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.
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/
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.