I Would've Been Happy
An attempt to map a fraught relationship through the use of intricately coded pictographs and schematic abstractions applied onto glazed ceramic tiles and quilted cyanotype fabric. The aesthetics of architectural language are used to reconstruct memories of my family's domestic spaces in the hope of uncovering the logic of a broken home.
Interview with Director Jordan Wong
Congratulations! Why did you make your film?
I made the film as a means of revisiting my parent's relationship in an attempt to better come to terms with their divorce. My mother and father were born in Hong Kong but moved to San Francisco to have a family. They separated before I was a year old. The film appears to be about my father in that we speculate on his questionable decisions, however, the film is actually about my mother because throughout the film we hear her speak and share her ruminating thoughts. It really is a love letter to my mom and all single immigrant parents trying to make it work in a new place.
Imagine I’m a member of the audience. Why should I watch this film?
The story of immigrant parents having children and getting divorced is a common one, however, it is one that I was not exposed to growing up, nor in my studies as a person studying film and animation. The majority of my film work is autobiographical in some way in order to create the work I wished to see in the world as an artist. The narrative is a common one, but one I feel that is resonant no matter what cultural background/class. The film was also created with the intention of making it accessible for my mother (and any other non-art-initiated viewers) to understand and connect with it. She is an accountant and has been one for most of her life. She is fiercely generous and kind, however, she is not an artist, nor is she necessarily that interested in the arts. It's the most ambitious film I've created and I am proud to be able to share it with the world, and I believe it is one that anyone could watch, not just people in the indie film circle.
How do personal and universal themes work in your film?
I Would've Been Happy is a specific film about my Hong Kong parents' relationship. The film directly has my mother reflect on their time together and why it didn't work out. I've come to realize their "story" is incredibly common among immigrants in the States (and I presume elsewhere). I want to make personal, autobiographical, nonfiction, diaristic work about myself with the small hope that people who look like me will also be inspired to be unapologetic about a certain level of narcissism because, as ludicrous as it seems, it is a viable path to empathy. I want to be an artist who can inspire other people who look like me to make work about their lived experiences.
How have the script and film evolved over the course of their development?
The script is entirely constructed from interviews with my mother and brother. I initially produced the majority of the animation without a concrete game plan for how it would take shape. The interviews were cut together to essentially form the "storyboard" of the film and the visuals were then paired with sections of narration that made sense. I interviewed my mother a few times over the course of a year, so in that way, the "script" changed a bit but primarily in order and not necessarily content.
What type of feedback have you received so far?
The film has been much more relatable than I had anticipated. People like my mother a lot and would like to hug her.
Has the feedback surprised or challenged your point of view?
It's been surprising how relatable the film is, which is rather sad, but also very encouraging (to find comfort in other people sharing this experience, not encouraging how common this experience is).
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
More people would be interested in viewing this personal film.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
I'm not really sure. I'm not necessarily creating films to work my way up to making features. I really only make films because I love animation and I love experimental films. I would like the film to be able to reach more eyes. There are two large sculptures (a ceramic tile piece and a cyanotype fabric quilt piece) that were fabricated in order to create this film and I dream of being able to have those 2 works on display to be in conversation with a screening of the film.
What type of impact and/or reception would you like this film to have?
I would like for the film to reach the people it needs to reach. The film was created by a gay, Chinese American animator, which is a somewhat small sector and I'd love to be able to add to the canon of what is produced from that section of art.
What’s a key question that will help spark a debate or begin a conversation about this film?
The creation of the film was quite complex and had a number of moving parts for it to have even been possible. I participated in a residency at a tile company in LA that allowed me to produce the tiles present in the film, which opened the door to learning about a similar workflow that I could do at home using cyanotypes. The film itself also ponders having children and that perhaps there are people in the world who are actually not interested or well-suited to having a conventional nuclear family. The film also touches on the idea of obligation and how powerful or not powerful that concept is for people, which is also hugely influenced by cultural background.
Would you like to add anything else?
The project was complicated to make and many questions can be answered in the "how" by visiting my website to look at the behind-the-scenes creation of the film (https://www.okjordanwong.com/iwbh/).
What other projects are the key creatives developing or working on now?
I'm currently working on a longer film about the Supernatural fandom internet culture. I'm also working on another personal film project that more closely investigates my identity as a "Chinese American" that will involve learning how to sew clothes and outfits.
Interview: January 2024
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
I Would've Been Happy
An attempt to map a fraught relationship through the use of intricately coded pictographs and schematic abstractions applied onto glazed ceramic tiles and quilted cyanotype fabric. The aesthetics of architectural language are used to reconstruct memories of my family's domestic spaces in the hope of uncovering the logic of a broken home.
Length: 8:52
Director: Jordan Wong
Producer: Jordan Wong
Writer: Jordan Wong
About the writer, director and producer:
JORDAN WONG is a Chinese-American experimental animator driven by emotional honesty and analog processes. His films have screened internationally, including DOK Leipzig, NewFest, Animafest Zagreb, Japan Media Arts Festival, and the Ann Arbor Film Festival, where he was awarded the Tom Berman Award for Most Promising Filmmaker for the film Mom's Clothes.
Looking for: journalists, film festival directors
Instagram: @okjordanwong
Website: www.okjordanwong.com/iwbh
Funders: Self-funded
Where can I watch it next and in the coming month?
Slamdance/Park City, Utah - Jan 22nd, Jan 25th; San Diego Underground Film Festival/San Diego, California - Jan 13th; International Film Festival Rotterdam/Rotterdam, Netherlands - TBA