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Linda Goode Bryant

Filmmaker and nonprofit executive Linda Goode Bryant was born on July 21, 1949 in Columbus, Ohio to Floyd Goode and Josephine Goode. Bryant attended Spelman College in Atlanta, Georgia, where she received her B.A. degree in studio art with a minor in drama in 1972. She went on to earn her M.B.A degree in management from Columbia University in New York, New York in 1980.

After graduation from Spelman College, Bryant moved to New York City and was a fellow at the Metropolitan Museum of Art and worked in the education department of The Studio Museum in Harlem. In 1974, Bryan founded the Just Above Midtown gallery. The following year, Just Above Midtown gallery hosted the first New York solo exhibition for artist Davis Hammons. Bryant’s gallery also helped to launch the careers of artists such as Senga Nengudi, Maren Hassinger and Houston Conwill. In 1978, Bryant collaborated with Marcy S. Philips to write Contextures. In May 1982, Bryant and Janet Henry published the first issue of Black Currant, a publication that focused on the work of artists affiliated with JAM. From 1990 to 1991, Bryant worked as a senior policy analyst for economic development in New York under Mayor David Dinkins. In 2003, Bryant, with Laura Poitras, co-directed Flag Wars, a film about the gentrification of the Olde Towne East neighborhood of Columbus, Ohio during the late 1990s. The documentary won a Peabody Award in 2003 and its success led to Bryant receiving a Guggenheim Fellowship the following year. Apart from directing, Bryant was also a part of the film Colored Frames, a documentary that looked at the influences and experiences of black artists, over a fifty year period.

In 2003, Bryant founded the Active Citizen Project, which focused on the use of art and media to encourage teenagers to bring about social change. Through the Active Citizen Project, Open Caucus and Project EATS were established to engage teenagers in local political issues. Project EATS was founded in 2008, in the wake of the global food crisis, and focused on training urban communities to practice sustainable farming within their neighborhoods.

Bryant has one son, Kenneth Bryant, and three grandchildren.

Linda Goode Bryant was interviewed by The HistoryMakerson May 5, 2017.

Accession Number

A2017.100

Sex

Female

Archival Photo 1
Interview Date

05/05/2017

Last Name

Bryant

Maker Category
Middle Name

Goode

Organizations
Schools

Douglas Alternative Elementary School

Franklin Junior High School

Spelman College

Columbia University

First Name

Linda

Birth City, State, Country

Columbus

HM ID

BRY05

Favorite Season

Summer

State

Ohio

Favorite Vacation Destination

Any beach

Favorite Quote

Use what you have to create what you need.

Bio Photo
Speakers Bureau Region State

New York

Birth Date

7/21/1949

Birth Place Term
Speakers Bureau Region City

New York

Country

USA

Favorite Food

Avocados

Short Description

Filmmaker and nonprofit executive Linda Goode Bryant (1949 - ) founded Just Above Midtown Gallery, was the co-director for the 2003 documentary Flag Wars, for which she won a Peabody Award, and was the founding director of Project EATS.

Employment

Active Citizen Project, Inc.

Zula Pearl Films

Asset Consulting Group

Just Above Midtown Gallery

Studio Museum in Harlem

Metropolitan Museum of Art

Favorite Color

Blues and browns

Orlando Bagwell

Documentary filmmaker Orlando Bagwell was born in Baltimore, Maryland, to Donald Bagwell, Sr. and Barbara Jones Bagwell in a family of seven. He attended Blessed Sacrament School in Baltimore. In 1969, his family moved to Nashua, New Hampshire, where he was a member of the Nashua High School football team. After graduating from high school, Bagwell pursued his B.S. degree in film at the Boston University. He completed his undergraduate studies in 1973 and furthered his education by earning his M.A. degree in broadcast journalism from Boston University in 1975.

In the early 1970s, Bagwell worked for the United South End Settlements (USES) and was active in the organization’s after school program. He later became a substitute teacher for the South Boston Public School District where he taught political science and history. Bagwell was contracted by Boston’s WGBH-TV to work as a film producer in 1975. In 1988, he served as a staff producer for the PBS weekly program Frontline. That same year, he produced a documentary on the Reverend Jesse Louis Jackson, Sr.’s presidential campaign entitled Running with Jesse. In 1989, Bagwell founded the Boston based media company, Roja Productions, Inc. and produced Roots of Resistance: A Story of the Underground Railroad. From 1991 until 1994, Bagwell was the executive vice president for the Eyes on the Prize PBS documentary series on the Civil Rights Movement. He produced episodes of the Blackside series entitled Mississippi: Is this America? and Ain’t Scared of Your Jails for which he received the Alfred DuPont Award and the Peabody Award. In 1995, Bagwell served as the executive producer for the not-for-profit WGBH Educational Foundation, and in 1999, he produced the six hour documentary called Africans in America: America’s Journey through Slavery.

Bagwell became the program officer for the Ford Foundation’s Media Arts and Culture unit in 2004. He works with the unit’s director and oversees international operations to accomplish the foundation’s goals.

Orlando Bagwell was interviewed by The HistoryMakers on December 17, 2007.

Accession Number

A2007.339

Sex

Male

Interview Date

12/17/2007

Last Name

Bagwell

Maker Category
Schools

Nashua High School South

Blessed Sacrament School

Boston University

Search Occupation Category
First Name

Orlando

Birth City, State, Country

Baltimore

HM ID

BAG01

Favorite Season

Fall, Spring

State

Maryland

Favorite Vacation Destination

Brazil

Favorite Quote

You Know.

Bio Photo
Speakers Bureau Region State

California

Interview Description
Birth Date

6/2/1951

Birth Place Term
Speakers Bureau Region City

Bay Area/Berkeley

Country

USA

Favorite Food

Sweet Potatoes

Short Description

Documentary filmmaker Orlando Bagwell (1951 - ) made Peabody Award-winning films; served as a staff producer for the PBS weekly program, Frontline; produced a documentary on the Reverend Jesse Louis Jackson, Sr.’s presidential campaign, "Running with Jesse," in 1988; and served as the executive producer for the not-for-profit WGBH Educational Foundation.

Employment

United South End Settlements

WGBH-TV

WNET-TV

WETA-TV

Blackside, Inc.

