WEBVTT

00:00:02.959 --> 00:00:04.125
Male narrator:
COMING UP,

00:00:04.167 --> 00:00:06.751
DOCUMENTARY FILMMAKERS
CONFRONT THE REALITIES

00:00:06.792 --> 00:00:08.958
OF THE GREAT DEPRESSION.

00:00:08.959 --> 00:00:10.667
- \"WHAT THE HELL IS GOING ON?

00:00:10.709 --> 00:00:13.250
WHY DO WE HAVE
THIS UNEMPLOYMENT?\"

00:00:13.292 --> 00:00:16.209
- WE WERE PUTTING THE BRITISH
WORKING MAN,

00:00:16.250 --> 00:00:18.751
THE BACKBONE OF THE COUNTRY,
ONTO THE STREET.

00:00:18.792 --> 00:00:22.292
- THAT IS, OF COURSE,
HALF THE JOB OF THE DOCUMENTARY.

00:00:22.334 --> 00:00:26.958
- THEY REALLY FELT IT WAS
THEIR JOB TO USE FILM

00:00:26.959 --> 00:00:28.958
TO HELP CHANGE THE WORLD.

00:00:28.959 --> 00:00:30.459
- ALL RIGHT,
STRIKE THEM UP.

00:00:32.125 --> 00:00:33.751
Narrator:
FUNDING FOR THIS PROGRAM

00:00:33.792 --> 00:00:34.958
HAS BEEN PROVIDED BY

00:00:34.959 --> 00:00:37.250
THE NATIONAL ENDOWMENT
FOR THE HUMANITIES.

00:00:37.292 --> 00:00:40.876
BECAUSE DEMOCRACY
DEMANDS WISDOM.

00:00:40.918 --> 00:00:42.501
BY AN AWARD

00:00:42.542 --> 00:00:44.958
FROM THE NATIONAL ENDOWMENT
FOR THE ARTS.

00:00:44.959 --> 00:00:46.876
ART WORKS.

00:00:46.918 --> 00:00:50.876
AND BY THE NATHAN CUMMINGS
FOUNDATION.

00:00:50.918 --> 00:00:52.083
[film projector whirring]

00:00:52.125 --> 00:00:53.959
- DO YOU WANT THE TRUTH?

00:00:57.375 --> 00:01:01.167
[film projector whirring]

00:01:01.209 --> 00:01:02.959
- WHAT IS A DOCUMENTARY?

00:01:05.584 --> 00:01:09.042
- ARE YOU REALLY ASKING ME
THIS [bleep] SILLY QUESTION?

00:01:09.083 --> 00:01:11.958
- IT\'S AS IF THE BEAM OF LIGHT
FROM THE PROJECTOR

00:01:11.959 --> 00:01:15.959
IS ACTUALLY TRANSPORTING YOU
INTO THE SCREEN ITSELF.

00:01:16.000 --> 00:01:17.792
[whooshing]

00:01:17.834 --> 00:01:20.958
[explosions]

00:01:20.959 --> 00:01:23.584
- MOST OF THE TIME,

00:01:23.626 --> 00:01:26.958
PEOPLE ARE IN MY FILM
BECAUSE THEY LIKE ME.

00:01:26.959 --> 00:01:28.958
- DAVID,
YOU LOOK ABSOLUTELY TERRIFIC.

00:01:28.959 --> 00:01:30.958
HONESTLY.

00:01:30.959 --> 00:01:34.459
- AND I TRY NOT TO BETRAY THAT.

00:01:34.501 --> 00:01:37.334
[cheers and applause]

00:01:37.375 --> 00:01:40.584
- THE TRUE ARTIST
HAS TO TELL THE TRUTH.

00:01:40.626 --> 00:01:43.709
IT\'S A CONSPIRACY
TO TELL THE TRUTH.

00:01:43.751 --> 00:01:44.958
- MEMBERS OF CONGRESS,

00:01:44.959 --> 00:01:47.792
I WOULD LIKE TO READ TO YOU
THE USA PATRIOT ACT.

00:01:47.834 --> 00:01:49.167
- I MEAN,
IT\'S RIDICULOUS.

00:01:49.209 --> 00:01:52.292
THAT THE CAMERA CANNOT TELL
THE WHOLE TRUTH.

00:01:52.334 --> 00:01:55.626
- IS THE FILM TRUE OR NOT TRUE?

00:01:55.667 --> 00:01:57.958
WE TRANSFORM THE TRUTH

00:01:57.959 --> 00:02:01.709
AS A WAY OF MAKE YOU UNDERSTAND
A LITTLE MORE DEEPLY.

00:02:05.959 --> 00:02:07.959
- CUT.

00:02:08.000 --> 00:02:12.834
[patriotic music]

00:02:12.876 --> 00:02:15.834
- THE HIGH, WIDE,
AND HANDSOME 1920s

00:02:15.876 --> 00:02:18.542
BROUGHT UNDREAMED OF PROSPERITY.

00:02:18.584 --> 00:02:21.958
THE THEN SECRETARY OF LABOR
DECLARED...

00:02:21.959 --> 00:02:27.417
- OUR WEALTH IS 40% OF
THE ENTIRE WEALTH OF THE EARTH.

00:02:27.459 --> 00:02:30.250
- HERBERT HOOVER,
IN THE ELECTION OF 1928,

00:02:30.292 --> 00:02:32.542
REALLY DID SAY
A \"CHICKEN IN EVERY POT.\"

00:02:32.584 --> 00:02:35.334
AND HE REALLY DID SAY
THAT THIS GENERATION

00:02:35.375 --> 00:02:37.959
IS GOING TO WIPE OUT POVERTY.

00:02:41.626 --> 00:02:44.417
SO THE DEPRESSION HIT AMERICA
PARTICULARLY HARD,

00:02:44.459 --> 00:02:46.918
BECAUSE MATERIAL PROGRESS
STOPPED.

00:02:46.959 --> 00:02:49.167
AND, IN FACT,
IT BEGAN TO LOOK IMPOSSIBLE.

00:02:49.209 --> 00:02:54.375
[dejected piano music]

00:02:54.417 --> 00:02:56.876
narrator: IN REACTION
TO THE ECONOMIC CATASTROPHE

00:02:56.918 --> 00:02:58.334
OF THE GREAT DEPRESSION,

00:02:58.375 --> 00:03:02.250
A YOUNG GENERATION OF FILMMAKERS
DEVELOPED A NEW FORM:

00:03:02.292 --> 00:03:04.958
THE SOCIAL DOCUMENTARY.

00:03:04.959 --> 00:03:07.751
- THERE WAS NO TELEVISION.

00:03:07.792 --> 00:03:11.334
NEWSREELS WERE COMPLETELY
DICTATED BY THE STUDIOS.

00:03:11.375 --> 00:03:13.292
THEY WERE KIND OF
ENTERTAINMENT NEWSREELS.

00:03:13.334 --> 00:03:16.958
THEY DIDN\'T HANDLE ANY KIND OF
REAL SOCIAL ISSUES.

00:03:16.959 --> 00:03:19.876
- THE PICK OF THE CROP LINE UP
FOR THE JUDGING SHARPS.

00:03:19.918 --> 00:03:21.584
- IT\'S 25 1/2...

00:03:21.626 --> 00:03:23.000
- 25 1/2.

00:03:23.042 --> 00:03:26.626
- GUARANTEED TO MAKE EVEN
THE FATTEST GIRL SHRINK.

00:03:26.667 --> 00:03:28.334
- THERE WAS NO WAY EVEN
TO GET PHOTOGRAPHS

00:03:28.375 --> 00:03:31.000
OF THE POVERTY
THAT WAS OUT THERE

00:03:31.042 --> 00:03:32.417
OR THE PICKET LINES.

00:03:32.459 --> 00:03:37.083
NONE OF THIS COULD GET OUT.

00:03:37.125 --> 00:03:38.834
PEOPLE COULDN\'T SEE THE NEWS.

00:03:38.876 --> 00:03:44.250
AND SO THERE WAS A NEED
TO RECORD THIS

00:03:44.292 --> 00:03:45.958
AND GET IT PUBLICIZED.

00:03:45.959 --> 00:03:49.958
AND INTO THAT BREACH
STEPPED THESE GROUPS

00:03:49.959 --> 00:03:52.083
CALLED THE WORKERS FILM
AND PHOTO LEAGUES.

00:03:52.125 --> 00:03:55.667
- THE FILM AND PHOTO LEAGUE,
WHEN I DISCOVERED IT,

00:03:55.709 --> 00:03:58.167
IT JUST SEEMED LIKE
A REMARKABLE INSTITUTION

00:03:58.209 --> 00:04:01.501
TO FIND PEOPLE LIKE MYSELF

00:04:01.542 --> 00:04:04.751
WHO WERE INTERESTED
IN USING FILM

00:04:04.792 --> 00:04:06.958
TO DEAL WITH THE REALITIES
OF THE WORLD.

00:04:06.959 --> 00:04:12.250
- IT WAS SET UP AS
A SOCIALLY AWARE ORGANIZATION,

00:04:12.292 --> 00:04:14.834
AND IT WAS SET UP PRIMARILY
IN CONTRAST

00:04:14.876 --> 00:04:16.959
OR IN OPPOSITION
TO HOLLYWOOD FILMS,

00:04:17.000 --> 00:04:19.334
WHICH WERE GIVING
THE WRONG IMPRESSION

00:04:19.375 --> 00:04:20.626
OF WHAT AMERICA IS LIKE,

00:04:20.667 --> 00:04:23.167
MORE FANTASY RATHER
THAN REALITY.

00:04:23.209 --> 00:04:25.000
All: ♪ OLD MAN DEPRESSION,
YOU ARE THROUGH ♪

00:04:25.042 --> 00:04:27.000
♪ YOU\'VE DONE US WRONG ♪

00:04:27.042 --> 00:04:29.709
- THE FILMS LEAGUE WAS CONCERNED
WITH EVICTIONS

00:04:29.751 --> 00:04:32.417
AND DEMONSTRATIONS
AND UNEMPLOYMENT

00:04:32.459 --> 00:04:36.542
AND THINGS THAT WERE RELEVANT
TO THE DEPRESSION.

00:04:36.584 --> 00:04:39.792
AND SOMEHOW I WAS INTERESTED
IN THOSE THINGS TOO.

00:04:39.834 --> 00:04:42.584
[morose music]

00:04:42.626 --> 00:04:45.542
- THERE ARE PEOPLE
WHO ARE SLEEPING ON PARK BENCHES

00:04:45.584 --> 00:04:47.125
IN UNION SQUARE.

00:04:47.167 --> 00:04:49.375
PHOTOGRAPH THEM
AND SHOW THEM.

00:04:49.417 --> 00:04:53.375
PHOTOGRAPH PEOPLE
ON BREAD LINES.

00:04:53.417 --> 00:04:55.209
PHOTOGRAPH THEIR FACES.

00:04:55.250 --> 00:04:58.876
- MY FATHER WAS A POOR KID
FROM BROOKLYN

00:04:58.918 --> 00:05:01.125
WHO WAS A REALLY GOOD STUDENT.

00:05:01.167 --> 00:05:04.751
AND HE MANAGED TO GET
A SCHOLARSHIP TO HARVARD.

00:05:04.792 --> 00:05:07.709
HE GOT THE ONLY SCHOLARSHIP
GIVEN IN NEW YORK

00:05:07.751 --> 00:05:09.501
TO HARVARD THAT YEAR.

00:05:09.542 --> 00:05:14.292
AND HE ARRIVED
AS A FRESH GRADUATE

00:05:14.334 --> 00:05:16.167
BACK TO THE STREETS
OF NEW YORK

00:05:16.209 --> 00:05:18.958
INTO THE DEPRESSION.

00:05:18.959 --> 00:05:23.751
- THIS WAS A TREMENDOUS SHOCK,
AND AS IT INCREASED,

00:05:23.792 --> 00:05:27.542
THE NUMBER OF UNEMPLOYED,
THE NUMBER OF HOMELESS,

00:05:27.584 --> 00:05:30.542
YOU WERE TUNED TO IT,
AND YOU...

00:05:30.584 --> 00:05:33.792
YOU COULDN\'T GET IT OUT
OF YOUR MIND.

00:05:33.834 --> 00:05:39.958
- ♪ I DON\'T WANT YOUR MILLIONS,
MISTER ♪

00:05:39.959 --> 00:05:46.417
♪ AND I DON\'T WANT
YOUR DIAMOND RINGS ♪

00:05:46.459 --> 00:05:52.667
♪ ALL I WANT IS FOOD
FOR MY BABIES ♪

00:05:52.709 --> 00:05:58.876
♪ GIVE TO ME MY OLD JOB BACK ♪

00:05:58.918 --> 00:06:01.292
- THESE ARE PEOPLE WHO HAVE BEEN
LIED TO A LOT,

00:06:01.334 --> 00:06:04.626
AND NEWSPAPERS ARE CONSTANTLY
PRINTING EDITORIALS

00:06:04.667 --> 00:06:07.000
TELLING THESE PEOPLE THAT
IT\'S THEIR FAULT.

00:06:07.042 --> 00:06:09.334
- I MYSELF WAS UNEMPLOYED.

00:06:09.375 --> 00:06:12.958
I WAS ALWAYS PUT DOWN AND FELT
THAT I WAS DEFICIENT.

00:06:12.959 --> 00:06:15.501
I SURVIVED BECAUSE, FORTUNATELY,
THE FILMS LEAGUE

00:06:15.542 --> 00:06:17.958
WAS IN THE SAME BUILDING
AS W.I.R.,

00:06:17.959 --> 00:06:19.958
WHICH WAS THE WORKERS
INTERNATIONAL

00:06:19.959 --> 00:06:21.918
RELIEF ORGANIZATION,

00:06:21.959 --> 00:06:24.083
WHICH WAS CONCERNED
WITH COLLECTING COATS

00:06:24.125 --> 00:06:27.958
AND MEDICAL HELP AND FOOD
FOR PEOPLE WHO WERE UNEMPLOYED.

00:06:27.959 --> 00:06:30.167
AND EVERY TIME I WAS HUNGRY
OR COLD,

00:06:30.209 --> 00:06:32.417
I WOULD GO DOWN IN THE CELLAR
AND FIND SOMETHING

00:06:32.459 --> 00:06:35.709
THAT I WOULD BE ABLE TO EAT
OR THINGS THAT...

00:06:35.751 --> 00:06:37.292
AN OVERCOAT THAT FIT ME.

00:06:37.334 --> 00:06:40.751
AND I REMEMBER SLEEPING
ON THE EDITING TABLE

00:06:40.792 --> 00:06:44.751
WRAPPED UP IN THE SHEET
THAT THEY USED AS A SCREEN.

00:06:44.792 --> 00:06:47.125
- THE PEOPLE WHO WERE
THE CAMERAMEN

00:06:47.167 --> 00:06:48.958
IN THE WORKERS FILM
AND PHOTO LEAGUE

00:06:48.959 --> 00:06:53.459
TALKED ABOUT THE IMPORTANCE
OF GETTING OUT THERE

00:06:53.501 --> 00:06:56.000
AND GETTING
THE IMMEDIATE MATERIAL.

00:06:56.042 --> 00:07:00.083
IMMEDIACY IS WHAT REALLY DEFINES
THE DOCUMENTARY,

00:07:00.125 --> 00:07:03.584
AND IT\'S REAL THINGS HAPPENING
IN FRONT OF THE CAMERA

00:07:03.626 --> 00:07:07.958
AND THE CAMERA REACTING
IMPROVISATIONALLY

00:07:07.959 --> 00:07:10.125
TO THE REAL THING.

00:07:10.167 --> 00:07:12.000
- YOU HAVE TO WIND IT UP,

00:07:12.042 --> 00:07:15.958
AND IT RUNS ABOUT 50 FEET
FOR REWINDING,

00:07:15.959 --> 00:07:17.584
AND THEN THERE\'S
A LITTLE BUTTON HERE.

