interviews
Marcus Shenn
Create your own luck
Marcus Shenn is not one to put his faith in luck; rather, he believes in the human capacity to build, improve, and evolve. Though his business card now identifies him as a “film director,” Marcus traversed a considerable path to unearth his inner truth. It demanded courage to follow his instincts and motivation to cultivate the skills that ultimately prepared him to plunge into the intricate realm of filmmaking.
His journey spans over six cities, ranging from the Far East in Singapore, Hong Kong, and Tokyo to the West in Toronto, Los Angeles, and Paris. Along the way, he was handed a professional suit that proved too constrictive: a career in finance. Yet, Marcus had the audacity to dismiss it. The prospect of feeling like just another “cog in the machine” was insufficient for him. He aspired to forge his own realities—worlds where he could conceive the story, co-write the script, cast the actors, set the frame, add the sound, and control the editing. In this creative domain, akin to Michelangelo’s “God in the Creation of Adam”, he could breathe life into characters like Rebecca, an android companion and the heroine of his latest short film, “A Week with Rebecca.”
Interview
Citimarks: Marcus, you are a real citizen of the world: you were raised in Singapore and Hong Kong; finished school in Canada; worked as a stockbroker in Taiwan and Japan; then opened a new career path in filmmaking in Los Angeles and France. What is the motive behind such drive?
Marcus Shenn: I believe it's crucial to grow and cultivate life skills to shape our desired realities. In my finance role, I often felt reduced to being a cog in the machine, which motivated me to transition from the world of stockbroking to study film direction. This shift enables me to express my truths and visions. I hold tremendous respect for individuals who build things, whether it's creating a multimillion-dollar business like Bill Gates or conceiving a mind-blowing piece of art like Picasso. Working in film allows a person to refine their thinking and behavioral skills, creating something from scratch—a world of one's own form and expression.
In which country do you have the strongest memories as a kid and what were the first films that had an impact on you?
Hong Kong left the most profound impressions on me during adolescence. It was a place where I was exposed to video games and pop-culture movies like Indiana Jones and Star Wars. There was also a plethora of Japanese animation to absorb, which had a significant impact on my current pursuits. One memorable anime show, Tomorrow's Joe, portrayed the life struggles of a troubled young boxer who escapes from an orphanage. I was struck by the seriousness of the subject matter in Japanese anime. Reflecting on Hayao Miyazaki's captivating worlds, I now recognize the profound influence their superb storytelling had on me.
"In Paris, I embraced the small pleasures of life [...]. Incorporating small doses of 'dolce vita' into my daily habits eventually led me to adopt a more balanced lifestyle."
You first came to Paris to study in a business school. What do you remember from your first days in the City of Lights?
The most striking aspect was the beauty of the Parisian women. Their distinctive dress code and effortless chic left a lasting impression. Additionally, the city itself amazed me with its breathtaking beauty. On my first day in Paris, a stroll along the Tuileries Gardens and the Champs Elysées captivated me. The Arc de Triomphe, adorned with the fierce Marianne statue and surrounded by bustling traffic, appeared truly majestic. Later that day, I engaged in conversation with an elegant lady at a café on the Champs Elysées. Her candid expression of liberty when discussing Paris, especially her critiques of the city, left a strong impact on me.
Did you adopt any new habits in Paris?
During my time as a stockbroker, my lifestyle was disciplined, with nightly martial arts practice as a routine. In Paris, I embraced the small pleasures of life, such as savoring a glass of wine during lunch and attending parties frequently. Incorporating these small doses of "dolce vita" into my daily habits eventually led me to adopt a more balanced lifestyle.
Is the film culture in North America any different from the one in Europe?
Having experienced movie sets in North America, Europe, and Asia, I can attest to noticeable differences. In Los Angeles, directors face considerable challenges in defending their vision; negotiations are required with professionals across the board. From wardrobe designers to actors and cinematographers, everyone fiercely guards their respective domains, making it more challenging for directors to maintain control over their work. In Europe and Asia, people tend to be less territorial, allowing directors more space to express themselves.
