Author Archives: damienpitter

Over Under

Yokohama, Japan. April 2012.

This is how we go. To move in Yokohama is to go over or under; it is a city of overpasses and underpasses, of foot bridges and elevated highways and subway trains. Much of the city is built of land reclaimed from the sea, seamed together with waterways and canals under a network of pathways held up in the air by riveted pillars and boxy beams, a strangely graceful curvature of concrete and metal woven into a future as it was imagined in the industrial age.

Over and under we go.

A Moment of Orange

Bangkok, Thailand. January 2011.

We were in Bangkok for a week recently and I intentionally left my camera at home. Sometimes when I am creating photographs, looking for them, planning them, waiting for the moment to develop, I am simultaneously plugged in to where I am and oblivious at the same time. On this trip, I wanted to practice being present, without preservation, noticing and letting the moments bloom and pass, small bright treasures as delicate in the memory as shooting stars, drifting afterward into that dreamy space between remembering and wondering whether they really happened at all.

This is a photograph I took a couple of years ago. Living in Southeast Asia, one becomes accustomed to the sight of orange-clad monks. In Thailand, boys who become monks for three months guarantee their mothers’ places in heaven. And yet, as common as it is, the glimpsed brilliance of that orange is always so striking, humility boldly announced, a visual catharsis of the Bangkok heat you swim through, a flame flickering in the crowd of traversing bodies, the one true thing you almost caught in the corner of your eye that leaves you head-turned and searching.

The Bakery Window

Kamakura, Japan. April 2011.

One more bicycle before summer ends. I took this one a couple of years ago, meant to post it and never quite got around to it. It encapsulates something quintessentially Japan for me. It’s not a place of big supermarkets and concrete-block malls—there are big supermarkets, don’t get me wrong, but there is still very much a culture of locally owned shops and services. Instead of pulling the family SUV into the superstore lot, for the most part in Japan, you can pedal a bike to the bakery or the or the fruit seller and buy what you need put it in the handlebar basket and pedal home.
In spite of the surrounding metropolis, it seems to keep life on a livable scale.

Bicycles in Beijing, Part I

Beijing, China. April 2013.

This is a season of bicycles. Partly it’s about the weather, and partly it’s about vacations and people having time to ride. A friend has been posting photographs from his mountain biking trip in Switzerland, with trails only a few inches wide in valleys of mountains that go on and on. The Tour de France is riding through the mountains, and apparently, for the first time, there will be a Tour de Banff in the Canadian Rockies. Yesterday families of cyclists rolled along the riverside. The five-year olds push pedal-less bikes to learn the balance of two-wheeled bliss.Much has been made of the bicycles in Beijing. Nine million of them, the songs say. Bicycles that do not wait for seasons or free time or sunny weather. Bicycles of utility. Bicycles of necessity. Bicycles of shortening the shortest distance between points A and B.

I wonder if there’s a song about the number of cars in Beijing. I expect they are equally numerous, though not nearly as romantic.

Diploma

Diploma from Jun Sekiya on Vimeo.

 

  This year, I started a filmmaking activity for students at my school. A group of juniors signed up, already seasoned from a local film festival win the previous year and eager to get started on a new project. They decided they wanted to make a zombie film. I warned them that the downfall of most student films is trying to create something that they would see in a summer block buster without having control over locations and props and special effects that block buster budgets pay for. I encouraged them to think smaller and tell a story more dialogue-centered and character-driven. They summarily ignored me.

 

For which I am most grateful. When they set their minds to making a zombie movie, they started working on the story about a student who is determined to finish his diploma in spite of the zombie apocalypse. It isn’t a comedy. I told them they would have to work hard to sell me on that premise, that the only way I’d believe it is if finishing the diploma was like an anchor of routine in a world gone mad. We agreed that it would also be best on our non-budget to show the zombies as little as possible, and to get somebody figuring out how to do zombie make-up as quickly as possible. Bad zombie make-up makes a thriller into a comedy in a hurry.

The students set to work. Jun Sekiya took over the writing duties and, ten drafts later, produced a screenplay of about 20 pages. A screenplay usually translates to a page per minute on screen, so they were looking at a 20 minute film, which is a significant undertaking. With some script rewriting and ad libs along the way, the final film comes in at 42 minutes. Normally a student film that long would make me vary wary, but the truth is, these boys did a really solid job and the film is worth the effort, because in the end, it isn’t really about the zombies; like all films worth watching, it’s about the characters and how they are challenged and grow.

