Late Interview with Melati Suryodarmo-Lutz

YS: What’s your favourite animal?

Melati: Dog. No, horse.

YS: How old were you when you first rode a horse?

Melati: 20.

YS: Was that in Indonesia or Germany?

Melati: Indonesia. I learned to ride. But then I fell and I had this terrible accident. I was in hospital (gestures towards face). When I was in Germany, 12 years later, I started to ride. But I don’t like German horses. I don’t like German horse people. The girls…

YS: Your performance in Ho Chi Minh City, with long hair, holding the liver – it reminded me a lot of Frida Kahlo’s surrealist work. Was that an influence?

Melati: I’m influenced by traditional spiritualism, which maybe if you put it into modern contexts it looks like surrealism.

YS: Tell me more about your practice.

Melati: Um. In what sense?

YS: Well, I know your training was in classical Indonesian dance -

Melati: When I was a child I was trained in Javanese dance like every other thousand Javanese kids. Going to the dance course, and I’m used to going on the stage because of that. And then also my parents sent me for taichi training and Vipassan meditation, and then I joined a theatre when I was in university, but that’s not so important.

And then I studied art in 1994. I started with performance art, but with a butoh dance choreographer. Anzu Furukawa. She was my professor. In Germany you have to have one professor to study with. And then after that I practiced more visual art based performance art with Marina Abramovic.

Yeah, I actually very interested in art. My body function. As a container. A sensor. Memories. And environment. Surrounds my body all environments. Sorry for my English; I’m just beyond my vocabulary to talk.

And I was, uh, interested to make my position as a human being in its organic system. It detaches like a politic-social-cultural-spiritual aspects. But for example, I would talk about politics. Of those other aspects in I have no direct experience. It’s not five minutes longer than it’s not five minutes. Just open my website, there are texts about my work and, uh, I did not write it. Someone else wrote (breaks out laughing) I appreciate. I just did not sleep. I’m sorry.

YS: How do you feel about the Flying Circus Project?

Melati: I want to be with the Flying Circus, I love to be with all the artists… it’s been great... it’s been a great exchange… it was a great, it’s a very good energy, very positive. And if we are going to meet again, same group after three years, it will be interesting for me to see the difference after this party. Like the development of each artist, what they’re going to do until then. Okay.

Late Interview with Nibroll, represented by Nibroll Mikuni Yannaihara & Keisuke Takahashi

YS: Why don’t you tell me how you two met?

Mikuni: Hmm?

YS: The two of you.

Mikuni: When I was in Tokyo art school. Tokyo movie art school. For all of Nibroll’s members. My brother is different because he studied fashion. But he joined about 19, right? 19 years old, about.

YS: But how old were you?

Mikuni: Maybe 23. When we founded Nibroll. (to Keisuke) You were 23, I was 24.

Keisuke: 10 years ago.

Mikuni: 10 years ago, yes.

Keisuke: 12 years right?

Mikuni: Yes. Because we are. Yes. Just 22. Around 21.

YS: Why did you begin Nibroll?

Mikuni: Because the first time, I work in a TV and movie company, but the director is always movie director and also TV director; I’m just doing assistant and I really want to make some things. And I asked for Nibroll’s members and they also want to. And we try first time making movie, but money isn’t enough because movies usually need to money for film. And then we try to the stage. Then many people saying you can dance, I can dance; you can video, I can music, I can lighting. like this. Then just start. Yes?

Keisuke: Yes.

Mikuni: But first stage is so terrible because everybody doesn’t know the stage. And then also for example usually we have a rehearsal in a… how do you say… eninpruo..

Keisuke: Promotion.

Mikuni: But they don’t know. (laughs) Everything has.,. I can’t tell you, but many many happening.

YS: What is the work that you are proudest of?

Mikuni: Best?

Keisuke: Best ah? Best ah nani?

Mikuni: Mmm. I don’t know, but Nibroll is very lucky, because we got a grant and a space. But we think more comfortable. And try to making work. The best. I don’t know.

Keisuke: Next one will be the best!

Mikuni: Okay…

Keisuke: Always our best.

Mikuni: Try to… Very difficult.

YS: You took a break from performances for a while.

Mikuni: One and a half years. Finished the break.

YS: So you do shows now?

Mikuni: Sometimes. Because necessary. If Nibroll stop, nobody choreograph. So yes, start again. We start. Ha ha ha. (laughs) Keiskuke, talk more.

