Tag Archives: 1941 Academy Awards

November 7, 2012 — A Presidential Trivia Quiz

With an his­toric Pres­i­den­tial re-elec­tion just com­plet­ed, we want­ed to treat you to a lit­tle Triv­ia Quiz (cre­at­ed by our Pro­duc­tion Intern Mag­gie Bar­rett and fea­tured as part of our recent “Night in Old Shang­hai” ben­e­fit in Honolulu)

 

Presidential Trivia Slide 1

Close your eyes and try to guess at least 3 before scrolling down.

 

Can you guess at least three things?  They were both from Hawaii is a give away.  Try to think of three oth­er things.  Here’s the sec­ond slide to help you.

Presidential Trivia Slide 2

 

Presidential Trivia Slide 3

Pres­i­dent Barack Oba­ma grad­u­at­ed from Puna­hou School in 1979. Li Ling-Ai was a 1926 grad­u­ate of Punahou.

 

Regard­ing Answer B:  Ques­tion­ing Pres­i­dent Oba­ma’s Amer­i­can cit­i­zen­ship may be polit­i­cal­ly moti­vat­ed, but for Li Ling-Ai and many oth­er Chi­nese Amer­i­cans it was a part of dai­ly life dur­ing the days of the dis­crim­i­na­to­ry Chi­nese Exclu­sion Laws. Read more about it HERE.

Regard­ing Answer A:  Li Ling-Ai and Rey Scott showed a rough cut of KUKAN to Pres­deint Roo­sevelt at a pri­vate White House Screen­ing late at night on Jan­u­ary 1, 1941 — 5 days before FDR’s famous Four Free­doms Speech, 6 months before KUKAN would open in the­aters and almost a year before the Japan­ese attack on Pearl Har­bor.  To see proof of the White House vis­it, make a tax-deductible pledge to FINDING KUKAN on Kick­starter and view “Back­ers Only” exclu­sive videos and pho­tos from the documentary.

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October 8, 2012 — KUKAN Moves from the ER to the Operating Table

Many of you know by now that my doc­u­men­tary FINDING KUKAN revolves around my dis­cov­ery of the “lost” 1941 Oscar-win­ning col­or film of war-torn Chi­na called KUKAN. Many of you might also be won­der­ing, where in the H… is KUKAN? If it was found, then why can’t we see it? Well when I tracked down the only full copy of the film it had been sit­ting in a Fort Laud­erdale stu­dio for a few decades and then a Geor­gia base­ment for a cou­ple more. Heat and humid­i­ty had done its work.

AMPAS documentary curator Ed Carter opens up the can containing KUKAN for the first time.

AMPAS doc­u­men­tary cura­tor Ed Carter opens up the can con­tain­ing KUKAN for the first time.

 

When AMPAS’s Ed Carter and Joe Lind­ner opened the rusty met­al can that con­tained KUKAN they winced. “Vine­gar,” they both said, wrin­kling their noses. I learned lat­er that that is a sure sign of dete­ri­o­ra­tion. As Joe exam­ined the 2 reels of film that rep­re­sent­ed 90-min­utes of invalu­able col­or footage of Chi­na in 1939 and 1940, he detect­ed both shrink­age and brit­tle­ness (more bad signs of dete­ri­o­ra­tion). Joe said he’d seen films worse off…but not many. Things looked pret­ty grim. If we were in the Emer­gency Room, this would be time for triage.

For­tu­nate­ly a dete­ri­o­rat­ing film takes longer to die than a bleed­ing human. Two years lat­er, KUKAN has been sta­bi­lized but is still in pret­ty bad shape as you can see by the pho­tos I took of it last week at Col­or­lab in Mary­land where AMPAS sent it to have major restora­tion work done.

One of the film cannisters that holds the only known full copy of KUKAN

One of the film can­nis­ters that holds the only known full copy of KUKAN

 

Close up of the shrunken 16mm film that contains some of the first color footage of China.

Close up of the shrunk­en 16mm film that con­tains some of the first col­or footage of China.

