Allan Miller has produced and directed over 35 films and television programs around the world, documenting some of the most important musical events of the last two decades. He has won 2 Academy Awards: best Feature Length Documentary for his 1979 film “FROM MAO TO MOZART - Isaac Stern in China,” and in 1975 for “THE BOLERO,” best short feature, with Zubin Mehta and the Los Angeles Philharmonic. “SMALL WONDERS,” the story of a violin program in the public schools of East Harlem, was nominated for an Academy Award in 1996. His newest film, YOU CANNOT START WITHOUT ME – Valery Gergiev – Maestro, a co-production of Thirteen in association with White Nights Foundation of America and WNET.ORG premieres at Symphony Space on November 2nd thru Nov 7th 2009 with Sunday screenings on Nov 8th, 15th and 22nd. The film is an intimate portrait of Russian dynamo Valery Gergiev, one of the leading conductors of our time. The film moves between rehearsal and performance sequences in major capitals around the world, and provides a glimpse of Gergiev’s demanding life as administrator of the enormous Mariinsky theater in St. Petersburg.

Watch a preview now:

Allan Miller answers some questions about the film:

Q. What is the genesis of the film?

A. Most of us think of a conductor as a flamboyant personality or tyrant. I wanted to show the public the rare skills and talents as well as the commanding personality required of a conductor.

Q. Of all the conductors to choose from, what made you choose Valery Gergiev?

A. He impressed me for many years as one who possessed all those qualities to an extraordinary degree, while combining them with a fierce dedication to his art and to the culture of his country.

Q. Why did you focus on three rehearsals Gergiev conducted with the London Symphony Orchestra for Stravinsky’s “The Rite of Spring”?

A. Showing those rehearsals and the concert allowed us to follow the process beginning with Gergiev’s first time he faced the orchestra, through the gradually more intense preparation, culminating in the public performance.

Q. As a conductor yourself, and having filmed many musicians over the decades, did you learn anything surprising about Gergiev?

A. I suppose I could understand what Gergiev was trying to do, based on my experience, but my conducting skills were at such a moderate level that I was continually amazed at Gergiev’s unsurpassed ability and intensity.

Q. What challenges did you face filming in Russia?

A. Very few – we had great local production people on the ground and some of the crews we brought knew Russian. Then, remember that if Gergiev wanted something done, or granted us permission to do what we needed to do, no one would tell us no. One of the great privileges of making this film was Gergiev’s trust in us, especially in producer Margaret Smilow and in his manager, Doug Sheldon.

Q. What is the state of classical music today?

A. Classical music is flourishing everywhere, except where it should the most – with young people. It is no longer a given part of growing up – in Europe as well as in America. The few concerts for young people or school visits by musicians are not regularly offered. And most sadly, they do not begin with or lead to regular study of an instrument, or singing in a chorus. The little concert music that young people become acquainted with is not reinforced and cannot compete with the other musical claims on every young persons digitized mind.

Q. What would you like the audience to take away from this film?

A. The knowledge that the audience appreciates what a great conductor has to offer and something of the reasons for his great achievement, but most especially an awakened, if not reinforced love for his music.