Fast Forward

Back in February 2007, I met N. B. Khuu on the day of production for Peter Phan's short film, "This Will All Make Perfect Sense Someday," as an eleventh-hour swap as gaffer, instead of my usual crew. Throughout the three days of hustle and flow, I quickly became aware of a content vibe that, beyond rigging solid lighting setups, N. B. was well-versed as a true filmmaker. His energy and follow-through for cinema, even small pick-up projects that might shoot for YouTube instead of the big screen, is impressively high-charged.

1. What are you most proud of and what do you want to do next?

On every one of my productions there is always that moment, that one singular take, shot, movement, line delivery… etc., that makes my heart (and head) swell to magnificent proportions. When the culmination and fruition of oh-so-much time, effort, and collaboration fills me with the belief that somewhere along the way I made the right decision in my life. I guess what I'm most proud of is that, once upon a time, I was privy to those moments.

"Make Up" (which is very close to its theatrical edit), along with my previous short "Persuasion" and upcoming project "Date", is part of my "love on a string" series. I think this series of shorts, though not connected in plot or characters, are connected in theme and emotion. "Persuasion" deals with infatuation and idealizing of the opposite sex. "Make Up" deals with the intimacy between a lovers’ spat, the subsequent make up and the two mirror each other in pace and emotion. "Date" is about infidelity and two people finding the harmony in that relationship.

When I set out to make these films I decidedly wanted to experience the spontaneity and organic feel of D.I.Y. (Do It Yourself) filmmaking. I've worked on many sets with many hard-working people but for these films I wanted my very limited crew (usually with just a camera person) and I to be utterly consumed by the experience of film. There’s only a slight plan of attack: everyone does everything — actors included — and it's almost like a commune! And the sense of living, building, and growing on the production works itself into the film. On the set it's as though I'm not making or shooting a movie, but more so, feeling my way through one. In the end you're just so physically and mentally exhausted, but you see the footage and it's beautiful and it reinvigorates your desire to keep making films.

This series of film has shown me that you don't really need permits, lights, a grip truck, money, or the top of the line camera. All you need is something you want to say, conviction as you say it, and a few dedicated companions.

Currently: I have just sent my feature script "Wet Works" to the Library of Congress for copyright. The first 10 pages are up on FWD:labs . I'm currently writing the script that will become "Date" as well as a fantasy/sci-fi feature tentatively titled "Seal". A friend of mine and I are co-writing a comedic love story involving a cannibal love interest which will probably be my next directing project. Other then that I'm just working - lighting and shooting myself a living.

2. “What ___ Taught Me About ___�

What 26 years of life has taught me about the opposite sex:

Absolutely nothing. Most of the films I've directed remain dedicated to the relationships between men and women. I must admit that I really dislike writing scripts that are based on relationships, but they are just so easy to produce: 1 part man + 1 part woman + 1 part conflict = film. What I've learned, however, is that, though I have amassed no applicable knowledge of women, I can't deny my utter infatuation of them.

3. What real or imaginary technology in emerging media (mobile, web) would you want to explore and why?

Can you imagine the summer’s hugest blockbusters in full, 3D?

Until recently, as the business of theatrical films was waning and the emergence of digital film was becoming more prominent, people asked my opinion on the matter. I personally never thought it was a question of film vs. digital or even DVD piracy, but quite simply: video games and the internet. More and more people are saving less time and money at the theaters and more at home in front of their computers and video game consoles. I don't know if 3D will solve anything, in the end it probably won’t, but I believe there is a shift in entertainment towards interactivity in media. 3D has come a long way since the era of red and blue paper glasses - it's all lasers and holograms now. Though I think that once there is interaction in film it ceases to be film, there has always been a drive for increasing immersion in the medium. 3D might be that next step of immersion.

4. With whom and how do you collaborate with best?

I'd like to think that I could work well with almost anyone. I collaborate best with people who want to make films. The majority of people in this business seem to be more interested in trying to become a filmmaker rather then actually making a film.

5. Your top regular influences for creative ideas?

• Music plays an important role in my life and provides a lot of inspiration. There is something to be learned from the ability to convey a specific emotion, idea, story, concept, mood and so on in a 5-minute song.
• Women. I love them and their constant ability to mystify, frustrate, and captivate me.
• Questioning. Every day we are told of how things are and/or should be and every day we consciously and subconsciously accept those rules and boundaries. Why?
• The constitution of life: we all die a little each day. What's your poison?
• Family — my younger brother is a big inspiration to me though, as well as my father, grandfather and mother — friends, people: a billion and one humans, each their own protagonists, who are all living the same stories in different ways. And, of course, my colleagues in this odd excursion we've decided to pursue, especially those with the balls to look under the surface of things for their art.