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Festival Laurels

A NOTE FROM THE DIRECTORS


When we first heard about Wat, we, like everyone else we talk to, were amazed to find out that in 1947 he was the first person of color to be drafted into professional basketball -- and by our hometown team, the New York Knicks, to boot. On top of that, he was their first draft pick - ever. Why had we never heard of him? And how difficult must it have been for him, a young Japanese American man, to be a basketball hero in post-World War II America? To be honest, even with all of these thoughts, when we first began this project, we thought that we'd be lucky to have enough for a very short film. But the more we came to find out what an amazing man Wat is and how extraordinary his leadership and perseverance during that time period were, the more we were inspired by him and compelled to see his achievements acknowledged in what has ended up being an 86 minute feature documentary film.

Wat will tell you that he was just lucky to be on so many championship teams all the way through Junior High and High School to Junior College, Military leagues and the University of Utah (where he led the 1944 NCAA and 1947 NIT winning teams). We would argue that ultimately it was Wat's leadership and selfless team play that made those teams into championship teams. In fact, four out of five of the 1947 NIT championship team members returned the next year without Wat - but they could not come close to approaching the success they had had the year before.

Wat simply had that intangible quality that coaches look for and dream of in an athlete.

Basketball
 

In fact, Wat was such a charismatic athlete that, at a time when hostility against Japanese Americans was at its all time high, Knicks owner Ned Irish didn't think twice about the racial implications of having a Japanese American player on his team. The New York City fans were certainly ahead of their time in accepting him, too. During the 1947 NIT Championship Tournament at Madison Square Garden, Wat guarded and shut down Ralph Beard, All-American "Player of the Year" from Kentucky. And when Wat was not recognized in the selection of the MVP, the New York City crowds booed the choice.

Unfortunately, Wat's NBA career was a short one. He only played three games, scoring seven points. Though the baseball world had a plan firmly in place that year when integrating Jackie Robinson into their league, no one thought about the possible repercussions of having a Japanese American player in professional basketball. Who can say how his career might have turned out in a less politically charged time.

After being released from the Knicks, Wat was offered (but turned down) a spot with the Harlem Globetrotters, who at the time were considered to be the best team in the world. One more fact that speaks to Wat's amazing athleticism.

When we first started our research we were shocked and saddened to see that though the Basketball Hall of Fame had an entire case devoted to 'Diversity in the NBA", Wat was nowhere to be found. We are very proud to have recified that on August 7. 2009. It is our greatest hope that in sharing his story with the world, not only will the Knicks have an opportunity to celebrate the historic and courageous choice they made in drafting Wat, but that we will all be reminded that the human spirit is powerful and transcending, especially if you're lucky enough to be a guy like Wat Misaka.

Bruce Alan Johnson and Christine Toy Johnson - February 2009

THE FILMMAKERS


BruceBRUCE ALAN JOHNSON (Co-Director/Editor) directed the audience award-winning short film ALL AMERICAN EYES written by and starring his wife Christine Toy Johnson, and with a grant from the California Civil Liberties Public Education Program, has collaborated with her again to make a documentary about the first Asian American professional basketball player, Wat Misaka. His love of basketball, digital artistry and commitment to diversity and inclusion made this film a perfect fit for him. He has worked Off-Broadway as Production Stage Manager for FALSETTOLAND and the world premiere of VICTOR WOO and as a performer, on Broadway as "Joe Gillis" opposite Elaine Paige in SUNSET BLVD. Bruce was also the lighting designer for the "Asian Americans on Broadway" concert series at the Brava Theatre and Palace of Fine Arts in San Francisco and the Miller Outdoor Theatre in Houston. An award-winning photographer, he is the founder of Bruce Johnson Photography and Graphic Design, whose clients have included Oscar nominated and Tony and Grammy Award winning artists.

He is a graduate of the University of Iowa (film production). More about his work can be found at www.brucealanjohnson.com

ChristineCHRISTINE TOY JOHNSON (Co-director/Producer) is a playwright, actor and filmmaker. Her first play, THE NEW DEAL, was the inaugural play to be developed in the "Different Voices" program at the Roundabout Theatre Company, while its prequel, PAPER SON was recently added to the Mutli-cultural drama curriculum at the University of Michigan as well as the Playwriting curriculum at Wesleyan University. Other plays: THE PERFECT WIFE, INTERNAL BLEEDING, THE FAUX DESIGNER HANDBAG CAPER and "EVER SEE A FAT CHINESE?". Screenplays: NO WAVE WITHOUT WIND(with Charles Randolph-Wright), JUMPING THE THIRD RAIL, DULLY FOR PRESIDENT and OLD, FAT AND UGLY. Her short film about inadvertent discrimination, ALL AMERICAN EYES, (which she also starred in and produced) was the winner of the Audience Award at the Waves International Film Festival, and played the Hearts and Minds and New York International Film and Video Film Festivals. Awarded two consecutive grants from the California Civil Liberties Public Education Program, she produced and co-directed this documentary film with her husband, filmmaker Bruce Johnson.

As a performer, she has appeared extensively on Broadway, off-Broadway, in regional theatres across the country, in film, television, and concerts worldwide for over 25 years and is the recipient of a Boomerang Fund for Artists Grant Award in recognition of her acting and writing careers.

Christine is a graduate of Sarah Lawrence College and the Certificate of Screenwriting Program at NYU. She is part of the elected leadership of Actors' Equity Association, on the board of Alliance for Inclusion in the Arts, a member of the New Perspectives Theatre Company Women's Playwriting Lab, AEA, SAG, AFTRA, and The Dramatists Guild. For more, please visit www.christinetoyjohnson.com.