April 21, 2020 § Leave a comment
Curious about the documentaries that inspired this blog? Here’s a good chance to see them at a bargain price. Beginning today, each purchase of a full-length documentary on DVD will include a free companion documentary. Each order of “Under the Hollywood Sign” will come with “Peg Entwistle: The Life and Death of an Actress”, while each order of “Jim Thompson, Silk King, 2015 Edition” will come with “The Jim Thompson House and Art Collection.”
This offer does not apply to digital downloads and will end as soon as the lockdown ends in Los Angeles. To order, please go to: http://www.hopeandersonproductions.com/dvds/
April 13, 2020 § Leave a comment
I first met Kate Johnson in 1999, shortly after I returned from Thailand with the raw footage for my first two documentaries–a suitcase full of BetaSP tapes that logged in at more than seventy hours. Documentaries are made in the editing room, and the time spent editing far exceeds the time spent shooting, writing and researching. Thus over the next sixteen years we spent countless days working side by side, and the resulting films were a collaborative effort. Weaving together interviews, footage, archival film and stills, music, sound effects and graphics is like making a giant tapestry, and Kate always kept track of the thousands of strands.
Kate edited both “Jim Thompson, Silk King” and its companion piece, “The Jim Thompson House and Art Collection.” Then came “Under the Hollywood Sign,” and its short feature, “Peg Entwistle’s Last Walk,” which I later spun off into a separate film. Our last project was the reissue of of “Jim Thompson, Silk King,” which by 2014 had to be remastered because the original software was obsolete. For the new version, I filled the gaps in the score with new music that Kate composed and performed; it complemented the Thai classical music seamlessly. I also made two new shorts as DVD extras: one on Jim Thompson’s pre-Thailand architectural career and the other on developments on his disappearance since the release of the original documentary in 2002.
Throughout our time together, Kate was an invaluable source of ideas and guidance, providing the critical eye I needed. The fact that she was the only editor I’ve worked with says a great deal about her immense talent and range. Since she did it all, I never needed a sound editor, graphic artist or visual effects person, and only once did I use an outside composer.
In addition to editing my work and that of others, Kate was a filmmaker in her own right, and in 2015 won an Emmy for “Mia: A Dancer’s Journey.” Somehow she also found time to be a professor of Digital Media at Otis College of Art and Design, passing on her skills to a new generation of visual artists.
Because most of what I do is solitary, I found in Kate Johnson the longest and most significant working relationship of my career. My struggle to accept her passing includes the stark realization that I will never have a comparable collaboration, either in importance or duration. Brilliant and unique, she was also, for me, irreplaceable.
December 12, 2016 § Leave a comment
DVDs will be shipped overseas as well as domestically. Please order soon to have them arrive in time for the holidays.
Documentaries on DVD:
JIM THOMPSON, SILK KING–Remastered 2015 Version with DVD extras http://www.hopeandersonproductions.com/dvds/
THE JIM THOMPSON HOUSE AND ART COLLECTION http://www.hopeandersonproductions.com/dvds/
UNDER THE HOLLYWOOD SIGN http://www.hopeandersonproductions.com/dvds/
PEG ENTWISTLE: THE LIFE AND DEATH OF AN ACTRESS http://www.hopeandersonproductions.com/dvds/
Documentaries on Vimeo:
JIM THOMPSON, SILK KING–2015 Version with DVD extras https://vimeo.com/ondemand/silkking?utm_source=email&utm_medium=vod-vod_publish_confirmation-201408&utm_campaign=10308&email_id=dm9kX3B1Ymxpc2hfY29uZmlybWF0aW9ufGYyYjY0OTMzYjc0MTVjM2Y4ODdiY2E5ZWJjNGJmM2I0NjUwfDI1Nzc3MzE3fDE0NDI5NDU5MDV8MTAz
UNDER THE HOLLYWOOD SIGN: https://vimeo.com/ondemand/uths
PEG ENTWISTLE: THE LIFE AND DEATH OF AN ACTRESS http://vimeo.com/ondemand/17445/100467934
PEG ENTWISTLE AND THE HOLLYWOOD SIGN https://www.amazon.com/Entwistle-Hollywood-Sign-Hope-Anderson-ebook/dp/B00FSOGCV4/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1400119275&sr=1-1-spell&keywords=peg+entwistle+and+the+hollywoodsign+by+hope+anderson
June 29, 2016 § Leave a comment
If you’d like learn about this fascinating American in English, both “Jim Thompson, Silk King” and “The Jim Thompson House and Art Collection” are available on DVD on my website http://www.hopeandersonproductions.com/dvds/
“Jim Thompson, Silk King” is also available as a digital download http://www.hopeandersonproductions.com/downloads/
December 11, 2015 § Leave a comment
Today I’m launching a new website to showcase my films, books and future projects. In celebration, I’m selling all my DVDs at half price for the rest of the year. If you’ve enjoyed this blog, please support the work that inspired it at http://www.hopeandersonproductions.com
Many thanks to Heath Woodward http://www.wdcreation.co.uk/ for building my website.
