Paul Mariano and Kurt Norton are co-founders of Gravitas Docufilms in California, and the producers of These Amazing Shadows, which premieres on THIRTEEN on January 1, 2012 at midnight. Their film is a departure for both men, who have worked together on mitigation videos in death penalty cases, and usually work on other tough human rights projects. But a passion for cinema and an innate curiosity led them to this project — a love letter to celluloid, and a call to action to preserve America’s film heritage.
What impact do you hope this film will have? We want viewers to remember why they love the movies. We hope that our film will remind people how important movies are to our individual memories and our cultural heritage, and why we need to preserve them.
Aside from an obvious love of cinema, what led you to make These Amazing Shadows? Becoming aware of the existence of the National Film Registry (its scope and purpose) and becoming aware of the shocking loss of American film.
The special report, hosted by Rafael Pi Roman, with a special contribution from Jane Pauley, will take viewers behind the breaking news of the winning bid for Applied Sciences NYC. On December 19th, Mayor Michael Bloomberg announced that Cornell University and its partner, Israel’s Technion Institute, had won the competition for a land grant and $100 million from New York City to build a massive new technology and engineering school on Roosevelt Island.
Viewers will hear commentary about the local significance of this project from special guests including Cornell University President David Skorton, The Technion Institute President Peretz Lavie, New York Academy of Sciences Director of Innovation Karin Ezbiansky Pavese and New York City Economic Development Corporation’s newly appointed and first Entrepreneur at Large Steve Rosenbaum.
Jane Pauley speaks with Steve Rosenbaum, New York City Economic Development Corporation’s first Entrepreneur at Large
“Tech Campus NYC” will air on THIRTEEN on Thursday, December 22nd at 11 p.m., and will rebroadcast as an encore on Saturday, December 24th at 7:30 a.m. The special will also air on WLIW21 on Thursday, December 22nd at 5:00 a.m. will rebroadcast as an encore on Friday, December 23rd at 7:00 p.m.
“Tech Campus NYC” marks the next phase of a multiplatform initiative to bring local news and culture coverage to the tri-state region. The website for MetroFocus launched July 11, 2011. A mobile platform is expected to launch in early 2012 as well.
This MetroFocus special is made possible by the Cheryl and Philip Milstein Family, Josh and Judy Weston, Jody and John Arnhold, James and Merryl Tisch, The Shelley & Donald Rubin Foundation, Jean and Ralph Baruch and the Metropolitan Media Fund. Corporate funding is provided by Mutual of America.
The film, which is narrated by James Franco, explores the lives of the iconic couple, whose innovative work continues to influence the design world to this day. Here, Jersey discusses his inspiration for the film and the Eames’ lasting impact on American culture.
Inside Thirteen: What inspired you to make this film?
Bill Jersey: [Co-director and producer] Jason Cohn. Jason fell in love with Eames’ movies, of all things, and when he bought his new house with his wife in Berkeley, he had Eames furniture. All I knew about Eames was that I was in Minneapolis with my then girlfriend and now wife, and she said, “Oh, my friend has an Eames chair.” I said, you live in Minneapolis, my children live in San Francisco, and I live in New York. What am I going to do with a chair?” I sat in an Eames lounger, and within five seconds, I said, “I’ll take it!” I didn’t think about what it would cost, how I would get it anywhere — I loved it. I’ve sat in it every day in my house and my office for the last 30 years.
Also, Jason did a lot of research, and I realized that the Eames, as Charles was of course fond of reminding people, were not just designers of chairs. Their philosophy, their way of being in the world and their excitement about everything — that excitement was infectious. To me, that’s what the film is about. It’s creating excitement around them, as they created excitement around their world. They inspired all kinds of people. A financial magazine in Norway that had one of the biggest circulations did a review of one of the Eames’ exhibits, and people said, “What in the world is a financial magazine doing with the Eames’ show?” But that was what was so exciting about them, they touched every world, and the film touches every world.
So that’s why I did the film…in the beginning it was, “Why not?” but then at the end, why? Because it’s so rich, so varied, and so much fun. Someone told me, “This is not your typical PBS show.” Well, I think that they were not your typical people, so if we made an atypical show, it’s because we had atypical people to make a film about.
IT: What kind of person did you have to be to work for the Eames?
