Documentary showcases West Marin artist’s special trip to Japan

One day, during a vacation in Hawaii, West Marin artist Tom Killion told Chikara Motomura about a dream he had: to go study with a master printer in Japan and learn how to print by hand.

The woodblock print artist, known for his colorful landscapes of Marin, where he grew up, and other Northern California scenes, used a more modern method of printing his pieces, utilizing a German printing press and oil-based ink, deviating from the traditional method of printing by hand with watercolor ink that some of his Japanese artistic influences had done.

Around a year later, in 2018, Motomura, who was born and raised in Japan, joined Killion in Japan with his camera in hand, documenting their three-week journey in the country. During their visit, Killion studied with fifth-generation master printer Kenji Takenaka; they learned more about the history of printmaking; went to a papermaker that had been in business for 1,500 years; and visited the familiar haunts of one of Killion’s influences, the late Japanese artist Hokusai.

Motomura wore many hats during their time there, juggling being a one-man crew, camera operator and translator.

“Knowing Tom, and having his artwork at home, and being able to see how he created his art, and for myself, paying homage to Hokusai and being able to sort of trace his life and go to places where he went gave me the perfect stage for my own exploration of Japan in a way through this project,” said Motomura, who met Killion through their children, who were in the same class at the Marin Waldorf School.

The result, “Journey to Hokusai,” his first feature film, will be shown Feb. 6, 7, 8, 9 and 16 at the Lark Theater in Larkspur. Friday’s screening will include a Q&A with Motomura, and Monday’s screening will include a Q&A with Killion. Admission is $11 to $14. Get tickets and more information at larktheater.net.

“I’ve been in the United States almost two-thirds of my life, but still deep inside me there are such strong Japanese roots, and when I thought about making documentaries, I wanted to do something about Japan,” said the Corte Madera resident, whose next documentary, “Kinobu,” showed the ins and outs of a Michelin-starred restaurant of the same name in Kyoto, Japan.

“I’m very appreciative of Tom for letting me make this film. He really opened himself up. I felt like he didn’t notice that I had a camera and was filming him. He was just himself. During the production, we had such a good time, and that joyful part of him came out.”

While being the only crew member did have some limitations and put added pressure on him — one day during filming he lay on the floor in the studio full of adrenaline and with a ravaging headache — he felt there was a specialness that unfolded onscreen in his fly-on-the-wall approach.

“It’s more accessible in a way,” he said. “There’s no showiness to it. I’m just capturing what I had in front of me. I felt that we deepened our relationship.”

They still get together to catch up over Indian food in Marin.

As they went through the journey, Motomura began to notice some similarities between Killion and Hokusai and gain a deeper appreciation for Hokusai and his work.

“He is exceptional. He had his own vision. He just pursued it, no matter what everybody else said. He was such a prolific artist. Creating his artwork was like breathing to him,” said Motomura of the ukiyo-e painter and printmaker whose “The Great Wave off Kanagawa” is one of the most famous and recognizable works of art in the world.

“He was very critical of himself, but he used that as motivation; he just wanted to improve himself. Tom is like that too. He is crazy about his art. He wants to just continue to make art, and I bet he will be making it until he can’t lift his pen or Japanese carving tools.”

Motomura, who grew up flipping through his sister’s film magazines, didn’t dream of getting into the film industry.

After studying English literature for two years in college, he felt like he was “sinking” and needed something to change. So, Motomura, in his early 20s, took a leap of faith and went to New York City, where he lived for 10 years.

“Since I was an English literature major, I thought that by immersing myself in the United States, I could pick it up easier,” he said.

After doing restaurant work and other jobs, he got hired to work for a Japanese television production company in New York City and got his first taste of what it was like to be in the TV and film field — and he loved it.

“I worked my way up from production assistant all the way to being a director of the show. I felt like it just fit my personality. My wife moved to Hawaii first to go to school there, and then I followed her. I got into working at a local production company there that was producing some shows for a local television channel and documentaries, and in 1997, I moved to the Bay Area, where I was a principal collaborator on 14 independent films with Rob Nilsson. Even though I worked with Rob in the fiction world for over 10 years, I was always interested in documentaries,” said Motomura, whose latest project, “The Last Boatbuilder,” is underway.

Motomura and Killion have lightheartedly discussed going back to Japan — so maybe new adventures are on the horizon.

“‘Journey to Hokusai 2,'” said Motomura with a laugh.