Parts of it are so curled that they will nev­er be able to be re-plas­ti­cized (a sort of Botox process for film that hydrates it enough to allow it to lay flat in the scan­ner with­out breaking).

 

The part of KUKAN that can't be salvaged

The worst part of the 2 KUKAN reels was so curled it looked like the plas­tic straws you drink out of.

A par­tial copy of KUKAN that I locat­ed in the Nation­al Archives (NARA) will be used to fill in those parts that are unsal­vage­able. The NARA copy was kept in a tem­per­a­ture con­trolled envi­ron­ment all these years and is in fair­ly good shape. But even that has to go through a frame by frame scan­ning process to pull both image and sound­track from the 16mm strip.

DP Frank Ayala shoots the scanning of a partial copy of KUKAN

DP Frank Ayala shoots the scan­ning of a par­tial copy of KUKAN on the mon­ster machine at Colorlab

 

DP Frank Ayala, 2nd Cam­era Mia Fer­nan­dez and I arrived at Col­or­lab to film the ini­tial frame by frame scan­ning of the NARA print and learned a lot about the care and effort need­ed to bring a film back to life.

 

A.J. Rohner, project head on the KUKAN restoration, threads the NARA print through the scanner.

A.J. Rohn­er, project head on the KUKAN restora­tion, threads the NARA print through the scanner.

 

A.J. Rohn­er, head “sur­geon” on the KUKAN restora­tion process, assured me that “my patient” could be saved despite its hor­rif­ic appear­ance. He gave us a tour of the mon­ster machine that does the scan­ning – an inven­tion of Col­or­lab engi­neer Tom­my Aschenbach.

Threading the NARA partial copy of KUKAN through the scanner

The scan­ner doing all the work is a fas­ci­nat­ing con­trap­tion that blinks and whirs and beeps — just like some­thing out of Startrek.

I was entranced by its gor­geous parts, blink­ing lights and robot­ic move­ments — so much more tan­gi­bly sat­is­fy­ing to see at work than watch­ing the lit­tle gray line creep across your com­put­er screen as your dig­i­tal footage downloads.

 

Frame by frame scan begins on the opening scenes of KUKAN

Frame by frame scan begins on the open­ing scenes of KUKAN

 

Rey Scott in one of the opening scenes of KUKAN

Rey Scott in one of the open­ing scenes of KUKAN

 

I also learned how the sound from the film will be lift­ed from the scan, VISUALLY cor­rect­ed before turn­ing into sound waves and then cleaned and scrubbed to get all the ticks, and hiss­es out. I was sur­prised to learn that those lit­tle hor­i­zon­tal lines on the edge of the film are what make the sound come alive through the pro­jec­tor – a mag­i­cal phe­nom­e­non when you think about it.

Tommy Aschenbach demonstrates the magic involved in restoring sound on a film

Tom­my Aschen­bach demon­strates the mag­ic involved in restor­ing sound on a film

 

Examining color loss on 2 different versions of KUKAN

If you look care­ful­ly you can see the sound stripes on one edge of the film. The top strip is the bad­ly dete­ri­o­rat­ed copy of KUKAN I found. Notice the col­or loss.

From the pho­to below A.J. iden­ti­fied the cam­era Rey Scott was using in Chi­na as a 16mm Bolex.

Publicity photo of Li Ling-Ai and Rey Scott

Pub­lic­i­ty pho­to of Li Ling-Ai and Rey Scott tak­en in 1941

Col­or­lab tech­ni­cian Lau­ra Major just hap­pened to have one in the office that she still shoots with.

Laura Major demonstrates the workings of her 16mm vintage Bolex

Lau­ra Major demon­strates the work­ings of her 16mm vin­tage Bolex

Hold­ing that cam­era in my hands, look­ing through the tiny viewfind­er, and learn­ing that the cam­era could only shoot 100 ft of film at a time (rough­ly 2 min­utes) gave me a much greater appre­ci­a­tion for Rey Scott’s hero­ic accom­plish­ment in film­ing the epic scenes con­tained in KUKAN, espe­cial­ly the 15-minute sequence at the end of the movie that depicts the mas­sive bomb­ing of Chungk­ing and the fiery destruc­tion of the city.