BJ: Well, first I think you had to be fairly thick-skinned. Charles was not an easy person to work with. A friend of mine, Bill Couturié, a very well known filmmaker — his first job was with Charles. He went out on shoots and was scared to death that Charles would hate everything he shot, but he actually liked one out of nine. And Bill said, “Boy, did I feel good!” But then Charles added, “Well, one in nine is good; if I’d have shot it, nine out of nine would have been good.” He was a very tough task masker, in spite of his charm and dimpled chin. But obviously, as my favorite character in the film Jeannie Oppenwall said, “Well, I was exploited, but I was exploited by a proper master.” And as she said, you’d be really stupid if you didn’t exploit the relationship. IT: What do you think the Eames’ greatest contribution was to American culture and design?
BJ: For me, it’s personal — they produced something that when you sat in it, you wanted to buy it — that’s a major contribution. Like Charles says in the film, they felt like they were the hosts, and the hosts had to prepare their guests something they would like. I think that attitude, and also the attitude that the designer’s job was not to be clever, or creative, or original — it was not to be an “artist” and certainly not a genius. The job of the designer is to satisfy a problem.
When Charles did the “Mathematica” exhibit for IBM, as creative as it was, it was an attempt to get people to understand what a computer could do and that it wasn’t a dangerous monster that would transform their lives into a number. So, I think it was attitude and a design sense. You still have people talking about Eames era. And there is so much knock-off Eames stuff; you know the difference. It saddens me that when you go into airports today, instead of seeing the Eames stadium seating, which is wonderful and attractive, there are cheap versions. You feel like, why did they do that? Why do farmers take a tomato that tastes delicious and redesign it so it ships and doesn’t taste like anything? But I do think it’s coming back. I think most people like it because it’s comfortable and attractive. To me, that’s their greatest contribution, saying, “You know, what we should be about as designers is making something that works, and works better and with more beauty than ever before.” I think that’s why Steve Jobs was such a success. That’s why The New York Times connected Eames to Jobs — both of them set out to solve a problem. They weren’t about trying to create something pretty; they were about trying to do something that people needed done. But, once they accomplished that, they wanted to make it attractive.
IT: What did it mean for the Eames’ career and reputation at the time to be selected to put together such high-profile international projects like “Glimpses of the USA,” representing the U.S. to the Soviets in Moscow, and the IBM Pavilion at the 1964 World’s Fair?
BJ: “Glimpses of the USA” made their career soar, as well it should have. Charles’ greatest interest was in ideas. “Glimpses of the USA” was not to show off; I think he just loved doing what he did. When he did the do-nothing machine, for instance, that was just because he liked to play. This was a guy who never grew up — he was never ashamed of what he did.
I think “Glimpses of the USA” was their biggest impact. They were lovers — with one another, with the world, and with their work. And that came through, so that it wasn’t just information well told (which it was). It was a kind of a love affair with America that Charles had that made him a good propagandist, because he really believed that this was a good country for him and for the rest of us. I think the inspiration derived from the enthusiasm and the commitment, as well as from any mechanics of design. So while the chairs changed their careers as designers, “Glimpses of the USA” changed their public roles as filmmakers and communicators.
IT: Do you think the disparity between Charles and Ray’s positions in the company, at least in their public roles, was a product of the time, or was it because of their personalities?
Charles and Ray Eames. Photo courtesy of Herman Miller.
BJ: It was a product of the times; it was a product of Ray’s acceptance of that role of the times. Not every woman accepted that ‘stand behind the man’ role. Many others stepped out from behind and said, “I’m not going to stay behind that guy because I’m the one that’s doing it.” But at the time, the man was up front and you just accepted it…there was a certain level of comfort in that for her I suspect, but I don’t know. But she wasn’t shy in relation to the world. We never really got that in the film, but a number of people talked about that. She’d go to New York City and she’d walk down the street, and she would see everything — she would see the crack in sidewalk that had a great shape, she would see a little flower that wasn’t normally a flower. Everything attracted her, which of course terrified people when she was driving a car because she would even do that while driving! She’d look to her left and say, “Oh did you see that?” And the others in the car would say, “No we didn’t, and we don’t want you to!”
IT: Are there any misconceptions about the Eames that you hope this film will clear up?