Ford Foundation

WGBH TV

Harriet Tubman House

Blackside Productions

Favorite Color

Red

Timing Pairs
0,0:4116,78:5628,107:23168,314:32056,599:36016,689:54379,974:70010,1242:71850,1278:76000,1307:81082,1406:81467,1412:82545,1439:89268,1491:94695,1694:100954,1761:101386,1768:102826,1802:105274,1827:111250,1933:114346,1985:119337,1999:131168,2178:131958,2259:138357,2422:141990,2445$0,0:1020,16:1428,22:1904,30:2176,35:2720,44:3060,50:10422,151:13102,206:13370,211:13772,220:14040,225:15514,264:15983,272:16452,280:18998,344:26522,397:27362,409:28370,443:34112,522:36785,611:39053,653:46690,743:56130,959:57410,989:57730,999:60130,1055:60690,1063:61330,1072:62610,1135:66130,1192:68690,1256:77070,1314:81405,1506:90024,1627:93673,1704:94296,1716:95008,1724:98301,1798:98924,1807:100793,1840:111699,1996:112469,2001:118002,2116:119178,2135:119514,2140:120606,2194:120942,2199:121278,2204:122202,2220:125394,2261:134259,2357:135930,2370:142380,2468:150120,2610
DAStories

<a href="https://da.thehistorymakers.org/story/485198">Tape: 1 Story: 1 - Slating of Orlando Bagwell's interview</a>

<a href="https://da.thehistorymakers.org/story/485199">Tape: 1 Story: 2 - Orlando Bagwell remembers St. Clair Bourne</a>

<a href="https://da.thehistorymakers.org/story/485200">Tape: 2 Story: 1 - Orlando Bagwell lists his favorites</a>

<a href="https://da.thehistorymakers.org/story/485201">Tape: 2 Story: 2 - Orlando Bagwell describes his mother's family background</a>

<a href="https://da.thehistorymakers.org/story/485202">Tape: 2 Story: 3 - Orlando Bagwell describes his father's family background</a>

<a href="https://da.thehistorymakers.org/story/485203">Tape: 2 Story: 4 - Orlando Bagwell describes his maternal great-grandmother and great-aunts</a>

<a href="https://da.thehistorymakers.org/story/485204">Tape: 2 Story: 5 - Orlando Bagwell remembers his extended family members</a>

<a href="https://da.thehistorymakers.org/story/485205">Tape: 2 Story: 6 - Orlando Bagwell describes his community in Baltimore, Maryland</a>

<a href="https://da.thehistorymakers.org/story/485206">Tape: 2 Story: 7 - Orlando Bagwell talks about his parents' return to college, pt. 1</a>

<a href="https://da.thehistorymakers.org/story/485207">Tape: 2 Story: 8 - Orlando Bagwell talks about his parents' return to college, pt. 2</a>

<a href="https://da.thehistorymakers.org/story/485208">Tape: 2 Story: 9 - Orlando Bagwell describes his earliest childhood memory</a>

<a href="https://da.thehistorymakers.org/story/485209">Tape: 2 Story: 10 - Orlando Bagwell describes the sights, sounds and smells of his childhood</a>

<a href="https://da.thehistorymakers.org/story/485210">Tape: 3 Story: 1 - Orlando Bagwell remembers his daily activities in Baltimore, Maryland</a>

<a href="https://da.thehistorymakers.org/story/485211">Tape: 3 Story: 2 - Orlando Bagwell describes the Blessed Sacrament School in Baltimore, Maryland</a>

<a href="https://da.thehistorymakers.org/story/485212">Tape: 3 Story: 3 - Orlando Bagwell recalls his teachers at the Blessed Sacrament School</a>

<a href="https://da.thehistorymakers.org/story/485213">Tape: 3 Story: 4 - Orlando Bagwell remembers the holidays with his family</a>

<a href="https://da.thehistorymakers.org/story/485214">Tape: 3 Story: 5 - Orlando Bagwell describes his religious upbringing</a>

<a href="https://da.thehistorymakers.org/story/485215">Tape: 3 Story: 6 - Orlando Bagwell remembers his early aspirations</a>

<a href="https://da.thehistorymakers.org/story/485216">Tape: 3 Story: 7 - Orlando Bagwell describes the Civil Rights Movement in Maryland</a>

<a href="https://da.thehistorymakers.org/story/485217">Tape: 3 Story: 8 - Orlando Bagwell describes the Wilson Park neighborhood of Baltimore, Maryland</a>

<a href="https://da.thehistorymakers.org/story/485218">Tape: 3 Story: 9 - Orlando Bagwell talks about the political climate of his neighborhood</a>

<a href="https://da.thehistorymakers.org/story/485219">Tape: 4 Story: 1 - Orlando Bagwell reflects upon attitudes in the black community during the Civil Rights Movement</a>

<a href="https://da.thehistorymakers.org/story/485220">Tape: 4 Story: 2 - Orlando Bagwell recalls the television and radio shows of his youth</a>

<a href="https://da.thehistorymakers.org/story/485221">Tape: 4 Story: 3 - Orlando Bagwell describes his involvement in neighborhood sports leagues</a>

<a href="https://da.thehistorymakers.org/story/485222">Tape: 4 Story: 4 - Orlando Bagwell recalls moving to Nashua, New Hampshire</a>

<a href="https://da.thehistorymakers.org/story/485223">Tape: 4 Story: 5 - Orlando Bagwell remembers Nashua High School in Nashua, New Hampshire</a>

<a href="https://da.thehistorymakers.org/story/485224">Tape: 4 Story: 6 - Orlando Bagwell describes his decision to attend Boston University in Boston, Massachusetts</a>

<a href="https://da.thehistorymakers.org/story/485225">Tape: 4 Story: 7 - Orlando Bagwell remembers his high school guidance counselor</a>

<a href="https://da.thehistorymakers.org/story/485226">Tape: 4 Story: 8 - Orlando Bagwell describes his religious involvement in Nashua, New Hampshire</a>

<a href="https://da.thehistorymakers.org/story/485227">Tape: 4 Story: 9 - Orlando Bagwell remembers Boston University in Boston, Massachusetts</a>

<a href="https://da.thehistorymakers.org/story/485228">Tape: 4 Story: 10 - Orlando Bagwell describes his decision to pursue a career in film</a>

<a href="https://da.thehistorymakers.org/story/485229">Tape: 5 Story: 1 - Orlando Bagwell talks about civil rights leaders</a>

<a href="https://da.thehistorymakers.org/story/485230">Tape: 5 Story: 2 - Orlando Bagwell remembers the film program at Boston University</a>

<a href="https://da.thehistorymakers.org/story/485231">Tape: 5 Story: 3 - Orlando Bagwell describes his role at the United South End Settlements in Boston, Massachusetts</a>

<a href="https://da.thehistorymakers.org/story/485232">Tape: 5 Story: 4 - Orlando Bagwell recalls teaching film at the United South End Settlements</a>

<a href="https://da.thehistorymakers.org/story/485233">Tape: 5 Story: 5 - Orlando Bagwell describes his coursework at Boston University</a>

<a href="https://da.thehistorymakers.org/story/485234">Tape: 5 Story: 6 - Orlando Bagwell recalls working with PBS and WGBH-TV in Boston, Massachusetts</a>

<a href="https://da.thehistorymakers.org/story/485235">Tape: 5 Story: 7 - Orlando Bagwell describes his independent films</a>

<a href="https://da.thehistorymakers.org/story/485236">Tape: 5 Story: 8 - Orlando Bagwell remembers pledging Omega Psi Phi Fraternity</a>