Chinese boy looks into Rey Scott's Bolex on location for KUKAN

Chi­nese boy looks into Rey Scot­t’s Bolex on loca­tion for KUKAN

 

FINDING KUKAN Producer/Director Robin Lung looks through the viewfinder of a 16mm Bolex camera

You can’t believe how tiny every­thing looks through this viewfind­er — no won­der Rey had a hard time focus­ing in places.

I am more deter­mined than ever to reach our $16,000 Kick­starter goal so that we can keep fol­low­ing the mag­i­cal resus­ci­ta­tion of KUKAN and track the amaz­ing sto­ry behind its cre­ation. Please join me on this jour­ney, it’s going to be an incred­i­ble ride!

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October 3, 2012 — Michelle Scott Delivers a Knock Out with her KUKAN SERIES

When I first made con­tact with Rey Scot­t’s grand­daugh­ter Michelle Scott and filled her in a lit­tle about the sto­ry behind KUKAN, she felt a need to trans­fer that sto­ry into paint and shared with me a vision she had for cre­at­ing a whole room of paint­ings ded­i­cat­ed to her grand­fa­ther and KUKAN.  It seemed like a far-fetched dream back then.  So I was more than a lit­tle excit­ed to go to Atlanta to wit­ness the open­ing of Michelle’s solo show — THE KUKAN SERIES.  Michelle had­n’t shared any images of the new work with me, so I was­n’t pre­pared for the visu­al sweep and emo­tion­al pow­er of the work.  It lit­er­al­ly brought me to tears.  Here are a few choice pieces from the show.  WARNING — these pho­tos do not do the pieces jus­tice.  The real pieces have an almost three-dimen­sion­al qual­i­ty that allows the view­er to enter into the scene and expe­ri­ence a lit­tle of  Rey Scott and Li Ling-Ai’s world back in the late 30’s.

Michelle Scott with "Start of a Journey" from the KUKAN Series

Artist Michelle Scott with “Start of a Jour­ney” the exclu­sive pre­mi­um avail­able for a $5,000 Kick­starter pledge (par­tial­ly tax deductible).

 

The 36“X36” piece that Michelle cre­at­ed exclu­sive­ly for our Kick­starter fundrais­ing dri­ve is dis­played right in the front win­dow of 2Rules Fine Art in Mari­et­ta. Casu­al strollers walk­ing down the side­walk can’t help but be pulled in to find out with the imagery is all about.  For close up details of this paint­ing go to our Kick­starter home page.

 

"The Story of Kukan" Mixed Media by Michelle Scott

The Sto­ry of Kukan” 48x84 is the sig­na­ture piece of the show

 

The KUKAN Series con­tains a few gor­geous trib­utes to Li Ling-Ai the Chi­nese Amer­i­can author who was the uncred­it­ed co-pro­duc­er of KUKAN with Rey Scott.

"On a Dream on a Dare - Part 2" Mixed Media by Michelle Scott

On a Dream on a Dare — Part 2” 48x36 fea­tures Rey Scott and Li Ling-Ai

 

The work below con­tains images of Li Ling-Ai from three dif­fer­ent decades and three dif­fer­ent loca­tions (the old Hon­olu­lu Acad­e­my of Art, Bei­jing Chi­na, and New York City)

"Heroine (Miss Li Ling Ai)" Mixed Media by Michelle Scott

Hero­ine (Miss Li Ling Ai)” 60x34 is a gor­geous trib­ute to a remark­able woman

 

There are also fab­u­lous pieces that pro­vide a visu­al mon­tage of the Chi­na wit­nessed through Rey Scot­t’s cam­era.  He took both stills and 16mm col­or movies.  Some of his old cam­eras are on dis­play too with the orig­i­nal stills.

"Chungking Burning" Mixed Media by Michelle Scott

Chungk­ing Burn­ing” 48x25

 

"Rise" Mixed Media from Michelle Scott's KUKAN Series

Rise” 60x34

 

"What about the Children?" Mixed Media by Michelle Scott

What about the chil­dren?” 40x40

Rey Scott trav­eled all the way to Tibet and filmed some of the first col­or footage of prayer rit­u­als there.