BJ: Yes — the misconception that they were chair designers. Charles was a superstar; he was handsome, charismatic, famous. One of our delights was that moment where we looked at that letter Ray wrote to Charles in France where she revealed that she and some other people worked on and made some changes to the chair’s design. That was the kind of unarguable evidence of her contribution. As we look back, lots of people say, “Oh, Ray did this, Ray did that.” My hope is that people will see them as complex human beings and see the complex relationship that they had.
IT: You’ve produced many documentaries for public television, including for WNET in the past. What has attracted you to PBS as a venue for your films?
BJ: Many reasons. The shows I did for network television in the 1960s were similar to the shows I did with PBS. But 1960 was a very different world in television. There were four stations – three commercial networks, and PBS. Shows I did for network television at the time were part of The DuPont Show of the Week in 1960. The FCC was very aggressive in insisting that the networks provide information instead of just entertainment, so that The DuPont Show of the Week said, “Okay, we’ll do 13 dramas and seven documentaries.” And they couldn’t care less what we did! So it gave us the liberty to do whatever kind of film we wanted. That’s where I got my first Emmy in 1963. So it was a very different world then, and you could get attention doing network television; in a limited way, but a significant way. Whereas now, if you want to take a serious subject and make a sincere work that has nuances in it and doesn’t get cut up in five pieces so that you have to restart every ten minutes, there’s no place but PBS. Ken Burns said it well — he could’ve gone to commercial television, but there’s no reason to!
I did a two-part series for Fox on the Mob, but that’s all they want to do! All they [commercial networks] want to do is the Mob, sex and violence. Who wants to do a show on a guy who designed chairs and made pictures? Only PBS, and only American Masters. We felt that this was the place we could really address substance rather than just surface. Where you could really engage in the pursuit of light rather than just heat. I don’t know where else you go besides PBS.
In November, WQXR – the nation’s most listened-to classical music radio station – and the venerable comedy club Carolines on Broadway honored the traditional pairing of comedy and classical music with WQXR’s Classical Comedy Contest, presented as part of the New York Comedy Festival. The contest was broadcast on THIRTEEN on December 9.
The competitors were chosen from 79 hopefuls from around the world. They have appeared everywhere from Carnegie Hall to Comedy Central, from the Metropolitan Opera to Late Night with David Letterman and include a harpist/stand-up comic from Brooklyn; a concert pianist/magician from Poland; a New York-based soprano whose partner plays the musical saw; an opera singer with a “rogue accompanist”; a Berlin-based recorder player who performs at variety shows and circuses; and a Scandinavian pianist who got his start as a funny man during a concert at Victor Borge Hall in New York, whose audience included delighted members of Mr. Borge’s family.
The winner was selected by a world-class line-up of judges from the worlds of comedy and music, including comedian Robert Klein; Peter Schickele of PDQ Bach fame; Soprano Deborah Voigt; and Charles Hamlen of the classical music management company IMG.
The WQXR Classical Comedy Contest finalists were:
Magnus Martensson – pianist/comedian Jim Wallenberg – stand-up violinist David Cope – stand-up harpist Igor Lipinski – pianist and magician Gabor Vosteen – visual comedian/recorder player Steve Russell and Kobi Shaw – cranial percussionists Sarah Worthington and Nathan Carver – singer and musical saw player Elizabeth Tryon & Mark Janas – opera singer with rogue accompanist
Next week, Live From Lincoln Center gets into the holiday spirit with New York City Ballet’s take on the holiday favorite, George Balanchine’s The Nutcracker.
Set to Tchaikovsky’s score, Balanchine’s Nutcracker features New York City Ballet’s roster of more than 150 dancers and musicians, as well as two alternating casts of 50 children from the School of American Ballet, the New York City Ballet’s official school. In addition to Balanchine’s choreography, the work features scenery by Rouben Ter-Arutunian, costumes by Karinska and lighting by Mark Stanley, after the original design by Ronald Bates.
The live television broadcast will be hosted by School of American Ballet board member Chelsea Clinton, who danced several roles in the ballet with Ballet Arkansas from 1985-1992 and then the Washington Ballet from 1993-1996. In a Lincoln Center first, the program will also bring the holiday classic to service men and women around the world via a Christmas Eve re-broadcast on the American Forces Network.