This is a blog documenting me, Thomas, who documents the lives of other people. I'll write a lot about life in Japan post 3/11 and also link videos from my YouTube Channel. 有り難う for stopping by.
Each autumn for the last three years, I have taught a class during the autumn term at the University of Tokyo. Teaching intensively so that the schedule allows for travel to film and attend screenings, I teach a 30-hour class in 6 sessions of 5 hours each (!) on consecutive Saturdays. This year, my class is focusing on the editing of oral histories.
In addition to my regular class, I was also honoured to present a guest lecture to the greater campus community on November 2 as part of a special series.
I have also returned to my post teaching evening/ weekend filmmaking classes at the Japan Visual-media Translation Academy (INFO), where my work was also featured me in THIS in-house article.
Meanwhile, in the midst of filming a new documentary for NHK World (INFO), producing a feature documentary by another director (more to come on that in the next couple of months) and my teaching duties, I have been asked to create a series of documentary-style videos for the Imperial Hotel Tokyo, a luxury hotel with a deep-rooted history in Tokyo.
The first of the three-part series, which each will contain a video and column, was published this week on the Imperial Hotel website (HERE). A direct link to the video is here:
Last summer I received a commission from NHK World to direct an episode of their series "Inside Lens". Called Dying at Home (WEBSITE), my 28-minute documentary about a home doctor caring for terminally ill patients aired across the globe in February of this year (STORY). I am currently planning the schedule for editing the feature-length version of that film, which I plan to complete next year.
In August of this year, I submitted a proposal to direct an episode of "Inside Lens" for the current season (seasons change with the fiscal year, starting in March). With only one slot left and several projects under consideration, I was thrilled to learn in September the project was commissioned! With an airdate of February, we quickly went into full gear, arranging for Thomas Schlottman, the director of photography I worked with on Dying at Home, to fly over from Germany with very little notice for a three week shoot (!).
I generally do not talk much about work-in-progress, but I can say that the topic of this film is, like much of my recent work, medically-based. I look forward to sharing more about it as we edit throughout the New Year toward an airdate of the first week of February 2012.
***** UPDATE November 6 *****
Last time we used drones (STORY). We have just upped our game:
It has been over ten years since I worked as a model/ actor for a famous agency in Japan specializing in foreign talent. Working in front of the camera for a year after returning home to Japan upon completing grad school in the UK helped me to achieve my main goal, which was to work behind it.
With so much time having passed since being in front of the camera, it was with reluctance that I accepted a request from a good friend who was producing a commercial and was in desperate need of a foreign talent.
It was fun, but not addictive. I will now be returning to my seat behind the camera, thank you very much. ;)
The final day of the Doc+ Workshop in Taipei began with a screening of "We Come As Friends" (2014) followed by a Q&A with the film editor Cathie Dambel. In the afternoon, Ms. Dambel gave a master class on film editing, which was followed later in the afternoon by a panel discussion about editing with the three international filmmakers, including Director Feng Yan and myself.
As I did after Director Feng Yan's master class on Friday (STORY), I would like to share a few lessons that master editor Ms. Dambel shared during the panel:
There will be conflicts.
The editor must always accompany the director.
Each player on the film team has a role to play and does not cross-over.
A director should spend 50% of the time selecting the team.
If the edit is 6 weeks, I like to work 3 weeks, then 2 weeks, then 1 week on the edit, with breaks in between.
When the character is speaking, we must sense what is being said as well as what is not being said.
The aim of editing is how to represent what you felt.
Sometimes in our own films we must take a risk, we need to take this risk to express ourselves.
Following the editing panel discussion, the members of the 8 groups of filmmakers who had applied to attend the workshop with their film projects, gathered together for a de-briefing during which the young filmmakers shared their observations and some of that they had learned. I was deeply honoured to hear that although some of them had not fully comprehended our feedback during the initial one to one sessions, after taking part in our master classes they had more fully understood what we had shared with them.
