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Tag Archives: Ann Kaneko
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.
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.
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.
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).
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.
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.
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.
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.
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.