All About Jim Thompson (In Print and on Video)

June 29, 2016 § Leave a comment

Jim Thompson in the Living Room of his Bangkok House, circa 1967/Courtesy Jim Thompson Thai Silk Company

Jim Thompson in the Living Room of his Bangkok House, circa 1967/Courtesy Jim Thompson Thai Silk Company

A while ago I was interviewed by Martine Azoulai for her excellent article in Vanity Fair France on Jim Thompson, the subject of my first two documentaries. You can read it here: http://www.hopeandersonproductions.com/wp-content/uploads/2016/06/CO_JimThompson.pdf

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/

Related articles:

https://underthehollywoodsign.wordpress.com/2011/11/10/jim-thompsons-life-after-death/
https://underthehollywoodsign.wordpress.com/2015/07/29/jim-thompson-silk-king-newly-remastered-with-dvd-extras-is-for-sale/

“Jim Thompson, Silk King,” Remastered with Extra Features, is Available on Vimeo

November 29, 2015 § Leave a comment

Jim Thompson in the Living Room of his Bangkok House, circa 1967/Courtesy Jim Thompson Thai Silk Company

Jim Thompson in the Living Room of his Bangkok House, circa 1967/Courtesy Jim Thompson Thai Silk Company

Previously I wrote about the new DVD edition of my first documentary, “Jim Thompson, Silk King.” https://underthehollywoodsign.wordpress.com/2015/07/29/jim-thompson-silk-king-newly-remastered-with-dvd-extras-is-for-sale/

It’s now for sale by download on Vimeo. Please go to https://vimeo.com/ondemand/silkking/128562922

The New Edition of “Jim Thompson, Silk King,” Is Now For Sale On Vimeo

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.

Related article: https://underthehollywoodsign.wordpress.com/2015/07/29/jim-thompson-silk-king-newly-remastered-with-dvd-extras-is-for-sale/

“Jim Thompson, Silk King,” Newly Remastered with DVD Extras, Is For Sale

July 29, 2015 § 3 Comments

"Jim Thompson, Silk King"/Copyright 2015 Hope Anderson Productions

“Jim Thompson, Silk King”/Copyright 2015 Hope Anderson Productions

It was my first film, the culmination of years of planning and research as well as my reason for becoming a documentary filmmaker. “Jim Thompson, Silk King” is the story of an American architect-turned military officer who found himself in Thailand at the end of World War II and stayed. Within four years, he made an industry out of Thai Silk, transforming a local handicraft into an international success that lifted 10,000 or so impoverished weavers into prosperity. At the same time, he put Southeast Asian art on the world map by amassing a superb collection of sculpture, paintings, bronzes and china. A few years later, he rescued Thai vernacular architecture from extinction by designing a landmark house in the Bankrua section of Bangkok. (Today the Jim Thompson House is a museum, the second-most visited tourist destination in the Thai capital.) Thompson’s two decades of non-stop achievement in Thailand ended abruptly in 1967, when he vanished without a trace while walking in the Cameron Highlands of Malaysia. It’s an unsolved mystery that remains potent and troubling nearly fifty years later.

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

The New Documentary, Part I: “Going Clear”

April 25, 2015 § 2 Comments

Going_Clear_Poster

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.”

Remembering Albert Maysles

March 7, 2015 § Leave a comment

David and Albert Maysles filming "Salesman" in 1968/Courtesy imdb.com

David and Albert Maysles filming “Salesman” in 1968/Courtesy imdb.com

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.

Related articles:

https://underthehollywoodsign.wordpress.com/2009/04/27/grey-gardens-albert-maysles-and-me/

http://www.nytimes.com/2015/03/07/movies/albert-maysles-pioneering-documentarian-dies-at-88.html?hpw&rref=arts&action=click&pgtype=Homepage&module=well-region&region=bottom-well&WT.nav=bottom-well

The Journey Is Greater Than The Destination

September 4, 2014 § 2 Comments

Copyright Hope Anderson Productions

Copyright Hope Anderson Productions

For years I’ve been working on a novel. It was inspired by a trip I took shortly after finishing my first documentary, “Jim Thompson, Silk King” in 2001, though at the time I had no sense of it as anything more than an adventurous vacation. Soon after I returned from it I flew to New York, where JTSK was in a festival; it showed on September 8th. As fate would have it, I got back to Los Angeles hours before the attacks of September 11th, and for a long time no one wanted to think about documentaries, or entertainment in general. After marketing JTSK as much as I could during that grim time, I made its previously planned companion, “The Jim Thompson House and Art Collection.” By this time it was 2005, and my 2001 trip had receded long enough for me to start writing a novel based on it. As I was finishing the first draft, I moved to Beachwood Canyon, which involved selling one house and buying another that turned out to more of a fixer than expected. When I was finally settled, I began preproduction on my documentary Under the Hollywood Sign, another long-simmering idea. Although I initially thought I was making a little neighborhood documentary, Beachwood’s history turned out to be enormous, and UTHS grew into a major project: thirty interviews, many hours of footage and hundreds of images. The project kept me occupied for the next three years, at which point it was late 2009. In 2010, I finally dug out my novel and starting writing again. Every summer since then, I’ve done another draft; now, four years later, the result is tangible: a 355-page manuscript about a journey, and the embodiment of my own long trek.

Beyond the films and moving house, why did it take me so long? There isn’t any simple answer, but it’s clear that reading novels doesn’t teach one to write them. And writing novels doesn’t equal finishing them: a previous attempt ended in frustration. (Recently I learned that Joyce Carol Oates’s late husband left a novel–his only novel, chipped away at for decades–unfinished when he died. It was not reassuring.) From a practical standpoint, the work would have gone faster if I had revised printed drafts rather than doing it on my computer. Because the novel existed only virtually, a number of gaps and errors went unnoticed for too long. But the biggest setback came during the summer of 2013, when a Time-Warner technician cut the power and crashed my computer. (He had assured me that I could keep working while he ran new cable to the house.) When everything went black, I lost the draft I was working on, including a substantial part of the last section. Although I had saved a previous draft on Dropbox, I was never able to recover what had disappeared. Worse yet, I was afraid to look at the manuscript, much less work on it, for several months.

But eventually I did. This summer I knew I had to finish so I soldiered on, finally getting to the end on Labor Day. This month I’ll send the manuscript out to some friends who have kindly volunteered to be my first readers. After that, I’ll work on selling it. One way or another, it will be published. But let’s face it: we’re not living in the Age of the Novel and no one really cares. So why did I bother? Because, with the exception of my (easily fulfilled) goal of motherhood, all my ambitions have paled in comparison to my desire to write a novel: it’s a dream I’ve had since the age of twelve. Accomplishing it has taught me many things, one of which is to love the process, not just the result. And even if only my friends and family read it, my reward has come already: I’ll soon be starting two new projects, neither of which would have come my way if I hadn’t persevered on this one.

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