The filmmakers took their movie to the Kanto Plains Film Festival and won a gold medal and the Palm d’Or, the festival’s top prize. The film also won awards for Best Camera (Sunbird Tsai), and Best Editing (Jun Sekiya), shared the award for Best Actress (Hiyori Takashima) and got a nomination for Best Actor (Yuki NItta).

Sometimes it’s easy to forget to dream big when your pockets are feeling light. Our group, who call themselves the Filmeisters, have a few other projects on the go (including another zombie script), but those will have to wait for the fall. I am grateful for having the chance to work with these young filmmakers, and for being reminded of how much I love the art of filmmaking.

 

In Between Years

Vernon, Ontario, Canada. June 2013.

Edie said today, that we are already half-way through the year. I thought about that and it feels to me like the year hasn’t even started yet, but also, like the year just ended. And so it goes for those of us whose lives tick on an academic calendar, those of us for whom New Year’s Eve is a midpoint of sorts and these humid days of summer are an interstice improbably carved out in between years.

That’s how it was when we were kids, wasn’t it? In between the years was a dream-time, a fiery affair with lost love, the burn of things to overexposure where heightened sensitivities sang themselves to numb and the silences broke through, a drowsy glance between friends on waking from an unplanned nap after a sun-drenched day at the beach, the moment around a campfire when it was perfect that we had all run out of things to say and there was nothing left but to listen to licks of yellow flame crack open the vascular secrets of fallen trees.

Summer wasn’t just a season, it was a land unto itself, an island of time as viscerally immediate and easily lost as song lyrics screamed into the rush, out the rolled-down windows of racing cars on gravel roads under cotton-clouded skies too perfect to be noticed except in retrospect, and suspect then, subject to the machinations of nostalgia and memory.

(Happy Canada Day, my friends.)

Sacks and Boxes

Shanghai, China. April 2013.

Sacks and boxes have been on my mind.

It’s that time in the school year, the year of an international school I suppose, where there’s a lot of packing up and moving along. Some of us are just packing up our classrooms to keep things out of the way of the kind workers who fix everything over the summer. Some of us are moving offices or classrooms and need to truck our stuff from one place to another in the building, or to another building. Most of us, students and teachers, pack our sacks and boxes for vacation with equal parts glee and exhaustion.

And always in the life of an international school, there are those of us packing up for a bigger move. We are transient populations of global nomads and third culture kids. Like turtles, we carry our houses upon our backs, or at least it feels that way. For myself, this will be the first time I have lived in the same apartment for three consecutive years since I moved out of my parents’ house more than twenty years ago.

Sacks and boxes. The selling of furniture and appliances and the accumulated stuff of a life, stuff that’s nice, but not necessary, that doesn’t travel well or is easier to replace than to move. The shedding of material skins. And what’s left, the essentials, the sentimental, the milestones and markers of a journey still underway, these are tenderly wrapped in tissue and bubble plastic and cartoned and labeled for the move to Moscow, Sarasota, Bangkok, Tanzania, Kuwait.

For some friends, it’s the first move overseas in a decade. When they pack their things they will need to pack up their children too, who didn’t exist when they last packed their lives into a baggage allowance of two suitcases, fifty pounds or less. Another friend sent twenty years of worldly possessions in her sacks and boxes, on a ship that broke like an egg on the Indian Ocean. Her loved and collected sentimentals have scattered to the flatfish and the back-pocket mysteries of the sea. All she has left is a sack on her back and a box we will send her at summer’s end. By air mail.

But how do you pack up the non-things? How do you pack up a city of movement and light and technology and gales exhaled by the sea? How to pack away your connections to colleagues and friends and students and parents and the waiters and waitresses from your favourite restaurants? What will they think when at last, you do not return?

We visited Barcelona two years after we had lived there and walked the path of our old commute to school. We passed our daily bakery and peered in the window. The woman who worked there saw us and remembered and waved us in. We hugged, though we never had when we lived there.

And I am thinking of this as I pack a suitcase for Canada, of how when I open it next I will unpack familiar things like t-shirts and shorts, but there will also be connections to unpack, relationships to take up and dust off and climb back into. Daily bakers to hug.

Because in sacks and boxes, we bring it all with us where we go.