INTERVIEW: Linda Hattendorf discusses "The Cats of Mirikitani"

Interviewed by Chris MaGee

In the summer of 2001 the lives of filmmaker Linda Hattendorf and artist Tsutomu “Jimmy” Mirikitani changed. As chronicled in her 2006 documentary “The Cats of Mirikitani” it was the bright, expressionistic drawings of cats that originally drew Hattendorf to the stooped figure in her New York neighbourhood; but it was the attack on the World Trade Center that changed the world at large that September that led her to shelter Jimmy in her small apartment where this chance acquaintance would turn into a remarkable friendship. From Jimmy she would learn about the history of the Japanese internment during WW2 and how it led a bright, idealistic artist to a life on the street; and he, through Hattendorf’s help would find the closure and peace that had eluded him for decades.

I had reviewed “The Cats of Mirikitani” after seeing it in Toronto at the Japanese Canadian Cultural Centre last May (you can read the full review here: http://jfilmpowwow.blogspot.com/2008/05/review-cats-of-mirikitani-linda.html) and come year end it topped my list of favorite films for 2007, so it was with great pleasure that I had a chance to talk with director Linda Hattendorf about the genesis of the film, how she thinks it fits in with other documentaries about the war, and how its success has changed both her own and Jimmy’s life.

CM: Your background in filmmaking is quite diverse: editing, camera work, research person. Had your intention always been to move from these to directing?

LH: I enjoy all aspects of filmmaking. Working as an editor for many years gave me new insights into camerawork; working as a researcher gave me insights into editing, and all these things prepared me to begin to direct. Becoming a director was just the next logical step -- putting it all together. I was fortunate to find a very talented team to collaborate with -- Co-Producer Masa Yoshikawa, Editor Keiko Deguchi, Composer Joel Goodman, and Researcher Chris Cliadakis.

CM: What did you think when you first met Jimmy? Before you started to film him did you have any inkling about his past? He seemed very up front with his patrons about his interment at Tule Lake. Was he the same with you?

LH: When I first saw Jimmy on a street corner in my neighborhood, I knew nothing about him. He was just this tiny elderly figure wrapped in so many coats, hats and blankets that I could barely see his face. It was January, extremely cold, and he was sitting outside calmly drawing pictures of cats. I was curious, and concerned -- and I like cats -- so I took a chance and struck up a conversation. He gave me a drawing and asked me to take a photograph of it for him. I returned the next day with a video camera and asked if he could tell me more about the stories in his drawings. He had lots of stories to tell, and wanted to tell them. I began to visit daily, always bringing the camera. If I came without the camera, he would scold me and remind me to be sure to bring it next time. It wasn't long before he showed me drawings of the bombing of Hiroshima and also a camp called Tule Lake. At first his stories tumbled out in a jumble and it took me awhile to make sense of them. Like most Americans I knew little about what had happened to Japanese Americans in this country during WWII. Jimmy educated me through these pictures of his experience, pictures of things we don't see in mainstream media. He was very open and very angry. He wanted to be sure this history was not forgotten.

CM: How long after the initial shock of September 11th did the filmmaker in you realize what a compelling story was taking form? The similarities between what occurred after the attacks on Pearl Harbour to Japanese-Americans and the prejudice that American Muslims faced after the attacks on the World Trade Center and the Pentagon were truly startling and quite scary.

LH: At first, my main concern was simply how to care for Jimmy in the chaos that followed 9/11. We just focused on daily life, making supper, listening to the news and so on. No matter what was happening, he kept drawing. So I just kept shooting, not really knowing where the film was going. It wasn't long before we saw things like "nuke 'em" scrawled across a car window and heard reports of bias attacks on the news. CNN was running archival footage of Pearl Harbor and Japanese Americans being herded into desolate camps. The parallels were horribly obvious early on.

When I started the film in January 2001, I simply wanted to explore the link between losing your home in such a profound way in the past -- through the camps and the bomb -- and winding up homeless 60 years later. I thought that was the story I was telling. 9/11 just deepened that story, gave it a painful resonance.

CM: Had you harboured an interest in the Japanese-American experience or Japanese culture prior to meeting Jimmy?

LH: Aside from enjoying the many great sushi restaurants in New York, I can't say that I knew a lot about Japan or the Japanese American experience prior to hanging out with Jimmy Mirikitani. He taught me a lot.

CM: Since September 11th there have been many documentaries made about the attacks and the subsequent war in Afghanistan and Iraq (Fahrenheit 911, Loose Change, Iraq in Fragments, etc.) How do you think "The Cats of Mirikitani" fits in with these, or do you feel your film is of an entirely different breed?

LH: Well, there is certainly room for plenty of films on this subject. I hope my film helps people to feel history. To truly understand on an emotional level the lasting trauma of war and discrimination and the healing power of community and art -- by connecting with the story of the life of this one man.

CM: In the film we see the miraculous changes that took place in Jimmy's life (thanks in no small part to your efforts). How, though, has both knowing Jimmy and the success of the film changed your life?

LH: Well, despite the film's success, I'm still living in the same tiny one-room apartment. But seriously... I learned so much from Jimmy. He not only taught me about a hidden history of my own country, but was also a real inspiration as a fellow artist. I think art is what helped him survive so many traumas in his life. He showed such strength and determination, always making art no matter what. After 9/11 especially, this was a good example for me. That was a scary time, and a time when many artists questioned whether what we did mattered. From Jimmy I've seen how art can transcend all kinds of boundaries, help us connect. For me that's what it's all about. Traveling around the world with the film has been amazing primarily because of all the wonderful people I've met. The fact that people in so many diverse cultures can connect to the story, all crying and laughing in the same spots, if a real affirmation to me that we are all one family at heart.

CM: What's next for you? Do you have any plans to explore the issue of the Japanese interment further, or is it time to move on?

LH: There are still so many stories to be told about the internment; I have attended 3 pilgrimages to Tule Lake and continue to meet people all over the country whose lives were forever altered by that experience. I am especially haunted by the little-known history of those who renounced their US citizenship in camp. The government termed them "native american aliens". It took 20 years for one ACLU lawyer, Wayne Collins, to convince the courts that their citizenship had been lost under duress. There is very little written about this, aside from a chapter in "Years of Infamy" and a couple other books.

But my next film project will deal with peace. We know a lot about the history of war, but seldom learn about a history of peaceful societies in the ancient or contemporary world. I've met people all around the world who want to take a peaceful path together, who are hungry for a little hope. I want to show what peace looks like, develop a language for talking about it.

CM: Lastly, and I'm sure you're asked this constantly, how's Jimmy doing?

LH: Jimmy is doing great! He will celebrate his 88th birthday in June. He is still in his own apartment, and now has his own cat. She likes to watch nature shows and samurai movies. I still visit him weekly and he introduces me to people as his granddaughter. In 2006 Jimmy had his first one man exhibition at the Wing Luke Asian Museum in Seattle and that show is now traveling to other institutions. The exhibit was curated by artist Roger Shimomura, who is also in the film. (For more info on Roger see his website: http://www.rshim.com/) Last summer, Masa Yoshikawa and I took Jimmy back to visit Hiroshima for the August 6 Peace Memorial. It was an incredibly powerful moment for us all.

Although Jimmy does not use a computer and usually doesn't even want to be bothered with answering his phone, we do have a website set up so that people can write to him. I print the emails and read them to Jimmy weekly. the website is http://www.thecatsofmirikitani.com/.

“The Cats of Mirikitani”, winner of the Audience Award at the 2006 Tribeca Film Festival, is now available on DVD through Hart Sharp Video and Amazon.com.