00:07:17.626 --> 00:07:19.959
[camera whirring]

00:07:20.000 --> 00:07:21.959
MOST OF THE TIME,
I WAS RIGHT IN THE ACTION.

00:07:22.000 --> 00:07:25.667
THAT WAS THE UNIQUE ASPECT
OF THE FILMS THAT I SHOT.

00:07:25.709 --> 00:07:27.918
TO ME,
IT WAS QUITE A NORMAL ACTIVITY

00:07:27.959 --> 00:07:29.958
SEEING AS I WAS UNEMPLOYED.

00:07:29.959 --> 00:07:32.918
I JUST HAPPENED TO HAVE
A CAMERA.

00:07:32.959 --> 00:07:35.417
- LEO SELTZER GOT FOOTAGE
OF THE POLICE

00:07:35.459 --> 00:07:37.958
DRAGGING STRIKERS ALONG
AND BEATING THEM

00:07:37.959 --> 00:07:41.209
AS THEY WERE DRAGGING THEM.

00:07:41.250 --> 00:07:44.709
- AS A FILMMAKER,
I WAS IN THE MIDDLE.

00:07:44.751 --> 00:07:47.042
BOTH SIDES WERE ATTACKING ME.

00:07:47.083 --> 00:07:49.958
AND MY SYMPATHIES WERE NOT SO.

00:07:49.959 --> 00:07:52.876
MY SYMPATHIES WERE REALLY ON
ONE SIDE.

00:07:56.292 --> 00:07:59.042
- THIS WAS A HUMAN QUESTION.

00:07:59.083 --> 00:08:01.876
ONE COULDN\'T BE OBJECTIVE
ABOUT IT.

00:08:01.918 --> 00:08:04.375
IF YOU HAVE A CAMERA
IN YOUR HANDS,

00:08:04.417 --> 00:08:07.000
THEN YOUR CAMERA IS TO BE USED

00:08:07.042 --> 00:08:10.876
TO MAKE CLEAR THAT TRUTH.

00:08:13.959 --> 00:08:16.375
- THERE ARE A LOT
OF HOOVERVILLES,

00:08:16.417 --> 00:08:17.626
WHICH I TOOK PICTURES OF.

00:08:17.667 --> 00:08:20.709
I REMEMBER ONE HOOVERVILLE
IN PARTICULAR.

00:08:23.292 --> 00:08:27.250
AS I WAS PHOTOGRAPHING,
A TRUCK PULLED RIGHT INTO IT,

00:08:27.292 --> 00:08:29.125
AND THE DRIVER OF THE TRUCK
UNFOLDED IT,

00:08:29.167 --> 00:08:31.958
OPENED THE TRUCK,
AND IT WAS FULL OF BONES,

00:08:31.959 --> 00:08:33.709
OLD BONES,
WHICH HE STARTED THROWING OUT

00:08:33.751 --> 00:08:37.042
TO THESE UNEMPLOYED PEOPLE.

00:08:37.083 --> 00:08:39.042
AND HE SAID, \"THESE ARE
THE BONES THAT ARE LEFTOVER

00:08:39.083 --> 00:08:43.375
\"FROM WHEN THE ANIMALS ARE FED
IN CENTRAL PARK,

00:08:43.417 --> 00:08:46.417
\"AND I WAS SUPPOSED TO TAKE
THESE BONES OUT TO NEW JERSEY,

00:08:46.459 --> 00:08:48.959
\"WHERE THEY HAVE PIG FARMS,
AND FEED THEM TO THE PIGS.

00:08:50.959 --> 00:08:52.334
\"I DON\'T HAVE THE HEART
TO DO THAT.

00:08:52.375 --> 00:08:54.042
\"I KNOW THESE PEOPLE
HAVEN\'T EATEN,

00:08:54.083 --> 00:08:57.958
SO I GIVE THEM THE BONES.\"

00:08:57.959 --> 00:09:01.334
THE SOUP THAT WAS PREPARED
WAS MADE UP OF BONES

00:09:01.375 --> 00:09:03.167
THAT THEY GOT FROM THIS PERSON,

00:09:03.209 --> 00:09:06.959
SO THERE IS A SHOT
OF THAT SOUP BEING BOILED.

00:09:11.626 --> 00:09:15.958
- THIS WAS A TIME OF SOCIAL
FERMENT AND LEFT-WING IDEAS.

00:09:15.959 --> 00:09:17.626
- THERE WERE HUNGER MARCHES
TO ALBANY,

00:09:17.667 --> 00:09:22.667
HUNGER MARCHES TO WASHINGTON
FROM ALL OVER THE COUNTRY.

00:09:22.709 --> 00:09:25.959
- EVERYONE WHO COULD BREATHE
WAS GIVEN A CAMERA,

00:09:26.000 --> 00:09:29.626
SO EVERYONE BECAME A FILMMAKER.

00:09:29.667 --> 00:09:33.626
- WE WENT BY TRUCK
FROM CITY TO CITY,

00:09:33.667 --> 00:09:37.958
AND WE WERE CONSIDERED
VERY DANGEROUS PEOPLE.

00:09:37.959 --> 00:09:41.167
- THE ONLY PEOPLE WHO WERE DOING
ANYTHING ABOUT UNEMPLOYMENT

00:09:41.209 --> 00:09:43.167
ON A NATIONAL SCALE,

00:09:43.209 --> 00:09:45.751
THE ONLY PEOPLE WHO WERE
DEMANDING SOCIAL SECURITY

00:09:45.792 --> 00:09:46.876
ON A NATIONAL SCALE

00:09:46.918 --> 00:09:49.667
ABSOLUTELY WAS
THE COMMUNIST PARTY.

00:09:49.709 --> 00:09:53.918
- YOU HAD A VERY ACTIVE
AND VITAL COMMUNIST PARTY

00:09:53.959 --> 00:09:55.459
AT THE TIME,

00:09:55.501 --> 00:09:59.542
WHICH STIRRED UP PEOPLE
AND STIMULATED THEM

00:09:59.584 --> 00:10:03.834
TO DEMONSTRATE AND SAY,
\"WHAT THE HELL IS GOING ON?

00:10:03.876 --> 00:10:06.751
WHY DO WE HAVE
THIS UNEMPLOYMENT?\"

00:10:06.792 --> 00:10:09.209
- YOU LOOKED ABROAD
AND SAW RUSSIA,

00:10:09.250 --> 00:10:11.167
WHAT HAD JUST COME THROUGH
ITS REVOLUTION

00:10:11.209 --> 00:10:12.751
WITH A NEW GOVERNMENT.

00:10:12.792 --> 00:10:15.958
AND THE WORKERS WERE ALL BEING
CONCERNED ABOUT.

00:10:15.959 --> 00:10:19.083
LATER ON, WE FOUND OUT
IT WASN\'T SO, YOU SEE,

00:10:19.125 --> 00:10:21.792
BUT IT WAS VERY NATURAL
FOR PEOPLE TO SAY,

00:10:21.834 --> 00:10:22.959
\"WELL, GEE, RUSSIA\'S DOING IT.

00:10:23.000 --> 00:10:24.167
WHY DON\'T WE DO IT HERE?\"

00:10:24.209 --> 00:10:27.542
AND EVEN THOUGH A LOT OF PEOPLE
LIKE MYSELF

00:10:27.584 --> 00:10:29.834
MAY NOT HAVE BEEN
POLITICALLY MOTIVATED,

00:10:29.876 --> 00:10:33.250
THEY JOINED THE COMMUNIST PARTY
FOR THAT REASON.

00:10:33.292 --> 00:10:36.042
- AND LENIN WAS BRIGHT ENOUGH
TO KNOW

00:10:36.083 --> 00:10:38.125
THAT THE MOST IMPORTANT ART
IS FILM,

00:10:38.167 --> 00:10:41.459
BY WHICH HE MEANT THAT WITH FILM
YOU COULD REACH PEOPLE

00:10:41.501 --> 00:10:43.584
ON A VERY WIDE SCALE.

00:10:43.626 --> 00:10:45.584
- THEY DID AS MUCH
AUDIENCE-BUILDING AS THEY COULD.

00:10:45.626 --> 00:10:46.958
IT WASN\'T EASY.

00:10:46.959 --> 00:10:48.751
THEY DIDN\'T HAVE A LOT OF
RESOURCES TO DO THAT.

00:10:48.792 --> 00:10:50.712
- FILMS THAT THE FILM
AND PHOTO LEAGUE WOULD SHOW

00:10:50.751 --> 00:10:52.042
WOULD NEVER GET
IN THEATERS.

00:10:52.083 --> 00:10:53.958
THEY PROBABLY WOULD BE CENSORED.

00:10:53.959 --> 00:10:56.501
- THEY HAD FRIENDS IN COMMERCIAL
LABORATORIES IN NEW YORK,

00:10:56.542 --> 00:10:58.792
GOT THE FILM PROCESSED
AND EDITED THE FILM

00:10:58.834 --> 00:11:00.083
AND GOT IT BACK OUT
IN THE STREETS

00:11:00.125 --> 00:11:01.958
A COUPLE OF DAYS LATER.

00:11:01.959 --> 00:11:03.417
AND THEY SHOWED IT
IN UNION HALLS

00:11:03.459 --> 00:11:06.958
AND IN VARIOUS
FRATERNAL ORGANIZATIONS.

00:11:06.959 --> 00:11:09.292
ANYPLACE THEY COULD GET A HALL
OR GET A PLACE TO SHOW IT,

00:11:09.334 --> 00:11:10.792
THEY WOULD SHOW THESE FILMS.

00:11:10.834 --> 00:11:12.542
[train chugging]

00:11:12.584 --> 00:11:13.958
- I REMEMBER ONE OF
MY ASSIGNMENTS

00:11:13.959 --> 00:11:15.083
AS A FILM PHOTO LEAGUE MEMBER

00:11:15.125 --> 00:11:18.958
WAS TO TAKE THESE FILMS
OUT WEST.

00:11:18.959 --> 00:11:23.876
AND I WAS GOING TO SHOW
THESE FILMS TO FARMERS.

00:11:23.918 --> 00:11:25.542
I HAD A SPECIAL PROJECTOR
RIGGED UP

00:11:25.584 --> 00:11:27.292
THAT RAN OFF A CAR BATTERY,

00:11:27.334 --> 00:11:29.250
AND I WAS ABLE TO TURN IT
BY HAND.

00:11:29.292 --> 00:11:32.626
WE STRUNG A SHEET
BETWEEN TWO TREES,

00:11:32.667 --> 00:11:34.459
AND WE USED ONE OF
THE PORTABLE...

00:11:34.501 --> 00:11:36.958
SO-CALLED PORTABLE
35-MILLIMETER PROJECTORS.

00:11:36.959 --> 00:11:40.250
FOR THE FIRST TIME,
THESE FARMERS HAD AN IDEA

00:11:40.292 --> 00:11:42.042
THAT THE PEOPLE IN CITIES
WERE SUFFERING

00:11:42.083 --> 00:11:44.958
AS MUCH AS THEY WERE.

00:11:44.959 --> 00:11:46.709
AT THAT TIME,
PEOPLE IN THE CITIES

00:11:46.751 --> 00:11:50.000
THOUGHT FARMERS
HAD ALL THE FOOD.

00:11:50.042 --> 00:11:53.958
FARMERS THOUGHT PEOPLE
IN THE CITY HAD ALL THE MONEY.

00:11:53.959 --> 00:11:56.334
NEITHER HAD ANYTHING.

00:11:56.375 --> 00:11:58.958
AND THESE FILMS HELPED
TO KIND OF BRING ABOUT

00:11:58.959 --> 00:12:01.375
THE UNDERSTANDING OF
WHAT WAS WHAT.

00:12:01.417 --> 00:12:07.250
- THEY SAW THAT THE VERY FABRIC
OF THE SOCIETY WAS UNJUST

00:12:07.292 --> 00:12:13.000
AND THAT IT REQUIRED
CONSTANT STRUGGLE FOR JUSTICE.

00:12:20.083 --> 00:12:21.958
- THERE ARE FILMS ABOUT
THE BONUS MARCH.

00:12:21.959 --> 00:12:24.918
I DID MOST OF THE FILMING.

00:12:24.959 --> 00:12:28.958
VETERANS OF WORLD WAR I
WHO WERE PROMISED A BONUS

00:12:28.959 --> 00:12:32.042
AND WOULD BE PAID TO THEM
IN 1945.

00:12:32.083 --> 00:12:33.958
AND THEN THE DEPRESSION CAME,

00:12:33.959 --> 00:12:35.958
AND A LOT OF UNEMPLOYED
WERE FORMER VETERANS,

00:12:35.959 --> 00:12:37.834
AND THEY SAID,
\"PAY US OUR BONUS NOW.

00:12:37.876 --> 00:12:39.792
WE NEED IT.\"

00:12:39.834 --> 00:12:43.918
ABOUT 200 VETERANS HAD DECIDED
THEY WOULD MARCH TO WASHINGTON.

00:12:43.959 --> 00:12:45.375
BY THE TIME THEY GET
TO WASHINGTON,

00:12:45.417 --> 00:12:47.375
THERE WERE 22,000.

00:12:47.417 --> 00:12:50.125
THEY PICKED UP VETERANS
IN EVERY STATE.

00:12:51.959 --> 00:12:53.958
I\'D TAKE CLOSE-UPS OF FACES.

00:12:53.959 --> 00:12:57.709
I\'D TAKE CLOSE-UPS
OF PLACARDS.

00:12:59.083 --> 00:13:00.626
I\'D TAKE FEET.

00:13:00.667 --> 00:13:04.209
I\'D TAKE LONG SHOTS SHOWING
HOW BIG THE LINE OF MARCH.

00:13:04.250 --> 00:13:07.167
IT\'S A FILM THAT HAD
A POINT OF VIEW

00:13:07.209 --> 00:13:08.959
APART FROM JUST BEING A RECORD.

00:13:24.250 --> 00:13:26.501
- MACARTHUR, WHO DID SEE
THESE WORKERS

00:13:26.542 --> 00:13:27.792
AS DANGEROUS RADICALS,

00:13:27.834 --> 00:13:31.209
MOVED IN AND PUSHED THEM OUT
AND SHOT AT THEM.

00:13:31.250 --> 00:13:32.959
THESE ARE VETERANS OF THE WAR.

00:13:37.250 --> 00:13:40.042
NO ONE WANTS TO GIVE THEM
THEIR BONUS.

00:13:40.083 --> 00:13:42.000
EVEN IN THE MIDST
OF THE DEPRESSION,

00:13:42.042 --> 00:13:43.834
THERE ARE A LOT OF PEOPLE
WHO DON\'T THINK

00:13:43.876 --> 00:13:47.584
THAT PEOPLE OUGHT TO COME
AND GET THINGS FROM WASHINGTON.

00:13:49.959 --> 00:13:51.918
IT WAS A MOMENT OF DISGRACE
IN AMERICA.

00:13:51.959 --> 00:13:52.959
THE GOVERNMENT OVERREACTED

00:13:52.960 --> 00:13:55.000
AND TREATED THESE PEOPLE
ABOMINABLY...

00:13:55.042 --> 00:13:57.751
THAT THEY POSED NO THREAT
TO ANYONE.

00:14:01.542 --> 00:14:05.626
- THEY REALLY FELT LIKE
IT WAS THEIR JOB

00:14:05.667 --> 00:14:08.958
TO USE FILM TO HELP CHANGE
THE WORLD,

00:14:08.959 --> 00:14:11.209
AND THEY KNEW THAT THEY WERE
AT THE BEGINNING

00:14:11.250 --> 00:14:12.958
OF A MAJOR ART FORM.

00:14:12.959 --> 00:14:16.626
- HOW DO WE MOVE
THIS ORGANIZATION

00:14:16.667 --> 00:14:19.958
TOWARD A RICHER, FULLER,

00:14:19.959 --> 00:14:23.292
MORE FUNCTIONAL BASIS
DOING THE SAME THING

00:14:23.334 --> 00:14:24.626
BUT DOING IT WELL?

