Tropicana Jul-Aug 2020 #131 The Beauty Issue

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GAME CHANGER Leslie, Camera, Action! Hollywood is calling for art director Leslie Ewe, yet it can only benefit the Malaysian film and television industry as this visionary shares his vast experience and expertise. Text by Izzat Haziq Photos courtesy of Leslie Ewe Leslie Ewe had his eye on set and production design from early days and has never looked back since TM | JULY/AUGUST 2020 92
Putting the finishing touches on details that make all the difference Filmmaking is an intricate craft. What we see for two hours on the screen is usually the product of months or even years of ingenuity, hard work and raw talent by multiple crew members - not just of the director and cast but also the unsung heroes who work behind the scene. Leslie Ewe is one of those heroes. With hardly any formal education in filmmaking, it is nothing short of amazing how he managed to prove his calibre in the art of visual storytelling to get to where he is today. In his 19 years in the film and television industry, Leslie has built an impressive resume, having worked on prominent productions including Crazy Rich Asians, Westworld, Netflix’s Marco Polo and The Ghost Bride, The Amazing Race, and Asia’s Next Top Model. Young and Determined According to Leslie, being in a typical Asian household meant that you were expected to pursue a more substantial choice in tertiary education. “I wanted to get into an art school but art schools were expensive and there weren’t many options,” he shared. “So, we found a small college in my neighbourhood that offered an Advertising Communications course.” This was the closest he could get to study art. Upon finishing the course, he started an internship at a local production house and was then assigned as a production assistant. The position allowed him gain experience on projects while also lending a helping hand to other departments such as the casting, location, technical and production departments. However, of course it was the art department – responsible for creating the overall look of a production, from props to whole set build-ups – that he always had his eye on. “I had been observing the art department and always thought of this particular department as very fascinating, with a fun job scope. They create and make ideas turn into life,” he recalls. That fascination drove him to begin a new career, starting in the art department as a freelance assistant. Along the way, he taught himself how to use design programs to keep up with the latest developments in filmmaking. “As time went by, I went from packing up the art trucks to doing props and dressing, to doing art direction in TV commercials,” he says, summarising the earlier part of his career. 93 JULY/AUGUST 2020 | TM
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TF BarberShop GLOBAL RATE SDN. BHD.
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Tropicana Jul-Aug 2020 #131 The Beauty Issue

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