Michelle’s take on the orig­i­nal KUKAN lob­by cards for the Unit­ed Artists ver­sion of the film.

 

"Rules of Engagement" Mixed Media by Michelle Scott

Rules of Engage­ment” 24x36

 

"Guerillas" Mixed Media by Michelle Scott

Gueril­las” 24x36

 

"The Miaos Tribe" Mixed Media by Michelle Scott

The Miaos Tribe” 24x36

 

"Burma" Mixed Media by Michelle Scott for the KUKAN Series

Bur­ma” 36x36”

Rey Scott also filmed the famous Bur­ma Road as it was being built.

 

"Shui" Mixed Media by Michelle Scott for the KUKAN Series

Shui”

A reminder of the British influ­ence in Hong Kong which fell to the Japan­ese in 1941.

"Lone Ranger" Mixed Media by Michelle Scott for the KUKAN Series

Lone Ranger” 32x50

 

 

"The Panda Man" Mixed Media by Michelle Scott

The Pan­da Man” 34x60

A whole movie could be made just about the baby giant pan­da bear that Rey Scott brought from Cheng­tu to the Chica­go Zoo. Orig­i­nal­ly chris­tened “Li Ling-Ai” by the for­e­ing jour­nal­ists in Chungk­ing, it was lat­er named Mei Lan when it was iden­ti­fied as a boy pan­da bear.

 

"Portrait of a Lady" and "For Him" Mixed Media by Michelle Scott

Por­trait of a Lady” and “For Him” are the first two pieces that Michelle Scott made in the KUKAN Series

 

There are many more gems in this show. But the emo­tion­al high­light for me was being able to see the first two por­traits of Rey Scott and Li Ling-Ai that Michelle did. I first saw them on her web­site before we even knew each oth­er and before she even knew who Ling-Ai was. This was the first time I was able to see them both in per­son. Since the pieces had been sold to dif­fer­ent col­lec­tors sev­er­al years ago, this was also the first time they were reunit­ed in the same room for quite some time — a sym­bol of hope for me as I con­tin­ue to seek fund­ing to fin­ish FINDING KUKAN.

If you are in the Atlanta area make an effort to see this his­toric show — up only until Octo­ber 26, 2012

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December 5–10, 2011 — LA Production Shoot

My main rea­son for trav­el­ing to LA was to inter­view Li Ling-Ai’s nephew Andrew Li who was a young boy of 8, liv­ing in Nanking when Rey Scott and Li Ling-Ai began pre-pro­duc­tion for KUKAN.

Photo of Robin Lung talking to Andrew Li

Ann Kaneko films FINDING KUKAN direc­tor Robin Lung meet­ing with Li Ling-Ai’s nephew Andrew Li.

I hoped to find out more infor­ma­tion from Andrew about Ling-Ai’s con­nec­tions in Chi­na at the time. Though I was able to gath­er some valu­able infor­ma­tion from my inter­view, the 5 days in LA turned out to be about so much more — a lot of it behind the scenes stuff that will nev­er make it into the documentary.

Get­ting to know the tal­ent­ed film­mak­er Ann Kaneko was one of the unex­pect­ed bonus­es of the trip. Thanks to gen­er­ous dona­tions from ear­ly FINDING KUKAN sup­port­ers, I was able to hire Ann for a cou­ple of days as my LA Direc­tor of Pho­tog­ra­phy. Hav­ing a dp with a real inter­est in the project and expe­ri­ence with both edit­ing and being a char­ac­ter in her own films was invaluable.

Wit­ness­ing Ann bal­anc­ing her ded­i­ca­tion to her work with the demands of rais­ing her 8‑month old daugh­ter Cei­ba was a real inspi­ra­tional shot-in-the-arm too.

