That was one of those moments where I was like, Oh, this is what the movie’s about - it’s to see this person happy. I loved seeing him out in the wild because he looked so happy. Felipe and I were shot-listing in our trunks and then we ran into Joel. I was the Darcy, and I find it really funny. I was a little shy, and I ended up wearing swim trunks. Unless Felipe has a kinkier sex life than I know of. They stamped me vers and then they stamped Felipe top, and I was like, Wow, actually probably right. The person at the door stamps your hand and makes a judgment call, and it’s top, vers, bottom. I went to the Underwear Party with my cinematographer, Felipe Vara de Rey. The ultimate conclusion I wanted to drive at was, How can we stop worrying about the image that we’re portraying and just connect with humans organically? It was that kind of dichotomy of something that felt so organic and then people that felt so created that was like, Oh, this is part of the film. It really inspired the soundwork I wanted to do on the film where it’s like, Yeah, it should be buggy, and windy, and ocean waves. There’s also no denying its natural beauty - the flora, the fauna. The bears were bear-ier, the twinks were twink-ier. I remember thinking the people on the island all felt like the most evolved form of their Pokémon. What did you observe about the people around you? For other people, it’s like, I need to get laid.
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There is a little bit of desperation, and for me, that was like, I need to learn as much as I can about this place so I can make a movie here. So that primes you for a certain experience where you feel like you have to take advantage of it.
You’re like, We’re going, we’re going, it’s coming. The ferry ride over is magical because there’s a sense of anticipation.
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So as much as I tried to tell myself to relax and just experience it, I was always thinking about how to portray it. It was always colored by the fact that this was a job. My understanding is that the first time you went to Fire Island was to shoot the film. “Because I think that’s how you feel less lonely.” “I just wanted to meet as many queer and/or Asian American people as possible,” he says. His advice to young queer Asian American artists is to find one another. “We’re the worst.” Love for Asian Americans ripples inside his work. We’re sitting in Tokki, a “modern Korean” restaurant in Los Angeles where the menu is divided into “small” and “less small.” When he arrives, he tells me about how he went to a Korean hairdresser who told him, “Oh, I thought you were much cuter before you took your mask off.” “I hate us,” he laughs. Even though Fire Island is his first major-studio movie, with a budget at $10 million, there are stretches that are purely Ahn - like a dance scene at the Underwear Party, where our anti-monogamous lovers Noah (Joel Kim Booster) and Will (Conrad Ricamora) get pushed together by the crowd a hand moves onto a shoulder, abs press onto abs, and time slows. His films, from his short Dol (First Birthday) to indie features Spa Night and Driveways, allow small intimacies to build with glances and gestures. Photo: Jeong Park/Courtesy of Searchlight PicturesĪndrew Ahn has a talent for allowing a feeling to linger onscreen like an afterglow on the water. Andrew Ahn and Joel Kim Booster on the set of the film FIRE ISLAND.