00:14:24.667 --> 00:14:26.958
- HE BEGINS TO FEEL,
ALONG WITH SEVERAL OTHERS,

00:14:26.959 --> 00:14:30.250
THAT THE WORK THAT\'S GOING ON
IS LIMITED.

00:14:30.292 --> 00:14:32.876
- THERE ARE A NUMBER OF FILM
AND PHOTOS LEAGUE MEMBERS

00:14:32.918 --> 00:14:36.958
WHO ARE UNHAPPY WITH COVERING
THINGS IN NEWSREEL STYLE.

00:14:36.959 --> 00:14:41.042
- THEY ARGUE BACK AND FORTH
HOW TO MAKE THIS NEW ART.

00:14:41.083 --> 00:14:43.167
AND WHAT ARE THE CHARACTERISTICS
OF IT?

00:14:43.209 --> 00:14:45.958
AND WHAT IS A WELL-MADE FILM?

00:14:45.959 --> 00:14:47.876
- THIS IS A MATTER...
WE NEED THIS KIND OF FILM.

00:14:47.918 --> 00:14:49.958
WE NEED THIS KIND OF FILMMAKER.

00:14:49.959 --> 00:14:52.958
SO WE\'LL HAVE TO DO IT
ON THE OUTSIDE.

00:14:52.959 --> 00:14:55.375
- THERE WAS A SPLIT
IN THE FILM IN PHOTO LEAGUE,

00:14:55.417 --> 00:14:58.167
AND HURWITZ, STRAND,
AND STEINER BEGAN TO WANT TO DO

00:14:58.209 --> 00:14:59.501
MORE ELABORATE EDITING.

00:14:59.542 --> 00:15:01.501
THEY WANTED TO WRITE SCENARIOS.

00:15:01.542 --> 00:15:03.876
THEY WANTED TO THINK ABOUT
THEIR SCRIPT AND SO ON.

00:15:03.918 --> 00:15:06.958
THEY WANTED TO TAKE TIME
TO MAKE GOOD FILMS.

00:15:06.959 --> 00:15:09.834
- TO ME, IT WAS QUITE
AN INTERESTING ORGANIZATION.

00:15:09.876 --> 00:15:10.958
I STAYED WITH IT.

00:15:10.959 --> 00:15:15.959
I STAYED AS LONG AS IT EXISTED
FROM 1931 TO 1934.

00:15:20.501 --> 00:15:23.375
Narrator: THE DETERMINATION
OF WORKERS FILM AND PHOTO LEAGUE

00:15:23.417 --> 00:15:26.958
MEMBERS TO DOCUMENT THE
PAINFUL TRUTHS OF THE DEPRESSION

00:15:26.959 --> 00:15:30.876
HELPED INSPIRE AMERICANS
TO DEMAND CHANGE.

00:15:36.584 --> 00:15:41.667
- THIS IS PREEMINENTLY THE TIME
TO SPEAK THE TRUTH,

00:15:41.709 --> 00:15:45.000
THE WHOLE TRUTH,
FRANKLY AND BOLDLY.

00:15:45.042 --> 00:15:50.626
THIS GREAT NATION WILL ENDURE
AS IT HAS ENDURED,

00:15:50.667 --> 00:15:53.958
WILL REVIVE AND WILL PROSPER.

00:15:53.959 --> 00:15:55.584
- THEY\'VE GOT THIS PRESIDENT NOW

00:15:55.626 --> 00:15:57.459
WHO TELLS THEM
IT\'S NOT THEIR FAULT.

00:15:57.501 --> 00:15:59.792
HE TELLS THEM THAT
\"WE FAILED YOU.

00:15:59.834 --> 00:16:01.125
\"THE INSTITUTIONS FAILED YOU.

00:16:01.167 --> 00:16:02.876
\"THE BANKERS FAILED YOU.

00:16:02.918 --> 00:16:04.501
\"AND WE\'RE GONNA HAVE TO
SET THAT RIGHT,

00:16:04.542 --> 00:16:05.958
\"AND WE NEED REFORM,

00:16:05.959 --> 00:16:07.958
AND WE NEED TO CHANGE THINGS
IN THIS COUNTRY.\"

00:16:07.959 --> 00:16:09.834
[peppy music]

00:16:09.876 --> 00:16:13.792
- WE HAD THIS DRAMATIC
EBULLIENCE AND HOPE...

00:16:13.834 --> 00:16:16.751
[whistle tooting]

00:16:16.792 --> 00:16:19.959
PEOPLE WITH ALL KINDS OF IDEAS
SUDDENLY ARRIVING

00:16:20.000 --> 00:16:23.000
AND YOUNGER PEOPLE.

00:16:23.042 --> 00:16:26.626
WHY DOESN\'T THE GOVERNMENT
ASK SOMEBODY TO PHOTOGRAPH

00:16:26.667 --> 00:16:28.958
THESE GREAT THINGS GOING ON?

00:16:28.959 --> 00:16:32.958
Narrator: THE WRITER
AND FILM CRITIC PARE LORENTZ

00:16:32.959 --> 00:16:35.417
PERSUADED ROOSEVELT\'S
RESETTLEMENT ADMINISTRATION

00:16:35.459 --> 00:16:37.459
TO FINANCE A FILM ABOUT CHANGES

00:16:37.501 --> 00:16:39.542
THE GOVERNMENT NEEDED
TO IMPLEMENT.

00:16:39.584 --> 00:16:44.167
- THIS WAS A MAN WHO WAS
AUTHENTICALLY CONCERNED

00:16:44.209 --> 00:16:47.959
WITH THE RAPE OF THE LAND.

00:16:48.959 --> 00:16:51.125
- MILLIONS OF ACRES OF LAND
BLOWING AWAY,

00:16:51.167 --> 00:16:54.958
AND THE YEARS OF NEGLECT,
I WOULDN\'T HAVE ANY ESTIMATE

00:16:54.959 --> 00:16:58.542
OF WHAT IT\'S COSTING US
FOR THE FUTURE.

00:16:58.584 --> 00:17:00.834
- HE WAS PROGRESSIVE
IN HIS VIEWS.

00:17:00.876 --> 00:17:03.584
HE BELIEVED IN WHAT ROOSEVELT
WAS DOING.

00:17:03.626 --> 00:17:06.918
SO HE THEN TURNED TO
THE RESETTLEMENT ADMINISTRATION

00:17:06.959 --> 00:17:09.709
AND PROPOSED THE DUST BOWL FILM.

00:17:09.751 --> 00:17:11.501
- I WAS A PROFESSIONAL WRITER.

00:17:11.542 --> 00:17:12.709
I WAS MAKING A LIVING,

00:17:12.751 --> 00:17:14.125
BUT I WANTED SOMEBODY
TO WRITE A MOVIE,

00:17:14.167 --> 00:17:15.958
SO I WROTE IT MYSELF.

00:17:15.959 --> 00:17:17.958
- AND HE WANTED TO MAKE
A GOOD FILM,

00:17:17.959 --> 00:17:21.918
SO HE DECIDED HE WOULD CHOOSE
THE BEST PEOPLE IN THE FIELD

00:17:21.959 --> 00:17:23.125
TO DO HIS CAMERA WORK.

00:17:23.167 --> 00:17:26.000
Narrator: TO ENSURE THE QUALITY
OF HIS FILM,

00:17:26.042 --> 00:17:30.626
LORENTZ TURNED TO VISUAL ARTISTS
MORE EXPERIENCED THAN HE,

00:17:30.667 --> 00:17:33.959
THE FILMMAKERS PAUL STRAND,
RALPH STEINER,

00:17:34.000 --> 00:17:35.334
AND LEO HURWITZ.

00:17:35.375 --> 00:17:38.292
- WELL, ARE WE INTERESTED
IN MAKING A FILM

00:17:38.334 --> 00:17:39.459
ON THE DUST STORMS?

00:17:39.501 --> 00:17:41.958
AND WE SAID,
\"WE\'RE VERY INTERESTED.\"

00:17:41.959 --> 00:17:45.834
SO BANGO,
OFF WE WENT.

00:17:45.876 --> 00:17:48.000
- LORENTZ WROTE
A SHOOTING SCRIPT

00:17:48.042 --> 00:17:50.667
WHICH WAS DELIVERED TO THEM
AS THEY GOT ON THE TRAIN.

00:17:50.709 --> 00:17:53.958
AND THEY FELT IT WAS
TOTALLY USELESS.

00:17:53.959 --> 00:17:55.501
- WE SEND A TELEGRAM:

00:17:55.542 --> 00:17:58.751
\"PARE,
CAN\'T UNDERSTAND YOUR SCRIPT.

00:17:58.792 --> 00:17:59.918
WHAT SHOULD WE DO?\"

00:18:03.792 --> 00:18:06.375
WE GET TO WYOMING, AND THERE,
THE PLAINS ARE RICH.

00:18:06.417 --> 00:18:10.375
AND WE GO OUT, AND WE PHOTOGRAPH
GRASS BLOWING IN THE WIND

00:18:10.417 --> 00:18:13.083
AND MILES OF GRASS.

00:18:16.542 --> 00:18:19.083
IT WAS ALL WONDERFUL STUFF THAT
YOU COULD DO WITHOUT A SCRIPT.

00:18:19.125 --> 00:18:21.167
AND THEN WHEN WE HAD SHOT
FOR THREE DAYS,

00:18:21.209 --> 00:18:23.417
WE SAID, \"NOW WHAT THE HELL
ARE WE GOING TO DO?\"

00:18:23.459 --> 00:18:27.959
- A TREELESS,
WINDSWEPT CONTINENT OF GRASS...

00:18:29.751 --> 00:18:33.709
WITHOUT RIVERS,
WITHOUT STREAMS,

00:18:33.751 --> 00:18:36.125
WITH LITTLE RAIN.

00:18:36.167 --> 00:18:38.417
- I SAT DOWN,
AND I WROTE A SCRIPT,

00:18:38.459 --> 00:18:39.959
AN OUTLINE FOR A SCRIPT,

00:18:40.000 --> 00:18:42.542
TALKED IT OVER WITH PAUL
AND WITH RALPH.

00:18:42.584 --> 00:18:45.209
- THEY ENDED UP IN DALHART,
TEXAS,

00:18:45.250 --> 00:18:46.792
WHERE THEY MET LORENTZ,

00:18:46.834 --> 00:18:48.958
AND LORENTZ LOOKED
AT THEIR SCRIPT

00:18:48.959 --> 00:18:52.042
AND EVIDENTLY WENT INTO A RAGE,
ABSOLUTELY FURIOUS.

00:18:52.083 --> 00:18:55.959
- IMMEDIATELY WAS HIT
WITH A WRITTEN OUTLINE BY...

00:18:56.000 --> 00:18:58.958
THAT HURWITZ HANDED ME

00:18:58.959 --> 00:19:02.958
SAYING THAT THEY DIDN\'T LIKE
WHAT I WAS GOING TO DO,

00:19:02.959 --> 00:19:07.250
THAT THE ACTUAL REASON
FOR OUR TRAGEDY

00:19:07.292 --> 00:19:09.167
WAS HUMAN GREED.

00:19:09.209 --> 00:19:12.751
- THEY WANTED TO ATTACK
THE CAPITALIST ENTERPRISES,

00:19:12.792 --> 00:19:14.958
THE WAY THE LAND WAS SETTLED,

00:19:14.959 --> 00:19:18.250
THE CATTLE INTERESTS
THAT HAD DESTROYED THE LAND.

00:19:18.292 --> 00:19:20.626
- WE HAD THE MANPOWER.

00:19:20.667 --> 00:19:22.958
WE INVENTED NEW MACHINERY.

00:19:22.959 --> 00:19:26.000
THE WORLD WAS OUR MARKET.

00:19:26.042 --> 00:19:29.958
- AND IT WASN\'T THAT LORENTZ
DIDN\'T IN SOME WAYS AGREE

00:19:29.959 --> 00:19:32.250
WITH THAT VISION,
BUT HIS STRESS...

00:19:32.292 --> 00:19:34.626
BOTH BECAUSE HE WAS MAKING
A FILM FOR THE GOVERNMENT

00:19:34.667 --> 00:19:37.209
AND BECAUSE OF HIS OWN VALUES...

00:19:37.250 --> 00:19:39.958
WAS ON WHAT IT LOOKED LIKE.

00:19:39.959 --> 00:19:44.542
HE WAS PROUD OF THE ENERGIES
OF AMERICA TO SOLVE SITUATIONS.

00:19:44.584 --> 00:19:46.292
HE HAD NO INTEREST
IN COMMUNISTS.

00:19:46.334 --> 00:19:49.542
HE WAS NOT FRIENDLY WITH THAT
FROM THE START.

00:19:49.584 --> 00:19:54.542
- SO BY THIS TIME, I THINK I WAS
A PERSONA NON GRATA,

00:19:54.584 --> 00:19:56.918
AND SO WAS PAUL
A PERSONA NON GRATA,

00:19:56.959 --> 00:20:00.584
BECAUSE STEINER WANTED
TO COMPROMISE ALL THE TIME

00:20:00.626 --> 00:20:03.918
AND BE NICE AND SOMEHOW SMILE
OUR WAY THROUGH THIS THING,

00:20:03.959 --> 00:20:06.125
BUT WE DIDN\'T FEEL WE COULD
SMILE OUR WAY THROUGH THIS THING

00:20:06.167 --> 00:20:07.501
AND MAKE A GOOD FILM.

00:20:07.542 --> 00:20:09.958
- THE CAMERA CREW
WAS REBELLIOUS,

00:20:09.959 --> 00:20:11.292
AND THEY WANTED TO DO IT
THEIR WAY,

00:20:11.334 --> 00:20:13.042
AND I WOULDN\'T HAVE IT.

00:20:13.083 --> 00:20:18.042
THESE TWO MEN WERE SURLY

00:20:18.083 --> 00:20:22.042
UPON MEETING AND REMAINED SURLY
TILL I FIRED THEM.

00:20:22.083 --> 00:20:23.876
- FROM TODAY\'S VANTAGE POINT,

00:20:23.918 --> 00:20:26.375
THE IDEA OF HIRING A CREW
AND HAVING THE CREW

00:20:26.417 --> 00:20:29.958
REWRITE THE FILM FOR YOU
IS UNHEARD OF.

00:20:29.959 --> 00:20:33.250
I MEAN, OF COURSE, YOU KNOW,
THE CREW REWRITES THE FILM,

00:20:33.292 --> 00:20:34.876
THE CREW GETS FIRED.

00:20:34.918 --> 00:20:36.876
I MEAN, THAT\'S... THAT\'S SIMPLE.

00:20:36.918 --> 00:20:41.334
[breezy orchestral music]

00:20:41.375 --> 00:20:44.626
- I MYSELF TRIED TO MAKE
THE FILM

00:20:44.667 --> 00:20:47.876
NOT TO TEACH BUT MORE OR LESS
AS A PIECE OF MUSIC.

00:20:47.918 --> 00:20:49.958
[upbeat music]

00:20:49.959 --> 00:20:53.958
I WAS INTERESTED IN TRYING
TO NOT ONLY SHOW OUR LAND

00:20:53.959 --> 00:20:57.250
BUT TO USE THE WORDS AND MUSIC
OF OUR PEOPLE

00:20:57.292 --> 00:21:00.542
WHAT EMOTION AND POWER
YOU COULD GET WITH TECHNIQUE.

00:21:00.584 --> 00:21:03.626
[dramatic orchestral music]

00:21:03.667 --> 00:21:11.667
♪ ♪

00:21:36.959 --> 00:21:38.626
- WE ALL CAN SHARE
THE LESSONS

00:21:38.667 --> 00:21:40.000
THE PLOW THAT BROKE THE PLAINS

00:21:40.042 --> 00:21:42.958
AND BROKE THE PLAINS IN BAD WAYS
AS WELL AS GOOD.

