The world is a readily changing place. As communication, transportation, and information have become increasingly accessible to the masses on a global scale; our exposure to as well as our understanding of each other has led to society’s evolution. While some regard this as a detriment to society, others consider it the means by which we can grow for the betterment of all. One thing is for certain, the availability of information can help all of us to see that there is someone in the world who can relate or at least sympathize with our circumstances. The clashing of cultures and the feeling of isolation are a main theme in the film Dead Bird Don’t Fly. This drama depicts a young Chinese student (Mei, played by Chen Chen Julian) who moves to a foreign country during her high school years. Confronted with the various difficulties that both teen years and a culture shift brings, Mei finds respite in her tutor Ms. Newman (played by Eli Jane), on whom she develops a crush on. Writer/Director Charlie Sporns’ film portrays a subject matter that would not even be allowed to be shown in China, a fact that did not give the Canadian filmmaker a moment of hesitation. Perhaps one of the most unsuspected of professionals that Sporns enlisted to work on this film was Colorist Hugo Shih. The interaction of the Canadian filmmaker and Taiwanese colorist is an example of artists from different cultures working together to tell a story that almost everyone in the world can relate to on some level; the feeling of not belonging, the challenges of being different, and the fear of disappointing loved ones. Dead Bird Don’t Fly is a great opportunity for each of us to question our thoughts about our differences and similarities.
When Charlie Sporns approached Shih to work as the colorist on Dead Bird Don’t Fly, he came to the table with an established and respected career; something which was already known to Hugo. Shih quickly accepted as this was both an opportunity to work with the lauded filmmaker as well as cover a topic which he had not had previous experience working on. The variety of emotions covered in this film would challenge Hugo’s knowledge and expertise of using color to enhance and sometimes create the mood that Sporns was in need of depicting. In addition to experiencing an English culture for the first time, as well as her parents forcing her to assimilate…also experiences a Lesbian crush in this film. In contrast to Chinese culture, US audiences appear to be more accepting of the LGBT community and their experiences being depicted in cinema. This main them of Dead Bird Don’t Fly is just one example of the differences which challenge Mei in the film. Chen Chen Julian’s performance makes the audience feel as if she is spoiled and difficult at times, while finding her to be a sympathetic character at some points. It was Sporns and Shih who worked together to come up with the color palette to emphazise this.
Doing his due diligence in studying his director, Hugo discovered that Sporns is a great admirer of filmmaker Wong Kai Wei. Wei is known for his stylized use of color in film. Shih studied many of Wei’s films to educate himself about the reference points and style Sporns might want. Shih notes, “I viewed and studied several of Wei’s film. For example, I watched a film called Happy Together. I watched Days of Being Wild to find a proper black tone for Dead Bird Don’t Fly. Finally, I did a research on this film called Raise the Red Lantern to find a proper orange and red tone to apply mother and daughter’s fighting scene. I knew that if I gave myself a common point of reference, my conversations with my director would be much less cumbersome for both of us. For Dead Bird Don’t Fly Charlie designed a scene in which the student locked herself in a school cabinet, and then she came out after everyone left the school. This scene is a very emotional shot and he wanted to show the student’s complicated mind by mixing red and green light, which is a color concept of Wong Kai Wei’s films.” One of the factors which Sporns and Shih discussed was how the specific brand of film would effect the look of the characters in different ways. Hugo stipulates, “We discussed the two options of Kodak or Fuji film. Generally, the difference between Kodak and Fuji is skin tone. Kodak is more popular in Western because the skin tone and overall is warmer which is best for white people. However, Eastern films like Fuji because it’s cooler tone and it can make Asian skin tone looks good. Even though we no longer rely on the film negative, referencing these brands but is a useful guide for how characters in a film will appear.” Directors and cinematographers usually have a vision of what they want to achieve in terms of a look and color. This is especially evident when they are together in the color session. It takes time to discuss and find the best look to satisfy both. Most of the time is spent setting the look and tones; like cooler or warmer, brighter or darker. Following this, the lighting and the style is corrected. The process can be slow and very specific, which makes have a color “Rosetta Stone” extremely important in streamlining this procedure. Giving insight to the subtle techniques of his role as colorist, Hugo remarks, “For example, there was a raining scene when tutor and Mei are sitting on the stairs. It had been shot with different timing and lighting conditions. I worked on that scene, balancing it with cooler temperatures and decreasing the contrast so it would look like in a rainy day. I did a lot of work on the tutor’s lips. Red means dramatic emotion; sometimes this can mean danger, and sometimes it shows love. By adding more saturated red to the tutor’s lips, it became a symbol of love to Mei. However, red is not the only element on this film. There is a moment when Mei’s mother is disappointed with her. We built the scene with overall cold feeling by adding blue on the offset and adjusted the black level. This was the last scene and we wanted to convey the information that the movie doesn’t have a happy ending…which reflected the relationship between mother and daughter.”
Sporns was more than pleased with Hugo’s work and preparation as Charlie Sporns states, “Hugo knew exactly what I wanted. He brought the right color into the film, which made the story more dramatic. Having professionals like him, the ones who care so much that they will research in hopes of being better equipped to help me achieve my vison…it means a great deal to a filmmaker. Hugo’s work on Dead Bird Don’t Fly did exactly that and I’m certain that it is the reason I was able to create this film resulting in so many overwhelmingly positive reviews.” This statement is reinforced by numerous achievements for Dead Bird Don’t Fly, including: 2016 Cannes Film Festival Official Selection, 2016 Accolade Global Film Festival-Award of Excellence, 2015 Los Angeles Independent Film Festival – Winner of ‘Best Drama, and many others. While color may be subliminal to most of us, it is a way of life, as well as a career for Hugo Shih.