My mother started bringing me to films when I was two or three. She loved fantastic movies—cowboys, dinosaurs, spaghetti westerns. We watched lots of horror so my tolerance for paranormal stuff was high.

The first film I made was with my mother’s Super 8 Canon camera and my G.I. Joe figures. Stop-andgo animation. I showed it to the adults and they were wondering, “How the hell did these toys come to life?” I was probably about eight or nine.

When Mee Pok Man came out here, it had scathing reviews, but at least the old uncles went to watch it. I got slammed; The Straits Times crucified the film. It was good because it was my first feature, and to be punched in such a hard way and to then get glowing reviews from the international press, I felt better.

I like to work with actors who have never acted before.

When we make a film now, we’ve got to ensure that it’s suitable for the international market. You can’t expect to release a film just in Singapore and break even, especially if it’s a film that’s not a Jack Neo comedy.

We go on about some of Jack Neo’s movies, but the audience is there for those films.

I always tell filmmakers: For your first feature, don’t spend more than half a million. Try and do it—and it can be done—for under $300,000.

We wanted to do an almost silent film, and there’s only three to four minutes of actual dialogue in Be With Me. How do we communicate these days? SMS, email or even food. No one had seen anything quite like it, but it’s universal.

I’ve had grown men—big, tough guys— hugging me, crying and thanking me for making Be With Me. It’s always nice when someone comes up to you to say “Thank you.”

Working on a graphic novel 20 years ago, I had no inspiration or ideas until Philip Cheah passed me this book called Good-Bye and Other Stories by Yoshihiro Tatsumi. I was so blown away that I came up with the stories and drew everything within a month.

At Kinokuniya recently, I found A Drifting Life; the life of Yoshihiro Tatsumi from 1945 to 1960. I thought it would be incredible if we could do a tribute film to the man. Part documentary, part short stories. That’s why I decided to make Tatsumi because he was such an inspiration to me. In a funny way, it’s like coming full circle.

I want to work with other young filmmakers and collaborate with them; to get them going somewhere. I always wanted Singapore to not just have me as a director.

When I’m creating with my collaborators, we always drink. Somehow at a certain point, things always become crystal clear. When I drink, it’s to create and it’s when I’m happy.

I love toys. I go to Toys “R” Us and pretend to be the good father with my kids, but actually, I’m looking around.

I collect Spiderman stuff. I met Stan Lee in California and I remember when I got into his office and looked around, I was like, “Shit, there’re so many things here I want to steal.”

The first girl I fell in love with was Gwen Stacy, Peter Parker’s girlfriend, the blonde girl. I was so pissed off as a kid because she dies. She was the love of his life.

When I create a film, I have to fall in love with it.

Tell us about the 48 Hour Film Project.
The 48 Hour Film Project (48HFP) is the world’s largest time-based film making competition. It started 10 years ago in Washington DC, and since then the festival has grown. The 48HFP now takes place in over 100 cities around the world. I think it’s quite remarkable and inspiring that there are so many people all over the world willing to give up a weekend of sleep to go out there and make a film.

How does it work?
Teams of filmmakers have one weekend to create a short film (between three and seven minutes long). We give them elements they need to include in their film; a prop, a character, a line of dialogue and a genre. Teams get these “ingredients” on Friday night and 48 hours later they must return with a finished film! Genres range from comedy and mockumentary to period piece, sci-fi, and superhero. Lines of dialogue have included, “It was like that when I got here,” and, “Well that certainly changes things.” Props have included a pair of scissors, an ang bao and a pillow.

How should would-be contestants prepare themselves?
Teams should think about their work flow. It helps to have a team lined up with a diverse range of production talents including actors, editors, and camera people. We recommend that teams think about locations that they would like to/have access to shoot in before the competition kicks off. Test your equipment ahead of time; it’s not fun to realize on the Friday night of the competition weekend that your batteries are dead. I’d recommend having someone designated to make food and drink runs.