The event ended with a group photo:
This morning I was interviewed by Shr-tzung and Fan Wu from the Taiwan International Documentary Festival for the Taiwan Documentary E-Paper and their readership of Taiwanese documentary filmmakers and industry professionals.
It was so interesting to be interviewed about my film career so soon
after the workshop ended; my mind was still swimming after
having shown some of my early work and that had inspired me to start tracing
back the path that has brought me to where I am today...
I am now at the airport on the way home to Japan, sad to leave Taiwan, a country I love so much, but also happy to get back to work on my new films re-inspired and re-invigorated.
********* UPDATED October 2, 2016 **********
Shr-tzung has just e-mailed me the links to the published article, so to all of my Chinese-speaking friends, please take a look! And for the rest of you, there are lots of pictures! ;)
Day two of the Doc+ Workshop sponsored by 國家電影中心 Taiwan Film Institute and 台灣國際紀錄片影展 TIDF (Taiwan International Film Festival) was full of wonderful experiences. The morning and afternoon were spent in 30 minute individual meetings with the 8 teams whose documentaries were selected to take part in a "clinic" with the three guest filmmakers. I really enjoyed discussing more in depth with the young filmmakers about their projects and to offer them advice based on my experiences.
In the afternoon, my friends Panos, from Greece, and Mei, from Taiwan, stopped by for a visit with their two boys. Panos, Mei and I were flatmates when we were attending the University of Bristol 13 years ago. They met in our flat, fell in love, and the rest, as they say, is history.
Later in the afternoon was a screening of my first film "the ballad of vicki and jake" (2006, UK), which I myself had not seen for many years (film website HERE). I selected the film to screen at this event specifically because it contains mistakes-- my mistakes-- from which I hoped young filmmakers could learn. In the film criticism published by Matt Crowder in 2005 when the film first came out, he wrote (full article HERE):
"vicki and jake" is a 101 in how not to make a documentary. Ian and Ken threw themselves into this with the enthusiasm of people who had never made a feature documentary before. It shouldn’t have worked. Except it has.
It was a moving experience to watch the film again on the big screen after so many years, and to field deeply probing questions regarding the murky ethics surrounding the film from audience members who had so deeply engaged with vicki's story.
The screening event was followed in the evening by my 2.5 hour (!) master class, which I called "Documenting the Documentary". My talk was split into four parts:
And interspersed throughout I showed clips from my films ranging from my work documenting the disaster in Fukushima to my friend who died of breast of breast cancer and a hospice care doctor in Japan (FILMS).
My gratitude to all of the TFI and TIDF staff and volunteers as well as the amazing team of interpreters.
In Taipei this week, I am attending the Doc + Documentary Workshop sponsored by the Taiwan Film Institute (INFO). And it is my great honour to serve as a lecturer beside filmmakers Feng Yan, from China, and Cathie Dambel, from France.
The workshop consists of four main parts. The first part a "clinic" for 8 groups of filmmakers whose projects have been selected to receive feedback from the lecturers. Yesterday, we watched and discussed the projects in an open session with all 8 groups present, while today we will meet with the groups individually to provide them one to one feedback. The 8 projects are all unique and exciting and demonstrate the amazing quality of documentary film being produced in this small country.
Last evening was a screening of Director Feng Yan's gorgeous and important film "Bingai", which documents a strong and charismatic woman's struggle during her family's displacement under the Three Gorges Dam project in China. The screening was followed by a Master Class giving by Director Feng, and I was taking notes alongside the young filmmakers in the audience. Here are some of the quotes from this master filmmaker and story-teller that I would like to share with you:
Documentary is a reflection of our reality.
Documentary is not real, not non-fiction.
Story-tellers tell the story differently depending on their mood.
Are you using your camera to make your audience hear what you want them to hear or to allow your subjects to say what they want to say?
