy? You don’t have any stars, you have no actors. With the experience of the first film, I realised it’s no longer about packaging a film so that it is commercial, packaging a film so that it’s arthouse. It’s about just making good work, and I think the world responds to good work. If it is an arthouse film, the best of the best, it will be seen. Our film is still going, we opened in April in Brazil, and we opened in Mexico. The fact that it’s been how many years and it’s still making its rounds. I don’t even want to talk about the film anymore because it’s like it’s my past life, enough of Ilo Ilo. For me it’s not that we are not going to make any commercial films, but then if it’s going to be something mainstream, it has to be really good stories, really good characters. I don’t believe in just doing it for the market. My question is what is the market? Because I have seen so many people who have planned their movies for the market but it just flops. I don’t think it’s about predicting what the market wants, whether it is the arthouse market or the commercial market. I think it’s about making good films.

R: I read in an old interview that you were thinking of making a trilogy about life in Singapore. So Ilo Ilo would form the “childhood” part of the trilogy, and then there would be other movies about adolescence and adulthood. Is that true?

A: Did I say that? Maybe not as a trilogy but it’s something I would want to explore. I am writing another script set in Singapore and one of the main characters is a secondary school boy. In a way it’s almost how life is viewed in Singapore.

R: Is it going to be based on your own experience?

A: No, not based on my own experience. I’ve got a much cleaner, prim and proper, regular Singapore childhood. I wish I was more gritty — smoke, drink and all that, but no. Which is why I live all my fantasies on the screen. For me, it’s always about presenting, questioning and reflecting about life that is authentic, life that is not sweetened and peppered with candy and all that. I hope to do that. I’m still writing, I’m still figuring things out. I hope to start shooting hopefully next year but until the script is ready — (even) if it takes two years or three years to write the script — I might do that. Even though I don’t live in Singapore, I want to continue making films in Singapore and Asia. I’m actually quite grateful that I am on set everyday, not because I am a control freak and I want to make sure things are in order, but because it’s been sometime since I shot my last film and I feel good being involved in the whole film-making process. I can imagine if I am just sitting on my sofa at home and I don’t have a film to make, I might become so depressed. I feel like I need to get my hands dirty, I hate the feeling of being restless.

Q: What would be your advice for each other?

B: Eat more. He has been drinking soup the last few days.

Q: Anthony, you just said you don’t like people who only eat grapes!

A: I put on too much weight in Nanning. I’ve eaten too much.

B: Just relax. I think he can care and be involved, but relax. That’s it.

A: I think it’s hard, because it’s not my personality. It’s in me, all the time. How I work is very simple. When I’m working on something, I won’t let go until I figure it out.

Q: Are you like that at home, too?

A: Even when I cook it’s like that. If there is a recipe that I really want to get right. Like recently, I tried to make curry puffs. I made them the first time and you need to pleat it and I felt like the way I did it wasn’t nice enough, so I made it another time. I keep doing it until I perfected it.

Q: Your poor wife!

B: (Points at reporter and laughs loudly.)

A: She’s fine. I cook, she washes. We have a dishwasher at home.

B: This is funny.

Q: Do you have advice for Bolin?

A: I think it’s to always not compromise.

B: (Nods in agreement).

A: Because I feel the best that I have seen of him is when he doesn’t compromise. He just beats himself up the way I beat myself up and all of a sudden there is a sparkle or glimmer of something that I’ve never seen before. I feel if he continues that way, it’s going to be a very interesting next couple of years as an actor. But he might have to live a lot of pain like me, so maybe it is okay to compromise sometimes. (Laughs)

B: Sometimes we can discuss. Some things have to be discussed.

Q: Is it about trusting his instincts?

A: No, I think he trusts his gut and he knows very well each project has its own direction and his role and purpose in the project. He’s a smart actor and a lot of smart actors know very well why they are there, what they are doing and what’s in it for them. There is a child inside him, but also a very smart and mature guy.

Q: Is it about balance, then?

A: You know that is the thing. It is not about the balance. I feel that is the wonderful thing about people. It’s the fact that we are never that simple. You almost think that you could label someone something. But I love the fact that people are so complex. You always think they are like that, but they are never like that. And everything else.

B: I said the same thing in my last interview!

A: That is why I hate films that are reductive. I hate films that end with one emotion, and very moralistic films, because life is not about one emotion, and life is never about one answer. If a film can answer all of life’s bigger questions, then there won’t be all that crap happening in the world, like rape and war. And that, for me, is fascinating.