24fps Talks To Eli Akira Kaufman

The name Eli Akira Kaufman alone speaks to the unique ethnic and cultural identity of this intelligent and insightful young artist. In his own words: “I have a personal stake in both the Japanese and Jewish traditions of my identity, yet I do not belong to either.” This complex dynamic fuels his artistic fire—being both an insider and an outsider to these worlds “defines the sense of freedom and feeling of dislocation” in his films.

He also shares part of his birth name with a certain Japanese filmmaker. Given this, and the fact that his parents have always been passionate film lovers, it seems inevitable that Eli would find his place behind the camera. San Francisco born, he spent his first decade in Japan, Iran and Belgium where his parents taught in international schools. A graduate of Oberlin College, he is currently enrolled in the MFA directing program at the UCLA School of Theatre, Film and Television.

Kaufman has interned as the personal assistant to Mark and Michael Polish (“Twin Falls Idaho”) as an IFP/West Project: Involve Honoree on their third film, “Northfork.” He is the recipient of several student filmmaker awards including The Jim Morrison Prize for Directing; The Caucus for Television Producers, Writers & Directors Foundation Production Grant; and The Alfred P. Sloan Award for his thesis film script “California King,” currently in postproduction.

Just as the Akira (Kurosowa) of his namesake, this young artist instills his lyrical work with a deep humanism and compassion for his characters. Eli’s acclaimed short film “Winning the Peace” is a unique take on the war in Iraq, viewed through the perspective of an Iraqi-American soldier whose desire to do the right thing collides tragically with the reality of war. It was funded in part by Showtime Networks Inc. as a part of a special series of student films titled “Images of War in the 21st Century.” It was recently screened on the Sundance Film Festival’s Best of Angelus Awards program.

We caught up with Eli via phone from Santa Monica where we interrupted his afternoon of bike-shopping with his girlfriend. He was gracious enough to sit down and take the time to talk about his life, his work, and the war in Iraq.

EAK is Eli Akira Kaufman. Eli currently resides in Santa Monica, California. He is finishing his MFA at UCLA, teaches high school English and a film elective at the Wildwood School and co-hosts a cinema series at Antelope Valley College where he is an adjunct professor of film. “Winning the Peace” was the Bronze Medal Winner of our 2005 WESTfest (now 24fps) short film + video Festival. The film was also awarded citations for Best Editing (Harry Yoon and Maury Duchamp), Best Original Score (Lee Curreri) and Best Actor (Don Haney).

24fps is Barry Smoot. Barry is the Artistic Director of the Historic Paramount Theatre, Inc. and the founder of 24fps short film + video Festival, a juried competition which is now in its eighth year.

24fps: First of all thank you for submitting “Winning the Peace” to our competition. It is a very powerful short film.

EAK: Thank you for having the film. I’m glad it was so well received.

24fps: I’ve read a quote from you relating to your background and upbringing in which you describe your family as “nonmilitary, peace-loving, tree huggers.”

EAK: (laughs) That’s very accurate.

24fps: When the opportunity came to enter the Showtime competition how did you approach the project knowing that it must deal with the subject of war?

EAK: First of all, I knew I didn’t want the film to be an anti-war polemic. I respect and admire the men and women in our armed forces. Regardless of our politics we have to recognize that sacrifice.

24fps: But you are opposed to our participation in the conflict in the Middle East?

EAK: Yes I am. I am against this war and the next war in Iran, or anywhere else for that matter, that sends men and women off to fight overseas.

24fps: Is that a blanket statement?

EAK: I believe the cost of violence outweighs any benefit that could possibly result from using force to accomplish even the most worthy objective.

24fps: No matter what the circumstance?

EAK: I am not one of those staunch pacifists that can’t imagine certain circumstances in which a nation must defend itself. But our current involvement in the Middle East has never been about defending America. At best it is misplaced retribution for 9/11, at worst defending the industrial military complex.

