The film “Ai Weiwei – Never Sorry”, the debut work of young documentary film maker Alison Klayman, was released in Germany June 14th, to be followed by a US premiere in July. Ai Weiwei, who is soon to be freed from house arrest, is long awaited in Berlin, where he will be able to take up his professorship at the Universität der Künste. Ai Weiwei made a rare video statement last Sunday at a special screening of the film in Basel, stating that his detention was a punishment for criticizing the authorities for the violation of human rights and freedom.
Sleek spoke to film maker Alison Klayman who had followed Ai Weiwei for three years. Her moving portrait captures moments of crises and difficult decision making, incorporates footage from Ai’s time in New York and from his childhood. Alongside conversations with longtime friends and colleagues, it also shows personal moments with his mother and with his 3 year old son with another woman. The film will be screened this Saturday at Martin Gropius Bau.
Sleek: How did you make initial contact with Ai Weiwei, and how difficult – or easy – was it to get him to agree to do the documentary?
Alison Klayman: The way I came to this story was very organic. When I graduated from college I wanted to travel abroad. I ended up in China and was inspired to stay for several years, hoping to explore and immerse and find stories to tell. I worked on learning the language and held various jobs until I got my journalist accreditation.
In 2008 I met Ai Weiwei because my roommate was working on an exhibition of his photographs for a local gallery, and she invited me to make a video to accompany the show. Those first few weeks of filming with Ai Weiwei were enough to be easily convinced that he was a charismatic and fascinating character and that I wanted to dig deeper into his story.
He liked the video I made which helped pave the way for building a trusting relationship. Plus, Ai Weiwei is someone who lives his life very openly, so I was lucky that once the project began, I had a lot of access. My challenge was to push deeper, to find the moments where I was the only camera in the room, where I was capturing something more personal than he normally shares.
In the film, Ai Weiwei comes across as fearless. He keeps a confrontational stance, also when the situation gets rather scary. Was it like that all them time? Were there moments of hesitation and uncertainty, too?
He is very savvy and well versed in the political landscape of China, therefore in his own way he is also very cautious. I remember he was calculating whether or not to show up outside Liu Xiaobo’s trial/sentencing in Beijing in December 2009. At first he thought it might be too flagrant a gesture and decided to stay away. In the end he made an appearance outside the courthouse to show his solidarity, but remained silent and gave no comment to the press who swarmed him. That was one instance where you could see how he calculates how to walk the fine political lines of dissent in China.
Were you with his family and colleagues during his arrest?
I was in New York during the arrest, which allowed me to continue working unhindered, and to speak out about his situation in the media. I was in regular contact with many of the staff in his studio, over Skype, email, g-chat, etc. It was a scary and dark time for everyone.
After his release, Ai Weiwei was hindered from talking to the press. Were you also not allowed to film anymore? Was he able to talk to you as a private person?
I was able to visit Ai Weiwei after he was released, but for safety concerns he was not comfortable filming any interviews. As a private person he spoke completely freely.
Ai Weiwei’s personal life gets more exposure than is usually shown or discussed. Was that something he wanted or did it develop this way organically?
I believe it was something I really pushed for or lucked into just by virtue of the fact that I was filming with him so often. For example, the very touching scene with his mother was captured through the good fortune of being around when she happened to visit unannounced one afternoon. Other scenes, like at his mother’s home with his son, were the result of me asking over a long period of time to have access to that kind of moment.
Were you at any point during the making of the film or after its release concerned about your own well-being?
I was often concerned for the safety of Ai Weiwei and the brave Chinese citizens who were similarly organizing and openly expressing themselves. They faced much greater risks than I did.
This was your debut documentary. What are you working on now – do you see yourself making more documentaries in the future?
I am very busy traveling with the film all over the world, and feel privileged to be sharing such an inspiring story with others and helping raise awareness about Ai Weiwei in advance of this summer, when we hope his bail conditions will be lifted. In my spare time I am developing new documentary ideas as well as a screenplay.