Tell us about a 48 Hour Film Project success story.
We take the 48 hour time limit very seriously. Teams can’t be considered for the competition and awards if they are even one minute late. During the 2009 competition we had one team reach the finish line two minutes late. It was majorly disappointing for the team, The Singapore Malay Film Society. The next year they got to the finish line with time to spare and ended up winning the whole event, taking home “The Best Film in Singapore” award. I think it’s a great success story and a testament to the team’s perseverance.

What are the qualities that stand out in a good entry?
At the risk of stating the obvious, the best films are written, shot and edited well. Often the best films are the shorter ones. With such a tight timeline it’s best to think about every line of dialogue and every shot. Keeping it short and simple often is the best strategy.

What’s in it for the winners?
Fame and glory in the world of 48-hour filmmakers. The winners also take home an Avid Media Composer 5 (editing software worth US$2,495). The winner of “Best Film” in Singapore goes on to compete at the annual Filmapalooza event in the US, where all of the winning films from the 100 participating cities are screened.

The 48 Hour Film Project takes place Apr 29-May 1. $120 ($140 after Apr 10). Visit www.48hourfilm.com/singapore to sign up.

What are the differences in the way whisky is viewed in Asia compared to Scotland?
In Scotland, you won’t find people putting ice in their single malt very often, it’s just not something that has been traditionally acceptable. I don’t think that means that drinking your single malt on the rocks (as most Asians do) is wrong. It’s simply a response to the climate you live in.

The initial wave of interest regarding single malt Scotch whiskies here was about sampling whiskies from different regions, and the next wave involved discovering single-cask bottlings and whiskies matured in special casks. What do you think is up next in the world of whisky?
Gosh, if I was able to predict the trends in the world of whisky I would be a much wealthier man than I am! I think that drinkers will continue to explore single cask bottlings but also start to understand and appreciate extra matured and wood-finished whiskies such as the Glenmorangie Extra Matured range. Hopefully as the market for single malts in Singapore grows, you will see more and more interesting expressions being imported to the country.

You’re well known for your expertise and knowledge when it comes to single malt Scotch whiskies. Tell us a bit more about your tasting process; how does one get the most out of each glass of whisky?
I keep it simple. A good, tulip shaped nosing glass is essential to get the most aromas and flavors out of your single malt. I will always sample the whisky neat, direct from the bottle—nosing and tasting it and noting the various flavors and aromas. I will then add a drop of room temperature bottled water and repeat the process of nosing and tasting. Water acts on the whisky to open up the range of aromas and flavors, and amplify the floral perfumed notes in particular.

Black Rabbit
The look: A hazy, dark shade of brown with a luscious head which laces the glass all the way to the last drop.
The smell: A spiciness that Belgian drinkers will find invitingly familiar.
The sip: Very hoppy. It says “clove and banana notes” on the tap label, and they aren’t lying. This is a robust beer with substance when it comes to mouthfeel and makes for surprisingly easy drinking given its 7% ABV.
The damage: $7-14 for a stem glass (375ml), $8-17 for a pint (500ml).

Fruitbrewz (Apple and Cranberry)
The look: Gold, with a slight tinge of pink.
The smell: Exactly like a corner shop apple candy.
The sip: Apple juice sweetness with a tart and sour finish when the cranberry kicks in. The latest incarnation of Fruitbrewz may be the most complex yet, but we miss the dragonfruit version.
The damage: $7-14 for a stem glass (375ml), $8-17 for a pint (500ml).

Mad Bee Ale
The look: Like honey, but a lot less viscous of course.
The smell: The wildflower honey hits you right off the bat.
The sip: Despite the strong aroma from the honey used in the brewing process, its sweetness is subtle, making it the perfect afternoon session beer. A bit of caution might be required though—its lightness defies its 6% ABV.
The damage: $6-12 for a thirty (300ml), $7-16 for a pint (500ml).

Brewerkz Riverside Point, #01-05/06 Riverside Point, 30 Merchant Rd., 6438-7438.