<a href="https://da.thehistorymakers.org/story/485237">Tape: 5 Story: 9 - Orlando Bagwell remembers his aspiration to become a filmmaker</a>

<a href="https://da.thehistorymakers.org/story/485238">Tape: 5 Story: 10 - Orlando Bagwell reflects upon his career</a>

<a href="https://da.thehistorymakers.org/story/485239">Tape: 5 Story: 11 - Orlando Bagwell reflects upon his work at the Ford Foundation</a>

DASession

1$1

DATape

4$5

DAStory

10$3

DATitle
Orlando Bagwell describes his decision to pursue a career in film
Orlando Bagwell describes his role at the United South End Settlements in Boston, Massachusetts
Transcript
I took my second semester, sophomore year, and I took off. And I think it was also that I was feeling that school wasn't--I couldn't make it connect with what I, I couldn't make it make sense or have a relevancy to me. And that was a tough year because I was, you know, kind of floating. I had an idea I was gonna work, you know, travel, and my sister and I were living together, and I was working and I lost my job. And, you know, it's just wasn't--trying to live in an apartment too and living in Boston [Massachusetts]. And my parents [Barbara Jones Bagwell and Donald Bagwell, Sr.], when I left school, they decided they weren't gonna pay anymore for me. So if I wanted to get back to school, I had to do it on my own. And, and it was the summer of the semester, and then the summer. And that summer, I had hooked up with this place [United South End Settlements, Boston, Massachusetts] and had, through a girlfriend, and said that I was gonna work at this camp for the summer. And it was with this Harriet Tubman House [Boston, Massachusetts] that was a community center in the South End of Boston. And that was a breakthrough for me because suddenly I was, I was with young people and what I believed in and everything. So I could make work and make sense, you know, on a work level. And so I started working there, and I decided I was gonna get myself back in school, and I had been--I had bought a still camera and had been taking pictures and doing some slide shows and things like that. And one of my, and my roommate in freshman year was in the school of communications [Boston University College of Communication, Boston, Massachusetts] and was in film school. And, not in the film school, the school of communications, and he said to me--and I had always worked with films in high school, teaching, using them for teaching things, for teaching with my CYO work, Catholic Youth Organization work, and had brought, done a presentation in my sociology class with films about conditions in schools in urban areas. And my friend said, you really under--you really seem to know something about movies, and when you talk about them, and I really didn't know that and feel that way because I didn't really go to movies and stuff, you know. But he got my attention, and I decided I'd try and get back in school in the film school, which was a very small program in the communications school. I think they had like ten students, and I got in.$How soon do you start working with children after school in film?$$Well, that happened immediately actually 'cause it was a funny thing. I came out of that summer as a counselor, and the center asked me to come back and work with their after-school program. And I started working there, and no sooner had I gotten there, that the woman who was running it quit. And they offered me a full-time job running the program, which meant that I would work most of my hours in the evening. But I would, the days when I didn't have classes at school [Boston University, Boston, Massachusetts], I would spend my after- my days there, you know, working through the planning and the preparation and the, you know, just all the things to kind of set up the program. And it was really working in a center that really didn't have a lot of programs coming out of it. But what had happened is, once they gave me the job to run the after-school program, it didn't have a lot of kids coming to it either. But when they asked me to do it, I noticed that there is a lot of new housing projects that were built by the church in the neighborhood--there was a church on the corner, and they built a lot of low-income housing on Columbus Avenue. And I started recruiting from those homes. And then I, I petitioned for a little bit of money from the settlement house organization [United South End Settlements, Boston, Massachusetts] that ran this particular house [Harriet Tubman House, Boston, Massachusetts], and we renovated the house. And, you know, sanded and cleaned all the floors repainted the whole place and fixed it up so that somebody would want to come and be there and upgraded our offices and we started recruiting kids in and started bringing in a whole group of new kids. And suddenly the place was full of kids and teenagers. And we started a teen program too, and we then built a stage down on the corner and, you know, and started working and built, transformed a lot of the lots that were empty there into playgrounds and stuff like that, and started turning it into a new place. And then I started, I worked through the schools to get, to work with all the different schools in the area to kind of work with them to get our statuses up as an employer of work-study students, so I could recruit students in work-study programs. And I started building a cadre of teachers who were doing after school classrooms, teaching in math and reading and then other kinds of arts and other kinds of things. And then I taught a, I built a dark room on the top floor and taught photography and started doing a video class there.

Stanley Nelson

Veteran filmmaker Stanley Earl Nelson, Jr., was born on June 8, 1951, in New York City. He attended New Lincoln School, a Manhattan private school, from kindergarten through high school. He attended Beloit College in Wisconsin, and later transferred to six different colleges including New York University, Morris Brown, and Hunter College. In 1976, he received his B.F.A. degree from the Leonard Davis Film School at the City University of New York.

Upon graduating, Nelson worked as an assistant editor with documentary filmmaker William Greaves. He also worked for several years at United Methodist Communication, a communication branch for the United Methodist Church. By 1989, Nelson wrote, produced, and directed his first documentary feature, Two Dollars and a Dream: The Story of Madame C.J. Walker, a story of the nation's first self-made African American female millionaire. This documentary later won the CINE Golden Eagle Award and was cited as the Best Production of the Decade by the Black Filmmaker Foundation.

Nelson began working as a television producer at PBS on the series Listening to America with Bill Moyers. Nelson went on to produce and direct the 1999 Emmy nominated documentary entitled The Black Press: Soldiers Without Swords, and the 2000 Black International Cinema Festival award winning documentary Marcus Garvey: Look for Me in the Whirlwind. Nelson and his wife, Marcia A. Smith, then formed the nonprofit documentary film production company Firelight Media. Firelight Media received funding from American Experience to produce the critically acclaimed 2003 documentary entitled The Murder of Emmett Till. The film won several awards including an Emmy for Best Directing-Nonfiction, the Sundance Film Festival 2003 Special Jury Prize, and the George Foster Peabody Award. In addition, the U.S. Justice Department has recently reopened the 1955 murder investigation of Emmitt Till, citing the presence of new evidence exposed in Nelson’s documentary.

Nelson has taught film production and broadcast journalism at facilities in Rwanda and at Howard University in Washington, D.C. Nelson received fellowships at the American Film Institute, the New York Foundation for the Arts, and the 2002 MacArthur Foundation Genius Fellowship. In 2004, Nelson was honored with the Educational Video Center's Excellence in Community Service Award. In 2006, he completed the documentary entitled, Jonestown: The Life and Death of Peoples Temple.