How and when and where the question is asked affects how it is answered. The answer will depend on the relationship between the interviewer and the interviewee.
As filmmakers we are looking for that "one correct answer", but the realty has many layers.
What matters is not the absolute truth, but understanding how the filmmaker's approach affects the result.
The director must not focus on "reality", rather the focus should be on the story on which the character wants to focus.
Filmmakers have absolute responsibility to their subjects because you can not ask for filming permission every second.
Our urban ethics may not apply in the countryside.
Images help you express something you can not tell in words.
It takes passion to make documentary film.
The screening of my first film, "the ballad of vicki and jake" (2006, UK) will be today (film WEBSITE). I myself have not seen this film for more than 8 years (!). This will be followed by my master class, which will focus on the relationship between the filmmaker and subject.
All has been quiet on my social media front. This often happens when I find myself in the depths of the edit suite working on a new film. Over the next couple of months I will be sharing about a new feature documentary film for which I am currently overseeing the post-production, and it is by far the strangest film I have worked on to date...
In the meantime, I did find time to (briefly) escape from the edit suite for about 36 hours over this past weekend for the Obon holiday (Festival of the Dead). Last year, I spent the Obon holiday with a friend who was documenting the festivities for television (Part 1 HERE, Part 2 HERE, Part 3 HERE and Part 4 HERE).
This year was very different as I marked the holiday with Mr. Hata's family in Fukushima. I first wrote about Mr. Hata when I reunited him with his son 30 after years (STORY). When he died, I wrote THIS entry and then when he was buried, I wrote THIS one.
As this was the first Obon since he died, I felt it was important to pay my respects at his grave and to spend time with Mrs. Hata and her family.
After visiting Mr. Hata's grave, I posted the following photos on Twitter:
Yesterday, as is Buddhist tradition, Mr. Hata's burial took place 49 days after his death. Held in a forest deep in the countryside of Japan, it was one of the most unusual burials I have ever had the honour of attending. A description with accompanying photos is HERE.
In
April, I shared about the honour I had in reuniting a dying man with
the son he had not seen in 30 years. I published a photo-documentary
about their reunion called "Mr. Hata and T" (story and photos HERE).
Three
weeks to the day after being reunited with his son, Mr. Hata died
peacefully in his sleep. I collected some thoughts, photos and words of
condolences in a post-script HERE.
Thank you all so very much for sharing in Mr. Hata's story, for your kind words of support and condolences, and for sharing about how his story has affected you personally. May we carry with us the lessons he has left with us as we continue on our journey of life.
In June 2013, my film 'A2-B-C', about children living in Fukushima (WEBSITE), was awarded at the World Premier in Germany (STORY). After a world tour of over 25 festivals and several awards later, the film came home to Japan, and the following spring enjoyed what would eventually turn out to be a 6-week residency at the PolyPoly Higashi Nakano theatre in Tokyo ahead of a country-wide cinematic release (STORY). After the last screening at the cinema in Tokyo ended with a bang (STORY), 'A2-B-C' then went on to have a second life in so-called "private screenings", also called "four-walling", until all distribution for the film was abruptly and unceremoniously cancelled in March of last year in a move that was seen as some as an attempt at censorship (STORY). Six months later, the private screening process was re-established, and the film could once again be seen in Japan (STORY).
Last autumn, I had the honour of attending and speaking at several of these screenings, although with my recent filming and editing work, including the follow film to 'A2-B-C' (STORY), I have not been able to attend a screening of the film for several months. Yesterday, there was screening of 'A2-B-C' in Tokyo, and although I was not scheduled to attend, I decided to surprise both the audience and the organizers by showing up moments before the film ended. The organizers were shocked to see me, but welcomed me warmly and asked me to speak to the audience before the post-screening discussion. It was an honour to speak to the audience, and share with them about the filming I have been doing in Fukushima in the more than three years since filming on 'A2-B-C' finished.
