The Volunteer
After being mistaken for the enemy by fellow U.S. forces during the Vietnam War, a Japanese-American veteran struggles to overcome his feelings of guilt and anger, find a sense of belonging, and reunite with the friend who saved his life.
Interview with Director David Brodie
Congratulations! Why did you make your film?
When I started interviewing Bruce, I had no idea what this film would be about, or that it would be a film at all. Bruce only said that he was worried that his memories, including those of injustices committed against him, would die when he did, rendering them meaningless. But he also felt compelled to preserve the miracles and friendships he experienced, as well as his surprisingly poignant perspective on life and relationships.
It wasn’t until after our first interviews that I understood the magnitude of what Bruce went through, and how unique and insightful the events of his life were. I’m so grateful that Bruce, along with his best friend, L.V., were brave enough to share their story with me and the world.
Imagine I’m a member of the audience. Why should I watch this film?
We’ve all seen countless portrayals of the Vietnam War, and we often think that there’s little to be learned by reconsidering it. But we haven’t heard enough from the Asian American community’s experience and perspective of that conflict. For Bruce, his own childhood and personal identity gave him a sort of immunity against the military’s training, which was intended to dehumanize the Vietnamese in the eyes of its soldiers. This meant that Bruce’s sense of compassion and empathy endured throughout his service, causing him deep psychological distress. But it also put Bruce in grave danger, as many of his fellow soldiers saw little difference between him and the enemy.
But the film is also about a beautiful, unlikely bond between Bruce and LV Hendking. They became best friends almost immediately after meeting each other, though neither could quite explain exactly why, which to me is the sure sign of a deep relationship. Despite their differences in background, they helped each other endure the war. And when other soldiers mistook Bruce for a member of the Viet Cong, it was LV who saved him. So while this film does explore a dark side of world history, it is also a celebration of friendships and the possibility of overcoming one’s demons and taking the risk of reconnecting.
How do personal and universal themes work in your film?
I once asked Bruce if he felt like he was part of history, having been born in an internment camp for Japanese Americans, and having served in the Vietnam War. He thought about it for a minute, then conceded that he was part of history, but didn’t really think about it that way. His life was just his life. And he’d learned important things along the way.
That’s what makes Bruce’s story so fascinating to me, that so many important ideas are dramatized by his personal experiences. The film grapples with difficult subjects, including the complexity of identity in America, the dual gift and burden of family, the exploitation of racial differences by the military, the horrors of war, and the endurance of friendship. But these ideas are explored in passing, as we follow Bruce’s efforts to reconnect with the man who saved his life, and to find a sense of belonging.
How have the script and film evolved over the course of their development?
When we started filming interviews, I didn’t know about Bruce and LV’s deep relationship, or the shocking incidents that bonded them forever, and certainly had no idea we would discuss themes of Asian American identity. The story evolved over three years, as Bruce and I had many, many conversations both on and off camera, and he slowly divulged more and more of his memories. We were editing throughout the process of filming, month by month incorporating new material into the assembly, and at one point the film expanded to a feature documentary, covering the full span of Bruce’s life. But eventually, with the help of editors, producers, and other trusted advisors, we realized that the story really needed to focus on Bruce and LV’s friendship, and let all other themes and incidents revolve around that gravitational center.
What type of feedback have you received so far?
Our most meaningful feedback has come from the subjects of the film and their friends and family. Watching Bruce tell his story onscreen has been very emotional for them, especially since he has since passed away, and some have remarked that they learned a great deal about Bruce that they didn’t know before. That has been extremely gratifying.
Audience reviews have been warm and very supportive. People have expressed deep admiration and sympathy for Bruce, as well as anger at what he endured.
Has the feedback surprised or challenged your point of view?
Because I was such good friends with Bruce, I was worried that my admiration and affection for him might cloud my judgment in making the film, causing me to overestimate how compelling his story was. And that was the case for initial assemblies of the film: people said it was falling flat, or felt overly long. It took a great deal of revising before the film resonated with an audience the way I hoped it would.
I did receive feedback from some audience members who were frustrated that the film did not seek to find the perpetrators of some of the crimes discussed in the film, and bring about justice.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I just want more people to hear Bruce’s story.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Currently, the film has no distribution, so we’d love to talk to anyone interested in helping us find it.
What type of impact and/or reception would you like this film to have?
I want people to feel as awed by Bruce’s ability to endure as I am, and to be moved by his friendship with LV. I feel so lucky to have met such incredible people, and want everyone to respect them as much as I do.
Would you like to add anything else?
This film is certainly not the first or most significant project to consider the experiences of Asian American soldiers in Vietnam, and owes a debt to the work of Karen L. Ishizuka, Robert A. Nakamura, and Judge Vincent Okamoto, among many others.
It’s important to me and the rest of the filmmaking team to assert that Bruce and all other participants in the project retain ownership and control of their stories. This is their film, and I’m grateful that they allowed me to be part of their effort to share their experiences and wisdom.
What other projects are the key creatives developing or working on now?
In addition to developing a directing project, I’m currently consulting on a feature documentary, as well as editing a short documentary.
Interview: May 2023
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
The Volunteer
After being mistaken for the enemy by fellow U.S. forces during the Vietnam War, a Japanese-American veteran struggles to overcome his feelings of guilt and anger, find a sense of belonging, and reunite with the friend who saved his life.
Length: 35:00
Director: David Brodie
Producer: Dina Ciccotello, David Brodie, Melissa Brodie
Writer: Bruce Nakashima & David Brodie
About the writer, director and producer:
DAVID BRODIE has worked in documentaries for the past 15 years, primarily as an editor, most recently cutting Selena Gomez: My Mind and Me. He won an Emmy for cutting Errol Morris’s short film Survivors, and edited the Oscar-nominated documentary The Witness: From the Balcony of Room 306, as well as Struggle: The Life and Lost Art of Szukalski. This is his first project as director; he was close friends with its subject, Bruce Nakashima.
BRUCE NAKASHIMA and David’s friendship began when David interviewed Bruce for a Subaru commercial, then delivered Meals on Wheels to him. They started going to lunch, where Bruce would talk about his life. This film developed from those conversations. Throughout the process, Bruce helped determine the shape, storytelling approach, and perspective of the film, and decided what elements would be kept private, making it clear that he owns his own story.
DINA CICCOTELLO has produced documentaries, commercials, and music videos, on both the production and post sides, and currently resides in Nashville.
CHRISTINE NAKASHIMA, the project’s Consulting Producer and Bruce’s sister, became involved after Bruce passed away, representing the interests of Bruce and his family, offering extensive background information, reviewing edits, and giving notes to help ensure that the film portrays its subject matter and individuals with honesty, integrity, and insight.
Key cast: Bruce Nakashima (himself), L.V. Hendking, Jr. (himself), Algene Hendking (herself)
Looking for: sales agents, distributors. film festival directors, journalists and buyers
Facebook: The Volunteer
Instagram: @davidbbrodie
Hashtags used: #volunteerdocumentary
Website: www.volunteerdocumentary.com
Other: IMDb
Funders: Self-Funded
Where can I watch it next and in the coming month?
Doc Edge Film Festival in New Zealand- Little Gems 2 Shorts Program
Mon 29 May 4PM - The Capitol Cinema, Auckland
Mon 12 Jun 4PM - The Roxy Cinema, Wellington