Accession Number

A2006.059

Sex

Male

Interview Date

4/3/2006

Last Name

Nelson

Maker Category
Organizations
Schools

New Lincoln School

Morris Brown College

New York University

Beloit College

City College of New York

Hunter College

First Name

Stanley

Birth City, State, Country

New York

HM ID

NEL02

Favorite Season

All Seasons Except Winter

State

New York

Favorite Vacation Destination

Anywhere Warm

Bio Photo
Speakers Bureau Region State

New York

Interview Description
Birth Date

6/8/1951

Birth Place Term
Speakers Bureau Region City

New York

Country

USA

Short Description

Film producer Stanley Nelson (1951 - ) has produced several award-winning documentaries, including 'Two Dollars and a Dream: The Story of Madame C.J. Walker', and 'The Murder of Emmett Till'. With his wife, he is a founder of the nonprofit documentary film production company Firelight Media.

Employment

William Greaves Productions

United Methodist Communications

WNET TV

Firelight Media

Timing Pairs
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DAStories

<a href="https://da.thehistorymakers.org/story/339736">Tape: 1 Story: 1 - Slating of Stanley Nelson's interview</a>

<a href="https://da.thehistorymakers.org/story/339737">Tape: 1 Story: 2 - Stanley Nelson lists his favorites</a>

<a href="https://da.thehistorymakers.org/story/339738">Tape: 1 Story: 3 - Stanley Nelson describes his mother</a>

<a href="https://da.thehistorymakers.org/story/339739">Tape: 1 Story: 4 - Stanley Nelson describes his father</a>

<a href="https://da.thehistorymakers.org/story/339740">Tape: 1 Story: 5 - Stanley Nelson talks about his ancestry</a>

<a href="https://da.thehistorymakers.org/story/339741">Tape: 1 Story: 6 - Stanley Nelson describes his maternal grandparents</a>

<a href="https://da.thehistorymakers.org/story/339742">Tape: 1 Story: 7 - Stanley Nelson describes his paternal grandfather</a>

<a href="https://da.thehistorymakers.org/story/339743">Tape: 1 Story: 8 - Stanley Nelson describes his parents' move from Washington, D.C. to New York City</a>

<a href="https://da.thehistorymakers.org/story/339744">Tape: 1 Story: 9 - Stanley Nelson describes his earliest childhood memories</a>

<a href="https://da.thehistorymakers.org/story/339745">Tape: 1 Story: 10 - Stanley Nelson describes his early family life and his siblings</a>

<a href="https://da.thehistorymakers.org/story/339746">Tape: 1 Story: 11 - Stanley Nelson describes his childhood in New York City</a>

<a href="https://da.thehistorymakers.org/story/339747">Tape: 1 Story: 12 - Stanley Nelson describes the sights, sounds and smells of his childhood</a>

<a href="https://da.thehistorymakers.org/story/339748">Tape: 1 Story: 13 - Stanley Nelson describes New York City's New Lincoln School</a>

<a href="https://da.thehistorymakers.org/story/339749">Tape: 1 Story: 14 - Stanley Nelson remembers an inspiring teacher at New Lincoln School</a>

<a href="https://da.thehistorymakers.org/story/339750">Tape: 1 Story: 15 - Stanley Nelson describes the New Lincoln School facility</a>

<a href="https://da.thehistorymakers.org/story/339751">Tape: 1 Story: 16 - Stanley Nelson describes the environment at New Lincoln School</a>

<a href="https://da.thehistorymakers.org/story/339752">Tape: 1 Story: 17 - Stanley Nelson remembers his best friend at New Lincoln School</a>

<a href="https://da.thehistorymakers.org/story/339753">Tape: 1 Story: 18 - Stanley Nelson recalls playing basketball and soccer at New Lincoln School</a>

<a href="https://da.thehistorymakers.org/story/339754">Tape: 1 Story: 19 - Stanley Nelson describes the activities available to him as a boy in New York City</a>

<a href="https://da.thehistorymakers.org/story/339755">Tape: 1 Story: 20 - Stanley Nelson recalls his father's attitude towards church</a>

<a href="https://da.thehistorymakers.org/story/339756">Tape: 1 Story: 21 - Stanley Nelson remembers his childhood ambitions</a>

<a href="https://da.thehistorymakers.org/story/339757">Tape: 1 Story: 22 - Stanley Nelson recalls attending numerous undergraduate institutions</a>

<a href="https://da.thehistorymakers.org/story/339758">Tape: 1 Story: 23 - Stanley Nelson remembers his attitude towards college</a>

<a href="https://da.thehistorymakers.org/story/360523">Tape: 2 Story: 1 - Stanley Nelson remembers his undergraduate experience</a>

<a href="https://da.thehistorymakers.org/story/360524">Tape: 2 Story: 2 - Stanley Nelson recalls his parents' financial support of his schooling</a>

<a href="https://da.thehistorymakers.org/story/360525">Tape: 2 Story: 3 - Stanley Nelson recalls his desire to pursue an artistic career</a>

<a href="https://da.thehistorymakers.org/story/360526">Tape: 2 Story: 4 - Stanley Nelson recalls how he developed an interest in filmmaking</a>

<a href="https://da.thehistorymakers.org/story/360527">Tape: 2 Story: 5 - Stanley Nelson recalls his graduation from City College of New York</a>

<a href="https://da.thehistorymakers.org/story/360528">Tape: 2 Story: 6 - Stanley Nelson remembers his life in New York City after college</a>

<a href="https://da.thehistorymakers.org/story/360529">Tape: 2 Story: 7 - Stanley Nelson recalls beginning his career with the help of William Greaves</a>

<a href="https://da.thehistorymakers.org/story/360530">Tape: 2 Story: 8 - Stanley Nelson talks about documentary filmmaker William Greaves</a>

<a href="https://da.thehistorymakers.org/story/360531">Tape: 2 Story: 9 - Stanley Nelson recalls how his interest in documentary filmmaking developed</a>

<a href="https://da.thehistorymakers.org/story/360532">Tape: 2 Story: 10 - Stanley Nelson explains the difference between commercial and documentary filmmaking</a>

<a href="https://da.thehistorymakers.org/story/360533">Tape: 2 Story: 11 - Stanley Nelson recalls applying to work at United Methodist Communications</a>

<a href="https://da.thehistorymakers.org/story/360534">Tape: 2 Story: 12 - Stanley Nelson describes his work for United Methodist Communications</a>

<a href="https://da.thehistorymakers.org/story/360535">Tape: 2 Story: 13 - Stanley Nelson recalls his decision to leave United Methodist Communications</a>

<a href="https://da.thehistorymakers.org/story/340081">Tape: 3 Story: 1 - Stanley Nelson recalls his idea for a documentary about Madam C.J. Walker</a>

<a href="https://da.thehistorymakers.org/story/340082">Tape: 3 Story: 2 - Stanley Nelson remembers his independent documentary filmmaking</a>

<a href="https://da.thehistorymakers.org/story/340083">Tape: 3 Story: 3 - Stanley Nelson recalls the impact of 'Two Dollars and a Dream' upon his career</a>

<a href="https://da.thehistorymakers.org/story/340084">Tape: 3 Story: 4 - Stanley Nelson names awards he received for 'Two Dollars and a Dream'</a>