00:21:42.959 --> 00:21:47.417
[morose music]

00:21:47.459 --> 00:21:48.709
- ON TO THE WEST.

00:21:48.751 --> 00:21:51.751
- THE FILM ENDS ON
THE RESETTLEMENT ADMINISTRATION.

00:21:51.792 --> 00:21:54.125
THIS IS A ROOSEVELT PROGRAM.

00:21:54.167 --> 00:21:58.584
- A GREAT PART OF THIS VAST AREA
OF DAMAGED LAND CAN BE SAVED.

00:21:58.626 --> 00:22:01.083
- IT SAYS,
\"WE\'VE GOT A TERRIBLE PROBLEM.

00:22:01.125 --> 00:22:03.125
\"AMERICANS ARE GOOD
AT DESTROYING THINGS,

00:22:03.167 --> 00:22:05.542
\"BUT THEY\'RE ALSO GOOD AT
SOLVING THEIR PROBLEMS,

00:22:05.584 --> 00:22:09.626
\"AND HERE\'S THIS PROGRAM TO
SOLVE THE DUST BOWL SITUATION.

00:22:09.667 --> 00:22:13.584
AND IT\'S IN THE HANDS
OF A CAPABLE ADMINISTRATION.\"

00:22:15.417 --> 00:22:17.584
THE FILM WAS WIDELY DISTRIBUTED.

00:22:17.626 --> 00:22:20.334
IT WAS SHOWN ALL OVER
THE COUNTRY BY THE GOVERNMENT.

00:22:20.375 --> 00:22:23.417
- IT REALLY DID SOMETHING
VERY NEW FOR AMERICA.

00:22:23.459 --> 00:22:26.167
IT WAS A REAL DOCUMENTARY FILM.

00:22:26.209 --> 00:22:28.834
- THERE WAS A DUST BOWL
BEING CREATED.

00:22:28.876 --> 00:22:32.958
IT POSED A PROBLEM OF WHAT TO DO
ABOUT IT.

00:22:32.959 --> 00:22:35.709
IT TIED IN
WITH ROOSEVELT\'S ADMINISTRATION

00:22:35.751 --> 00:22:37.167
TO TRY TO DO SOMETHING
ABOUT IT,

00:22:37.209 --> 00:22:39.459
TO DEAL WITH THE ENVIRONMENT.

00:22:39.501 --> 00:22:44.918
SO IT HAD A...
A CORE OF SOMETHING VERY GOOD

00:22:44.959 --> 00:22:47.626
TO COME INTO THIS FILM WORLD,

00:22:47.667 --> 00:22:51.584
WHICH I WAS NOT
TOLERANT ENOUGH OF AT FIRST.

00:22:51.626 --> 00:22:55.334
LATER ON,
I REALIZED THAT TO BE THE CASE.

00:22:55.375 --> 00:22:56.709
- WELL,
WHILE YOU WERE MAKING IT,

00:22:56.751 --> 00:22:59.501
YOU MUST HAVE RUN INTO A LOT OF
SPECIAL PROBLEMS

00:22:59.542 --> 00:23:00.958
ON LOCATION AS WELL.

00:23:00.959 --> 00:23:05.000
- PRODUCTION PROBLEMS WERE MONEY
AND TIME,

00:23:05.042 --> 00:23:07.167
AS THEY ARE WITH ANY PRODUCTION.

00:23:07.209 --> 00:23:08.958
- HE WAS ALWAYS IN
MONEY TROUBLE.

00:23:08.959 --> 00:23:11.792
AND THERE WAS ALWAYS
JUST THESE CONSTANT TELEGRAMS

00:23:11.834 --> 00:23:14.209
GOING BACK AND FORTH,
YOU KNOW,

00:23:14.250 --> 00:23:16.751
AND HE WAS BAD ABOUT MONEY.

00:23:16.792 --> 00:23:18.375
[laughs]

00:23:18.417 --> 00:23:23.334
THE BOOKKEEPERS... THE DAMN
BOOKKEEPERS JUST DROVE HIM NUTS.

00:23:23.375 --> 00:23:27.958
AND THAT\'S THE WAY
THE GOVERNMENT HAS ALWAYS BEEN.

00:23:27.959 --> 00:23:30.083
Narrator: LORENTZ NEVER RECOUPED
FROM THE GOVERNMENT

00:23:30.125 --> 00:23:32.958
SOME OF THE PERSONAL FUNDS
HE USED TO COMPLETE

00:23:32.959 --> 00:23:34.667
THE PLOW THAT BROKE THE PLAINS.

00:23:34.709 --> 00:23:36.959
STILL, HE COULD NOT RESIST

00:23:37.000 --> 00:23:39.000
THE ROOSEVELT ADMINISTRATION\'S
CHALLENGE

00:23:39.042 --> 00:23:40.959
TO DIRECT ANOTHER FILM.

00:23:41.000 --> 00:23:44.167
- THIS STARTED WITH
THE MISSISSIPPI RIVER VALLEY

00:23:44.209 --> 00:23:45.751
COMMISSION REPORT.

00:23:45.792 --> 00:23:48.459
59% OF THE POPULATION
HAPPENS TO LIVE THERE,

00:23:48.501 --> 00:23:50.667
AND YOU START AT THE TOP OF
THE RIVER AND GO TO THE BOTTOM,

00:23:50.709 --> 00:23:53.000
YOU COULD REALLY MAKE A MOVIE.

00:23:53.042 --> 00:23:55.918
Narrator: LORENTZ\'S SECOND FILM
DEALT WITH THE CAUSES

00:23:55.959 --> 00:24:00.083
OF THE DEVASTATING FLOODS
IN THE MISSISSIPPI RIVER VALLEY.

00:24:00.125 --> 00:24:01.459
- THERE WERE TWO GREAT PROBLEMS.

00:24:01.501 --> 00:24:04.125
ONE OF THEM
WAS THE FLOOD ITSELF.

00:24:04.167 --> 00:24:07.958
THAT\'S THE RESULT OF MISUSE
OF LAND,

00:24:07.959 --> 00:24:09.958
AND WHAT ARE WE GONNA DO
ABOUT SOIL EROSION

00:24:09.959 --> 00:24:11.751
WHICH CONTRIBUTED TO IT.

00:24:11.792 --> 00:24:19.792
[dramatic music]

00:24:22.542 --> 00:24:26.667
- DOWN FROM MINNESOTA
2,500 MILES,

00:24:26.709 --> 00:24:29.667
THE MISSISSIPPI RIVER
RUNS TO THE GULF,

00:24:29.709 --> 00:24:31.042
CARRYING EVERY DROP OF WATER

00:24:31.083 --> 00:24:34.125
THAT FLOWS DOWN
2/3 THE CONTINENT.

00:24:34.167 --> 00:24:37.209
- FROM THE DROP OF WATER
FROM LAKE ITASCA,

00:24:37.250 --> 00:24:40.958
TO THE GULF OF MEXICO
WAS A NATURAL MOVIE

00:24:40.959 --> 00:24:42.959
PROCEEDING FROM TOP TO BOTTOM

00:24:43.000 --> 00:24:47.125
TO REALLY SHOW AMERICA
OUR GREAT VALLEY.

00:24:47.167 --> 00:24:48.667
- WHAT\'S IMPORTANT ALSO
IN THE RIVER

00:24:48.709 --> 00:24:51.250
IS THAT IT\'S A VERY
19TH-CENTURY SENSIBILITY.

00:24:51.292 --> 00:24:52.958
WHAT YOU SEE CONTINUES TO LIVE.

00:24:52.959 --> 00:24:53.959
IT\'S WHITMAN-ESQUE.

00:24:53.960 --> 00:24:55.417
IT\'S WALT WHITMAN.

00:24:55.459 --> 00:24:58.792
- DOWN THE JUDITH, THE GRAND,
THE OSAGE, AND THE PLATTE,

00:24:58.834 --> 00:25:01.958
THE SKUNK, THE SALT, THE BLACK,
AND MINNESOTA.

00:25:01.959 --> 00:25:04.876
DOWN THE ROCK, THE ILLINOIS,
AND THE KANKAKEE,

00:25:04.918 --> 00:25:07.834
THE ALLEGHENY, THE MONONGAHELA,
KANAWHA, AND MUSKINGUM.

00:25:07.876 --> 00:25:09.958
- THE LITANY OF THOSE SOUNDS,
OF THAT...

00:25:09.959 --> 00:25:12.083
HE JUST LOVES THE MANG-HANG.

00:25:12.125 --> 00:25:13.626
I CAN\'T EVEN SAY IT.

00:25:13.667 --> 00:25:16.417
HE\'S GOT ALL THESE GREAT RIVERS
YOU\'VE NEVER HEARD OF,

00:25:16.459 --> 00:25:18.209
AND HE TIES THEM TOGETHER.

00:25:18.250 --> 00:25:19.292
IT\'S GREAT.

00:25:19.334 --> 00:25:22.958
- DOWN FROM MINNESOTA
AND WISCONSIN.

00:25:22.959 --> 00:25:26.918
DOWN TO ST. PAUL,
DOWN TO ST. LOUIS AND ST. JOE,

00:25:26.959 --> 00:25:29.709
LUMBER FOR THE NEW CONTINENT
OF THE WEST,

00:25:29.751 --> 00:25:30.918
LUMBER FOR THE NEW MILLS.

00:25:30.959 --> 00:25:38.959
[drumroll]

00:25:39.667 --> 00:25:40.958
[cymbal crashing]

00:25:40.959 --> 00:25:48.959
[peppy horn music]

00:25:51.918 --> 00:25:55.083
[electric saw whirring
and grinding]

00:25:56.751 --> 00:25:59.958
- IT\'S A MOVIE ABOUT THE MIGHT
OF THE AMERICAN CONTINENT

00:25:59.959 --> 00:26:01.250
AND THE FAILURE.

00:26:01.292 --> 00:26:05.000
- WE LEFT THE MOUNTAINS AND
THE HILLS SLASHED AND BURNED

00:26:05.042 --> 00:26:08.417
AND MOVED ON.

00:26:08.459 --> 00:26:13.292
WE BUILT A HUNDRED CITIES
AND A THOUSAND TOWNS,

00:26:13.334 --> 00:26:16.125
BUT AT WHAT A COST.

00:26:16.167 --> 00:26:19.167
[siren wailing]

00:26:29.417 --> 00:26:30.958
- THE RIVERS BECOME CRUCIAL.

00:26:30.959 --> 00:26:33.501
AND WHO MESSES THEM UP,
WHO INTERFERES WITH THEM

00:26:33.542 --> 00:26:34.958
BUT MODERNITY... MAN...

00:26:34.959 --> 00:26:37.542
THROUGH THEIR SLOPPINESS,
THROUGH THEIR GREED.

00:26:37.584 --> 00:26:39.083
LORENTZ IS THERE TO TELL YOU
ABOUT THAT.

00:26:39.125 --> 00:26:42.417
[morose music]

00:26:42.459 --> 00:26:44.125
- FOOD AND WATER NEEDED
AT LOUISVILLE.

00:26:44.167 --> 00:26:46.751
500 DEAD, 5,000 ILL.

00:26:46.792 --> 00:26:51.375
750,000 DOWN IN THE VALLEY.

00:26:51.417 --> 00:26:56.667
- PARE LORENTZ\'S FILM
REALLY OPENED PEOPLE UP.

00:26:56.709 --> 00:27:00.167
I SHOWED IT, I THINK,
118 TIMES.

00:27:00.209 --> 00:27:03.167
WHEN I WAS WORKING WITH THE
FARM SECURITY ADMINISTRATION,

00:27:03.209 --> 00:27:08.167
PART OF MY JOB WAS TO CONVINCE
THE MIDDLE CLASS

00:27:08.209 --> 00:27:11.958
THAT THE FARM SECURITY
WAS A GOOD THING.

00:27:11.959 --> 00:27:13.876
A LOT OF THE SCREENINGS
WERE FOR TENANTS

00:27:13.918 --> 00:27:15.958
AND SHARECROPPERS AS WELL,

00:27:15.959 --> 00:27:19.958
AND VERY OFTEN, IT WAS THE
SECOND MOVIE THEY\'D EVER SEEN.

00:27:19.959 --> 00:27:23.209
THE FIRST WAS USUALLY SOMETHING
ABOUT THE HOLY LANDS.

00:27:23.250 --> 00:27:29.542
[gentle music]

00:27:29.584 --> 00:27:33.958
I REMEMBER THE SCENE
WITH THE FAMILY GOING TO BED.

00:27:33.959 --> 00:27:36.042
I REMEMBER AT A HIGH SCHOOL
SCREENING SOMEBODY YELLING,

00:27:36.083 --> 00:27:37.876
\"I SMELL FEET.\"

00:27:37.918 --> 00:27:41.542
WOW.
THEY WERE INTO IT.

00:27:42.959 --> 00:27:46.584
IT HAS THE FORM
OF AN EVANGELICAL SERMON.

00:27:46.626 --> 00:27:51.501
YOU KNOW, HERE\'S EDEN,
AND THEN WE DID WRONG,

00:27:51.542 --> 00:27:54.751
AND WE HAD CONSEQUENCES,

00:27:54.792 --> 00:27:56.667
BUT NOW WE KNOW WHAT TO DO,

00:27:56.709 --> 00:28:01.792
AND THE FUTURE IS BRIGHT
BEFORE US.

00:28:01.834 --> 00:28:04.542
AND THAT WAS THE FARM.

00:28:04.584 --> 00:28:06.424
AND IT WAS A WONDERFUL SELLING
FOR THE NEW DEAL

00:28:06.459 --> 00:28:07.958
AT THE SAME TIME.

00:28:07.959 --> 00:28:13.709
[light clarinet music]

00:28:13.751 --> 00:28:18.709
- KUDOS WERE COMING IN,
AND HE WAS GETTING RAVE REVIEWS,

00:28:18.751 --> 00:28:20.876
A LOT OF WORD OF MOUTH.

00:28:20.918 --> 00:28:23.167
IT JUST SNOWBALLED.

00:28:23.209 --> 00:28:26.209
- WHAT WAS THE REACTION
OF THE PEOPLE

00:28:26.250 --> 00:28:28.792
THAT WERE ESSENTIALLY
YOUR SPONSORS ON THIS FILM?

00:28:28.834 --> 00:28:34.709
- THE TIMES WERE GETTING
FAIRLY JUMPY POLITICALLY.

00:28:34.751 --> 00:28:36.209
Narrator:
MEMBERS OF CONGRESS OPPOSED

00:28:36.250 --> 00:28:38.958
TO NEW DEAL
SOCIAL WELFARE PROGRAMS

00:28:38.959 --> 00:28:41.958
FOUGHT AGAINST SPENDING
TAXPAYER DOLLARS ON FILMS

00:28:41.959 --> 00:28:45.209
FOR GOVERNMENT AGENCIES.

00:28:45.250 --> 00:28:47.834
IN FACT, WHEN ROOSEVELT CREATED
A GOVERNMENT BUREAU

00:28:47.876 --> 00:28:49.584
WITH LORENTZ AT ITS HEAD,

00:28:49.626 --> 00:28:53.751
CONGRESS REFUSED
TO APPROPRIATE FUNDS FOR IT.

00:28:53.792 --> 00:28:55.959
FILM SPONSORSHIP
BY GOVERNMENT AGENCIES

00:28:56.000 --> 00:28:59.417
WAS OFFICIALLY DEAD IN THE U.S.

00:29:02.792 --> 00:29:05.250
IN CONTRAST,
BRITISH PUBLIC AGENCIES

00:29:05.292 --> 00:29:07.876
AGREED TO FINANCE
DOCUMENTARY FILMS

00:29:07.918 --> 00:29:10.958
IN ORDER TO EDUCATE THE PUBLIC.

00:29:10.959 --> 00:29:14.209
THE MAN WHO PERSUADED THEM
TO DO SO WAS JOHN GRIERSON.