YS: What’s planned next?

Mikuni: Perhaps we can say some corporation things? We are not just making art. Also fashion and TV and commercials.

Late Interview with Takamine Tadasu

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Late Interview with Yuen Chee Wai

YS: Tell me about your practice.

Chee Wai: Like I mentioned, now I’m in transition between just doing a performance and the state of adding new elements to my performance. Because I’m getting really bored just sitting right in front and giving myself that podium to create sound that sound if it doesn’t really have much of a meaning. I just start to lose interest. I mean, I’m not siding with anybody, but this is just my new method of work which I find has not been ventured into in Asia yet. It’s a fine distinction between a sound artist and an artist working with sound, but both things are very different - now I’m beginning to see sound more as a tool for expressing concepts, for expressing ideas.

YS: How has FCP been for you so far, then?

Chee Wai: Good good. Like I was telling KS last night, it has transformed my way of presentation, Because I’ve always been questioning myself about this and it has now given me an opportunity to present my work this way and think about sound really much more. Conceptual sound. I was saying.

YS: Which artists do you feel you’ve bonded with the most?

Chee Wai: Definitely Meg. Meg Stuart. Tiffany as well. Naeem. Of course, for Meg, it’s because we improvised together for the presentation. I found that the I discovered a sense of improvisational language which doesn’t really get fixed on a particular genre. The improvisational language comes from the conversations, dialogues and mindsets, and how similar or dissimilar two persons are. Tadasu as well – Takamine. Because we just go drinking.

YS: Tell me about Tom Waits For Nobody.

Chee Wai: Tom Waits For Nobody is an ongoing thing. As you know it’s a project that I do with Zai [Kuning] and Leslie [Low[. And it’s toured to Russia and we did a show in Singapore not too long ago and we’re hoping to do more shows overseas. And the idea builds on itself. Because every time we present it’s different, but we might be adding more things in, we might be adding more instruments into it, but the base is ourselves.

YS: And what about the pan-Asian sound art collective you helped to found, Hadaka?

Chee Wai: For Hadaka I might be taking a break. I initiated the collective of Asian artists. But it was something Otomo Yoshide wanted to do for more than 10 years, in fa ct more than 15 years. But it’s been done and now that’ it’s been initiated and it’s had a first meeting, he wants to carry it on. So I’ve passed on the responsibility to him and Dixon from Hong Kong. So next year we’ll most likely be going to Japan, all of us, in October. And Dickson Dee is trying to do a similar thing in Beijing.

YS: Which countries are represented?

Chee Wai: All across – there’s Hong Kong, Vietnam, Indonesia, Japan, Korea, Singapore,
YS: Not Malaysia?

Chee Wai: No. I invited them down but they didn’t really respond.

YS: How did you make all thes econtacts?

Chee Wai: Through word of mouth, through fiends’ friends and for Dickson it’s not his first time in Singapore - I’ve done a show with him before. Otomo was actually in the year 2000 Flying Circus Project, but I knew him through Dickson. And the Indonesian guy as a contact through Ka Fai, and the Korean guy, I met him in Seoul. He’s in the same circuit. We were very shocked we ended up knowing each other.

And Nhat Than, the Vietnamese guy - I floated his name up for the Asian arts mart. Before that we were already in correspondence, because he and other sound artist in Hanoi - Huong - we’d already been in conversation for a while, because he wanted to collaborate with me for an ANA project.

YS: What have you got planned for the future?

I’m supposed to do two solo shows next year but I’m not sure if I have time next year. But right now I’m working with a single curator, so the curator will curate me for a single project. Also touring with Tom Waits and the Asian collective. I’m supposed to also do a solo show - something in terms of installation-based materials. I want to break out of the gallery framing. So it’s more of fusing my ideas about conceptual and invisible sound and all that into my installation works. Which will be more public art based. Ahh… I can’t unveil or reveal anything here. Don’t know.

Late Interview with Naeem Mohanien

Naeem: I don’t know what to say. I can’t promise anything that exotic.

YS: Tell me about your practice.

Naeem: Oh god. My practice is a product of having started out as a writer and historian and finding myself suffocated by the expectation of creating complete histories of particular moments in Bangladesh – do you want me to go slower?

YS: I’m okay.