Your latest short film, A Week with Rebecca, tells the story of a man sharing a week of his life with Rebecca, a life-like female android. What issues did you want to raise through this film?
"A Week with Rebecca" was initially conceived to depict Rebecca's feelings in moments of loneliness while functioning as a robot companion, a task she wasn't particularly fond of. This concept was inspired by a Japanese photographer skilled at capturing celebrities at the end of their stage performances. While on stage, they must convey happiness to the audience, but once the curtains fall, they reveal their exhaustion, tension, and sometimes sadness. It's during this candid moment of exhaustion that the photographer captures their images. As Rebecca's script evolved, it expanded to address contemporary social issues, including the phenomenon of outsourcing intimacy and connection. The story aims to prompt reflection on why we sometimes falter in our relationships, necessitating technology to step in and create improved simulations.
Filmmaking involves so many activities: conceiving the topic, writing the script, casting actors, working on the editing and so on...Which one is your favorite part?
I have a deep appreciation for casting. It's intriguing to meet individuals from diverse backgrounds and witness their transformation from a normal emotional baseline to fully embodying a character. The casting process is a significant investment of time, allowing me to understand potential cast members not only in terms of their on-screen performance but also in terms of what they would be like to work with. I believe that ninety percent of directing is casting, and selecting the right person is a crucial victory in the filmmaking process.
Which film directors have you been inspired by and who is your favorite French film director?
I hold immense respect for filmmakers like Ridley Scott, Steven Spielberg, and Ron Howard. The technical precision and near-flawless production in each of their films set them apart from others who may be less consistent. Their bodies of work consistently exhibit greatness. Ridley Scott, in particular, captivates me with his choice of subject matter and aesthetics; I wouldn't mind watching "Blade Runner" repeatedly. In French cinema, I appreciate Luc Besson's directing style, especially in his early films like "Nikita" and "The Big Blue," where the characters and music were truly remarkable, along with "The Fifth Element."
What did you think of Parisians in your first social encounters?
Paris can be a challenging city to integrate into, especially without fluency in the language. I've observed that Parisians, initially somewhat insular, tend to stay within their comfort zones. However, as they become accustomed to your presence, their attitude can change. During your first appearance at a gathering, they might ignore you, paying little attention during subsequent encounters. By the fourth meeting, there's a good chance they'll approach you in a friendly, casual manner, as if you've been friends for an extended period.
If you had to leave the city for a long time, what would you miss the most?
The parties, especially those hosted in Parisian apartments, would be what I would miss the most. There's something captivating about Parisian apartments—even the less extravagant ones possess an effortless elegance. The decor and the creaking of the wooden floors lend them an irresistible charm in my eyes.
Cadavre Exquis
If Paris were a song, what song would that be?
Première rencontre, by Françoise Hardy.
If Paris were a book?
Les Misérables, by Victor Hugo.
If it were a film?
Can I say two? Nikita, by Luc Besson and Frantic, by Roman Polanski.
If you could travel in time for one day, which century of the French history would you go back to and what would you like to discover?
I would travel back to Paris in the roaring '20s, the "années folles." During that brief period between the two world wars, Paris emerged as the cradle of the avant-garde scene in painting and music. I would love to sit at "Les Deux Magots" and engage with the intellectuals who frequented the place, discussing the future of the world.
What is your favorite French word?
Non, French word for No. It brings to mind an old commercial for Perrier sparkling water. In the commercial, a man is wandering in the desert, extremely thirsty. He stumbles upon a bar and desperately exclaims, "Perrier, Perrier!" However, the bartender, with a cold demeanor, responds, "Perrier? No Perrier." The man leaves the bar because he refuses to settle for any other water. This unyielding attitude, characteristic of the French when it comes to refined taste, is encapsulated in their emphatic pronouncement of "Non..."