00:29:14.250 --> 00:29:17.083
- I THINK THIS IS THE MOMENT
TO REMEMBER

00:29:17.125 --> 00:29:21.042
ONE OF THE FIRST PRINCIPLES
OF DOCUMENTARY.

00:29:21.083 --> 00:29:22.958
IT MUST BE ONE OF
THE FIRST PRINCIPLES,

00:29:22.959 --> 00:29:24.375
BECAUSE I WROTE IT.

00:29:24.417 --> 00:29:25.375
[laughter]

00:29:25.417 --> 00:29:26.542
- HE\'S SUPPOSED TO BE THE MAN

00:29:26.584 --> 00:29:28.834
WHO COINED THE TERM
\"DOCUMENTARY,\"

00:29:28.876 --> 00:29:31.542
BY WHICH HE MEANT \"THE CREATIVE
TREATMENT OF ACTUALITY.\"

00:29:31.584 --> 00:29:35.958
GRIERSON, WHO WAS
A STERN SCOTS PRESBYTERIAN

00:29:35.959 --> 00:29:38.459
WITH A VERY HIGH MORAL PURPOSE,

00:29:38.501 --> 00:29:41.042
WANTED TO CAPTURE THE LIVES
OF ORDINARY PEOPLE

00:29:41.083 --> 00:29:43.958
AND THE WORK OF ORDINARY PEOPLE,
AND HE SAID,

00:29:43.959 --> 00:29:48.584
\"I USE THE CINEMA AS A PULPIT
AND TREAT IT AS A PROPAGANDIST.\"

00:29:48.626 --> 00:29:50.375
[morose music]

00:29:50.417 --> 00:29:51.918
ALL OVER THE WORLD,

00:29:51.959 --> 00:29:55.958
THE GREAT DEPRESSION HAD CREATED
TERRIBLE ECONOMIC CONDITIONS.

00:29:55.959 --> 00:29:58.958
THE BRITISH RULING CLASS
WERE HAUNTED

00:29:58.959 --> 00:30:01.751
BY THE FEAR
OF A BOLSHEVIK-TYPE REVOLUTION.

00:30:03.959 --> 00:30:07.292
THERE WAS A REAL FEAR
OF SOMETHING HAPPENING.

00:30:07.334 --> 00:30:10.125
GRIERSON THOUGHT
THAT BY CREATING SYMPATHY

00:30:10.167 --> 00:30:12.125
AND UNDERSTANDING
FOR THESE PROBLEMS,

00:30:12.167 --> 00:30:14.584
HE WAS ACTUALLY
AVERTING REVOLUTION.

00:30:14.626 --> 00:30:20.417
[delicate instrumental music]

00:30:20.459 --> 00:30:22.501
- WELL, I STARTED WITH
A FILM CALLED DRIFTERS,

00:30:22.542 --> 00:30:25.167
WHICH WAS A THING IN WHICH
I GOT CHANCE TO PUT

00:30:25.209 --> 00:30:27.958
THE WORKING CLASS ON THE SCREEN
FOR THE FIRST TIME

00:30:27.959 --> 00:30:30.958
IN THE RECORD OF ENGLAND.

00:30:30.959 --> 00:30:32.958
LET IT BE NOTED.

00:30:32.959 --> 00:30:35.375
- GRIERSON WAS NOT A FILMMAKER.

00:30:35.417 --> 00:30:38.834
HE MADE ONE FILM IN HIS LIFE:
DRIFTERS.

00:30:38.876 --> 00:30:41.667
HE WAS A TREMENDOUS TALKER
ABOUT FILMS.

00:30:41.709 --> 00:30:45.083
HIS KNOWLEDGE OF FILMS
WAS IMMENSE.

00:30:45.125 --> 00:30:47.125
- THE MOST GORGEOUS THING
ABOUT THE CINEMA IS,

00:30:47.167 --> 00:30:48.792
IT\'S A PHYSICAL MEDIUM.

00:30:48.834 --> 00:30:50.751
IT REALLY IS A WALLOP
OF A MEDIUM,

00:30:50.792 --> 00:30:52.250
AND ONCE YOU GET THAT
INTO YOUR HEAD,

00:30:52.292 --> 00:30:53.958
YOU\'LL GET DRAMATIC ALL RIGHT.

00:30:53.959 --> 00:30:58.958
- NOBODY COULD TALK HIMSELF
INTO A JOB OR INTO A SITUATION

00:30:58.959 --> 00:31:00.501
AS WELL AS GRIERSON.

00:31:00.542 --> 00:31:03.958
HE HAD THE GIFT OF THE GAB
TO AN AMAZING EXTENT.

00:31:03.959 --> 00:31:05.834
HE COULD GET MONEY OUT OF
THE GOVERNMENT,

00:31:05.876 --> 00:31:08.876
AND THAT IS A THING
THAT VERY FEW PEOPLE CAN DO.

00:31:08.918 --> 00:31:13.918
- HE UNDERSTOOD BRILLIANTLY
THAT YOU COULD ACTUALLY GO

00:31:13.959 --> 00:31:17.459
TO PUBLIC INSTITUTIONS
AND FIND FUNDS

00:31:17.501 --> 00:31:19.042
IN THE NAME OF PUBLIC EDUCATION.

00:31:19.083 --> 00:31:22.792
- GRIERSON STARTED WITH
THE EMPIRE MARKETING BOARD

00:31:22.834 --> 00:31:25.334
AND THEN MOVED ON TO THE GPO,
THE GENERAL POST OFFICE.

00:31:25.375 --> 00:31:28.000
THEY CREATED FILM UNITS
FOR BOTH OF THOSE.

00:31:28.042 --> 00:31:32.292
- HE ALSO HAD THIS SKILL
TO PICK BRIGHT YOUNG MEN

00:31:32.334 --> 00:31:34.584
JUST DOWN FROM OXFORD
AND CAMBRIDGE

00:31:34.626 --> 00:31:38.334
WHO WERE CAPABLE OF DEVELOPING
INTO FILM ACTORS.

00:31:38.375 --> 00:31:40.667
- I, THROUGH NEPOTISM...

00:31:40.709 --> 00:31:42.667
THE ONLY TIME I USED THAT
HORRIBLE WORD...

00:31:42.709 --> 00:31:44.042
THROUGH CONTACTS AND FAMILY,

00:31:44.083 --> 00:31:46.542
I WAS ABLE TO GET AN INTERVIEW
WITH GRIERSON.

00:31:46.584 --> 00:31:48.958
Narrator: PAT JACKSON
HAD A LIFE-CHANGING INTERVIEW

00:31:48.959 --> 00:31:52.958
WITH GRIERSON
ON HIS 17TH BIRTHDAY.

00:31:52.959 --> 00:31:54.584
- CHARMING LITTLE MAN
OPENED THE DOOR THERE

00:31:54.626 --> 00:31:57.250
WITH HIS PIERCING,
VIOLET EYES WHO MET ME.

00:31:57.292 --> 00:31:58.626
\"ARE YOU SIR JACKSON?\" HE SAID.

00:31:58.667 --> 00:32:01.042
\"I\'VE HAD A LETTER FROM
THE POSTMASTER GENERAL.

00:32:01.083 --> 00:32:02.459
\"HE WANTS ME TO GIVE YOU A JOB.

00:32:02.501 --> 00:32:04.709
YOU HAVE ANY IDEA WHAT HE HAD
IN MIND?\"

00:32:04.751 --> 00:32:05.958
I SAID, \"NO, SIR.
I\'M AFRAID NOT.\"

00:32:05.959 --> 00:32:07.083
\"OH.\"

00:32:07.125 --> 00:32:08.958
HE SAID, \"WELL,
WHAT ARE YOUR QUALIFICATIONS?

00:32:08.959 --> 00:32:10.834
HAVE YOU GOT A LONDON MATRIC
OR A HOUSE CERTIFICATE?\"

00:32:10.876 --> 00:32:12.000
\"NO, SIR.

00:32:12.042 --> 00:32:13.584
I\'M AFRAID I HAVEN\'T GOT
ANYTHING.\"

00:32:13.626 --> 00:32:15.083
\"OH,\" HE SAID.
\"THAT\'S UNFORTUNATE.

00:32:15.125 --> 00:32:16.709
WELL, WHAT HAVE YOU READ?\"

00:32:16.751 --> 00:32:19.709
\"OH, WELL, SIR, I\'VE JUST READ
A BOOK ON ANTIAIRCRAFT BY\"...

00:32:19.751 --> 00:32:21.042
\"I DON\'T MEAN THAT SORT
OF RUBBISH.

00:32:21.083 --> 00:32:22.459
\"WHAT MADE YOU ON EARTH
READ THAT?

00:32:22.501 --> 00:32:23.834
I\'M TALKING ABOUT LITERATURE.\"

00:32:23.876 --> 00:32:24.918
\"OH, SORRY, SIR.

00:32:24.959 --> 00:32:27.751
\"YES, UM, OH, YES, SIR.

00:32:27.792 --> 00:32:31.751
UM,OLIVER TWIST,
THAT SORT OF THING, SIR.\"

00:32:31.792 --> 00:32:33.751
SO HE REALIZED THAT THIS
HALF-BOILED EGG

00:32:33.792 --> 00:32:35.876
NEEDED ANOTHER 2 1/2 MINUTES
AT LEAST.

00:32:37.501 --> 00:32:39.250
- SHOOTING SCRIPT SAYS
\"PAN RIGHT.\"

00:32:39.292 --> 00:32:40.709
- OKAY FOR ME.

00:32:40.751 --> 00:32:42.626
- TRAILER, SCENE 60, TAKE 1.

00:32:42.667 --> 00:32:44.834
- HE HAD A SORT OF CLUB...

00:32:44.876 --> 00:32:46.876
- YESTERDAY\'S RUSHES.
- THANK YOU.

00:32:46.918 --> 00:32:49.417
- HE WAS PATRON,
AND THEY WERE HIS ADORERS.

00:32:49.459 --> 00:32:51.626
I MEAN,
HE WAS REGARDED AS A HERO

00:32:51.667 --> 00:32:53.375
BY THESE PEOPLE.

00:32:53.417 --> 00:32:58.083
- ALL RIGHT,
STRIKE THEM UP.

00:32:58.125 --> 00:32:59.709
- HARRY WATT,
WHO WAS ONE OF THEM,

00:32:59.751 --> 00:33:01.958
SAID WE WERE LEFT-WING
TO A MAN.

00:33:01.959 --> 00:33:04.958
- WE WERE PUTTING
THE BRITISH WORKING MAN,

00:33:04.959 --> 00:33:06.876
THE BACKBONE OF THE COUNTRY,
ONTO THE SCREEN.

00:33:06.918 --> 00:33:08.792
BEFORE THAT,
HE WAS THE COMIC RELIEF

00:33:08.834 --> 00:33:11.958
IN THESE GHASTLY BRITISH FILMS,
YOU SEE,

00:33:11.959 --> 00:33:14.334
GHASTLY FILMS
THAT ALWAYS STARTED

00:33:14.375 --> 00:33:16.584
WITH THE BUTLER AND THE MAID

00:33:16.626 --> 00:33:20.209
AND THEN THE FUNNY GARDENER
OF THE FUNNY TAXI DRIVER.

00:33:20.250 --> 00:33:22.584
WE KNOCKED ALL THAT DOWN.

00:33:22.626 --> 00:33:25.584
[men singing]

00:33:25.626 --> 00:33:33.626
♪ ♪

00:33:40.459 --> 00:33:43.918
- COAL MINING IS
THE BASIC INDUSTRY OF BRITAIN.

00:33:43.959 --> 00:33:45.792
-COAL FACEREPRESENTS A CASE

00:33:45.834 --> 00:33:47.959
IN WHICH STATE SPONSORSHIP
IS USED.

00:33:48.000 --> 00:33:53.792
IT WAS A GPO FILM IN WHICH
SOCIAL ISSUES ARE ADDRESSED,

00:33:53.834 --> 00:33:55.958
NAMELY THE STATUS
OF THE COAL INDUSTRY

00:33:55.959 --> 00:33:57.334
WITHIN THE U.K. ECONOMY...

00:33:57.375 --> 00:33:59.334
[plodding percussive music]

00:33:59.375 --> 00:34:01.542
- THE NIGHT SHIFT.

00:34:01.584 --> 00:34:05.334
- AND THE POSITION OF THE
COAL MINER WITHIN U.K. SOCIETY.

00:34:05.375 --> 00:34:10.209
[men chanting]

00:34:10.250 --> 00:34:13.958
- THE COAL FACE
IS THE MINER FROM THE SHAFT.

00:34:13.959 --> 00:34:15.834
[men chanting]

00:34:15.876 --> 00:34:18.958
- COAL FACEIS REALLY
A POETIC FILM

00:34:18.959 --> 00:34:21.958
ABOUT A SUBJECT THAT IS NOT
INTRINSICALLY POETIC.

00:34:21.959 --> 00:34:25.958
IF YOU CAN BRING POETRY
INTO ACTUALITY,

00:34:25.959 --> 00:34:28.958
YOU CAN ELEVATE IT
TO MEMORABILITY.

00:34:28.959 --> 00:34:31.958
- THE 7 1/2 HOUR SHIFT BEGINS.

00:34:31.959 --> 00:34:34.958
[men singing indistinctly]

00:34:34.959 --> 00:34:39.083
- THE MINER WORKS
IN A CRAMPED POSITION.

00:34:39.125 --> 00:34:42.501
OFTEN HE HAS SCARCELY ROOM
TO SWING HIS PICK.

00:34:42.542 --> 00:34:44.584
- ONE OF THE THINGS THAT
THE DOCUMENTARY MOVEMENT DID

00:34:44.626 --> 00:34:46.000
WAS TO RECRUIT
AVANT-GARDE ARTISTS.

00:34:47.959 --> 00:34:50.459
Narrator: THE YOUNG POET
W.H. AUDEN WROTE VERSE

00:34:50.501 --> 00:34:52.584
FOR TWO GPO FILMS.

00:34:52.626 --> 00:34:55.959
THE YOUNG COMPOSER BENJAMIN
BRITTEN SCORED SEVERAL OF THEM.

00:34:56.000 --> 00:34:58.958
TO OVERSEE GPO FILMS,

00:34:58.959 --> 00:35:01.334
GRIERSON HIRED THE WELL-KNOWN
BRAZILIAN DIRECTOR

00:35:01.375 --> 00:35:03.292
ALBERTO CAVALCANTI,

00:35:03.334 --> 00:35:06.542
WHO\'D MADE ONE OF THE
EXPERIMENTAL CITY SYMPHONY FILMS

00:35:06.584 --> 00:35:09.958
ABOUT PARIS.

00:35:09.959 --> 00:35:14.000
[jaunty music]

00:35:14.042 --> 00:35:16.958
- CAVALCANTI WAS AN ABSOLUTELY
KEY FIGURE.

00:35:16.959 --> 00:35:20.042
AND I THINK HE TAUGHT THEM
THE CRAFT OF FILMMAKING.

00:35:20.083 --> 00:35:22.250
AND HE WAS VERY EXPERIMENTAL.

00:35:22.292 --> 00:35:25.958
- CAVALCANTI GOT BENJAMIN
BRITTEN TO WRITE THE SCORE

00:35:25.959 --> 00:35:27.667
AND A VERY QUICK VERSE
AND SO ON.

00:35:27.709 --> 00:35:28.958
IT WAS A VERY TRICKY
LITTLE FILM,

00:35:28.959 --> 00:35:31.209
WHICH I CUT FOR HIM.

00:35:31.250 --> 00:35:33.250
AND THAT WAS AN INTERESTING USE
OF SOUND.

00:35:33.292 --> 00:35:35.209
- 1:30 A.M.

00:35:35.250 --> 00:35:38.958
THE MINER STOPS TO EAT.

00:35:38.959 --> 00:35:42.459
- THE COAL IS BOILING OUT HERE
TODAY, LOU.