In the evening, I attended a symposium about affects on human health and Fukushima. One of the presenters, Dr. Ushiyama, is one of the founders of the 311 Thyroid Cancer Family Group (STORY), and for even those who have been studying the problems in Fukushima since the beginning, the symposium was filled with eye-opening information based on research from Chernobyl and the testimonies of patients and families in Fukushima and Northern Tochigi.
with Dr. Ushiyama and my assistant Rei following the symposium
Shortly after I posted my interview with the first young person with thyroid cancer in Fukushima to speak out two weeks ago (STORY), I accompanied AP reporter Yuri Kageyama (TWITTER) to Fukushima where I introduced her to the young woman. Yuri's story, "Woman breaks silence among Fukushima thyroid cancer patients" was published by the AP yesterday (read HERE) and was included in their "The Big Story", "Top News", and "10 things to know for Today" sections. If this doesn't shake things up, I don't know what will...
A few hours after the article was published, I received a message with an interview request from Mike Woods at Radio France Internationale English Service. I was at a dinner meeting, so I excused myself to go outside. While standing on a street in Tokyo on my iPhone, the interview was recorded in a sound booth in France- a great example of using technology for good. The interview is HERE (3 min).
I
am so grateful to the AP and reporter Yuri Kageyama for helping to share
this brave young woman's story with the world.
Thank you all so very much for your support and encouragement.
I am extremely honoured to have screenings of my films in several countries this week!
On Wednesday (May 25) the Korean film festival DMZ DOCS is holding an encore screening of my film '-1287' (WEBSITE)
for "family month" (May) at 20:00 (INFO). I was honoured to receive
the First Prize in the Asian Competition at the 2015 edition of the
festival (STORY).
On Friday (May 27), my documentary 'Dying at Home' (WEBSITE), which was commissioned by NHK World, will be screened at 20:00 during a special event organized by NHK WORLD at the 2016 Nippon Connection Japanese Film Festival in Frankfurt, Germany (INFO). I have had the honour of attending two previous editions of Nippon Connection; in 2013 when I received the Nippon Visions Award for my film 'A2-B-C' (STORY) and in 2015 when I received the Audience Award for Best Feature Film for my film '-1287' (STORY).
And on Saturday (May 28), '-1287' will be screening in the touring section of the Taiwan International Ethnographic Film Festival (INFO) in Taoyuan. I was honoued to have my film 'A2-B-C' screened in the 2013 edition of TIEFF (STORY) and also to attend last year's main festival with '-1287' (STORY).
Thank you all so much for your encouragement and continued support of my work.
For each of the last four days, I have published a part of an interview I filmed with a brave, young woman from Fukushima about her diagnosis of thyroid cancer. Following are some details about the interview as well as some data for reference. Part 1 of the interview can be viewed by clicking the following link, while the entire four-part interview can be seen HERE.
This interview was filmed on February 12, 2016, in Fukushima Prefecture. The young woman was 15 at the time of the nuclear meltdown in Fukushima, and we are releasing this interview with her permission. She is one of the 166 Fukushima residents aged 18 or younger at the time of the nuclear disaster who has been diagnosed with or suspected of having thyroid cancer (as of February 2016).
Fukushima residents who were 18 years old or younger at the time of the nuclear accident have been asked to participate in the free and voluntary thyroid ultrasound examination which is part of the Fukushima Health Management Survey. However, 18.8% of this age group were not tested in the 1st round of testing.* The final results for the 2nd round of testing are not yet complete, however, every year the number of children participating in the official thyroid examinations is decreasing. In fact, the number of children who have not participated in the 2nd round of testing is currently 50.7%** For those young people aged 18-21 (as of April 1, 2014) and who were living in Fukushima at the time of the nuclear accident, 74.5% have not yet taken part in the voluntary thyroid ultrasound examination.**
This young woman’s reason for speaking out is to motivate the families of children who have not yet received the thyroid ultrasound examination to do so.
