Filmmaker to Get Due at Asian American Fest

By Karen M. Kinney

While celebrating 25 years of progressive Asian filmmaking, The San Francisco International Asian American Film Festival has chosen to recognize a pioneer of Asian American cinema and a Richmond District resident, Spencer Nakasako.

Nakasako and his wife, Laureen Chew, have lived in the same house for almost 20 years. Rows of VHS tapes fill the entry way of the home, alongside Chinese heirlooms given to him by his wife's parents. The house is small and cozy.

Nakasako won an Emmy for Outstanding Informational or Cultural Programming with his break-out film "a.k.a. Don Bonus." It sits inconspicuously on a table next to several loosely stacked sets of papers.

Born in Monterey to second generation Japanese-Americans, Nakasako went to UC Berkeley and majored in Ethnic Studies. Standing a little over five-feet-five-inches tall and sporting a crew cut, a defining jaw line and showing more energy than someone half his 49 years, Nakasako said he did not know what he "wanted to do when he grew up."

"At the time, I wasn't driven to be anything in particular," said Nakasako. "I went to college because of two things. One, that's the next step, and two, neither of my parents went to college that was my motivation."

Nakasako credits his college experience for getting him caught up in the Asian American arts movement and setting the tone for his storytelling filmmaking style.

"When I was a senior, I stumbled across a story in my hometown about local fisherman fighting with Vietnamese boat people who wanted to share in Monterey's fishing industry. I took the idea of telling this story to my Ethnics Studies teacher, Loni Ding," Spencer said.

"Loni gave me a camcorder and other equipment and said there was no better way to learn than to just go and tell the story. I didn't have much experience but the Asian American art scene was flourishing. It was good timing."

Nakasako's "Monterey Boat People" (1982) went on to win several awards, including best picture at the U.S. Film and Video Festival, which is a pre-Sundance Film Festival national screening.

After graduation, Nakasako spent eight years in Hong Kong working on four films with acclaimed Asian director and producer Wayne Wang. He was assistant director of "Slam Dance" and screenwriter for "Life is Cheapbut Toilet Paper is Expensive."

"Working with Wayne is where I learned how to be a storyteller. He was collaborative with the actors and he could get to their nuances," Nakasako said. "He showed me through dramatic narratives how to incorporate drama in the documentary format."

Nakasako's best work has come from his belief that everyone has a story to tell and should have access to the media of video. In 1991, The Vietnamese Youth Development Center in San Francisco's Tenderloin District decided to harness this belief and offered him a "summer" position to train at-risk refugee youths. That summer gig turned into 15 years of video diaries, spawning a trilogy of award-winning films starting with "a.k.a Don Bonus," then "Kelly Loves Tony," and finally "Refugee" (2003), which chronicles the journey of Mike Siv, 30, a Cambodian refugee, as captured through Siv's camcorder.

Siv met Nakasako in 1981, at 15 years of age, during one of the workshops at the center.

"Spencer gave me the opportunity to see the whole aspect of filmmaking." Siv said. "He's taken a lot of time and effort to contribute to films for the community. I respect his vision and I wish I could make that kind of journey."

Paving the way for future filmmakers is just one of the reasons why the festival wishes to recognize Nakasako's work.

According to festival Director Chi-hui Wang, Nakasako values the community and subjects of his films while connecting them to the audience.

"He embodies the spirit of the festival, which is the idea of empowering people with movies that aren't in the mainstream and that mean something to the community." Wang said. "Because he's committed to working with young people, he has influenced and taught generations the art of filmmaking and his legacy thrives through everyone he's taught."

Nakasako's association with The San Francisco International Asian American Film Festival started back in 1981 when he watched his early mentor, Loni Ding, struggle to put together the organization. He's honored that hard work by premiering all his films at the festival.

"I'm loyal because I saw the work she put into it," he said. "Now, I have a strong connection and it means a lot to me."

Nakasako said he believes making films is a team effort and is quick to give others credit.

"It's hard to accept an individual award because there is an incredible amount of people who are helping you get where you want to go," Nakasako said. "I thrive on the collaboration. I don't like working by myself."

He also credits his success at filmmaking to learning through apprenticeships working with other people he respected.

"People like Michael Chin and Loni Ding were known for doing more than one thing. This period of time we were ambidexters and I learned through people who knew more than one craft," Nakasako said.

Currently Nakasako is in a transition, leaving the youth center to explore future possibilities. He wants to keep working with creative people and eventually showcase all the stories he has collected over the years.

"In making movies it has been about life-learning lessons. All the learning, experiences and relationships have kept me going and grounded," Nakasako said. "Building on experience helps me continue on."