00:35:42.501 --> 00:35:45.958
- UP AT THE EVANS\' PLACE,
IT\'S REAL STIFF.

00:35:45.959 --> 00:35:50.334
- SOUND, BY NECESSITY, SOONER OR
LATER HAS TO BE USED CREATIVELY,

00:35:50.375 --> 00:35:54.584
AND CAVALCANTI IS OFTEN CREDITED
WITH BRINGING THE REAL ADVANCE

00:35:54.626 --> 00:35:57.125
TO THE DOCUMENTARY MOVEMENT
IN TERMS OF THE USE OF SOUND.

00:35:57.167 --> 00:35:59.125
- THE SHIFT IS FINISHED.

00:35:59.167 --> 00:36:02.209
[men singing]

00:36:02.250 --> 00:36:10.250
♪ ♪

00:36:28.209 --> 00:36:33.250
[women singing]

00:36:33.292 --> 00:36:35.167
- THERE\'S SOMETHING
THAT COAL FACESAYS

00:36:35.209 --> 00:36:36.667
THAT\'S VERY TRUE,

00:36:36.709 --> 00:36:40.958
WHICH IS THE FACT THAT BRITAIN
WAS ECONOMICALLY DEPENDENT

00:36:40.959 --> 00:36:43.834
ON COAL MORE THAN ANY OTHER
DOMESTIC INDUSTRY,

00:36:43.876 --> 00:36:47.125
WHICH IS THE FACT THAT IT
THEREFORE DID OWE SOMETHING

00:36:47.167 --> 00:36:50.959
PROFOUND TO THOSE WHO
PHYSICALLY MINED THE COAL.

00:36:51.000 --> 00:36:54.958
- EVERY WORKING DAY,
4 MINERS ARE KILLED

00:36:54.959 --> 00:36:59.459
AND OVER 450 INJURED AND MAIMED.

00:36:59.501 --> 00:37:01.958
- IT HAS BEEN SAID TO
ROMANTICIZE THE COAL INDUSTRY.

00:37:01.959 --> 00:37:03.459
I DON\'T THINK IT DOES.

00:37:03.501 --> 00:37:06.584
I JUST THINK IT\'S A POETIC
MEDITATION ON A WAY OF LIFE

00:37:06.626 --> 00:37:08.959
ON A SUBJECT THAT IS
NOT NORMALLY GIVEN

00:37:09.000 --> 00:37:10.334
THAT KIND OF TREATMENT.

00:37:13.459 --> 00:37:14.876
NIGHT MAILIS ANOTHER ONE.

00:37:14.918 --> 00:37:16.751
IT\'S GOT POETRY
ON THE SOUNDTRACK.

00:37:16.792 --> 00:37:19.584
BUT THE IMAGERY MESHES
WITH THE POETRY

00:37:19.626 --> 00:37:22.334
TO CREATE SOMETHING MORE
THAN JUST

00:37:22.375 --> 00:37:24.958
A STRAIGHTFORWARD TRANSCRIPTION
OF REALITY.

00:37:24.959 --> 00:37:28.958
- 1 MILLION MILES EVERY YEAR.

00:37:28.959 --> 00:37:33.584
500 MILLION LETTERS EVERY YEAR.

00:37:33.626 --> 00:37:38.250
[train whistle tooting]

00:37:38.292 --> 00:37:40.459
- HARRY WATT WAS GIVEN IT
TO DIRECT

00:37:40.501 --> 00:37:42.000
HIS FIRST REALLY BIG FILM.

00:37:42.042 --> 00:37:45.751
- WE WEREN\'T LONG-HAIRED PEOPLE
GOING AROUND SAYING,

00:37:45.792 --> 00:37:48.834
\"OH, I THINK I MIGHT MAKE A FILM
ABOUT SOMETHING.\"

00:37:48.876 --> 00:37:50.958
WE WERE TAKEN INTO
GRIERSON\'S OFFICE

00:37:50.959 --> 00:37:53.167
AND STOOD AT ATTENTION,
AND HE CALLED YOU WATT.

00:37:53.209 --> 00:37:54.876
HE DIDN\'T CALL YOU HARRY.

00:37:54.918 --> 00:37:57.667
IT WAS, \"WATT, YOU\'RE GONNA MAKE
A FILM ABOUT TRAINS.\"

00:37:57.709 --> 00:37:59.250
AND YOU SAID,
\"YES, MR. GRIERSON.\"

00:37:59.292 --> 00:38:02.459
YOU KNOW, IT WAS LIKE THAT,
LIKE THE BLOODY ARMY.

00:38:02.501 --> 00:38:04.876
[laughter]

00:38:04.918 --> 00:38:07.958
- AND I CAN ALWAYS REMEMBER
GRIERSON CAME DOWN

00:38:07.959 --> 00:38:10.042
TO OUR LITTLE STUDIO
IN BLACKHEATH.

00:38:10.083 --> 00:38:12.000
HE SAID, \"WELL, CHAPS,\" HE SAID,

00:38:12.042 --> 00:38:15.292
\"CAN WE IMAGINE A SOCIETY
WITHOUT LETTERS?\"

00:38:15.334 --> 00:38:17.209
WE CAN\'T.

00:38:17.250 --> 00:38:20.042
BUT DO WE APPRECIATE
THE POSTMAN?

00:38:20.083 --> 00:38:24.083
DO WE APPRECIATE THE SORTERS
WHO GET HIRED AS A SORTER?

00:38:24.125 --> 00:38:26.000
[whistle blows]

00:38:26.042 --> 00:38:30.667
OR THE ENGINE DRIVER WHO TAKES
THE MAIL ALL OVER ENGLAND?

00:38:30.709 --> 00:38:32.250
WE SUDDENLY REALIZE THEN,
DON\'T WE,

00:38:32.292 --> 00:38:34.000
THAT WE\'RE ALL
IN EACH OTHER\'S DEBT.

00:38:34.042 --> 00:38:36.083
AND IF SOCIETY REALIZED THAT,

00:38:36.125 --> 00:38:39.375
WE SHOULD HAVE A VERY MUCH
HAPPIER SOCIETY, PROBABLY.

00:38:39.417 --> 00:38:40.375
- ANY LETTERS FOR CORNWALL?

00:38:40.417 --> 00:38:41.626
- LETTERS ALL THE WAY.

00:38:41.667 --> 00:38:43.958
- THAT\'S ENOUGH.
TAKE IT AWAY, SONNY BOY.

00:38:43.959 --> 00:38:45.209
- RIGHT-O, HENSON.

00:38:45.250 --> 00:38:48.792
- AND THE MORE WE INFORM
THE PUBLIC ABOUT THE ESSENTIALS,

00:38:48.834 --> 00:38:51.709
THE SAFER DEMOCRACY
IS GOING TO BE, ISN\'T IT?

00:38:51.751 --> 00:38:52.958
SO THAT\'S OUR MESSAGE.

00:38:52.959 --> 00:38:55.542
- WHAT GRIERSON IS SHOWING
IS THAT THE POST OFFICE

00:38:55.584 --> 00:38:58.958
AND THE RAILWAYS ARE A
FUNDAMENTALLY INTEGRATIVE FORCE.

00:38:58.959 --> 00:39:02.626
THEY ARE UNITING NORTH
AND SOUTH, ENGLAND AND SCOTLAND.

00:39:02.667 --> 00:39:04.417
THIS IS PART OF
GRIERSON\'S PURPOSE:

00:39:04.459 --> 00:39:06.958
TO SHOW THE NATION
BEING INTEGRATED

00:39:06.959 --> 00:39:08.792
BY THE NEW TECHNOLOGIES.

00:39:08.834 --> 00:39:10.958
NOW,
THIS HAD NEVER BEEN SEEN BEFORE.

00:39:10.959 --> 00:39:12.584
- A NET IS SWUNG OUT
FROM THE TRAIN

00:39:12.626 --> 00:39:14.292
AS IT APPROACHES THE STANDARD.

00:39:14.334 --> 00:39:16.876
THE IMPACT RELEASES
THE SPRING CLIP,

00:39:16.918 --> 00:39:20.958
AND THE POUCHES ARE SWEPT
INTO THE TRAIN.

00:39:20.959 --> 00:39:24.959
- I HELD YOUR LEGS, AND I WAS
MORE FRIGHTENED THAN YOU WERE.

00:39:25.000 --> 00:39:27.083
- OH, I\'M NOT...
NOT SCARED AT ALL.

00:39:34.792 --> 00:39:36.472
- THERE WASN\'T ENOUGH LIGHT,
SO HARRY SAID,

00:39:36.501 --> 00:39:37.751
\"LOOK, OLD BOY, WILL YOU... PAT,

00:39:37.792 --> 00:39:39.000
\"GO UP ON THE COAL TENDER,
WILL YOU?

00:39:39.042 --> 00:39:40.542
\"GET AS HIGH AS YOU CAN

00:39:40.584 --> 00:39:42.958
AND TRY AND GET THE REFLECTIVE
ONTO THE ENGINE ROOM HERE,\"

00:39:42.959 --> 00:39:44.167
YOU KNOW,
SO UP I CLIMB.

00:39:44.209 --> 00:39:46.042
SAT ON A COMFORTABLE A PERCH
AS I COULD

00:39:46.083 --> 00:39:49.959
ON THE TOP OF THE COAL
AND GOT MY REFLECTOR BOARD.

00:39:50.000 --> 00:39:51.375
BUT, OF COURSE, I HAD FORGOTTEN

00:39:51.417 --> 00:39:53.250
THERE\'S SUCH THINGS
AS BRIDGES, YOU SEE.

00:39:53.292 --> 00:39:56.042
AND THE NEXT THING I KNEW
THAT MY REFLECTOR

00:39:56.083 --> 00:39:58.209
WAS CUT IN HALF,
SLICED LIKE THAT.

00:39:58.250 --> 00:40:01.000
FORTUNATELY,
I WAS NOT SCALPED, BUT...

00:40:01.042 --> 00:40:03.209
SO I HELD THE REMNANT
OFF OF THE THING AS I COULD,

00:40:03.250 --> 00:40:05.250
AND WE GOT DOWN,
BUT I DUCKED MY HEAD A BIT MORE.

00:40:05.292 --> 00:40:08.584
AND WE TOOK CLOSE-UPS
OF THE DRIVER AND THE STOKER,

00:40:08.626 --> 00:40:10.751
AND THE STOKER SAID, \"WOULD YOU
LIKE TO HAVE A GO, PAT?\"

00:40:10.792 --> 00:40:12.959
SO I SAID, \"YES, I\'D LOVE TO.\"

00:40:13.000 --> 00:40:15.918
AND BY GOLLY, YOU\'VE GOT TO BE
AS STRONG AS AN OX

00:40:15.959 --> 00:40:17.542
TO KEEP THAT GOING
THROUGHOUT THE JOURNEY,

00:40:17.584 --> 00:40:19.834
AND I THOUGHT, \"MY GOD,
DOES ONE APPRECIATE A STOKER

00:40:19.876 --> 00:40:21.250
LET ALONE THE POSTMAN.\"

00:40:21.292 --> 00:40:22.459
AND YOU SUDDENLY REALIZED

00:40:22.501 --> 00:40:24.834
THE MORE YOU STARTED TO LOOK
AT ENGLAND,

00:40:24.876 --> 00:40:26.501
HOW WONDERFUL
THE ENGLISH PEOPLE WERE,

00:40:26.542 --> 00:40:28.584
BUT NOBODY KNOWS ANYTHING
ABOUT THEM.

00:40:28.626 --> 00:40:31.292
AND THAT IS, OF COURSE,
HALF THE JOB OF THE DOCUMENTARY.

00:40:31.334 --> 00:40:34.876
- AS IT MOVES INTO SCOTLAND,
IT SWITCHES TO POETRY,

00:40:34.918 --> 00:40:36.459
AND A WHOLE SERIES
OF CONNECTIONS ARE MADE

00:40:36.501 --> 00:40:38.958
THROUGH AUDEN\'S POETRY.

00:40:38.959 --> 00:40:40.958
- AND WONDERFUL OPENING THING,
YOU KNOW.

00:40:40.959 --> 00:40:42.958
\"THIS IS THE NIGHT MAIL
CROSSING THE BORDER,

00:40:42.959 --> 00:40:45.167
BRINGING THE CHECK
AND THE POSTAL ORDER.\"

00:40:45.209 --> 00:40:47.334
- LETTERS FOR THE RICH,
LETTERS FOR THE POOR,

00:40:47.375 --> 00:40:49.876
THE SHOP AT THE CORNER
AND THE GIRL NEXT DOOR.

00:40:49.918 --> 00:40:51.751
PULLING UP BEATTOCK,
A STEADY CLIMB.

00:40:51.792 --> 00:40:54.167
THE GRADIENT\'S AGAINST HER,
BUT SHE\'S ON TIME.

00:40:54.209 --> 00:40:56.918
- \"PAST COTTON GRASS
AND MOORLAND BOULDER

00:40:56.959 --> 00:40:59.125
SHOVELING WHITE STEAM
OVER HER SHOULDER.\"

00:40:59.167 --> 00:41:01.417
- SNORTING NOISILY
AS SHE PASSES

00:41:01.459 --> 00:41:03.958
SILENT MILES
OF WIND-BENT GRASSES.

00:41:03.959 --> 00:41:06.209
BIRDS TURN THEIR HEADS
AS SHE APPROACHES,

00:41:06.250 --> 00:41:08.459
STARE FROM THE BUSHES
AT HER BLACK-FACED COACHES.

00:41:08.501 --> 00:41:10.459
SHEEP DOGS CANNOT TURN
HER COURSE.

00:41:10.501 --> 00:41:12.542
THEY SLUMBER ON
WITH PAWS ACROSS.

00:41:12.584 --> 00:41:15.958
- \"IN THE FARM SHE PASSES,
NO ONE WAKES,

00:41:15.959 --> 00:41:19.000
BUT A JUG IN THE BEDROOM
GENTLY SHAKES.\"

00:41:19.042 --> 00:41:20.792
- LETTERS OF THANKS,
LETTERS FROM BANKS,

00:41:20.834 --> 00:41:22.250
LETTERS OF JOY
FROM THE GIRL AND THE BOY,

00:41:22.292 --> 00:41:23.918
RECEIPTED BILLS
AND INVITATIONS

00:41:23.959 --> 00:41:25.584
TO INSPECT NEW STOCK
OR VISIT RELATIONS,

00:41:25.626 --> 00:41:26.959
AND APPLICATIONS
FOR SITUATIONS,

00:41:27.000 --> 00:41:28.959
AND TIMID LOVERS\' DECLARATIONS,
AND GOSSIP,

00:41:29.000 --> 00:41:30.501
GOSSIP FROM ALL THE NATIONS,

00:41:30.542 --> 00:41:32.250
NEWS CIRCUMSTANTIAL,
NEWS FINANCIAL,

00:41:32.292 --> 00:41:33.751
LETTERS WITH HOLIDAY SNAPS
TO ENLARGE IN,

00:41:33.792 --> 00:41:35.334
LETTERS WITH FACES SCRAWLED
IN THE MARGIN,

00:41:35.375 --> 00:41:36.876
LETTERS FROM UNCLES, COUSINS,
AND AUNTS,

00:41:36.918 --> 00:41:38.501
LETTERS TO SCOTLAND
FROM THE SOUTH OF FRANCE,

00:41:38.542 --> 00:41:40.334
LETTERS OF CONDOLENCE
TO HIGHLANDS AND LOWLANDS,

00:41:40.375 --> 00:41:42.083
NOTES FROM OVERSEAS
TO THE HEBRIDES

00:41:42.125 --> 00:41:43.626
WRITTEN ON PAPER
OF EVERY HUE,

00:41:43.667 --> 00:41:45.292
THE PINK, THE VIOLET,
THE WHITE, AND THE BLUE,

00:41:45.334 --> 00:41:46.958
THE CHATTY, THE CATTY,
THE BORING, ADORING,

00:41:46.959 --> 00:41:48.792
THE COLD AND THE OFFICIAL
AND THE HEART\'S OUTPOURING,

00:41:48.834 --> 00:41:50.042
CLEVER, STUPID,
SHORT AND LONG,

00:41:50.083 --> 00:41:55.000
THE TYPED AND THE PRINTED
AND THE SPELT ALL WRONG.