Naeem: This expectation that you produce complete histories from A to B, beginning to end, and that you produce a moral lesson and you define things to black and white certainties, and that you would take a position - and I found these things very suffocating for me, which is why I moved through a series of inspirations to the space of the visual arts, because it was a space that allowed me to explore historical and political questions with ambiguity and without having to finish the story.

YS: What’s your main area of focus now?

Naeem: My exploration of failed revolutionary movements. And my practice is usually a combination of video archive and text.

YS: You’re based both in Dhaka and New York, you said – you gave me a booklet about some of your work in NYC, “When An Interpreter Could Not Be Found”.

Naeem: That was a collective called the Visible Collective. It was a project that we did for three years which was really a response to this feeling that some of us had that just protest rallies and traditional sorts of protest tactics just weren’t getting things done after 2001. So it was a coalition of artists and activists who had mostly met in the context of street political action around the conditions of immigrants after 9/11, but then we started exploring ways in which we could take some of the work to a museum context. And we had a museum exhibition but some in the group felt we had produced somewhat aestheticised work about the national security panic. We had some discussion about whether we had made it too pretty or not. We made a somewhat ornamental piece about Abu Ghraib photographs which had leaked, and we made colour photocopies and fed them into a shredder until the paper jammed, so it had a confetti streamer effect. We called the piece It’s Safe to Open Your Eyes Now and then we installed it at Project Rowhouse in Texas. And you know of course, there’s a label to explain what the provenance and technique of the piece is, but most people were just taken by the fact that it was pretty - somewhat pretty.

And then we started having discussions about how we could make anti-pretty work. So that was just one of the projects I was with. It’s not really it’s sort of finished - it was a discreet project that finished after three years, and we felt we did what we wanted to do and we moved on.

Yeah, so that was much more about physically being in New York and needing to design to the situation there. And we were not the only ones - there were other projects which existed, it was not isolated in the visual arts - there were lawyers coming to these events; activists, writers, journalists - and there was this journalist called Nina Bernstein; she writes for the NYT and she’s done a lot of reporting on post-9/11 racial profiling of immigrants. And we had a nice - she came to our events to support us, and we also gathered a lot of material from her that she helped with, and she was also our fact-based journalistic “accurate “ counterpart in some ways. She “acted” independent of us. It’s a nice sort of give and take. She’s completely outside the art media, but her work informed us.

YS: How do you feel about the FCP?

Naeem: Very positive feelings.

(The event begins, and we have to stop talking)

Late Interview with Michikazu Matsune

YS: How was M+S started? [M+S is the brand name of Matsune & Subal]

Mich: How it started? Well, we have been collaborating since 2004, and have been working in the interface of different formats within and outside the life performance field. I quite like this understanding of live performance because it means a lot of our work includes the audience as part of our performance and installation. And choreography.

YS: When we were in Singapore you told me you had done one particular performance involving the Merlion.

Mich: Oh yeah, this one? We’ve done the shooting of one project which is called 1 Hour Standing for which we make a kind of still image of ourselves standing in front of the Merlion in Singapore, and in front of significant, famous tourist monuments, buildings in different capitals. And we stand there for one hour. The medium’s video. The video runs and it documents us as a photograph, but everyone else in the surrounding background is moving. And we are in this way a confusion of media, as photography and video and performance of it.

Is it clear? And we are gathering this in 24 capitals for one presentation. Which will make one point where you are seeing 24 different capitals and also seeing 24 hours in the world.

We’re going to do it in Hanoi. That’s why we stay a couple days longer here.

YS: What other projects are you especially proud of?

Mich: I think kind of… future is open. After participating in Flying Circus Project: Travelogue, I definitely want to keep my future open. And let some time pass before deciding for what is the next step.

YS: What moments of FCP do you remember especially?

Mich: Ah… I liked the sentence, one sentence which Chee Wai said, about the monk and the music… was it the gong or cup or something which he was hitting? And Chee Wai mentioned, “Ah, so you’re making music.” And he answered, “No, I’m just hitting the cup. The cup is making sound.” I like this sentence.

[Chee Wai’s original story involved him hearing a monk hitting a cup and telling the monk, “Hey, you made a nice sound.” The monk then replied, “I didn’t make a sound. The cup made the sound.”

And what is… There are so many things, so many other things really. Um. Let me think about the concrete example. I enjoyed how Caden mentioned the mistrust in our performance, in our work. I think our work is really about touching both positive side of the context but also the negative side of the context. Whatever the context could be.