24fps: So how did you make the jump from these hard-line views to your short film, which has managed to engage both sides of the argument?

EAK: I am most interested in the human cost of war and how it affects real people and their families. On a personal note, I wanted to contemporize, or at the least show the similarity between what is going on for Iraqi Americans today and what happened to the Japanese Americans in my family during WWII. My mother was born at Manzanar Internment Camp.

24fps: Your grandparents were interred after Pearl Harbor?

EAK: Yes. And at the same time my grandfather was “asked” to join the 442 to fight for the very rights and freedoms that his family was denied.

24fps: So the parallel is the cloud of suspicion under which Arab Americans live in post 9/11?

EAK: As we speak Arab American immigrant patriots are fighting in our armed forces while their families live under a dark cloud of distrust and suspicion here at home.

24fps: For me the most powerful thing about “Winning the Peace” is how it does push politics aside.

EAK: It doesn’t tell you what to think. That was the whole idea.

24fps: I think the most powerful war films I have seen focus on the humanity and sacrifice of those in the conflict, not the conflict itself. “The Thin Red Line” is such a beautiful example of this.

EAK: I think it is the best evocative war film ever made. It gets better with each viewing.

24fps: I am a huge fan of (Director Terrence) Malik. He has a singular vision and cannot be deterred from it.

EAK: I agree. “The Thin Red Line” is powerful because it does not fall into the trap of spoon feeding audiences with some kind of moral agenda or bias. It simply shows the horror of war and its consequences to the human spirit.

24fps: It is also uncompromisingly real. Beautifully crafted and shot, but absolutely real. I got that same feeling when I watched “Winning the Peace.”

EAK: Thanks. I really have to give credit to my entire production team including my producers Kori Shadrick and Dena Hamama, editor Harry Yoon and cinematographer Eric Zimmerman for their uncompromising commitment to the look and feel of the project. We really wanted the film to be as authentic as possible in order to honor the people and places that inspired it.

24fps: Not an easy task. Where did you start?

EAK: I was lucky enough to have access to several marines stationed at Camp Pendleton in San Diego and they were very helpful. I listened to their stories about the conflict and about Desert Storm. They were a huge help during the script-writing phase.

24fps: Were they supportive when they learned what the story would be about?

EAK: Very much so. Even the veterans I spoke to were positive. They only had one request—that I not purposefully try to demonize the men and women fighting the war.

24fps: The film’s production design and locations seem very accurate. Not only did you re-create modern day Iraq, but you also had to put together a believable military unit, including vehicles and equipment. How did you overcome that difficult practicality?

EAK: It was a struggle. All of the uniforms and equipment were authentic, down to the 25-30 pound Kevlar bullet-proof vests the actors are wearing. So much of this ongoing conflict is televised. Images of the war are broadcast right into our homes. I wanted to pay careful attention to production design. Again, my access to the marines was key. They were very helpful.

24fps: Where was the film shot?

EAK: We shot up at Blue Cloud Ranch in Saugus, CA. It’s a movie ranch where a lot of TV and several films have been shot. You might recognize the Iraqi street exteriors from the TV show JAG. We were fortunate enough to have that location practically donated. We could never have afforded it otherwise.

24fps: Let’s talk about your new project. From what I understand it is a total departure from “Winning the Peace.”

EAK: In some ways it is. What I love most about film is that it is such a mutable medium. My basic philosophy or approach changes from project to project and is entirely dependent on the intention of the piece. This new project, “California King,” is about a mattress salesman who habitually “beds” the women who come to his showroom until he falls hopelessly in love with a cynical insomniac who doesn’t buy his “sales pitch.”

24fps: Totally different tone.

EAK: Yes. Clearly my approach to this anti-love, love story is entirely different. In this case, I want to capture the dizzy absurdity of falling head over heels for someone. It should be as magical as is it real and hopefully universally familiar, however bizarre.

24fps: It’s all about perspective.

