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What We Think

The Evolution of "Lost Neighborhoods: Japantown" (From Grant Request to Release)

Learn how our short film shifted from its original grand vision to a more focused documentary narrative.
July 19, 2024
The Evolution of "Lost Neighborhoods: Japantown" (From Grant Request to Release)

"Lost Neighborhoods: Japantown" began as an ambitious project detailed in a comprehensive grant proposal aimed at capturing the rich tapestry of Sacramento's historic Japantown through a variety of narratives and characters.

The envisioned documentary was set to explore the community through multiple lenses, featuring characters like a sumo wrestler, a Nisei soldier, and local business owners, depicted in vivid scenes ranging from daily life to significant historical events.

A screenshot of our original grant request from 2022

Initial Grand Vision

The grant proposal outlined a series that would deeply delve into the lives of Japantown's residents, showcasing the community's vibrancy through detailed character studies and extensive historical reenactments.

The planned documentary was intended to be rich with cinematic techniques, capturing everything from intimate interviews to dynamic aerial shots.

This broad approach aimed to create a multi-episode narrative, each segment adding depth and perspective to the historical and cultural fabric of Japantown.

Goodsides' Executive Producers reviewing the raw footage and fine-tuning the LN:J narrative.

Evolution to Focused Narrative

As the project moved from planning to execution, several factors necessitated a significant shift in approach.

Funding constraints and logistical challenges led to a more focused narrative, centering primarily on two main characters: Cory Umezu, the owner of Nisei Barber Shop—the last remaining business from the original Japantown—and Louis Easton, the CEO of Goodsides and the documentary's executive producer.

The revised documentary zeroes in on their personal and familial connections to the neighborhood, exploring themes of memory, loss, and cultural preservation.

Rough transcript pulled from the LN:J documentary using AI (not edited)

Contrast in Execution

The transcript from the final documentary highlights the intimate approach taken. Cory's narrative provides a personal view of the community's history and its impact on present-day identities. His story reflects a broader narrative of displacement and cultural erasure, common themes in many urban histories but made poignant through his personal connection to Japantown.

Similarly, Louis Easton's visit to the Manzanar War Relocation Center adds a layer of historical context, linking past injustices to the ongoing challenges faced by the community.

Louis Easton, Goodsides' CEO, pictured above at the Manzanar National Historic Site. Filming made possible by NPS permits.

Significance of the Transformation

This shift from a wide-ranging exploration to a focused personal narrative illustrates the adaptability necessary in documentary filmmaking.

It also highlights Goodsides' commitment to telling impactful stories, even when project scopes must be adjusted. The streamlined approach allowed for a deeper exploration of fewer topics, providing viewers with a more immersive understanding of the significant themes.

A Few Educational and Professional Takeaways

The evolution of "Lost Neighborhoods: Japantown" serves as an educational case for both filmmakers and audiences on the complexities of documentary production. It showcases the need for flexibility in narrative scope and project management, emphasizing that profound stories often come from deeply personal perspectives.

For professionals in the field, the project exemplifies how to maintain high-quality storytelling despite unforeseen adjustments, affirming Goodsides' reputation as a meticulous and passionate creator in the documentary space.

This transformation from the original comprehensive vision to the focused execution underlines the dynamic nature of documentary filmmaking, where the story's heart often finds its truest expression not in the breadth of its canvas but in the depth of its individual portraits.