Is it clear?

[Mich refers to the performance, Made in Vietnam which M+S presented at Superintense Saigon. To “celebrate” Vietnamese culture, Mich and David had paid a Vietnamese street hawker to push her cart into the gallery space and serve the audience food, with a free flow of Vietnamese beer available. Postcards of Vietnamese scenes, signed by the artists, lined the walls, while sound recordings were played of the artists reciting standard phrases in Vietnamese and the volunteers translating these phrases into English. The artists themselves wore clothes made in Vietnam, bought at the nearby market. In a discussion that evening, Caden had highlighted the violence of this performance as a criticism of the FCP artists’ own presence in Vietnam.]

YS: Anything else that the readers of the blog should know?

Mich: I just think for me, personally, being an Asian artist living in Vienna, living in a European art context, I really enjoyed being in Asia, meeting a lot of Asian artists and especially working in Asia. Because it is very different doing this, as somebody said it, in Brussels. It would be a completely different context. So the importance and context of physically, geographically being here in Saigon and Singapore meant something. Meant a lot.

Koosil-Ja

[YS interviews Koosil-Ja while she is eating a packed lunch]

Koosil-Ja: Just because I’m veggie and I can’t eat the food out there. I’ve tried, but they use lard when they fry things. I can’t take that.

YS: Tell me about your revelation upon reading Deleuze and Guattari.

Koosil-Ja: The key concept is a body without organs. What did it to me was – first, I don’t need to see my identity concerning “I am a product of my heritage”. I am sometimes American, I am sometime Japanese, I am sometimes Korean, I am sometimes a 3D character. They lead me to think that “I am myself” is no longer a domain of I, territory of I. And “I am” is no longer a product of I, but maybe more interesting and more practical and more helpful is “I am is a product of they”. I overlap with you, I overlap with space, I overlap with objects. And but it’s a flow and constantly changing, so if I have to determine myself, self can be only found in the difference.

So yesterday was this, and today is this. So yesterday minus today is self. But yesteday and tomorrow is another difference, so minus that. D and G wrote about it in a book called “Repetition and Difference”.

YS: When did the revelation happen?

Koosil-Ja: About like three years ago. Maybe about five I forgot.

YS: Did it affect the kind of work you made?

Koosil-Ja: My work has changed - I just became extremely encouraged to conduct radical experimentation, that more and more … they went and flipped it outside. That object was standing facing and facing the corner, a group of people came and flipped it. We must investigate that. We must investigate that.

So, right now my problem is that I have a problem of fitting myself into organisation institutions in general. Because of the body without organs - the key concept it teaches me. To break out of the strata. Stratification. The building of people on top of each other. They hate trees, rooted, and roots. Memory, and another issue with memory, that’s why I negate memory, memory to root, to so-called soil, so ending up you, only one person above you and one person below you.

Instead imagine grass, spread out all over the continent. Like in Mille Plateaux, they promote the idea of escape, running away, of encoding and decoding, and stop working for 100 rich people. How a few people are rich in this world, and how many people exist in this world? Capitalism is all about working for this handful of people and education is also reform, or form, to create student youth who can be plugged into this capitalistic system. They read what the teacher told them to read, they tell the student to submit the paper on that deadline, the student will do so, the teacher will tell you to speak properly, dress properly, the student will do so - they are just perfect persons. After they graduate they are just perfect persons to be plugged into this corporate person, and they don’t think twice to be plugged into the system. And these arrogant rich people will never think about redistributing wealth to other people or even think about returning the land to the farmers. Why the farmer harvests or works on somebody else’s land.

YS: Can you tell me about life-processing?

Koosil-Ja: Life-processing. So life-processing basically is to set the external agency that drives you. And this dance technique can be modified to each dance, meaning each concept for the dance. And it doesn’t allow you to dance beyond your memory. Life-processing allows you to dance with the body without organs.

[To better illustrate: in her Singapore presentation, Koosil-Ja demonstrated one example of life-processing in her choreography. She would select video images of bodies in motion on different walls of the theatre while she danced, so that the sensory overload of multiple bodies to imitate became the stimulus for her movements]

YS: Nice.

Koosil-Ja: Yeah. You type so fast.

Late Interview with Meg Stuart

Meg Stuart

Meg: You know I kind of… I’ve been making work since ‘91 and I’m kind of… you have to make me write better… I’m proud of having made important work in the contemporary dance world for the last 15 years… oh wait what?

