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Respond “Nanking” with humanity, respect, tears & applause (3) |
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09:01, July 25, 2007 |
Stories behind the film
Included in “Nanking” are real pictures, documents and notes, left by westerners, on the atrocities in Nanjing committed by Japanese troops during World War II. How did you acquire these materials? Are there any special stories behind the collection of this information?
Ted: We hired a team of 40 people, many who were specialists in historical research, for this film. These people went around the world and found information that was used in the film from China, Japan, Italy, Germany and the US. We now have collected the largest library of source material related to this time in history and I will donate these materials to my alma mater, Georgetown University.
Violet: We also visited the posterities of those missionaries witnessing the incident, in hopes of finding some pictures or letters. Every visit some kinds of feelings welled up in our heart. I still remember one visit to Doctor Wilson’s daughter, who found us several 8-millimeter films his father had left, which she herself didn’t know what it was about? Through great attempts, our assistant film producer Miss Dylan had rented a hand-operated projector in Los Angeles, and discovered the precious picture of Doctor Wilson embracing her daughter, from the films covered with dusts. At last this picture was used in “Nanking”. Miss Dylan was born in Nanjing. Affected by her mother, her family still retains the custom of making Wonton on the traditional Chinese Spring Festival.
What impressed me most were the ones as I interviewed the survivors of the Nanking Incident. The first day I called on Grandpa Jiang Genfu. It took a long time to find his home as the taxi driver didn’t hear of the place. Finally I found his house after half an hour of walk, which is beside a rubbish recycle bi. In his house, there is no electrical appliance, except one desk and a bed. With five or six layers of clothes, on a cold winter day, he told us his personal experience written in blood, tears welled up in his eyes, dignity on his face.
And Grandpa Wu Zhengxi. When I was about to leave at the end of an interview, he asked me how I would return to the hotel. After I told him “by taxi”, he said that would be too extravagant, and insisted on sending me to the bus stop and seeing me off. What a lovely Grandpa!
The film contains some interviews of Japanese soldiers who are still alive today. How did you find them and convince them to speak in public? What did they say about that period of history? Did they show any regret? Behind the scenes, what difficulties did you meet?
Ted: Our directors had great difficulty in finding people who would support our research efforts in Japan. Fortunately, after many attempts, they located some talented and brave people and also some Japanese peace activists who assisted us in our work. Many of the Japanese soldiers recollected their experiences in a matter-of-fact fashion. Very few showed true and sincere remorse of their actions.
Violet: What I want to add is, as an individual, I appreciate very much that these Japanese were courageous to step in front of the camera telling what they had done. Because of a different cultural background and the limited knowledge about the Japanese culture, I have no right to make any comment on their expressions and words before the camera. Whether they feel sorry or not, they are appreciated to speak out bravely and give us the other side of the war, which accounts much for us to know the history.
What your opinion on disaccord between the Japanese values on “victims” and “criminals”?
Ted: I have no opinion on the Japanese values. I believe in the basic goodness of all people and I am hopeful that the Japanese people will be able to see this film in theaters and on television.
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