EAK: Regardless of the genre, purpose, or intention of a film, I adopt whatever philosophy will best serve the story.

24fps: “California King” is your thesis project. I understand it has been partially funded by a grant from the Alfred P. Sloan Foundation. The APSF primarily funds projects with scientific viewpoints. How does this tale of a philandering mattress salesman qualify?

EAK: The film was inspired by Newton’s Laws of Motion.

24fps: Now we’re definitely in (Charlie) Kaufman territory.

EAK: (laughs) Yeah, right, another film great with whom I share a moniker. Basically the idea was to recognize how falling in love is philosophically a lot like how objects in our physical universe behave. The first is the Law of Inertia: “An object at rest tends to stay at rest and an object in motion tends to stay in motion unless acted upon by an outside force.”

24fps: So if a person is moving along, untouched by another human force, they will continue their current path.

EAK: Yes, and if a person is at rest, untouched by another person, they too will remain static or stuck. Building on this premise, Newton’s Second Law states that F=MA (Force= Mass times Acceleration) which is another way of saying that an object will change if it is pushed or pulled. In other words, our path is altered by our interactions with the people we meet.

24fps: And how much we are changed is directly related to the initial force of that meeting.

EAK: Absolutely. The third law states that for every force there is an equal and opposite force. In other words, you can’t touch without being touched in return. We not only effect the people we meet, but they have an equal and opposite effect on us too! “California King” is about a man in motion who collides with a woman at rest and how they change the course of each other’s lives.

24fps: Well I look forward to seeing it.

EAK: Me too. I just hope it works in practice as much as it works in theory.

24fps: You talked earlier to me about directors who have most influenced your perspective on the art form—Akira Kurosowa, Hal Hartley, Charlie Kaufman, Pedro Almodovar, Michele Gondry, Robert Altman, and Alexander Payne.

EAK: And the less recent work of the Coen brothers.

24fps: How have they influenced you?

EAK: I could go on and on about how these filmmakers inspire me. But if I had to come up with a single reason, it would have to be the wonderfully complex, highly flawed humanity of the characters that inhabit their work. I recognize myself, my hopes and fears in their films.

24fps: And “California King” has this sensibility?

EAK: Definitely. Once again it’s about a very flawed hyperactive salesman who meets and equally human, equally flawed hyper cautious insomniac.

24fps: Equal and opposite forces.

EAK: Exactly. A love story of Newtonian proportions.

24fps: And how is the project coming?

EAK: It’s currently in post production. I’m in the midst of coming up with a score with my composer, Lee Curreri.

24fps: I love Lee’s score for “Winning the Peace.”

EAK: As do I.

24fps: Let’s change direction a bit and talk about some of your other projects. I know that you have also earned quite a bit of respect in the theatrical community for your direction of several stage projects at UCLA. How has the theatre changed or influenced your work in film?

EAK: I participated in the Francis Ford Coppola One Act Play Festival at UCLA. In that program students from the school of film are selected to direct original works by UCLA playwrights. That whole process taught me how amazing the rehearsal process can be.

24fps: It is in some ways a very different world.

EAK: Well, sure. You can’t yell “Cut! Cut!” onstage and ask for another take. And in theatre there is more experimentation and play. That process really helps you discover the spine of your story. You can do the same thing on-set while filming but it is way more difficult.

24fps: The logistics of the filming process make that tough.

EAK: In film you often feel like a spectator. Theatre is more hands-on.

24fps: I know that you worked with Mark and Michael Polish on their feature film “Northfork.” What did you take away from that experience?

EAK: I was on the set for a month in Great Falls as the assistant to the Polish brothers. They really allowed me into their circle. I got to hang out by the monitor and watch them work.

24fps: Was it a difficult shoot?

EAK: Like all film experiences it had its good times and bad times. It is such detailed and tedious work and they are total visual stylists and perfectionists.

24fps: One of the things most young artists learn very quickly is that working in film takes such a commitment both in time and energy. It’s not as glamorous as it appears. It’s an exhausting process and you have to have the right people there beside you to see you through it.