Andrew Li inspects photographs

Andrew Li inspects photographs

As I lunched with Andrew Li, his daugh­ters Por­tia and Quin­cy, and his wife Gil­da I got a sense of the rich life Li Ling-Ai had beyond KUKAN and the pro­found rip­ple effect that per­son­al sto­ries can have through time and space.

Photo of the Reading Room of the Margaret Herrick Library

John Zain­er talks to Ed Carter in front of the $500,000 King Kong poster that dec­o­rates the Mar­garet Her­rick Library’s read­ing room.

Film­ing B‑roll scenes of Ed Carter at the Mar­garet Her­rick Library intro­duced me to this gor­geous build­ing and amaz­ing film his­to­ry resource for the first time (I am already think­ing of excus­es to return to spend more leisure­ly hours there).

Photo of Ann Kaneko and Rebecca Bozzo in Margaret Herrick Library

Ann Kaneko and Rebec­ca Boz­zo prep for a shoot at the Mar­garet Her­rick Library

It also gave me an excuse to hook up with the peren­ni­al­ly upbeat Rebec­ca Boz­zo again. Bec­ca is a ded­i­cat­ed young film­mak­er who shares a pas­sion for old movies and has been a FINDING KUKAN sup­port­er from almost day one.

photo of Dan & Denise Levenick with Robin Lung

Dan & Denise Lev­enick with Robin Lung

Dan & Denise Lev­enick invit­ed me to their home in Pasade­na to view their moth­er’s home movies and pho­tographs of 1930s Hawaii. Besides giv­ing me anoth­er rea­son to mar­vel at the gen­eros­i­ty and kind­ness of strangers, Dan and Denise pro­vid­ed me with pre­cious “before-my-time” knowl­edge of my home town.

Photo of AMPAS Preservationist Joe Lindner

AMPAS Preser­va­tion­ist Joe Lind­ner describes how curled the KUKAN film print is.

Talk­ing to AMPAS Pres­re­va­tion­ist Joe Lind­ner about the ardu­ous process of restor­ing KUKAN gave me new insights into the pre­cious nature of old film, the his­toric val­ue that even old home movies have, and the galling num­ber of films that have been destroyed by time.

Photo of Ille-Heid Zainer

Ille-Heid Zain­er and her fresh baked bread.

photo of John Zainer

John Zain­er’s 1971 VW Van was the per­fect LA pro­duc­tion vehicle.

Final­ly my hosts in LA, John and Ille-Heid Zan­er, pro­vid­ed me with an inti­mate view of what liv­ing in LA can be like, invit­ing me to neigh­bor­hood par­ties, pro­vid­ing home-cooked meals after long days of shoot­ing, chauf­fer­ing me around in vin­tage vehi­cles, and shar­ing Ille’s sis­ter Elke’s amaz­ing Christ­mas cook­ies with me.

Elke’s Cook­ies

The result is that after my 5‑day pro­duc­tion shoot in LA, a city that I once had a very low opin­ion of, I can’t wait to go back.

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December 1 to 31, 2011 — Producer/Director Robin Lung Featured on Career Changers TV

Although I’m more com­fort­able being behind the cam­era than in front of it, I agreed to be pro­filed on OC 16’s Career Chang­ers TV show in order to get the word out about FINDING KUKAN.  Pro­duc­er Rich Figel and Cameraman/Editor Stan Chang man­aged to boil my life of job-hop­ping down to a suc­cinct 4 min­utes or so.  Even bet­ter, the lead in and out of the piece made peo­ple real­ly want to see the work-in-progress trail­er and learn more about KUKAN.  The show airs through Decem­ber on dig­i­tal chan­nel 16 or 1016 in Hawaii.  The show is rebroad­cast Fri 2:30pm, Sat 6:30pm, Sun 12:30am, Mon 9:00am, and Wed 2pm and Thur 8:30pm through Decem­ber.  If you can’t catch it, here is a low res­o­lu­tion version.

 

You can see the nice lead up to the trail­er here.  And a fab­u­lous arti­cle Rich wrote about “The Mys­tery of Li Ling-Ai” here.

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December 12, 2011 — Gifts from the Blogosphere Part II

Besides the beau­ti­ful KUKAN lob­by card, blog­ger Duri­an Dave also sent this evoca­tive pho­to of Li Ling-Ai. 