Below is a summary of the main points of the young woman’s story:
1) She often gets tired easily after undergoing surgery for thyroid cancer.
2) She sometimes feels emotionally unstable after the surgery.
3) She has no medical doctor with whom she can talk comfortably.
4) She does not want other Fukushima children/ adolescents to develop thyroid cancer.
5) She wants young residents in Fukushima to undergo regular thyroid checkups, so that thyroid cancer cases may be detected early.
6) She is anxious about the possible health implications on her future children.
In sharing her story about a topic which has become increasingly difficult to talk publicly about in Japan, she faces inherent risks which may include those to her work, community life and personal relationships, and I therefore ask that her privacy is respected. It is after careful consideration following the recording of this interview, I have decided her story should be released for the following reasons:
Points 1) and 2): Fukushima Medical University insists that thyroid cancer is not a disease that is deadly, and therefore residents in Fukushima do not have to worry even if they are diagnosed with thyroid cancer. However, this young woman’s story clearly demonstrates that the postoperative conditions of patients are not that simple. Post-operative patients are likely to experience various physical and emotional difficulties even after they have survived thyroid cancer.
Points 3): Doctors at Fukushima Medical University are not forming a comfortable relationship with the patients on whom they operate, which is a significant problem in terms of doctor-to-patient relationships. It is even more problematic when it is taken into account that most of the patients are young and therefore require intensive medical and emotional follow-up care.
Points 5): She is sending a strong message to young Fukushima residents that they should continue receiving regular thyroid checkups.
My hope is that her courageousness in speaking out will encourage others to do so as well.
May they never be forgotten.
May we all work together to support them.
And may this great tragedy never again be repeated.
Today I served as the MC for the Q&A following a screening of Fukushima: A Nuclear Story (WEBSITE) held at the Foreign Correspondents' Club of Japan (event INFO). It is always an honour to be asked by the FCCJ to serve in this capacity, particularly when the event is highlighting an issue related to Fukushima.
Fukushima: A Nuclear Story, which is narrated by Willem Dafoe and makes liberal use of Japanese-style animation, is described as "unique" at the top of the four pages of distributor-authored notes handed to attendees as they entered the screening. This is true both for the film and its writer/ star, Pia d'Emilia, an Italian journalist and 30-year resident of Japan.
with Pia d'Emilia during the pre-screening meeting
post-screening Q&A
A video of the Q&A has been posted to the FCCJ channel:
The highlight of the day was lunch in the FCCJ bar and a visit with friend and Chernobyl/ Fukushima researcher Tim Mousseau. Tim is based at the University of South Carolina and was in Japan this week to continue his research in Fukushima before moving on to Chernobyl the week after next (with a trip back to America in between!). We never know where in the world we are going to run into each other- we have bumped into each other at conferences in Japan, of course, but also in Singapore and Germany (twice!). I highly recommend reading At Chernobyl and Fukushima, radioactivity has seriously harmed wildlife, one of Tim's latest papers (HERE).
with Dr. Timothy Mousseau
Professor of Biological Sciences, University of South Carolina
Since shortly after the reunion three weeks ago of Mr. Hata and T (STORY), the son he had not seen in 30 years, Mr. Hata's health failed quickly. Traveling between Tokyo and Mr. Hata's home in Tohoku as much as possible, I spent a lot of time with him- sometimes filming, but often just being together. My role in Mr. Hata's life had already evolved from filmmaker to friend, and during the last week of his life, I became one of his caregivers as well, helping to bath and care for him.
On Friday, three weeks to the day of his reunion with T, Mr. Hata died. The updates and kind messages I received from the around the world are collected in a postscript HERE. The original story about Mr. Hata's reunion with T is HERE.
Only part of my relationship with Mr. Hata, his wife and their extended
family is documented in my photo series, but it is certainly a significant part. I
plan to write down and someday share about the rest, much of which I am
still processing.