EAK: The Polish brothers are very generous people and they have surrounded themselves with friends and family. Their father even helped build their sets. I learned a lot from watching them work. They even put me in the movie.

24fps: So now you’re an actor as well.

EAK: (laughs) Uh, yes. I play a gravedigger opposite Nick Nolte.

24fps: How does one prepare to play a gravedigger opposite Nolte?

EAK: They shaved my head.

24fps: Perfect. Let’s talk about UCLA for a bit now. How has your experience in that program changed or influenced your view of the film industry?

EAK: UCLA has been a fantastic environment to try things out. I was very fortunate to learn from some of the best teachers I’ve ever had—many of whom were classmates. I can only hope to be as lucky once I start working in the industry.

24fps: “Winning the Peace” is a very lyrical, moving film. It compresses a huge amount of emotional information into a lean, fluid line. You were able to shape this intense emotional line within the concise structure of the short film format. Shorts are tough to master because they must be so lean.

EAK: They are the most difficult.

24fps: What advice would you give to aspiring artists trying to wrestle with this form?

EAK: Less is more! And simple is better. The biggest challenge to making a good short is to capture your audience’s attention and imagination in next to no time without promising more than you can deliver.

24fps: So many shorts we receive for consideration for our festival are feature length stories seriously compacted into a 15 minute mass. It’s like Spielberg on crack.

EAK: Edit yourself. Be concise. A good short is next to impossible to make without hard work and the passion of a talented team. Find good collaborators who are better than you at their jobs and who understand your vision.

24fps: Find those people who share your vision.

EAK: Yes, and have faith in your own instincts. While filmmaking is collaborative, good films are not always made by consensus. More than anything, you must know what you are trying to say so that you can lead your cast and crew in the making of that vision.

24fps: Any advice for aspiring filmmakers out there who want to pursue their training in a formal film school?

EAK: Film school is a wonderfully grueling journey. Be prepared to give up a lot in order to pursue it.

24fps: Finally, let’s jump back to the socio-political fray for a bit if that’s alright.

EAK: Absolutely.

24fps: There is so much controversy surrounding Oliver Stone’s upcoming 9/11 film “World Trade Center.” What is your take on the dramatization of those events so soon (historically) after the fact?

EAK: I wish more people were making films, writing songs, novels and responding in general to what is happening in the world today. As far as I can tell there is no reasonable minimum time frame that people should wait after a historical event before it is “appropriate” to make an artistic response. In fact, I believe we dishonor those lost in such catastrophes if we fail to address them in our art as soon as possible so that their loss will not be forgotten.

24fps: With the Middle East crisis escalating, do you think there is a possible resolution?

EAK: My views remain the same as they did when I first made “Winning the Peace”—war under the best, most justifiable circumstances has long lasting repercussions that are often worse than whatever inspired an armed response in the first place. As far as finding a possible resolution, it seems to me that we can only do more damage by pursuing military action over there. It’s time to pull our armed forces out and seek alternative ways to stabilize the region by offering the very best of our humanity, intelligence and culture—not the worst.

Our conversation included:

Oberlin College:
http://www.oberlin.edu

The Caucus for Television Producers, Writers & Directors Foundation:
http://www.caucusfoundation.org

The UCLA School of Theatre, Television and Film:
http://www.tft.ucla.edu

The Polish Brothers’ “Northfork”:
http://www.paramountclassics.com
http://www.imdb.com/title/tt0322659

IFP West/Project Involve:
http://www.ifp.org

Blue Cloud Ranch:
http://www.veluzat.com

The Alfred P. Sloan Foundation:
http://www.sloan.org

Showtime:
http://www.sho.com

Lee Curreri:
http://www.leecurreri.com/leecurreri.html

Antelope Valley College Cinema Series:
http://www.aviff.com/csschedule.html

Wildwood School:
http://www.wildwood.org