I want to talk about what I did today. I feel like I was metabolising all the impressions I had from Singapore and here, and like media and video art but I’m bringing discourse back to the body. I was just as I walk around as of course I’m absorbing all the impressions and of course Keng Sen said the ritual of forgetting and I think there’ something about not only we’re here but the exchange that we have as artists the space that we share the intimacy of our exchange.

[quoting from her performance in Superintense] Where am I hello I am from here. I used to be here and I want to go there.

And all of these things. Brian said things about contamination and artistic promiscuity, and I think this is something we hadn’t spoken about, we didn’t make a piece together, and there was a moment of free, fair exchange and I started to think, where’s here? I started to think, where is here? All the computers and space - because you have to make a presentation, how much space as an artist, how do I define myself as an artist, how much do I take from myself - you have to always think of your priorities, what’s important to you, and in Vietnam - I love to work with contradictions and things are not black and white, things are gooey, things you can see it from all sides - there’ a very high intense transmission, I think almost superintense, and I can’t bear it when I’m the hotel relaxing; I try to calm down, I don’t feel good about that but today I wanted to buy a shirt but I wanted to negotiate and I turned around the corner and I got lost and they kept on saying what do you want what do you want madam and I think it’s wonderful we were making this artistic exchange and it had no value to it and all these crowds are coming up and if I were to go onstage with Choy [referring to Ka Fai, who is videoing this speech] or something - the fact that I’m talking to you, I’m talking like this, but I’m talking to Choy, I wouldn’t - your space affects mine, you get what I’m saying?

And I wanted to express my pleasure - there I can work on this big stage, but I can go through a process.

Ka Fai: Actually somewhere along your presentation, everything started to make sense to me. But in the idle point your sense and our moments started to make sense - that became interesting.

Meg: But improv is not about being in the emotion, about - when you work with musicians, they have samples and material before, and in any great project everything is improv, you blur the boundaries and an eloquent speaker, they say something, before they make it immediate it becomes of that moment, it’s truth at that point and I think in a way a photographer, just to absorb that process.

[Referring to Mark and Luigi’s survey on the cardinal directions] The fact that they said I had to look at the questionnaire about North, South - of course that made the question, where am I? Who am I? All those issues create the work, all those dialogues create the work. It’s a pity we don’t go on one more week. And this issue of censorship was very strong for me; the fact that these people can’t speak what they want to, speak and it’s also about language, I speak another language… yeah, blah blah blah blah blah…

YS: That was intense.

Meg: (laughs like crazy)

Late Interview with Katarina Eismann

YS: What artwork of yours would you be proudest of?

Katarina: I think it’s always the latest one. It’ s always difficult to say. I don’t know. I was very proud of the music piece that I finished in spring, the one that I did with the composers that I showed in Singapore [three-part music and video installation Algol]. It’s a collaboration with composers and musicians that are waiting and playing.

YS: I really liked the other one you showed us in Singapore, where you collaborated with a linguistic engineer to create an epic poem in Swedish, which was then translated into unintelligible speech…

Katarina: I was more writing a different kind of… I was just trying out how to use different kinds of languages. Different voices and different kinds of stories. I was looking for the language and the sound of different kinds of lines and epics and love stories… very much love stories. The way you write a love story itself is a gesture of tenderness.

YS: What do you feel you’ve got out of the Flying Circus Project?

Katarina: Oh it’s so much… not to be so afraid, maybe? Of talking about my things. I think I’ve been out of practice, and to see how other people are presenting works in so many different variations, and of course we’re doing all those encounters and all those people we’re invited to meet… I think that will change my way of working lot, actually. I will stay on here for a while.

And it was fantastic to get this compare this stage of people it was like coming to a set table… can you say that in English?… you come to a table that’s already set, you just have to eat. I don’t know how to say that in English. That’s fantastic, it’s really a huge gift to receive.

YS: Will you collaborate with Vietnamese artists?

Katarina: I’ll have to see. Collaboration is something that takes a long time. I don’t have a special... it depends. I think there were so many very good people, so I think there are a lot of things to do, but later on. I haven’t made that kind of decision.

YS: What’s next for you then?