Li Ling-Ai arrives in LA for KUKAN pub­lic­i­ty tour, 1941

She is caught debark­ing a Unit­ed Air­lines plane in Los Ange­les, arriv­ing from New York where she had moved in 1939 or 1940.  She was in town for the Los Ange­les pre­miere of KUKAN at the Esquire The­ater on Fairfax. 

KUKAN pre­miered at the Esquire The­ater in Los Ange­les on August 15, 1941

Sad­ly, the Esquire The­ater was pur­chased In 1953 Can­ter’s Deli pur­chased the the­ater.  The won­der­ful mar­quee is miss­ing, but sup­pos­ed­ly you can still see rem­nants of the old the­ater in the inte­ri­or while eat­ing your sand­which (an activ­i­ty I have yet to do).   The cap­tion on the back of the pho­to quotes Li Ling-Ai as say­ing “No mat­ter how long nor how hard the strug­gle, Chi­na will win its unde­clared war with Japan. It is grave­ly con­cerned at the threat to the Bur­ma Road con­tained in Japan­ese occu­pa­tion of Indo-Chi­na, but nonethe­less confident.”

It is great proof of the part that Li Ling-Ai played in help­ing to pub­li­cize the film KUKAN and keep the gen­er­al pub­lic aware of what was going on in Chi­na at the time. 

Ling-Ai’s ear­ly affin­i­ty for air­plane trav­el and her desire to learn to fly a plane was one of the first things that impressed me about her.  Pri­or to find­ing KUKAN I had­n’t heard of any Chi­nese women tak­ing to the skies ala Amelia Earhardt.  While research­ing the era, how­ev­er, I’ve dis­cov­ered that there were sev­er­al Chi­nese women who were not­ed pilots in the 30’s — Lee Ya Ching, Mag­gie Gee and Hazel Ying Lee to name a few. 

Thanks to Duri­an Dav­e’s blog– I’ve dis­cov­ered anoth­er Chi­nese Amer­i­can woman who by the looks of this pho­to was not only an ear­ly fly­er but an ear­ly movie direc­tor as well. 

Actress Olive Young behind the cam­era (cour­tesy Soft Film and Duri­an Dave)

Olive Young is bet­ter known as an actress who left her birth­place of Mis­souri to become a film star in Chi­na.  Unfor­tu­nate­ly she seems to have had a trag­ic end and lit­tle is known about her fim­mak­ing career.

Still I can’t help but be inspired by the pho­tographs of these ear­ly Chi­nese ground­break­ing women.  And I won­der what was in the air at the time that caused them to jump in cock­pits and take up cam­eras and attempt count­less oth­er dar­ing feats that had nev­er been attempt­ed by women before?  Thanks to the blo­gos­phere for mak­ing it eas­i­er to explore that time peri­od and find oth­er time-trav­el­ing souls.

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December 2, 2011 — Gifts From the Blogosphere

There’s noth­ing like hav­ing a cold over the hol­i­days to make you feel sor­ry for your­self. It’s that old deject­ed feel­ing that creeps in as the box of kleenex gets emp­tied. Now that I’ve recov­ered, I’m hav­ing some belat­ed Thanks­giv­ing thoughts, tal­ly­ing up the wind­falls that have come my way over the past year — many by way of the inter­net and blo­gos­phere. Recent­ly I made an inter­net con­nec­tion with blog­ger Duri­an Dave, who turned out to be a very gen­er­ous like-mind­ed soul with an incred­i­ble visu­al archive and wealth of knowl­edge about old Chi­nese films and film actress­es.  See his blog and Tum­blr for hours of enter­tain­ing and eye-open­ing arti­cles and pho­tos.  David advanced my KUKAN research tremen­dous­ly by send­ing a bunch of choice KUKAN relat­ed items to me, includ­ing this vin­tage lob­by card.