00:41:55.042 --> 00:41:57.584
AND NONE WILL HEAR
THE POSTMAN\'S KNOCK

00:41:57.626 --> 00:41:59.501
WITHOUT A QUICKENING
OF THE HEART.

00:41:59.542 --> 00:42:03.959
FOR WHO CAN BEAR
TO FEEL HIMSELF FORGOTTEN?

00:42:06.626 --> 00:42:08.417
- THAT\'S HOW NIGHT MAIL
WAS MADE,

00:42:08.459 --> 00:42:12.542
AND IT WAS A JOY,
OF COURSE.

00:42:12.584 --> 00:42:14.626
- NIGHT MAIL
HAS SORT OF BURROWED

00:42:14.667 --> 00:42:18.209
INTO THE NATIONAL SUBCONSCIOUS
AND CONSCIOUSNESS

00:42:18.250 --> 00:42:21.751
IN A WAY THAT DOCUMENTARIES
VERY RARELY DO.

00:42:21.792 --> 00:42:23.250
- HOPE YOU ENJOY YOUR TEA.

00:42:23.292 --> 00:42:24.958
- I KNOW WHAT THAT MEANS.
NO WATER.

00:42:24.959 --> 00:42:26.667
- THE BASIC MESSAGE
OF NIGHT MAIL

00:42:26.709 --> 00:42:29.250
IS QUITE CLEARLY COHERENCE.

00:42:29.292 --> 00:42:32.959
THIS IS A TRANSMISSION
OF GOODS AND INFORMATION

00:42:33.000 --> 00:42:35.958
FROM ONE COUNTRY TO ANOTHER,
WHICH IS PRETENDING

00:42:35.959 --> 00:42:38.792
AND HAS BEEN PRETENDING
SINCE THE ACT OF UNION

00:42:38.834 --> 00:42:40.918
TO BE ONE, RIGHT?

00:42:40.959 --> 00:42:42.958
IT\'S NO ACCIDENT
THAT GRIERSON\'S VOICE

00:42:42.959 --> 00:42:43.959
APPEARS AT THE END.

00:42:43.960 --> 00:42:46.334
\"ALL SCOTLAND WAITS FOR HER.\"

00:42:47.959 --> 00:42:51.958
THIS IS A ROMANTICIZED VISION
OF ONE NATION.

00:42:51.959 --> 00:42:54.125
THE PROBLEM IS,
GRIERSON PRESENTED HIMSELF

00:42:54.167 --> 00:42:55.958
AS A MAN OF THE LEFT.

00:42:55.959 --> 00:42:57.417
THEY ALL PRESENTED THEMSELVES
AS MEN OF THE LEFT.

00:42:57.459 --> 00:42:58.918
THEY WEREN\'T.

00:42:58.959 --> 00:43:01.584
THEY WERE ACTUALLY ONLY
INTERESTED IN FILMMAKING.

00:43:01.626 --> 00:43:05.542
THE ONLY LEFTY THEY HAD
WAS PAUL ROTHA.

00:43:05.584 --> 00:43:07.958
- ROTHA WAS SOMEWHAT
THE ODD MAN OUT,

00:43:07.959 --> 00:43:09.334
THE MOST ISOLATED FIGURE,
IN A WAY,

00:43:09.375 --> 00:43:12.626
WITHIN THE BRITISH MOVEMENT,
A BIT OF A MAVERICK.

00:43:12.667 --> 00:43:14.876
- PAUL ROTHA DISTANCED HIMSELF
FROM GRIERSON

00:43:14.918 --> 00:43:16.501
BECAUSE HE THOUGHT GRIERSON
AND HIS FILMS

00:43:16.542 --> 00:43:19.626
WERE NOT LEFT-WING ENOUGH
AND NOT RADICAL ENOUGH.

00:43:19.667 --> 00:43:22.958
HE CAME OUT OF THAT SCHOOL
BUT THEN STRUCK OUT ON HIS OWN.

00:43:22.959 --> 00:43:25.751
[dramatic music]

00:43:25.792 --> 00:43:29.918
AND SHIPYARDIS HIS
MOST NOTABLE FILM OF THE \'30s,

00:43:29.959 --> 00:43:32.958
COMMERCIALLY COMMISSIONED
BY THE COMPANY

00:43:32.959 --> 00:43:35.209
WHO ARE BUILDING THE ORION,
THE SHIP.

00:43:35.250 --> 00:43:38.709
- IN THE NORTH OF LANCASHIRE
LIES BARROW-IN-FURNESS.

00:43:38.751 --> 00:43:41.834
BETWEEN 50,000 AND 60,000 PEOPLE
LIVE THERE.

00:43:41.876 --> 00:43:43.375
FOR THE MOST PART,

00:43:43.417 --> 00:43:46.584
THEIR LIVELIHOOD DEPENDS ON
THE BUILDING OF SHIPS.

00:43:46.626 --> 00:43:50.042
SHIPWRIGHTS, WELDERS, RIVETERS,
DROP STAMPERS, STEELERS,

00:43:50.083 --> 00:43:52.834
SMITHS, RIGGERS, STRIKERS,
HEATERS, HAMMER BOYS, DRILLERS.

00:43:52.876 --> 00:43:55.918
[whistle tooting]

00:44:03.751 --> 00:44:05.958
- HE HAS THE VOICES OF
THE WORKERS ON THE SOUNDTRACK.

00:44:05.959 --> 00:44:07.501
AND HE HAS THEM REFLECTING

00:44:07.542 --> 00:44:11.167
IF PEOPLE WHO GO ON THIS SHIP
AS PASSENGERS WILL EVER WONDER

00:44:11.209 --> 00:44:14.000
ABOUT THE RIVETERS
WHO PUT THE RIVETS TOGETHER

00:44:14.042 --> 00:44:17.042
WHO MADE THE SHIP.

00:44:40.459 --> 00:44:42.626
- THE SUPERSTRUCTURE
IS WELL-ADVANCED,

00:44:42.667 --> 00:44:44.709
HUGE SPACES FOR SPORTS
AND GAMES,

00:44:44.751 --> 00:44:47.083
DECKS FOR WALKING, READING,
AND SUNBATHING.

00:44:47.125 --> 00:44:50.209
- ROTHA DARES IN A WAY
THAT GRIERSON DIDN\'T.

00:44:50.250 --> 00:44:53.709
HE MAKES A CONTRAST BETWEEN
THE GUYS WHO BUILD THE SHIP

00:44:53.751 --> 00:44:56.375
AND THE PEOPLE WHO TRAVEL IN IT.

00:44:56.417 --> 00:44:59.375
[dramatic horn music]

00:44:59.417 --> 00:45:07.417
♪ ♪

00:45:11.834 --> 00:45:13.958
[glass shattering]

00:45:13.959 --> 00:45:18.667
[people cheering]

00:45:23.000 --> 00:45:27.959
- THE FINAL SCENES OF THE FILM
IN WHICH THE SHIP HAS MOVED AWAY

00:45:28.000 --> 00:45:30.375
AND THE MEN... THEIR JOB DONE...

00:45:30.417 --> 00:45:33.958
GRADUALLY MOVE OFF THE SCREEN
OUT OF THE FRAME

00:45:33.959 --> 00:45:36.042
IS VERY ELOQUENT.

00:45:36.083 --> 00:45:38.459
IN SHIPYARD,
HE DOESN\'T MAKE ANY

00:45:38.501 --> 00:45:40.501
AGGRESSIVELY LEFT-WING
STATEMENTS.

00:45:43.083 --> 00:45:47.250
AND BECAUSE IT\'S COVERT
RATHER THAN OVERT,

00:45:47.292 --> 00:45:51.709
IT WAS POSSIBLE TO MAKE THAT
FILM IN A COMMERCIAL SETUP

00:45:51.751 --> 00:45:53.083
AND FOR THE FILM TO BE
MORE WIDELY SEEN

00:45:53.125 --> 00:45:57.125
THAN A LOT OF OTHER FILMS
MIGHT HAVE BEEN.

00:45:57.167 --> 00:46:00.709
- THE OEUVRE AS A WHOLE
IS UTTERLY UNBALANCED

00:46:00.751 --> 00:46:02.958
IN FAVOR OF GLIB SOLUTIONS.

00:46:02.959 --> 00:46:06.958
[man singing]

00:46:06.959 --> 00:46:10.083
- AND THEY WERE TOTALLY
DISMISSIVE

00:46:10.125 --> 00:46:12.250
OF THE SO-CALLED
AMATEUR FILMMAKERS

00:46:12.292 --> 00:46:16.250
THAT WERE TO THEIR LEFT
WHO WERE MARXIST.

00:46:16.292 --> 00:46:18.083
- TO THE LEFT OF
THE DOCUMENTARY MOVEMENT,

00:46:18.125 --> 00:46:21.918
YOU DO HAVE FILMMAKERS WHO WANT
TO ADVANCE A SOCIAL CASE

00:46:21.959 --> 00:46:24.626
THAT IS MORE RADICAL
THAN THE CASE

00:46:24.667 --> 00:46:26.834
THAT IT IS POSSIBLE TO MAKE
IN FILMS

00:46:26.876 --> 00:46:31.751
THAT ARE OFFICIALLY
OR CORPORATELY SPONSORED,

00:46:31.792 --> 00:46:33.876
GROUPS LIKE THE WORKERS FILM
AND PHOTO LEAGUE,

00:46:33.918 --> 00:46:36.959
NOT TO BE CONFUSED WITH THE FILM
AND PHOTO LEAGUE IN THE USA.

00:46:39.083 --> 00:46:41.167
- WELL, THE WORKERS FILM
AND PHOTO LEAGUE FILMS

00:46:41.209 --> 00:46:43.083
WERE ONLY SHOWN TO A HANDFUL
OF THE ALREADY CONVERTED,

00:46:43.125 --> 00:46:46.292
WHEREAS GRIERSON\'S FILMS
WERE SHOWN TO PEOPLE

00:46:46.334 --> 00:46:48.209
WHO WERE IN A POSITION
TO INFLUENCE SOCIETY,

00:46:48.250 --> 00:46:49.584
TO MAKE CHANGES,

00:46:49.626 --> 00:46:51.334
IN A WAY THAT THE WORKERS FILM
AND PHOTO LEAGUE

00:46:51.375 --> 00:46:53.292
WAS NOT ABLE TO DO.

00:46:53.334 --> 00:46:56.958
[man singing]

00:46:56.959 --> 00:46:59.083
- MY REVOLT ON MY HANDS,

00:46:59.125 --> 00:47:02.501
TWO OR THREE OF THE YOUNG PEOPLE
FELT THAT WE TENDED

00:47:02.542 --> 00:47:04.834
TO LOOK AT PEOPLE AS THOUGH
THEY WERE IN GOLDFISH BOWLS,

00:47:04.876 --> 00:47:06.334
AND I THINK THEY WERE RIGHT.

00:47:06.375 --> 00:47:08.958
ANYWAY, THEY PROMISED TO SMASH
THE GOLDFISH BOWL,

00:47:08.959 --> 00:47:10.792
AND THE FIRST EXPLOSIVE,

00:47:10.834 --> 00:47:14.083
THAT LITTLE THING CALLED
\"HOUSING PROBLEMS.\"

00:47:14.125 --> 00:47:15.958
DOWN THEY WENT TO THE EAST END
AND GOT TO KNOW

00:47:15.959 --> 00:47:17.209
AN AWFUL LOT OF PEOPLE,

00:47:17.250 --> 00:47:21.709
AND OUT CAME THIS VIVID,
IMMEDIATE CONTACT WITH PEOPLE.

00:47:27.334 --> 00:47:30.667
- I RECKON THE CONDITIONS
OF LIVING IN THESE LITTLE SLUMS

00:47:30.709 --> 00:47:35.042
IS A BIT ODD FOR THE WIFE AND...
BESIDES MYSELF... AND MY CHILDREN

00:47:35.083 --> 00:47:38.584
BRINGING THEM UP IN A ONE-ROOM.

00:47:38.626 --> 00:47:40.667
OF COURSE, A LOT OF PEOPLE
DON\'T UNDERSTAND WHAT IT IS

00:47:40.709 --> 00:47:41.958
LIVING IN ONE ROOM.

00:47:41.959 --> 00:47:43.958
- ORDINARY PEOPLE DID NOT SPEAK
DIRECTLY TO CAMERA

00:47:43.959 --> 00:47:46.292
UNTIL THE DOCUMENTARY MOVEMENT,
AND THEY INTERVIEWED PEOPLE

00:47:46.334 --> 00:47:47.958
ABOUT THEIR LIVING CONDITIONS,
ABOUT THEIR JOBS.

00:47:47.959 --> 00:47:48.959
THEY SPOKE TO CAMERA.

00:47:48.960 --> 00:47:50.876
- DIRTY, FILTHY WALLS,

00:47:50.918 --> 00:47:52.542
AND THE VERMIN IN THE WALLS
IS WICKED.

00:47:52.584 --> 00:47:54.792
SO I\'LL TELL YOU,
WE\'RE FED UP.

00:47:54.834 --> 00:47:56.042
- FOR A FILM LIKE
HOUSING PROBLEMS,

00:47:56.083 --> 00:47:57.709
IN WHICH THERE IS
SYNCHRONIZED SOUND,

00:47:57.751 --> 00:48:00.876
HAS A VERY DRAMATIC IMPACT
SIMPLY BECAUSE IT\'S SO UNUSUAL.

00:48:00.918 --> 00:48:02.542
IT\'S NOW STANDARD PRACTICE.

00:48:02.584 --> 00:48:05.000
YOU SEE IT ON YOUR EVENING NEWS
EVERY NIGHT.

00:48:05.042 --> 00:48:08.250
- HOUSING PROBLEMS
ACTUALLY DEPENDS VERY MUCH

00:48:08.292 --> 00:48:10.751
ON GRIERSON\'S SISTER,
ON RUBY.

00:48:10.792 --> 00:48:13.000
- RUBY GRIERSON WAS CO-DIRECTOR
OF HOUSING PROBLEMS

00:48:13.042 --> 00:48:16.209
AND DID A NUMBER OF FILMS
ON HER OWN.

00:48:16.250 --> 00:48:18.667
SHE WAS MORE OF AN OBSERVER

00:48:18.709 --> 00:48:21.709
RATHER THAN SOMEBODY TRYING
TO SELL A MESSAGE.

00:48:21.751 --> 00:48:24.834
SHE WAS CLOSER TO WHAT
WAS REALLY GOING ON.

00:48:24.876 --> 00:48:27.958
- RUBY, YOU KNOW,
VERY MUCH MORE APPROACHABLE,

00:48:27.959 --> 00:48:29.709
ACTUALLY GOT THOSE PEOPLE
TO TALK.

00:48:29.751 --> 00:48:31.542
- MRS. ETRIDE WILL NEVER FORGET
THE RATS

00:48:31.584 --> 00:48:32.958
IN THE HOUSE SHE HAD BEFORE.

00:48:32.959 --> 00:48:35.083
- WE JABBED HIM WITH A BROOM,
AND HE GOT AWAY FROM HERE,

00:48:35.125 --> 00:48:36.958
AND HE WENT OVER
ON THE SIDE WOOD,

00:48:36.959 --> 00:48:38.958
JABBED HIM AGAIN WITH THE BROOM,
BROKE THE BROOM,

00:48:38.959 --> 00:48:40.918
AND THEN HE KNOCKED HIM DOWN
ON THE GROUND.

00:48:40.959 --> 00:48:42.876
OF COURSE, THE SCREAMS,
I MEAN, IT WAS TERRIBLE.