Katarina: I will work with this Hungarian Danish journalist [ referring to Foldout, an experimental documentary process exploring how family memories are passed on to the next generation. The journalist is the daughter of a Hungarian woman who corresponded with Katarina’s father, who worked for Nazi Germany during World War II.]

Then of course I have to work for money. I have to script and make a DVD; things like that. And I will film some pieces, I will have a workshop in school… I will have a lecture.

YS: How would you describe the Swedish arts scene? What do you think is its greatest strength?

Katarina: It’s quite a small group, but very hardworking, I think. I think it’s a very good opportunity to be in such a small country. It’s good politics, we’re quite supported in many ways… good facilities, especially if you go abroad… we’re all very spoiled, never satisfied.

YS: Do you have a certain philosophy behind your work?

Katarina: I like stories. I like people to tell me stories. I like to listen to how they tell me stories. How they perform, and their voices. I am an individual artist, but I always do my projects in collaboration - I’m not doing the music or composing myself.

YS: When did you start to realise you preferred to collaborate?

Katarina: I didn’t understand it until last summer… no, no, much later on. It took me a long time to see it. I think I really always have been doing that, collaborative work. In the beginning it was very innocent, I was interested in these people, curious, but then I was quite shy of knowing people and ask them to work with me. And if they ask me to work with them I’m quite happy to do it. But now maybe I trust it, now that I know it’s like this.

I think that’s my main… I think work is a very good way of knowing people, how people do their work, how people are presenting their works. It’s nice to enter someone else’s world. You get the possibility to share our loneliness. (laugh) but it’s… lucky to be here, privilege.

I think after this I I have to fix my English. It’s a mix from movies, television, books and travel. I don’t know whether I speak British, American or Australian. Maybe I speak Singapore.

Late Interview with Julie Atlas Muz

YS: What is your proudest performance to date?

Julie: I hate the word pride.

YS: Um, okay. Tell me about a performance that you’d like me to mention on the blog.

Julie: Good question... it’s a question that requires a lot of thought. Probably the show that I just did in Portugal, because I came right here from a big burlesque show; a Satanic show right in the religious capital of Portugal, and that was really special and magical. I directed 13 of my favourite artists to perform and we had a beautiful opera house proscenium thing, and then I came to Singapore… now I’m just super-confused. Super-super confused. And I think that’s a really good place to be.

YS: Do you see yourself as a feminist?

Julie: You really like to label people don’t you? I am feminist. I’m a woman. I’m a woman lover. I’m a human lover. I love humans.

YS: Yeah, that is a problem of mine.

Julie: It’s not a problem. It’s just something you like to do. It’s not a problem as long as you can recognise your own tendencies. Then you can become aware of them, and mitigate them for your own purposes, and not be trapped by them. I’m beginning to understand what I tend to do. You can’t break a habit unless you know it’s there. So they’re not necessarily problems. Maybe challenges. Personal challenges.

You’re a writer, right? But you’re not just a journalist. You’re a poet. There always seems to be a performance, a people who have a set vision, who know what they want. And - I think this is from Frank Herbert’s Dune 3: Children of Dune, there’s a maxim in there - if the only thing that you truly know is that you’re going to die, anything else that you think you know is only death disguised. And I know I want a dance all in pink before I make it.

That’s just an example. If I know I want my dance to do this… if you’ve already killed all possibilities, that’s death. So keeping your path unknown, and being able to keep your path philosophical, spiritual; walking into the unknown… Its scary. It’s fun.

Like, I didn’t understand this project, the Flying Circus Project and I think I’m beginning to understand it now. Like when Keng Sen told me we’re just going to do two presentations - the word presentation is not in my normal vernacular. And it shows. And to not do a show every day is also something that I don’t really necessarily understand on a tour, right? I usually watch people’s work from backstage, from the wings - I don’t usually sit in front. And I’m not seeing people’s shows, I’m not seeing people perform formally, and that’s another something… This workshop is something that I haven’t done in 7 or 8 years. It’s very enriching and very confusing… I think there’s a period of confusion and shit. But that’s good. Manure is what you use to fertilise your seeds. I’m really inspired though.

(peering out of minibus window)

Oh look at that. She can’t walk, but she’s got a wheelchair in the street. Where can I get one of those? That is awesome, that is an awesome wheelchair. Did you see that? She could pump that like a rowboat. I’ve gotta tell that to some of my disabled friends in New York.

YS: Maybe I should edit this.

Julie: You shouldn’t. It’s nice to see the edges.