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The film is a semi documentary, semi fictional... It was shot with out a script and all persons in the film are real people from the location... So they are pretty much reacting and in conversation with each other with out plan or direction. There is no narrative except for the fact that we were following Lung Neaw as he would go through his day in his daily life, ie. Walking to his old rice field and resting in his little Sala by the field, picking Ma Kua puang to sell for some money, going to a local garden/forest to pick up herbs and vegetation to make dinner, bathing in the river in front of his house... Etc.

But in actuality, the time (seasonal) sequence were switch we shot in the winter (dry season) first and then we shot rain season, but because of flow of time and space we started the film in the rainy season and ended the film in the dry season. However, everything that appear in the film appeared in it order of shots and in order of time/ action continuum.

So it not a documentary and not a narrative, perhaps it's more of a portraiture.

And in that I met Lung Neaw when he came as a part of the construction crew to build our house... (As part of the idea of the house was to build a modern structure with people who are not used to such a construction, and to have the dichotomy effect the house and it sensibility) so, the crew came from Nam bor louang, as many were locally involved with the construction of projects at the land foundation.

Since Lung Neaw was already elderly (thought we never really knew how old he is) he was mainly doing light labour helping mainly with keeping things tidy and keeping the construction clean and carrying light things, etc. But I was interested in the way he moves the way he related, his mannerism, his politeness and humbleness, combined with often his very expressive face in both happiness and troubled life...

I decided to first make a video of his face for Khun Petch's music video a few years back. And after that simple film I then already asked him if I could go and visit him in his village and if I could make a film of him, and he agreed, perhaps out of politeness and perhaps not really understanding the idea. But as I found from the shooting of the film that he, and most of the villagers were pretty open and trusting in giving there time and space for the presence of the camera. As we see their naturnalness in front of the camera through out the film.

We started to shoot the film in the winter of 2008, when Cristian and his girlfriend came to CM, with the purpose of doing a test shoot. We were just in the stages of planning the idea of the film and Not having made a film in such a way before, we wanted to test the parameter of the idea, and shoot some footage to see the lights and colors and reactions of Lung Neaw himself once the camera was there in front of him. What started to appear quickly was the ease of everyone around us towards the camera... So as each day progress we started to see the film appear in front of us. We shot for a week, and the footage was developed in Bangkok at Kantana and transferred in Mexico. When Cristian and I review the footage we had, we realized that we could construct a film already with the footage we had, from that a second shooting was planned, from what I saw of the first shooting, I started to make mental notes about how or what we would need to shoot the following year in the rainy season, as originally I was only planning to make the film in the rainy season. Initially I wanted to make a structure around Lung Neaws relationship to his rice field, and as we know the planting season and the rain would bring many interesting images and color! But with the footage from the dry season I realized that there was much more to the life than just the rice field, and surviving and living on this place required a constant and daily relationship to the surrounding... So we have the film in it present state.

So we shot over a period of two years and another to edit and postproduction, the film was really made very simply and with very little by way of crew and equipment, in that relationship for me very much like a documentary but also very much like how an artist would approach the production, also with very small but coast effective budget. We shot in film (super 16mm) so rather small and light unit but with frames and quality which was not video.

All the sounds (and music) in film are pretty much what was on location, we did not insert music into the film, how ever music is every where in the background air, as it seems (and you see, hear) that everyone have their radio on all the time of days.

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