November 29, 2015 § Leave a comment
It’s now for sale by download on Vimeo. Please go to https://vimeo.com/ondemand/silkking/128562922
September 22, 2015 § Leave a comment
For the past couple of years, I’ve been working on a new edition of my first film, “Jim Thompson, Silk King,” adding new music and narration. I’ve also created two new shorts to accompany it, one on Thompson’s U.S. architecture and the other on my experiences since completing the original in 2001. For those who are unfamiliar with Jim Thompson’s work and life story, here’s a brief introduction: https://underthehollywoodsign.wordpress.com/2011/11/10/jim-thompsons-life-after-death/
Although the DVD is for sale on my website http://hopeandersonproductions.com/?page_id=3361 those who prefer a download can now purchase the documentary at https://vimeo.com/ondemand/silkking?utm_source=email&utm_medium=vod-vod_publish_confirmation-201408&utm_campaign=10308&email_id=dm9kX3B1Ymxpc2hfY29uZmlybWF0aW9ufGYyYjY0OTMzYjc0MTVjM2Y4ODdiY2E5ZWJjNGJmM2I0NjUwfDI1Nzc3MzE3fDE0NDI5NDU5MDV8MTAzMDg%3D
I would like to thank my editor, Kate Johnson, for her work on all phases of “Jim Thompson, Silk King,” including much of the music as well as editing and graphic design.
I hope that Jim Thompson’s fascinating life and work will reach a wider audience than it did upon its initial release, which was not only shortly after 9/11 but before blogs, DVDs and streaming video.
July 29, 2015 § 4 Comments
The 2015 edition of “Jim Thompson, Silk King” has new music and narration as well as two new DVD extras, one about Jim Thompson’s pre-war architecture in America and the other about my experiences since finishing the original version in 2001. Also included is my 2004 interview with his friend Catherine Bodenstein, a conversation that sheds considerable light on his disappearance.
To order the DVD, please go to http://hopeandersonproductions.com/?page_id=3361
April 25, 2015 § 2 Comments
In the late 90s, I took a UCLA Extension course in directing whose instructor declared, “There is no more objective truth in documentaries than [in] feature films.” I couldn’t have disagreed more. Documentary films–as opposed to the opinion piece or docu-drama–are the converse of feature films, with a distinct set of rules:
1. Don’t make things happen. Rather than forming an opinion and then trying to prove it, documentary filmmakers shoot first and organize later.
2. The script comes last. Any narration is based on the footage, as is the structure of the film. Documentaries are made in the editing room.
3. Don’t mess with the timeline. With the exception of interviews, events are shown in the order of occurrence.
4. No pictures, no story. All narration must be illustrated by images, preferably moving images, followed by still photos and illustrations. Re-enactments, if any, are a last resort.
Because I’ve followed these rules in all my documentaries, I’ve had to make hard choices, particularly where images are concerned. When Jim Thompson’s heir failed to follow through on his promise to let me use family photographs, I had to cut short the section on Jim’s youth. Later, a total lack of photographs of Peter the Hermit, the original Hollywood costumed character, led me to drop his story from “Under the Hollywood Sign.” In the same film, I reluctantly made a re-enactment of Peg Entwistle’s final hour because I lacked photos and artifacts. In both Peter and Peg’s cases, I later received a flood of photographs and information, some of which can be found on this blog, but in Peter’s case it came too late to be included in the film.
While I don’t regret my strict approach, it doesn’t jibe with recent trends. The preferred model for new documentaries is the three-act screenplay, which requires a dramatic arc. Stories unfold like police procedurals, with satisfactory conclusions, while unrecorded events are generously re-enacted, often in lurid slow-motion. All of this makes for compelling entertainment, but is it real?