<a href="https://da.thehistorymakers.org/story/340085">Tape: 3 Story: 5 - Stanley Nelson describes his documentary film projects</a>

<a href="https://da.thehistorymakers.org/story/340086">Tape: 3 Story: 6 - Stanley Nelson explains how he managed his filmmaking projects</a>

<a href="https://da.thehistorymakers.org/story/340087">Tape: 3 Story: 7 - Stanley Nelson describes the significance of 'The Black Press' for his career</a>

<a href="https://da.thehistorymakers.org/story/340088">Tape: 3 Story: 8 - Stanley Nelson recalls being recruited to produce for New York City's WNET-TV</a>

<a href="https://da.thehistorymakers.org/story/340089">Tape: 3 Story: 9 - Stanley Nelson recalls his early career at New York City's WNET-TV</a>

<a href="https://da.thehistorymakers.org/story/340090">Tape: 3 Story: 10 - Stanley Nelson remembers working with Bill D. Moyers</a>

<a href="https://da.thehistorymakers.org/story/340091">Tape: 3 Story: 11 - Stanley Nelson describes his career during the 1990s</a>

<a href="https://da.thehistorymakers.org/story/340092">Tape: 3 Story: 12 - Stanley Nelson remembers founding Firelight Media</a>

<a href="https://da.thehistorymakers.org/story/340093">Tape: 3 Story: 13 - Stanley Nelson talks about his wife, Marcia Smith</a>

<a href="https://da.thehistorymakers.org/story/340094">Tape: 3 Story: 14 - Stanley Nelson recalls obtaining funding for "The Murder of Emmett Till"</a>

<a href="https://da.thehistorymakers.org/story/340095">Tape: 3 Story: 15 - Stanley Nelson describes filming 'The Murder of Emmett Till'</a>

<a href="https://da.thehistorymakers.org/story/340096">Tape: 3 Story: 16 - Stanley Nelson describes his awards for 'The Murder of Emmett Till'</a>

<a href="https://da.thehistorymakers.org/story/340097">Tape: 4 Story: 1 - Stanley Nelson describes his pride in 'The Murder of Emmett Till'</a>

<a href="https://da.thehistorymakers.org/story/340098">Tape: 4 Story: 2 - Stanley Nelson describes the impact of his Emmy Award upon his career</a>

<a href="https://da.thehistorymakers.org/story/340099">Tape: 4 Story: 3 - Stanley Nelson remembers receiving a MacArthur Fellowship</a>

<a href="https://da.thehistorymakers.org/story/340100">Tape: 4 Story: 4 - Stanley Nelson describes his documentary, 'A Place of Our Own'</a>

<a href="https://da.thehistorymakers.org/story/340101">Tape: 4 Story: 5 - Stanley Nelson recalls the challenges of filming 'A Place of Our Own'</a>

<a href="https://da.thehistorymakers.org/story/340102">Tape: 4 Story: 6 - Stanley Nelson describes his father's reaction to 'A Place of Our Own'</a>

<a href="https://da.thehistorymakers.org/story/340103">Tape: 4 Story: 7 - Stanley Nelson describes his recent documentary film projects</a>

<a href="https://da.thehistorymakers.org/story/340104">Tape: 4 Story: 8 - Stanley Nelson describes his documentary, 'Jonestown: The Life and Death of Peoples Temple'</a>

<a href="https://da.thehistorymakers.org/story/340105">Tape: 4 Story: 9 - Stanley Nelson describes his family's move to San Francisco, California</a>

<a href="https://da.thehistorymakers.org/story/340106">Tape: 4 Story: 10 - Stanley Nelson describes his teaching opportunities</a>

<a href="https://da.thehistorymakers.org/story/340107">Tape: 4 Story: 11 - Stanley Nelson talks about how he spends his free time</a>

<a href="https://da.thehistorymakers.org/story/340108">Tape: 4 Story: 12 - Stanley Nelson reflects upon his filmmaking career</a>

<a href="https://da.thehistorymakers.org/story/340109">Tape: 4 Story: 13 - Stanley Nelson considers his future plans</a>

<a href="https://da.thehistorymakers.org/story/340110">Tape: 4 Story: 14 - Stanley Nelson describes his hopes and concerns for the African American community</a>

<a href="https://da.thehistorymakers.org/story/340111">Tape: 4 Story: 15 - Stanley Nelson shares advice about the importance of doing one's best</a>

DASession

1$1

DATape

2$3

DAStory

7$16

DATitle
Stanley Nelson recalls beginning his career with the help of William Greaves
Stanley Nelson describes his awards for 'The Murder of Emmett Till'
Transcript
And I remember I called my mother [A'Lelia Ransom Nelson] and, you know, maybe to go see if I could go over there and get a free dinner and she said, "You know, I'm, I'm just reading this article in the Daily News [New York Daily News] about this filmmaker, [HistoryMaker] William Greaves. It says--it's this profile of this black filmmaker named William Greaves. You should go see him." So, I think I called up information, got his number and I was--I was standing in a phone booth like two blocks away from his office. It's one of those things that, you know, just happens. I mean, it's one of those things, you know. I called up my mother, she's reading an article about William Greaves, I'm two blocks from his office, I go knock on his door, and he's there and I start talking to him and, you know, he's like, you know, "I can't, you know, I don't have any work, I don't have any money to pay you," blah, blah, blah. And this was a time, this was in the early '70s [1970s]--this is probably about '75 [1975], '76 [1976]--'76 [1976] I think it was. There was a program called CETA, a government program where the thing about the CETA program--it was called some, some--we looked it up the other year. We cou- nobody could remember what it stood for--something like the Comp-, Comprehensive Education Training Act [sic. Comprehensive Employment and Training Act]--something like that. It was CETA.$$Okay.$$So it was a federal program and the thing about it, what CETA would do was CETA would pay you minimum wage if somebody would agree to hi-, to, to, to train you, then CETA would pay you for a period of time like six months to a year. You would be paid by the federal government but the person had to agree to hire you at the going rate for that job after that training period was over. So CETA would pay you for six months to a year and then they would have to hire you, but pay you the going rate for that. So I said, "Well, Bill--." So anyway I'm in Bill Greaves' office, I knew about this CETA program. I said, "Bill, you could hire me through CETA. CETA will pay me for six months, you know, and you don't have to pay me anything for six months. But after the six months you have to agree to hire me, you know, and I could work for you as an assistant editor and thence you'd have to--but you'd have to hire me as an assistant editor." And Bill, you know, he was kind of interested, then he said, "Well, I can't agree to hire you, you know, after six months. There's no way I can agree to hire you." And I said, "Well, Bill, all you have to do is hire me for a day and then fire me. But, you know, you can, you know, I can work for you for six months for free on this program and you can get--you can get my work for free." And he said, "Fine, you're hired. Let's go." And so he said, "My son, David [David Greaves], is out there getting ready. We're going to shoot this commercial tomorrow. You go with David to the equipment office and pick up some equipment and you start tomor- you start right now." So, that's how I started. And so I started working for Bill that way and I ended up moving--he had a, he had a house in Massachusetts, kind of couple hours from New York, and I would--I ended up being an assistant editor with Bill and, and lived up on this farm he had with his family for about six months and did sound for him and edited some stuff for him and, you know, worked for him for a couple of years.$It was well received. It won some awards, didn't it?$$Yeah, yeah, 'Emmett Till' ['The Murder of Emmett Till'] was really well received. It, it won a special jury prize [Special Jury Award] at Sundance [2003 Sundance Film Festival]. It won a Peabody Award [George Foster Peabody Award], it won an International Documentary Association Award, Marcia [Marcia Smith] won best documentary writing from the Writers Guild [Writers Guild of America] and it won one, one of my favorites, it won a prime time Emmy Award for best non-fiction film, which I love because--I love it for a lot of reasons, but we were up against this film by James Cameron who did the 'Titanic.' He did a film called 'Raising the Bismarck' [sic. 'Expedition: Bismarck'] or something like that, we were up against that and we were also up against the last episode of 'American Idol.' Non-fiction, (laughter) the category was non-fiction, non-fiction program--non-fiction directing. So, we were up against the last--and so, you know, we thought we, we, we didn't, you know, think that we had a chance, you know, because we didn't have the guns, we didn't have, you know, we didn't have any clout in Hollywood, we didn't have anything, so we just kind of went to--you know, we were really happy to go to the, the Emmy Awards and actually--the day of the Emmy Awards, Marcia made me rent a tuxedo, because I wasn't even (laughter)--I was, you know, I was going to go in my pajamas, but she made me rent a tuxedo, so thank God.

