We are going to Cannes!

We are going to Cannes!

That’s right folks. ‘An American Piano’ will be a part of the “Short Film Corner” program.

A new interview with yours truly on “An American Piano”

A new interview with yours truly on “An American Piano”

I did this interview recently for a local arts magazine in my hometown. There I talk about growing up in a small town, and all the opportunities that I got there that I don’t have in a big town like Tokyo. I hope you enjoy it :)

“An American Piano” featured on Gaijinpot’s podcast

“An American Piano” featured on Gaijinpot’s podcast

Director Paul Leeming and I were interviewed recently for a English-language podcast in Japan. We talk about making the film, politics, history, and filmmaking in Japan.

Skip the first 14 minutes if you want to just listen to us. Also, I apologise in advance if you hear any heavy breathing… I was really sick with the flu at the time. But, I’m all better now!

Everyone has talent

Everyone has talent. What is rare is the courage to follow the talent to the dark places where it leads.
-Erica Jong

This doesn’t necessarily mean that you have to make a horror movie… even though I couldn’t encourage you to do it more – the Horror community are the most open, friendly, supportive fans out there.

What it means, as my improv teacher at the Tokyo Comedy Store once said, “audiences want you [the characters] to walk into the danger”. They want to see you do what they fear to. For a writer, that means the courage to face your demons, and write about it with truth, and candour.

Success follows truth.

Official Trailer – “An American Piano” a new short film written and produced by me!

Directed by award-winning filmmaker Paul Leeming, “An American Piano” is based on the extraordinary true story of a young Japanese girl, Youko Koshida, who played the piano for Prisoners of War during World War II and how it affected their lives.

War is only possible when the enemy is dehumanised. “An American Piano” is a story of humanity, compassion and the universality of music in helping to heal the rifts between wartime rivals.

Starring Lou Ohshiba, Adam J. Yeend, Qyoko Kudo, Jun Matsuo and introducing Leon Masuda.

For more information and contact details visit:




The Golden Rules Of Cracking The Hollywood Nut

Hamish Downie:

Good advice!

Originally posted on Gideon's Screenwriting Tips: So Now You're a Screenwriter...:

Words of wisdom from BOSI.

1) Be prepared to meet always-questioning, confused investors/executives.  Many times folks with lots of loot, power, and influence aren’t the most creative people. So help them get inside your brain. Put together storyboards, have drawings, play music, do a puppet show, anything. Well, maybe not a puppet show.

2) Be tenacious. In order to get the meeting, you need to hit up everyone you know and even more people you don’t. Call them.

3) Meet the right people. You should know before you start knocking on doors who the most likely targets are. What network would put your idea on TV? What studio makes like-minded movies? What investor has put money into these types of projects?

4) Be confident but don’t be arrogant. If you’re gracious and open, even if they say no, they will keep you in mind for other projects.

5) Be…

View original 76 more words

A lifetime of trying to be somebody part 1

Sometime when I was a toddler, I was playing with some lego blocks and building little plastic buildings. The story goes that my Mother turned to my Grandmother, proud as punch, and said, “Look a handyman!” To which my Grandmother replied, “No, an Artist.” And she was right.

At the age of eight, infatuated with cars and Wheels magazine, I started designing cars. My family just seen the 1988 World Expo in Brisbane, and I got to see Mitsubishi and Holden’s designs for the future, as well as current and past concept cars. Both companies really laid the future out for everyone to see, as it wasn’t until 1996, before they started producing cars that I hadn’t already seen the designs for at that exhibition. So, I poured over Wheels and my Dad would even let me park the car in the garage sometimes (ironic considering the fact that I can’t drive now), and we’d go to motor shows, and auction-houses for second-hand cars that had been in a car accident (Dad would buy a Suzuki from them, a cursed car that would land us in an accident as well – but that is another story). One day, I was inspired by the Mitsubishi Colt, a small car that I felt had big car potential. I went ahead and redesigned their car as a family sedan, and sent off the designs to Mitsubishi’s plant in Adelaide. I had big expectations, hoping to they would buy my designs and I could begin life as a designer (I was never really taken with being a kid). I had even told a friend when he asked how much I would sell the design for that I would sell it for $50,000. I had no idea what that amount of money meant, but it seemed like a lot to me!

However, my designs were no what they were looking for. I actually got a extremely nice letter back from Mitsubishi with booklets featuring very expensive beauty shots of their cars (this was the eighties after all). The letter, which I still have, was very encouraging, saying that he liked my designs and that they reminded him of the new Magna. He encouraged me to look at the new Magna series (which I dutifully did), and that I should continue learning design. This inspired me to send my designs to other car companies so that I could get their advertising booklets, but none were as genuinely nice as the man at Mitsubishi.

Unfortunately, my passion for didn’t really last very long after discovering that I wasn’t going to immediately strike it rich. After that, I set my sights on Architecture and fashion design.

to be continued…


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