Alex Gibney’s “Going Clear: Scientology and the Prison of Belief,” is a good example of the new approach. Essentially a filmed version of Lawrence Wright’s book of the same name, the film employs traditional elements–interviews, archival footage, B-roll of Scientology landmarks. But it is also loaded with re-enactments that tell L. Ron Hubbard’s story and those of his disaffected followers. So we see recreated auditing sessions using the E-Meter, typewriters, explanatory charts and lots and lots of stars (the planetary kind, though there are archivals of John Travolta and Tom Cruise as well).
Absolutely nothing is left to the viewer’s imagination. To illustrate his subjects’ retelling of Scientology’s creation myth, Gibney creates a colorful montage of 1950s Americana, spaceships, volcanoes and planets. And in case the term “Operating Thetan” proves too difficult to comprehend, he inserts a shot the words, neatly typed, on a piece of paper. The paper is still in the typewriter, one of many such shots, lest we forget that L. Ron Hubbard was a writer.
Gibney’s treatment of the interviews is curious. Though his interviewees–who include not only Wright but former Scientologists Paul Haggis, Jason Beghe and Spanky Taylor–are without exception eloquent, compelling and worthy of screen time, Gibney does everything possible not to show them talking. When not cutting to re-enactments, he cuts to graphics–anything to avoid screen time for a talking head. The result is an undermining of the interviewees, whose stories, after all, are the crux of “Going Clear.”
Next time: “The Jinx.”
March 7, 2015 § Leave a comment
As news of Albert Maysles’ death circulated yesterday, I remembered not only his and his brother David Maysles’ important body of work (including “Gimme Shelter,” “Grey Gardens” and “Primary”) but two personal stories. The first was my only meeting with him, which took place at the International Documentary Association’s conference in 1998. At the time I was teaching myself to make documentaries by reading books, taking classes and, of course, watching lots and lots of films. The conference was part of my self-devised education, so when I came upon Albert standing with Werner Herzog in the hallway of the MPAA, I introduced myself and told him about my idea for “Jim Thompson, Silk King,” my future first film. As I wrote in 2009:
I asked him what he thought, and he said something like “I think that sounds like a good idea.” (Coincidentally, Werner Herzog was there, too; he merely said, “I haf heard of zis man.”) Delirious from Maysles’s encouragement, I nevertheless remembered to compliment “Grey Gardens.” Beaming, he said in his thick Boston accent, “Isn’t it beautiful?”
As endorsements go, Albert Maysles’ was hardly effusive, but it sufficed. I started preproduction soon afterwards and went to Thailand to film in June of 1999. I returned with enough footage for two films, the second of which was an art and architecture piece called “The Jim Thompson House and Art Collection.” (“Jim Thompson, Silk King” will be re-released shortly with new narration and two new DVD extras; it will be available on my website and on Vimeo. “The Jim Thompson House and Art Collection is available at http://www.hopeandersonproductions.com)
My second Albert Maysles story concerns “Salesman,” his and David’s 1969 film about white, working-class Bible salesmen and the desperate hard-sell tactics they employed on their mostly poor, often black clients. A classic of cinema verite, “Salesman” was filmed in the late 1960s but depicts an earlier era: no one looks or talks that way anymore, and when was the last time you saw anyone selling Bibles door-to-door? The most confounding feature of the documentary was the dialog which, I recall, was subtitled because the salesmen’s Boston accents were so heavy. But even subtitles couldn’t decipher the patois they spoke, which at times seemed a different language. Making things even worse was that I watched “Salesman” with a petulant Spanish guy who evidently thought I, a native speaker of English, would guide him through it. He kept asking, “What does that mean?” Darned if I knew, and I used to live in Boston.
The Maysles brothers called their technique direct cinema because of its naturalism: the camera kept rolling until the subjects forgot it was there, and what interviewing there was sparse and informal. The result was at times profound but not without its problems, chiefly length. “Grey Gardens,” for all its acclaim, has some incredibly tedious stretches–raccoons again?–that illustrate the pitfalls of editing your own work, as the Maysleses did (albeit with others). Still, there’s no doubt that they changed documentary filmmaking forever. Because David died in 1987, Albert got the laurels, but the best Maysles films were the ones they made together.