William Greaves

Filmmaker William Greaves was born in New York City to parents from Jamaica and Barbados. Growing up in Harlem, Greaves attended Stuyvesant High School, and after graduating in 1944, attended the City College of New York. Greaves spent 1948 studying under German-born avant-garde filmmaker Hans Richter. After appearing in the musical Finian's Rainbow, Greaves was invited to join the prestigious Actors Studio in New York, where he trained with Marlon Brando and Shelley Winters.

Greaves began his career as an actor, and appeared in the Broadway hit, Lost in the Stars, as well as films such as 1948's Souls of Sin. Relocating to Canada in 1952, Greaves worked for the National Film Board as a writer and director. While in Canada, Greaves studied under John Grierson, regarded as the father of modern documentary film making. After returning to the United States in 1961, Greaves joined the International Civil Aviation Organization as a public information officer producing films for the organization, and in 1963 he went to work for the United Nations Film and Television Department in the African Academy of Arts and Research. Greaves formed William Greaves Productions in 1964, and soon thereafter began producing his own works. Greaves' first feature film, Symbiopsychotaxiplasm: Take One, was released in 1968, the same year he began producing television's Black Journal, a monthly television newsmagazine airing on public television. Black Journal aired until 1970, and received an Emmy in 1969.

After leaving Black Journal, Greaves returned to independent film making with his 1971 Ali, the Fighter. Since then, Greaves has been prolific in his art, producing films such as Ida B. Wells: A Passion for Justice, From These Roots, and his most recent work, Ralph Bunche: An American Odyssey. In all, he has produced more than 200 documentary films and has received more than seventy international film festival awards. He has been inducted into the Black Filmmakers Hall of Fame, received special tribute at the first Black American Independent Film Festival in Paris, and has received an "Indy," the Life Achievement Award of the Association of Independent Video and Filmmakers. Greaves has been a member of the Actors Studio for fifty-five years, and is the chairman of the Film Committee of the Princess Grace Foundation. Greaves and his wife, Louise, resided in New York.

Accession Number

A2003.082

Sex

Male

Archival Photo 1
Interview Date

4/17/2003

Last Name

Greaves

Maker Category
Marital Status

Married

Organizations
Schools

Stuyvesant High School

Archival Photo 2
First Name

William

Birth City, State, Country

New York

HM ID

GRE06

Favorite Season

Fall, Spring, Summer

State

New York

Favorite Vacation Destination

Dakaras, Senegal, Malibu, California, Goa, India

Favorite Quote

A race without knowledge of it's history and like a tree without roots.

Bio Photo
Speakers Bureau Region State

New York

Interview Description
Birth Date

10/8/1925

Birth Place Term
Speakers Bureau Region City

New York

Country

USA

Favorite Food

Chinese, West Indian, Caribbean Food

Death Date

8/25/2014

Short Description

Documentary filmmaker, stage actor, and film director William Greaves (1925 - 2014 ) began his career as an actor, but turned to film making. In 1963, he went to work for the United Nations Film and Television Department in the African Academy of Arts and Research, and later formed William Greeves Productions. Greaves has produced more than 200 documentary films, and has received more than seventy international film festival awards.

Employment

National Film Board of Canada

International Civil Aviation Organization

United Nations Film and Television Department

William Greaves Productions

Favorite Color

Olive Green

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DAStories

<a href="https://da.thehistorymakers.org/story/7811">Tape: 1 Story: 1 - Slating of William Greaves's interview</a>

<a href="https://da.thehistorymakers.org/story/7812">Tape: 1 Story: 2 - William Greaves discusses his favorites</a>

<a href="https://da.thehistorymakers.org/story/7813">Tape: 1 Story: 3 - William Greaves discusses his ancestors' origins</a>

<a href="https://da.thehistorymakers.org/story/7814">Tape: 1 Story: 4 - William Greaves tells of his father's emigration from Barbados and his personality</a>

<a href="https://da.thehistorymakers.org/story/7815">Tape: 1 Story: 5 - William Greaves discusses his mother's personality and how his parents met</a>

<a href="https://da.thehistorymakers.org/story/7816">Tape: 1 Story: 6 - William Greaves talks about his siblings and his parents' education</a>

<a href="https://da.thehistorymakers.org/story/7817">Tape: 1 Story: 7 - William Greaves talks about growing up in Harlem and his interest in African studies</a>

<a href="https://da.thehistorymakers.org/story/7818">Tape: 1 Story: 8 - William Greaves discusses Africanist and scholar William Leo Hansberry</a>

<a href="https://da.thehistorymakers.org/story/7819">Tape: 1 Story: 9 - William Greaves discusses his intellectual peers in Harlem</a>

<a href="https://da.thehistorymakers.org/story/7820">Tape: 2 Story: 1 - William Greaves talks about his parents' role in his early education and the fault with America's media and educational systems</a>

<a href="https://da.thehistorymakers.org/story/7821">Tape: 2 Story: 2 - William Greaves discusses his academic education and his early interest in art</a>

<a href="https://da.thehistorymakers.org/story/7822">Tape: 2 Story: 3 - William Greaves discusses his early career in the performing arts and on screen</a>

