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.
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
November 10, 2011 § 5 Comments
Jim Thompson (b. 1906) was an architect, Army officer, OSS operative, art collector and entrepreneur. In the years after World War II, he transformed homemade Thai silk into a thriving industry, in the process lifting some ten thousand impoverished weavers out of poverty and into comparative wealth. Jim Thompson’s silks, whose dyes and weaves he devised, soon found their way into Buckingham Palace and onto Broadway, via the costumes for “The King and I. Along the way, Thompson became famous, as did the Thai-style house he built to showcase his superb collection of Southeast Asian art. Then, on Easter Sunday of 1967, Jim Thompson vanished in the Cameron Highlands of Malaysia, and the mystery of his disappearance eclipsed the story of his life.
Jim Thompson was also the subject of my first film, “Jim Thompson, Silk King” (2001), and the reason I became a documentary filmmaker. In the expatriate communities of Asia where I grew up, Thompson was not merely famous; he was a household name. My father had met him, as had many of my parents’ friends, and the Thai Silk Company store in Bangkok was a primary destination for every westerner who visited Thailand in the 1950s and 60s. Because he was not merely a person but a brand, Jim Thompson’s disappearance struck our world like a bomb. The event was so odd and disturbing that my mother instructed me to “go to the library and find out what happened to him.” I was eight years old at the time, and eight months away from my first visit to Thailand.
I never found out what happened to Jim Thompson, though over the years I developed various theories about that Sunday in the Highlands. More importantly, I became interested in his life, particularly his accomplishments in the silk industry, Southeast Asian art and traditional Thai architecture. Each of these feats would have been notable in itself; the fact that a non-Thai-speaking foreigner had left his mark on all three after the age of 40 impressed me enormously. As the years went by, I often thought about Jim Thompson’s life and hoped someone would make a serious film about it. When no one did, I learned the basics of filmmaking, tracked down his biographer, secured the permission of Thai Silk Company to film at its factory and main store, and flew to Thailand.
The result was not only the biographical documentary but a second film about Thompson’s Thai house, now a museum showcasing his art collection. (There would have been a third Thai documentary, about silk weaving, but no one cared.) “Jim Thompson, Silk King,” went to festivals, won a prize, got on TV and came out on DVD. Then came what I call The Jim Thompson Business: years of correspondence from conspiracy theorists, distant Thompson relatives, and a guy who wanted me to fly to Kuala Lumpur so that he could tell me what his dead father saw in the Highlands that Easter Sunday. (I didn’t go). There were inquiries from movie producers seeking the (perennially unavailable) rights to Thompson’s biography for a feature film, and inquiries from movie producers wanting to make a film based on a fictional character who resembled Jim Thompson. And a series of emails from a writer named Josh Kurlantzik, who was working on a book about Americans in Thailand after WWII, including Jim. Would I care to be interviewed? Of course I would; I also let him borrow footage of my interviews, newsreels and various other materials from “Jim Thompson, Silk King.”
Four years later, the resulting book has reached publication, only it’s called, The Ideal Man: The Tragedy of Jim Thompson and the American Way of War. (Why Kurlantzik danced around his subject is a mystery, since he had every right to write about Thompson, but he did the same with my interviewees in Thailand.) Although I haven’t read the book, I have read the new Foreign Policy article by Kurlantzik, which sheds light on Thompson’s political activities in Thailand and Laos during the Vietnam War. Through the Freedom of Information Act, Kurlantzik was able to obtain Thompson’s CIA file which, though heavily redacted, quashes the idea that he was a politically uninvolved businessman. As I learned from my own research, Thompson remained deeply committed to anti-colonialism and national self-determination in Southeast Asia, and scoffed at the prevailing Domino Theory. These beliefs put him on a collision course with various governments, including his own, and no doubt sealed his fate.
In making “Jim Thompson, Silk King,” I wanted to shift the focus of public interest from Thompson’s unsolved disappearance to his remarkable life. Then I tried to walk away from The Jim Thompson Business, only to learn that, as with the CIA, one can never really leave. Earlier this year, I optioned my documentary for a feature film. The script is in progress; if it gets made, I’ll let you know.
Note: DVDs of “Jim Thompson, Silk King,” and “The Jim Thompson House and Art Collection” can be ordered from www.hopeandersonproductions.com