Splitting his time between teaching in Boston and Los Angeles throughout the year, UCLA alumnus and screenwriting professor Weiko Lin still finds the time to serve a plethora of filmmaking aspirations. Chief among them is supporting his successful Taiwanese film “100 Days,” an adaptation of Lin’s theatrical play of the same name. “100 Days” follows a stubborn businessman as he travels to his island hometown for his mother’s funeral. There, he learns of a native tradition: If he is not engaged within 100 days, his mother’s soul cannot be put to rest.
Daily Bruin’s Sebastian Torrelio spoke with Lin about his film’s American release, working and living overseas and Lin’s prospective trilogy. “100 Days” will debut at Laemmle’s Playhouse 7 in Pasadena on Friday.
Daily Bruin: So how different is “100 Days,” the original play, from “100 Days,” the movie?
Weiko Lin: I wrote it as a two-person play, so the story (of the film) is completely different. It’s the concept “100 Days,” but the play is R-rated, cutting-edge. I did that play after my mom passed away seven years ago. I learned about this 100 days’ tradition – I didn’t get married, but I learned about that after she passed. I went to Taiwan to bring her ashes back to the States. With this whole thing going on, I just needed to write a play. I needed to do something about myself.
DB: Is the play that much more Americanized?
WL: Definitely. Actually, in the play the character’s not Asian. The play is about an American college circuit comic. His mom passes away, but is Buddhist. Then you bring in the (Jewish) childhood sweetheart, who’s estranged. The movie version is a foreign film with romance and drama. It has a different cultural aspect to it. It’s a PG movie, versus the play, which is a total NC-17 production.
DB: The town you use in the film you refer to as “North Island.” Is it an actual island?
WL: It’s a town on an island called Matsu. That’s a really cool island. It’s one hour away from mainland China by boat, but 10 hours from Taiwan. During the Cold War, the island was a military base. A lot of (veterans) who saw the movie, their first loves were these girls from Matsu Island. They were in tears because that was such a hard, scary time. We didn’t know much about this history going in, but learning where you came from, knowing where you came from, it’s cool to see that part of history.
DB: Like the characters in the film, did you have to deal with being stuck on the island sometimes?
WL: It was like life imitates art. After we wrapped, we couldn’t leave for two days because a typhoon came. Planes canceled; ships canceled. It was cool because everyone just chilled out. The crew went fishing; we had barbecues. Most of the time when you wrap everyone goes their own way. But here, everyone’s taking life very slowly.
DB: Did you go fishing with them?
WL: Oh no, I don’t fish, but I ate the fish the crew caught. And drinking is a big part of it too – we had to get the gods’ permission to see if we could film there. We have to offer them alcohol and drink with the chief.
DB: Like in a big ceremony?
WL: Yeah. We respected that – we’re coming to shoot a movie. We’re not the most important thing in their daily lives. We went through the whole process. You have to drink a lot. In the movie, they drink alcohol out of a bowl. There are no cups. This is white, rice wine – very strong.
DB: What else do you hope to work on down the line?
WL: As we keep going, and it might be premature, but my idea one day is: You have “100 Days” for the Chinese culture, the remake – an Americanized version about Hawaii – and then an independent one based on the play: two talking heads, the “Before Sunset” hardcore raw version. That’s my dream. I know it’s long, but I feel like it’s cool because there are three different concepts. I love this story. I’m very close to it, and if I feel if there’s enough passion for it, it’d be cool to see a trilogy.
Compiled by Sebastian Torrelio, A&E; senior staff.