<a href="https://da.thehistorymakers.org/story/7823">Tape: 2 Story: 4 - William Greaves talks more about his early acting career</a>

<a href="https://da.thehistorymakers.org/story/7824">Tape: 2 Story: 5 - William Greaves details the racist attitudes that caused him to abandon acting and leave the United States</a>

<a href="https://da.thehistorymakers.org/story/7825">Tape: 2 Story: 6 - William Greaves discusses his work with the National Film Board of Canada</a>

<a href="https://da.thehistorymakers.org/story/7826">Tape: 3 Story: 1 - William Greaves discusses his return to the United States from Canada and his filmmaking career</a>

<a href="https://da.thehistorymakers.org/story/7827">Tape: 3 Story: 2 - William Greaves discusses his time in Dakar, Senegal with Langston Hughes</a>

<a href="https://da.thehistorymakers.org/story/7828">Tape: 3 Story: 3 - William Greaves discusses his film productions with various U.S. government agencies</a>

<a href="https://da.thehistorymakers.org/story/7829">Tape: 3 Story: 4 - William Greaves talks about his film 'Still A Brother: Inside the Negro Middle Class'</a>

<a href="https://da.thehistorymakers.org/story/7830">Tape: 3 Story: 5 - William Greaves details his experiences while working on the 'Black Journal' television series</a>

<a href="https://da.thehistorymakers.org/story/7831">Tape: 3 Story: 6 - William Greaves discusses his decision to transfer control of the 'Black Journal' television series to Tony Brown</a>

<a href="https://da.thehistorymakers.org/story/7832">Tape: 3 Story: 7 - William Greaves talks more about 'Black Journal' and compares it to others with a similar format</a>

<a href="https://da.thehistorymakers.org/story/7833">Tape: 3 Story: 8 - William Greaves details his documentary, 'Nationtime, Gary,' and the response it received from mainstream media outlets</a>

<a href="https://da.thehistorymakers.org/story/7834">Tape: 4 Story: 1 - William Greaves discusses his film, 'Symbiopsychotaxiplasm: Take One'</a>

<a href="https://da.thehistorymakers.org/story/7835">Tape: 4 Story: 2 - William Greaves discusses his film 'Ali, the Fighter' and its impact on Hollywood films about boxing</a>

<a href="https://da.thehistorymakers.org/story/7836">Tape: 4 Story: 3 - William Greaves discusses his film, 'Ralph Bunche: An American Odyssey'</a>

<a href="https://da.thehistorymakers.org/story/7837">Tape: 4 Story: 4 - William Greaves talks more about his film on Ralph Bunche</a>

<a href="https://da.thehistorymakers.org/story/7838">Tape: 4 Story: 5 - William Greaves discusses his film 'Voice of La Raza' and his experience with actor Anthony Quinn</a>

<a href="https://da.thehistorymakers.org/story/7839">Tape: 4 Story: 6 - William Greaves discusses the perspective needed for a successful black filmmaker</a>

<a href="https://da.thehistorymakers.org/story/7840">Tape: 5 Story: 1 - William Greaves gives advice to future filmmakers, and talks about those who inspired him</a>

<a href="https://da.thehistorymakers.org/story/7841">Tape: 5 Story: 2 - William Greaves discusses intellectual role models and the 'William Greaves Aesthetic' found in his films</a>

<a href="https://da.thehistorymakers.org/story/7842">Tape: 5 Story: 3 - William Greaves relates his impressions and relationships with notable people in the arts</a>

<a href="https://da.thehistorymakers.org/story/7843">Tape: 5 Story: 4 - William Greaves details more of his impressions of the notable people in the arts</a>

<a href="https://da.thehistorymakers.org/story/7844">Tape: 5 Story: 5 - William Greaves talks about his hopes for today's black community</a>

<a href="https://da.thehistorymakers.org/story/7845">Tape: 5 Story: 6 - William Greaves discusses his parents' reactions to his career choices</a>

<a href="https://da.thehistorymakers.org/story/7846">Tape: 5 Story: 7 - William Greaves discusses what his legacy may be</a>

<a href="https://da.thehistorymakers.org/story/7847">Tape: 6 Story: 1 - William Greaves discusses how he would like to be remembered</a>

<a href="https://da.thehistorymakers.org/story/7848">Tape: 6 Story: 2 - Photo - William Greaves, age fourteen. Class photo from Fredrick Douglass Junior High School, New York, New York, 1940s</a>

<a href="https://da.thehistorymakers.org/story/7849">Tape: 6 Story: 3 - Photo - William Greaves, age eleven, with Albert Popwell and others after a school play at PS89 Elementary School, New York, New York, late 1930s</a>

<a href="https://da.thehistorymakers.org/story/7850">Tape: 6 Story: 4 - Photo - Publicity photograph of William Greaves from one of his acting roles, New York, New York, late 1940s</a>

<a href="https://da.thehistorymakers.org/story/7851">Tape: 6 Story: 5 - Photo - Publicity photograph of William Greaves from one of his acting roles, late 1940s</a>

<a href="https://da.thehistorymakers.org/story/7852">Tape: 6 Story: 6 - Photo - Publicity photograph of William Greaves from one of his acting roles, late 1940s</a>

<a href="https://da.thehistorymakers.org/story/7853">Tape: 6 Story: 7 - Photo - Sir Alistair Cooke's photograph of William Greaves dressed as an Arab, Egypt, 1950s</a>

<a href="https://da.thehistorymakers.org/story/7854">Tape: 6 Story: 8 - Photo - William Greaves's mother, Phyllis Emily Muir Greaves, New York, New York, early 1930s</a>

<a href="https://da.thehistorymakers.org/story/7855">Tape: 6 Story: 9 - Photo - William Greaves with his wife, Louise Archambault Greaves, 1995</a>

<a href="https://da.thehistorymakers.org/story/7856">Tape: 6 Story: 10 - Photo - William Greaves with his great-granddaughter, Lauren, 1990s</a>

<a href="https://da.thehistorymakers.org/story/7857">Tape: 6 Story: 11 - Photo - William Greaves's friend, Emily, ca. 1950s</a>

<a href="https://da.thehistorymakers.org/story/7858">Tape: 6 Story: 12 - Photo - William Greaves with Senegalese filmmaker, Ousmane Sembène and unidentified woman, 1990s</a>

<a href="https://da.thehistorymakers.org/story/7859">Tape: 6 Story: 13 - Photo - William Greaves working on 'Getting to Know Me' television series, during the 1970s</a>

<a href="https://da.thehistorymakers.org/story/7860">Tape: 6 Story: 14 - Photo - William Greaves with filmmakers Satyajit Ray and Elia Kazan, New York, New York, 1978</a>

<a href="https://da.thehistorymakers.org/story/7861">Tape: 6 Story: 15 - Photo - William Greaves with Louise Archambault Greaves, the President of India, Giani Zail Singh, and others in India, 1985</a>