Lobby card for the 1941 Oscar-winning documentary KUKAN

Lob­by card for the 1941 Oscar-win­ning doc­u­men­tary KUKAN

Besides dis­play­ing gor­geous col­or and imagery, the card had an intrigu­ing embossed stamp on the bot­tom of it:  “STATENS FILMCENSUR 1947–48.” David sus­pects that the stamp refers to Swe­den’s cen­sor­ship board. If he’s right, that means KUKAN screened all the way in Swe­den! So if any of you Swedish film col­lec­tors come across 16mm Kodachrome col­or footage of Chi­na that appears to be from 1939 or 1940, let me know! We’re still look­ing for good par­tial prints to help with the KUKAN restoration.

My next post will fea­ture the fab­u­lous pho­to of a jet-set­ting Li Ling-Ai that Duri­an Dave dug up as well as info about a cou­ple of oth­er ground­break­ing Chi­nese Amer­i­can females work­ing behind the cam­era. Why not now you might ask. Hey, I’m still recovering!

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October 3, 2011 — Crafting Story with Editor Shirley Thompson

Robin Lung & Shirley Thompson view FINDING KUKAN footage

Robin Lung & Shirley Thomp­son view FINDING KUKAN footage

When I first met Shirley Thomp­son back in June, I was already a fan of her work and instinc­tive­ly knew that she would be a great long-for­mat edi­tor for my project. So I was thrilled when, at our next meet­ing, she voiced enthu­si­asm for FINDING KUKAN and agreed to edit the project once it got to the post pro­duc­tion stage (assum­ing that sched­ules, financ­ing, and all the oth­er vari­ables of doc­u­men­tary pro­duc­tion work out). 

Shirley Thompson edits FINDING KUKAN footage

Shirley Thomp­son edits FINDING KUKAN footage

When I need­ed an addi­tion­al few min­utes of footage cut for a grant appli­ca­tion, I was very thank­ful that Shirley was avail­able for a few days to help me out.  I’m hap­py to say that my instincts were cor­rect.  Not only was Shirley a joy to work with — pro­vid­ing a beau­ti­ful, airy work­space; 2 cats to pet; and incred­i­ble choco­late snacks — she helped  me sort through the small mass of footage I’ve col­lect­ed so far and turn it into man­age­able chunks of sto­ry that added up to some­thing real­ly exciting. 

Shirley Thompson's post-it storyboard for an excerpt from FINDING KUKAN

Shirley cre­ates beau­ti­ful post-it sto­ry­boards to help struc­ture the edit session.

The result was that I was much clear­er in my head about the kind of sto­ry I want­ed to tell with FINDING KUKAN. And I was more con­fi­dent about what I need­ed to film next to fol­low that story.

Shirley real­ly is a sto­ry doc­tor. And I’m more moti­vat­ed than ever to com­plete pro­duc­tion and get back to the edit­ing room with her. It’s an exhil­i­rat­ing experience.

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July 23, 2011 — A Visit to the New York City Office of the National Archives

When I first start­ed check­ing to see if Li Ling-Ai could have been the real life inspi­ra­tion for the fic­tion­al detec­tive Lily Wu, I tracked down some of her trav­els through boat records that are avail­able on Ancestry.com.  One of the Ances­try records was a New York Exclu­sion file that list­ed the date of her arrival in San Fran­cis­co.  Going over the notes on the record again, I saw that Li Ling-Ai’s file includ­ed an inter­ro­ga­tion.  Since the inter­ro­ga­tion occurred only a year before Li Ling-Ai met Rey Scott and con­ceived of mak­ing the movie KUKAN, I was anx­ious to read through the inter­ro­ga­tion to see if it con­tained any clues.  In July I final­ly got a chance to vis­it the NYC office of the Nation­al Archives where Li Ling-Ai’s Exclu­sion file is located.

photo of Robin Lung at the NYC office of the National Archives

Robin Lung exam­ines Li Ling-Ai’s Chi­nese Exclu­sion File at the NYC office of the Nation­al Archives

