Interview with Lucy Sheen from Hong Kong - UK | 4th KIIFF

"Abandoned Adopted Here: Lucy Sheen’s Journey into Identity, Belonging, and Transracial Adoption"

KIIFF. How did the idea come to you, and what inspired you to create it?

Lucy Sheen: I was approached by BAAF ( British Adoption and Fostering organisation) in circa 2006/7. They were doing  research project into the 106 Hong Kong foundlings who were transracially adopted from the 1950s through to 1963 under the auspices of the Hong Kong Project.” I participated in the entire research project from telephone interview to in depth face to face qualitative interview. And as a result I met 96 of the 106 Hong Kong foundlings. Which was the first time I had been in a room full of transracial adoptees -  all like me from Hong Kong and most very much British East Asian that is to say being brought up as white, not speaking Cantonese or Mandarin and identifying firstly with British culture and language first and foremost. It was that experience that got me thinking about what it meant  - if anything in the early 2000s, to be both British and of East Asian heritage. Did other transracial adoptees feel the same way as I did about their fractured incomplete and dislocated identity? Did other British East Asians whom I know also share the same sense of identity dislocation? And so the documentary idea was born and the rest as they say is history.

KIIFF. What were the main challenges you faced during the filmmaking process? How did you overcome them?

Lucy Sheen: Main one was funding  -  in the end I had to self fund. I found like minded artists or artists who after interviewing and seeing examples of their work I knew that I could work with them. The project was not free of initial problems the original director/producer I ended up having to fire them because their work was substandard. learned a very valuable lesson that unfortunately you cannot take people at their own word. You have to do your due diligence sadly when someone says that they are a director and producer and send you a link to a flashy website you can’t just accept that you have to dig deeper. But it was the first time I had stepped behind the camera. I overcame the director/producer problems and challenges by stepping in myself as the director and producer. We turned over again and then found we had problems with the sound person these were personality problems and I had to dismiss that crew member who promptly went on to social media trying to diss the crew and the documentary with basically fabricated and shall we say exaggerated and somewhat fictional extrusions of the the truth - which was not fun. But we kept going had a great crew first unit and secondly back up camera and sound to whom I am eternally grateful.

KIIFF. What unique features characterized the pre-production, production, and post-production phases of your film? Did any specific incidents or interesting experiences occur during these stages?

Lucy Sheen: I think I’ve already cover that in 2. In terms of uniqueness I think other than Adopted which came out in 2008/9 my film was the second work to deal with adoption, transracial adoption to have been written produced and directed by a transracial adoptee! But has yet to really receive recognition for this which I find sad. And has not really been recognised in the UK (which does not surprise me) but has received recognition all over the world.

KIIFF. Did your film include a location or setting that was particularly difficult to find or use? How did you address this challenge?

Lucy Sheen: No not really I suppose the difficulty was finding spaces, places where we could interview people without having to pay through the nose for the privilege. This did back fire on a couple of occasions as the sound ended up being so dreadful because of background noise of a generator or air condition system.

KIIFF. How was your collaboration with your production team (actors, technical crew, etc.)? What key lessons did you learn about building a successful team?

Lucy Sheen: I was blessed with the final crew choices of the DOP/editor and sound we worked extremely well and I have gone on to work again with the DOP on a fictional short of hers as an actor. I suppose the main lesson is to listen to your gut and trust that you know what you’re doing. It so often the way especially for women that you are talked out of making decision because others would have you believe that you don't know what you’re doing because you lack experience  -  but I had then over 30yrs experience of working in the industry albeit in front of the camera I actually did know what I was doing and what I wanted to do and to achieve. But also don’t be afraid of asking for help and or accepting help when it’s offered.

KIIFF. What is the core theme or message of your film, and what do you hope the audience will take away from it?

Lucy Sheen: The core theme I guess is identity - the sense of  belonging, family and roots that come automatically with birth families but not with transracially adopted children who are culturally and linguistically disenfranchised and displaced.

KIIFF. Is there any experience from this project that you plan to apply or avoid in your future work?

Lucy Sheen: One thing that I have learnt is that whilst I can produce a film and I was actually quite good at it I never want to do it again! I’ll be an exec producer but not the actual hands on producer it’s far too much - unless of course you mange to get your production fully funded and then some in that case I’d think about it. I’d like to direct more on film.

KIIFF. How have festivals and audience feedback influenced your artistic journey?

Lucy Sheen: Like I said in the UK it’s been pretty silent I’m from a minority that’s a minority within British minorities even now in the 21st century. I write about, hidden stories and histories of the British East and Southeast Asians and the UK whether fictional content or factual the money men and women by and large who tend to be white middle class and probably oxbridge educated  just are not interested in narratives that have a non white protagonist  which is really sad but it is what it is.

KIIFF. As an independent filmmaker, what advice would you give to others who are entering this field? 

Lucy Sheen: It has to be your passion, your dream - if you’re looking for fast fame and fortune this ain't the industry for you. But if you love film, you eat, drink sleep cinema then keep going and dont let anyone dilute what it is you want to create.

KIIFF. If you had another opportunity, what changes would you make in the process of creating this project? 

Lucy Sheen: You’re asking the wrong filmmaker here in some senses like I said I writer and create stories that most can find an excuse not to even read let alone invest in. But my advice for what its worth sty true to what you want to write, to the narratives you want to tell and don’t let anyone try and dilute your story.

KIIFF. If you were to revisit this project, is there anything you would change or refine? Why?

Lucy Sheen: In truth I don’t think there is anything I’d change. I might include some more footage from Hong Kong but that would be extremely difficult now because of the political state that Hong Kong  finds itself in. And of course if it was properly funded then the equipment we used and locations for interviews  -  Somerset House for one where originally all the birth, marriage and death certificated were stored that would be fun to interview a group of cross generational transracial adoptees.