<a href="https://da.thehistorymakers.org/story/7862">Tape: 6 Story: 16 - Photo - William Greaves with 'Black Journal' production staff, Madeline Anderson and Kent Garrett, New York, New York, 1968-1969</a>

<a href="https://da.thehistorymakers.org/story/7863">Tape: 6 Story: 17 - Photo - William Greaves with author Toni Morrison, New York, New York, 1988</a>

<a href="https://da.thehistorymakers.org/story/7864">Tape: 6 Story: 18 - Photo - William Greaves with the 'Black Journal' film crew, New York, New York, 1968</a>

<a href="https://da.thehistorymakers.org/story/7865">Tape: 6 Story: 19 - Photo - William Greaves with Louise Archambault Greaves and Bobby Shepherd, 1990</a>

<a href="https://da.thehistorymakers.org/story/7866">Tape: 6 Story: 20 - Photo - William Greaves with Louise Archambault Greaves and Dr. Robert Edgar, 1997</a>

<a href="https://da.thehistorymakers.org/story/7867">Tape: 6 Story: 21 - Photo - William Greaves with Mel Ferrer and Susan Douglas, reuniting with the cast from the movie 'Lost Boundaries,' 1995</a>

<a href="https://da.thehistorymakers.org/story/7868">Tape: 6 Story: 22 - Photo - William Greaves with actor Anthony Quinn and William H. Brown at the movie screening of 'Voice of La Raza,' 1972</a>

<a href="https://da.thehistorymakers.org/story/7869">Tape: 6 Story: 23 - Photo - William Greaves producing the film on either Booker T. Washington or Frederick Douglass, 1985-1986</a>

<a href="https://da.thehistorymakers.org/story/7870">Tape: 6 Story: 24 - Photo - Publicity photograph of William Greaves, 1995</a>

<a href="https://da.thehistorymakers.org/story/7871">Tape: 6 Story: 25 - Photo - Publicity photograph of William Greaves, 1995</a>

<a href="https://da.thehistorymakers.org/story/7872">Tape: 7 Story: 1 - Photo - William Greaves on the set of his movie, 'Symbiopsychotaxiplasm: Take One,' New York, New York, 1968</a>

<a href="https://da.thehistorymakers.org/story/7873">Tape: 7 Story: 2 - Photo - William Greaves in his office at William Greaves Productions, Inc., New York, New York, 1999</a>

<a href="https://da.thehistorymakers.org/story/7874">Tape: 7 Story: 3 - Photo - Publicity photograph of William Greaves, 1995</a>

DASession

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DATitle
William Greaves discusses his film, 'Symbiopsychotaxiplasm: Take One'
William Greaves discusses his film 'Voice of La Raza' and his experience with actor Anthony Quinn
Transcript
So the film ['Nationtime Gary'] on the Gary [Indiana] Convention [of the first National Black Political Assembly, 1972] didn't get (unclear) we were just talking about that so next I guess. Oh, you made a film in '68 [1968] called 'Symbiopsychotaxiplasm: Take One.' (laughs)$$(Simultaneously) 'Take One'.$$'Symbiopsychotaxiplasm: Take One' is a very weird film, experimental avant-garde. As a matter of fact Steven Soderbergh [film producer] is crazy about the film and he said that, "This is the film that Jean-Luc Godard tried to make, you know, in the '70s [1970s] and so on, the '60s [1960s]." It's a, it's a film that is in many ways a revolutionary film. Revolutionary in it's artistic embrace of styles of, of filmmaking that were, at the time that that was coming, made, very new, that was cinéma vérité [filmmaking style that stresses unbiased realism] very, very new type of filming that had been used in documentaries by and large only and what I dared to do was to bring cinéma vérité style--the cinéma vérité style of filmmaking into the feature film arena. And so that was one aspect of it, but it had a number of other aspects which is very enigmatic for most people. I mean most people are not aware of the improvisational, role, the role that improvisation plays in the actor's performance. Most people are not aware of scientific principals like the [Werner] Heisenberg Theory of Uncertainty [quantum mechanics theory discovered in 1927] where you talk about the fact that we, as human beings, will never know what reality is because the means of perception of the ultimate reality, which is the atom, cannot be seen because of the fact--that that is the electrons of the atom cannot be seen because the means of perception is an electron microscope which sets out a beam of electrons at the atom and it knocks the electrons out of their respective orbits, so it doesn't get a chance to really see the atom, you see. And this, this comes from out of my science background of Stuyvesant High School [New York, New York] and that sort of thing. So there is, there's that plus there's the Second Law of Thermodynamics [theory explained by physicist Rudolf J. E. Clausius in 1850], then there's Hindu mysticism and Sri Aurobindo. There are all kinds of elements that are involved in this production. It's very controversial subject matter that's designed to provoke debate and discussion and most people are not aware of all these elements coming into play, but when you see the film, you can't take your eyes off the screen because it has that quality of drawing you in and you just don't know where you are, but you're watching it, you know. You just can't stop watching it and by the end of the film you realize it was a very interesting film that in the face of all the dissent, if you will, by the crew and rebellion by the crew against the, the content and against the style of shooting, it still is an interesting movie. And it's been at fifteen or seventeen film festivals by now, and we're going to make the sequel to it at some point this year, I guess.$Now, you made a film on La Raza ['Voice of La Raza,' 1972].$$Oh, yeah, Anthony Quinn, yeah. Yeah, well that was an interesting project, actually, because the Equal Employment Opportunity Commission commissioned us to do a film on the Latino experience with respect to employment in the United States, and the--I had put the film together, and then I said, "Oh, it would be a good idea if I could get Anthony Quinn, 'cause he's Latino and he has a crossover capability. It would be interesting to get him to narrate the film." So I contacted him and he said, "Well, I don't know," he says, "What is this, a documentary?" I said, "Yes. It's a documentary." He said, "Well, you know, I'm in features and so on." Anyway, I kept bugging him, I kept, you know, pursuing him and finally he said, "Well, listen--," he said, "you come out here," he said, "let me see some of the films that you've done." So I had done a film called 'Power Versus the People' [1970] with, and in that film it deal with the transgressions, the abuses of the corporate establishment against the Latinos as well as African Americans. So I flew out to California and I showed it to Quinn, and he was very moved with it, you know, and then I showed him, also, the material that I wanted him to narrate, and he said, "This is fantastic stuff," he says, but I said, "Well, will you narrate it?" And he said, "I not only will narrate it. I want to be in it." You know, so I said, "Well, fine," so I got this crew together on a moment's notice and we filmed him in Albuquerque, New Mexico and, as well as Los Angeles [California] and made the film. And it won, I think, four or five film festival awards, I can't remember now. But it was very successful and still is. I mean it still gets called for. My company [William Greaves Productions, Inc.] gets orders for distribution of the film to various, you know, Latino groups as well as non, non-Latino groups.