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Friends of Uncle Ho > Approach
Structure & Visual Approach
FRIENDS OF UNCLE HO, in keeping with the multicultural views of the diverse crowd that knew him, will be a multi-layered film. Readings from various letters, poems, and letters written by Uncle Ho will provide the film’s connecting thread and the “personal” strand of the film. These relevant readings will occur during and in between the interviews with people who knew Uncle Ho. Also, the readings will be supported visually by accompanying historical and essayistic documents (8 mm film, drawings done by Uncle Ho, photographs and short excerpts from newsreels depicting the times).
This ‘personal’ approach will be highlighted throughout the film with continuous anecdotes and other stories told by friends. By contrasting some of these stories with expressive scenes from archival footage, an even stronger reality of what Uncle Ho was up against should be able to be depicted. Much of Uncle Ho’s early environment was very full of stark visual contrast of the Caucasian in wealth and power side by side with the impoverished Asian.
FRIENDS OF UNCLE HO will not merely be an “interview film” full of talking heads. Prior to shooting the interviews in Vietnam, China, the U.S., England, Russia, and France, we will do a complete inventory of all available archival footage. We want to depict his friends in a way so as to take the most advantage of the archival material. This material should provide a historical underlining and continuity of what was happening in the world as those interviewed describe moments between them and Uncle Ho.
This will not be a critical and analytical look at Uncle Ho but rather a film designed to help allow us to comprehend him more fully. The tone of the film will not be didactic but evocative, allowing the viewer to interpret who Uncle Ho really was. It will be a kaleidoscope of stores and viewpoints, with a panorama of emotion ranging from humorous to tragic, infuriating to sad, ironic to amusing.