What does film mean to you? Film? I think film is storytelling. And storytelling in a way where someone can just be in a room and listen. Or whether it's five minutes or 30 minutes or two hours. The director basically takes you through the storytelling process. And through that process you get to feel, you get to hear, you get to see. And hopefully at the end of the movie you get to think somehow differently than what you step into the room. So that's what film means to me. And how often does that happen to you? Well, considering last year for the Taiwan International Film Festival I saw about 500 movies in order to select the final 100. It happened quite a lot. And how do you describe the state of queer cinema at the moment? And I guess you really have a broad perspective because you seem to move on this globe. How would you feel the side guys around you? So you mean queer cinema globally or regionally? Or how do you mean to you? Well, I think queer cinema or queer content globally has been advancing quite a lot. And that's in pace with a lot of the political and social and cultural developments. For example, now there are many countries that allow gaze to get married. And there are more and more sort of respect of rights for the LGBT community. Even in countries that previously were quite religious or intolerant. And so I think that flowering has also, at the same time, created this kind of renaissance in LGBT content. We kind of, of course, look at Hollywood and see whether it's on TV or it's in cinema. There's just a lot of variety of LGBT main characters or subcharacters or subplotlines that involve sort of diversity of the community. In places where traditionally we don't get to see a lot of queer cinema, for example in Asia, I think for people like me, I am motivated and incentivized by seeing what's happening in the US. And also to many extent what's happening on the Film Festival circuit, including the Belinalla, sort of having so much diversity of LGBT content. That gives us confidence to actually try more things back at home and tell our stories to the rest of the world. And so at least in Taiwan, more and more people are actually taking the steps to create queer. I wouldn't necessarily say cinema because sometimes the content is consumed online instead of in a movie theater. But I think they are kind of like the genesis of something that could be potentially longer format later. So a lot of people are testing a lot of content and concepts online in hoping that they can generate an audience and potentially grow that into something of a longer format, whether it be TV series or movie, actually on the big screen. Do you think talking about Taiwanese context for example, that this entire online possibility gives people the opportunity to escape state censorship or just dealing with power structures that filmmakers in the past really had to overcome as obstacles? So we're like this virtual world is being heavily criticized for legitimate reasons but there's also a certain space of freedom opening up. Can you apply that to the Taiwanese context? Yeah, well I think speaking from sort of running the film festival, the reason why we have this film festival is actually to bring content to the general audience and including the people who might not be living in kind of like the urban centers, whether it's more easy access to go to our house cinema and see actually a LGBT film. And actually a lot of clear content that you can see for free online might not necessarily be that professional or might not be that well done. And so I think sort of the film festival and the films that we try and we produce also shorts LGBT shorts, address that middle section. That's not free and that's not sort of accessible for people who live in sort of the urban areas. And the business model there is not necessarily one where people can see it for free or else we wouldn't really be able to have a sustainable film festival. So I guess what I'm trying to say with that is it's an evolutionary process and what the internet has provided for us is ability to test different things and to see whether once we release something that audience connects with it, whether they comments on it, whether they share it and use that big data to help us plan forward something that is sort of a higher potentially production value. And I think content in this day and age will rely more and more on sort of big data and figuring out where that audience is. But with the internet you can actually create content from Taiwan and reach out to audiences in Germany or in Latvia or in Argentina. So in that sense it's making it very interesting. It's at the same time quite local but because this community is prevalent in every single country in the world at the same time quite global. When you talk about movie making and this really complex infrastructure of people being involved in the actual shoot and the business behind it, the finance, what role does a jury play? In this very complex structure, what role does it play and how do you define your role too? Okay. Well I think jury plays a very important role because even with the selection at the Bill and Alla at the 30th Teddy Award, there are like 40 some films that we have to see or even more if you include the shorts. And so I don't think an average person who has to work or who has a life really has that much time to see in a very short period of time like 40 or 50 films. And so the role of the jury is actually to find within that batch good ones in our opinion that we would want to recommend audiences not just at the festival but everywhere else to as a distributor to consider buying or as a film festival programmer. To consider a program into their respective film festivals or to give it further sort of like legs so that it's not just starting in here at the Bill and Alla or at the Teddy Awards but then it can travel around more and more film circuits and more and more theaters throughout as many regions. .