It was amaz­ing­ly well-pre­served, and I had a lot of mixed emo­tions while exam­in­ing it.  On the one hand, I was excit­ed to see a pho­to­graph of Li Ling-Ai in the file that I had nev­er seen before and let­ters that were hand-writ­ten by her.  Han­dling the doc­u­ments gave me a very vis­cer­al con­nec­tion to the past and to this woman that I have been pur­su­ing for the last cou­ple of years.

photo of Li Ling-Ai's Chinese Exclusion File

Li Ling-Ai’s Chi­nese Exclu­sion File

On the oth­er hand I was appalled that this file exist­ed in the first place.  I had to think about the bla­tant anti-Chi­nese dis­crim­i­na­tion that led to The Chi­nese Exclu­sion Law — the rea­son for the cre­ation of the file I was touch­ing.  I was astound­ed that a U.S. cit­i­zen like Li Ling-Ai (she was born in Hawai‘i in 1908 when it was already a U.S. Ter­ri­to­ry) who had a U.S. Pass­port (doc­u­ment­ed in the file) would have to spend days at the NYC Immi­gra­tion Office in order to get a re-entry form that would make it pos­si­ble for her to come back to her own coun­try after leav­ing it!  And that she would have to sit through an inter­ro­ga­tion to prove that she was authen­tic despite all the oth­er doc­u­men­ta­tion she had made me even more indignant.

 

As a researcher, I was thank­ful to be able to access the reveal­ing infor­ma­tion in the file and draw both the pos­i­tive and neg­a­tive ener­gy from it.  So I have to acknowl­edge the hard work that goes into index­ing, stor­ing and retriev­ing these records.  That day at the Archives I wit­nessed two vol­un­teers who were labo­ri­ous­ly going through files and enter­ing data into lap­tops so that oth­ers like me could find infor­ma­tion about ances­tors and char­ac­ters from the past.  I wish I had got­ten their names and tak­en pho­tos of them if only to pay a small homage to all the oth­ers like them who have helped for­ward my investigation.

photo of documents in Li Ling-Ai's Chinese Exclusion File

Doc­u­ments in Li Ling-Ai’s Chi­nese Exclu­sion File

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July 11–16 Road Trip to Kennesaw & Tallahassee

Director Robin Lung behind the camera

Direc­tor Robin Lung films in Georgia

I was a more than a lit­tle ner­vous as I pre­pared for a trip to Geor­gia and Flori­da to meet descen­dants of KUKAN cam­era­man Rey Scott for the first time.  I was plan­ning to spend a week with Rey Scot­t’s grand­daugh­ter artist Michelle Scott and take a long road trip with her from her home in Ken­ne­saw, Geor­gia to her uncle’s house in Tal­la­has­see.  Michelle was on a mis­sion to find more of her grand­fa­ther’s pho­tographs and learn as much as she could about what he was like as a per­son.  I want­ed to tag along to doc­u­ment her search and poke around myself for addi­tion­al infor­ma­tion about Li Ling-Ai.
Michelle Scott in her studio.

Michelle Scott with a few paint­ings from her KUKAN series

As I packed my suit­case I wor­ried that since Michelle and I did­n’t real­ly know each oth­er the trip could be a total fias­co.  For­tu­nate­ly Michelle and the rest of the Scott fam­i­ly were so open­heart­ed and sup­port­ive that I felt instant­ly com­fort­able after meet­ing them and the trip was more suc­cess­ful than I could have imag­ined.   Wit­ness­ing Michelle’s pas­sion for her art and her com­mit­ment to pre­serv­ing her grand­fa­ther’s lega­cy infused me with new ener­gy to face all of the tedious things that go along with doc­u­men­tary film­mak­ing (like log­ging and tran­scrib­ing footage and writ­ing grant proposals).

Ray Scott

Ray Scott relax­es before interview.

I real­ize that gain­ing access to peo­ple and places out­side of my every­day com­fort zone is one of the immea­sur­able rewards of this process.  I’m look­ing for­ward to what the next road trip will bring me.

Mark Scott and Michelle Scott examine Rey Scott's cameras

Mark Scott and Michelle Scott exam­ine Rey Scot­t’s cam­eras as cam­era­man Kevin Deyo films the scene.

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