00:48:42.918 --> 00:48:44.167
SO HE HAD TO JUMP ON HIM,

00:48:44.209 --> 00:48:45.958
AND THEN HE PICKED HIM UP
AND KILLED HIM.

00:48:45.959 --> 00:48:49.542
- HOUSING PROBLEMSDOES
REPRESENT AN ATTEMPT TO ENGAGE

00:48:49.584 --> 00:48:52.958
ON THEIR OWN TERMS
WITH THE MASS OF PEOPLE,

00:48:52.959 --> 00:48:55.417
AND I THINK THAT\'S WHY PEOPLE
LATCH ON TO THE FILM

00:48:55.459 --> 00:48:58.958
AS BEING SIGNIFICANT,
BECAUSE IT REPRESENTS

00:48:58.959 --> 00:49:01.959
WHAT THE MOVEMENT SAID
IT WAS GOING TO BE DOING BETTER.

00:49:10.959 --> 00:49:13.958
- THERE WAS
A TREMENDOUS STIMULATION

00:49:13.959 --> 00:49:16.792
IN THE DEVELOPMENTS
OF THE ART OF FILM

00:49:16.834 --> 00:49:19.042
AND THE PROMISE OF IT.

00:49:19.083 --> 00:49:22.959
WE FORMED AN ORGANIZATION
CALLED FRONTIER FILMS

00:49:23.000 --> 00:49:27.167
TO DEAL WITH THE TRUTH
OF THE AMERICAN...

00:49:27.209 --> 00:49:29.417
EXPERIENCE IN FILM.

00:49:29.459 --> 00:49:34.958
- FRONTIER FILMS STARTED
WITH A BANG IN 1936.

00:49:34.959 --> 00:49:37.209
Narrator: DETERMINED TO CONTINUE
THEIR WORK,

00:49:37.250 --> 00:49:39.167
LEO HURWITZ
AND HIS COLLEAGUES FORMED

00:49:39.209 --> 00:49:42.876
THE FIRST INDEPENDENT NONPROFIT
FILM PRODUCTION COMPANY

00:49:42.918 --> 00:49:44.709
IN THE U.S.

00:49:44.751 --> 00:49:47.958
- GRIERSON AND HIS GROUP
IN ENGLAND

00:49:47.959 --> 00:49:49.959
HAD A TON OF GOVERNMENT MONEY.

00:49:50.000 --> 00:49:54.209
THE DOCUMENTARY FILMMAKERS
IN THE NEW YORK SCHOOL

00:49:54.250 --> 00:49:56.459
HAD NONE OF THIS.

00:49:56.501 --> 00:49:57.958
- THEY WANTED TO BE RECOGNIZED,

00:49:57.959 --> 00:50:00.834
AND THEY WANTED TO BE RECOGNIZED
AS PEOPLE WHO WERE INDEPENDENT,

00:50:00.876 --> 00:50:02.876
WHO HAD AN INDEPENDENT VISION.

00:50:02.918 --> 00:50:06.459
- EVERYBODY WANTED TO HAVE
SOMETHING TO DO WITH THIS IDEA

00:50:06.501 --> 00:50:11.626
OF A NEW, BOLD STEP
IN THE ART OF FILMMAKING.

00:50:11.667 --> 00:50:14.751
- THE FILMS THEMSELVES HAVE
A CERTAIN KIND OF

00:50:14.792 --> 00:50:16.958
RADICAL INDEPENDENCE ABOUT THEM

00:50:16.959 --> 00:50:19.958
THAT NONE OF THE OTHER FILMS
OR DOCUMENTARIES

00:50:19.959 --> 00:50:21.959
THAT WERE BEING MADE
AROUND THE WORLD HAVE.

00:50:26.959 --> 00:50:29.667
- THE IDEA FOR NATIVE LAND
CAME UP

00:50:29.709 --> 00:50:31.834
RIGHT AT THE BEGINNING
OF FRONTIER FILMS.

00:50:31.876 --> 00:50:33.000
- NATIVE LAND
WAS MORE THAN A FILM.

00:50:33.042 --> 00:50:34.667
IT WAS A CRUSADE.

00:50:34.709 --> 00:50:36.375
[bell tolling]

00:50:36.417 --> 00:50:40.958
- WE, THE PLAIN PEOPLE,
PLOWMEN AND PIONEER,

00:50:40.959 --> 00:50:44.584
LIVED AND FOUGHT AND DREAMED
A NEW KIND OF NATION,

00:50:44.626 --> 00:50:48.542
A NEW KIND OF LIFE
UNDER A NEW SKY

00:50:48.584 --> 00:50:51.292
FREE OF ALL TYRANNY.

00:50:51.334 --> 00:50:54.042
THEY HAVE COME OUT
OF THE DEPRESSION.

00:50:54.083 --> 00:50:55.958
THEY HAD PLANS.

00:50:55.959 --> 00:50:58.584
YET THIS MAN\'S NAME WAS ON FILE

00:50:58.626 --> 00:51:01.000
IN AN OFFICE BUILDING
600 MILES AWAY.

00:51:01.042 --> 00:51:02.709
[telephone rings]

00:51:02.751 --> 00:51:06.125
- THE IDEA WAS TO MAKE A FILM

00:51:06.167 --> 00:51:09.083
INVESTIGATING THE WAY IN WHICH

00:51:09.125 --> 00:51:12.250
THE LABOR STRUGGLE IN
THE UNITED STATES WAS ATTACKED.

00:51:12.292 --> 00:51:13.918
- THEY RAN A HUGE INVESTIGATION,

00:51:13.959 --> 00:51:16.417
AND THEY GOT THEIR STORIES
FROM THIS.

00:51:16.459 --> 00:51:19.876
- THE COMMITTEE IN THE SENATE
INVESTIGATED

00:51:19.918 --> 00:51:22.958
WHERE IT WAS THAT LABORERS\'
RIGHTS WERE BEING VIOLATED

00:51:22.959 --> 00:51:24.250
DURING THIS WHOLE PERIOD.

00:51:24.292 --> 00:51:26.958
IT WAS 65 VOLUMES OF TESTIMONY.

00:51:26.959 --> 00:51:29.501
- BEHIND THE FRONT
OF EVERYDAY BUSINESS,

00:51:29.542 --> 00:51:32.501
CONSPIRACY AGAINST THE LIVES
OF INNOCENT MEN.

00:51:32.542 --> 00:51:35.542
[men talking at once]

00:51:38.709 --> 00:51:41.626
- THE NUMBER ONE RAT
WRITING NAMES

00:51:41.667 --> 00:51:43.958
AND NOTES OF THE MEETING
ON THE INSIDE OF HIS VEST.

00:51:43.959 --> 00:51:46.209
- THEY WERE WORKING ON
WORKING WITH ACTORS

00:51:46.250 --> 00:51:49.626
DRAMATIZING REAL EVENTS,
REAL SUBJECTS.

00:51:49.667 --> 00:51:52.083
- TAKE A GOOD LONG LOOK.

00:51:52.125 --> 00:51:55.501
THIS SPY WAS SENT IN HERE
TO BREAK UP THE UNION,

00:51:55.542 --> 00:51:59.000
PUT OUR NAMES ON THE BLACKLIST,
GET US THROWN OUT IN THE STREET.

00:51:59.042 --> 00:52:02.792
- THE NEW FORM INVOLVED
DOCUMENTARY MATERIAL,

00:52:02.834 --> 00:52:05.958
ENACTED MATERIAL,
STORIES OF VARIED LENGTHS.

00:52:05.959 --> 00:52:09.083
- THE FIRST SCENE
THAT THEY PHOTOGRAPHED

00:52:09.125 --> 00:52:13.083
WAS THE FARMER SCENE.

00:52:13.125 --> 00:52:16.918
- IT WAS A STORY OF A FARM
IN CUSTER, MICHIGAN,

00:52:16.959 --> 00:52:20.501
WHERE A FARMER WHO HAD
SPOKEN OUT AT A FARM MEETING

00:52:20.542 --> 00:52:22.459
AGAINST LOCAL INTERESTS.

00:52:22.501 --> 00:52:24.042
- FRED!

00:52:24.083 --> 00:52:26.626
FRED!

00:52:26.667 --> 00:52:28.459
- THEY CAME TO HIS FARM,
AND THEY KILLED HIM.

00:52:29.792 --> 00:52:32.751
[dramatic music]

00:52:32.792 --> 00:52:40.792
♪ ♪

00:52:41.959 --> 00:52:44.250
IT WAS A VERY AMBITIOUS FILM.

00:52:44.292 --> 00:52:48.042
- WE HAD $7,000 WHEN WE STARTED,

00:52:48.083 --> 00:52:49.959
AND WE STARTED TO MAKE
THIS BIG FILM, RIGHT?

00:52:50.000 --> 00:52:51.751
WE\'D GET THE MONEY
AS WE WENT ALONG.

00:52:51.792 --> 00:52:54.958
WE\'D HAVE TO STOP
EVERY SO OFTEN,

00:52:54.959 --> 00:52:56.958
SHOW THE FOOTAGE TO PEOPLE
AND SAY,

00:52:56.959 --> 00:52:57.959
\"WE WANT TO GO ON WITH THIS.

00:52:57.960 --> 00:52:59.667
\"YOU WANT US TO GO ON WITH THIS?

00:52:59.709 --> 00:53:01.958
THEN GIVE US MONEY.\"

00:53:01.959 --> 00:53:04.000
- AND IT TOOK A LONG TIME.

00:53:04.042 --> 00:53:06.250
IT TOOK FIVE YEARS TO MAKE
THE FILM.

00:53:06.292 --> 00:53:08.834
- THE HOUSE OF AMERICA,

00:53:08.876 --> 00:53:11.959
WHICH WE WILL GUARD AGAINST
EVERY ENEMY WITHIN AND WITHOUT.

00:53:15.792 --> 00:53:18.667
- WHEN NATIVE LAND WAS FINISHED,

00:53:18.709 --> 00:53:23.125
IT WAS RECEIVED WITH
TREMENDOUS ENTHUSIASM.

00:53:23.167 --> 00:53:25.958
Narrator: THE NEW YORK TIMES
CALLED NATIVE LAND

00:53:25.959 --> 00:53:27.876
\"ONE OF THE MOST POWERFUL
AND DISTURBING

00:53:27.918 --> 00:53:30.959
DOCUMENTARY FILMS EVER MADE.\"

00:53:32.834 --> 00:53:35.958
- BUT WHAT HAPPENED WAS
THAT THE DAY BEFORE

00:53:35.959 --> 00:53:40.250
WE GOT A RELEASE PRINT
OF NATIVE LAND

00:53:40.292 --> 00:53:44.667
WAS DECEMBER 7TH,
THE DAY OF PEARL HARBOR.

00:53:44.709 --> 00:53:48.709
[airplane engines roaring]

00:53:50.959 --> 00:53:52.459
- IT WAS SO PAINFUL,

00:53:52.501 --> 00:53:54.751
BECAUSE PEARL HARBOR
CHANGED EVERYTHING.

00:53:54.792 --> 00:53:56.209
THE WAR CHANGED EVERYTHING.

00:53:56.250 --> 00:53:59.459
AND A FILM LIKE NATIVE LAND
SIMPLY WAS NOT GONNA GO ANYWHERE

00:53:59.501 --> 00:54:01.167
WITH ITS PARTICULAR PERSPECTIVE.

00:54:01.209 --> 00:54:03.334
- PEOPLE WERE SIMPLY
NOT INTERESTED

00:54:03.375 --> 00:54:05.334
IN LABOR STRUGGLES
IN THE UNITED STATES,

00:54:05.375 --> 00:54:09.542
BECAUSE WE WERE UNDER ATTACK
BY THE GERMANS AND THE JAPANESE.

00:54:09.584 --> 00:54:14.209
- SO THE DISTRIBUTION
WAS A GREAT STRUGGLE.

00:54:15.876 --> 00:54:20.834
BUT THE TRUE ARTIST
HAS TO TELL THE TRUTH.

00:54:20.876 --> 00:54:22.959
IT\'S A CONSPIRACY
TO TELL THE TRUTH.

00:54:24.959 --> 00:54:28.167
- HOW DO WE JUDGE
THESE DOCUMENTARIES?

00:54:28.209 --> 00:54:29.834
BY HOW MANY PEOPLE SAW THEM?

00:54:29.876 --> 00:54:32.292
BY THE TRUTHS THEY ENCLOSED?

00:54:32.334 --> 00:54:35.250
BY WHAT THEY HAVE
TO TEACH US 60, 70 YEARS

00:54:35.292 --> 00:54:37.250
AFTER THEY WERE MADE?

00:54:37.292 --> 00:54:39.834
- IT\'S A LEGACY OF PEOPLE
DECIDING

00:54:39.876 --> 00:54:42.958
NOT TO GO ON THE BEATEN PATH,
NOT TO GO ON THE LUCRATIVE PATH,

00:54:42.959 --> 00:54:46.125
ALL THE SEDUCTIONS OF MONEY,

00:54:46.167 --> 00:54:51.958
AND TO DECIDE THAT THEY WOULD
BE FIRM IN BEING RESPONSIBLE

00:54:51.959 --> 00:54:55.834
TO PEOPLE WHO WERE OUT OF WORK,
PEOPLE WHO ARE HUNGRY,

00:54:55.876 --> 00:54:58.918
PEOPLE WHO WERE BEING THREATENED
FOR THEIR POLITICS

00:54:58.959 --> 00:55:00.958
AND THAT THEIR COMMITMENT
WAS TO THEM

00:55:00.959 --> 00:55:03.626
AND THAT THEIR LIFE
WAS ABOUT THAT.

00:55:03.667 --> 00:55:06.959
AND THEIR FILMS WOULD BE
ABOUT THAT.

00:55:11.667 --> 00:55:13.042
- [shouts]

00:55:13.083 --> 00:55:15.167
narrator: NEXT TIME ON
TO TELL THE TRUTH,

00:55:15.209 --> 00:55:17.918
DOCUMENTARIES GO TO WAR.

00:55:17.959 --> 00:55:20.667
- ANYTHING WE SAID ON OUR SIDE
WAS NOT PROPAGANDA.

00:55:20.709 --> 00:55:22.792
THAT WAS THE TRUTH.
- [laughs]

00:55:22.834 --> 00:55:24.834
- YOU KNOW, THE GOVERNMENT
WAS REALLY WORRIED

00:55:24.876 --> 00:55:27.792
THAT THESE BOMBED CITIES WERE
GONNA COLLAPSE INTO ANARCHY.

00:55:27.834 --> 00:55:29.958
- THEY SAID, \"WHAT DO WE DO?
WHAT DO WE DO? WHAT DO WE DO?\"

00:55:29.959 --> 00:55:32.250
FINALLY,
SOMEBODY POINTED TO ME AND SAID,

00:55:32.292 --> 00:55:35.375
\"WE\'LL SEE WHAT HE COMES UP
WITH.\"

00:55:35.417 --> 00:55:39.709
- IT WAS PROPAGANDA,
AND...

00:55:39.751 --> 00:55:40.959
IT HELPED.

00:56:23.501 --> 00:56:24.709
Narrator:
FUNDING FOR THIS PROGRAM

00:56:24.751 --> 00:56:26.334
HAS BEEN PROVIDED BY

00:56:26.375 --> 00:56:28.626
THE NATIONAL ENDOWMENT
FOR THE HUMANITIES.

00:56:28.667 --> 00:56:31.958
BECAUSE DEMOCRACY
DEMANDS WISDOM.

00:56:31.959 --> 00:56:33.584
BY AN AWARD

00:56:33.626 --> 00:56:35.958
FROM THE NATIONAL ENDOWMENT
FOR THE ARTS.

00:56:35.959 --> 00:56:37.958
ART WORKS.

00:56:37.959 --> 00:56:41.751
AND BY THE NATHAN CUMMINGS
FOUNDATION.

00:56:44.667 --> 00:56:46.125
Female announcer: BE MORE.

00:56:46.167 --> 00:56:47.167
PBS.