Sherlock fans: now through December 27, watch full episodes of Masterpiece: Sherlock online! Whether you missed it the first time or once just wasn’t enough, get caught up with the show below.
Masterpiece: Sherlockbrings Sherlock Holmes from the Victorian era to the 21st century. Created by Mark Gatiss and Steven Moffat, the film stars Benedict Cumberbatch (Sherlock), Martin Freeman (Dr. John Watson) and Rupert Graves (Inspector Lestrade).
Bill and Turner Ross have been hailed as up-and-coming auteurs for the fly-on-the-wall vérité style with which they made their debut film, 45365. The film, which Roger Ebert called “achingly beautiful,” won the 2009 SXSW Grand Jury Award for Best Documentary Feature. They spoke to Independent Lens about what strange trip it’s been, and the trouble with leaving Grandma on the cutting room floor.
45365 premieres on Tuesday, December 14 at 10 p.m. on THIRTEEN.
The impact that this very personal, handmade film has had already surpasses anything we could have anticipated or imagined. We worked together to finish a goal, make tangible a dream, and the reception of it has been overwhelming.
There’s always been this hidden need for us to document – an unquenchable interior desire to make sense of the fleeting and intangible moments that we live through. Our first feature film is an extension of something that we’ve been doing since we were children. The medium hasn’t always been film, but the idea has always been the same – capture the feeling and the moment and share it.
What were some of the challenges you faced in making the film?
We had to learn everything for ourselves. We just went out and did it with no guiding voice and no funding. The hardest part has been getting by with no money and no real home base. We’re fortunately wealthy in friends.
How did you gain the trust of the people of Sidney, Ohio?
We try to approach everyone with the same dignity and decency – whether they’re on camera or off. Without sincerity, it would be hard to capture honesty. We make a lot of friends.
What would you have liked to include in your film that didn’t make the cut?
So much of what we capture never makes it to the end piece. We filmed 500 hours to make a 90-minute movie. Some of the greatest moments and experiences didn’t make it in. Some of the best stories weren’t even filmed. It’s an unfortunate reality. As well, some of the most wonderful people that allowed us into their lives weren’t able to support a story line. Our grandmother was one of them. We took a lot of heat for that.
Tell us about a scene in the film that especially moved or resonated with you.
It’s not so much the scene that we share, but the actual experience of filming it – living through it – that’s the real edifying experience. It was especially hard to see Justin walk out the door of the courtroom and into prison. It’s a very stark reality.
What has the audience response been so far? Have the people featured in the film seen it, and if so, what did they think?
The response has been overwhelmingly positive. Most of the key players in the final cut have seen it – most of them together in an audience in Dayton, Ohio where we had our ‘hometown’ screening. There are some folks who don’t feel that way, but most in that case were anticipating a more traditional ‘documentary’ about Sidney, Ohio the town and not an ephemeral character study.
The independent film business is a difficult one. What keeps you motivated?
The part that isn’t business.
Why did you choose to present your film on public television?
We need every outlet to survive. Also, we grew up on Sesame Street.
What do people commonly ask you after they’ve seen the film?
Filming with that many people over that amount of time there are many stories as you might imagine. We’re often asked what happened to this person or that person. We like to leave those questions unanswered because their lives are their own and they don’t start and stop within the framework of a 90-minute film. We only show a couple minutes of their experience, the film is not meant to define them.
What didn’t you get done when you were making your film?
There’s always stuff you wish you had gotten or that you missed, but that’s going to happen and happen a lot. Just have to roll on because if you get caught up in it you’ll constantly break your own heart.
What are three films you’ve seen lately that you particularly enjoyed?
Beetle Queen Conquers Tokyo
Brock Enright: Good Times Will Never Be The Same
What advice do you have for aspiring filmmakers?
I (Bill) overheard this piece of advice while working in a kitchen in Savannah, GA. An older guy told a younger guy who was slacking and making excuses “Don’t talk about it, be about it.”
What do you think is the most inspirational food for making independent film?
We’d say beer but our mom might frown upon that. Let’s say fried chicken.
Inside Thirteen recently had the opportunity to sit down with veteran filmmaker Perry Miller Adato, whose successful documentary film career spans nearly six decades.
Among her most successful films are Dylan Thomas: The World I Breathe and Gertrude Stein: When This You See, Remember Me, for which she won an Emmy Award and two Emmy nominations, respectively.
In her latest film, Paris: The Luminous Years, Adato explores the unique time from 1905 to 1930 in which gifted artists (such as Pablo Picasso, Igor Stravinsky, and Gertrude Stein, among others) settled in Paris and revolutionized the modern arts.
Paris: The Luminous Years premieres Wednesday, December 15 at 9 p.m. on THIRTEEN.
Inside Thirteen: What first interested you in making Paris: The Luminous Years?
Perry Miller Adato: I have wanted to make Paris: The Luminous Years for 30 years; actually, it’s a little more than 30 years. What happened was, I’ve made five films in Paris, and I made a film, which is still my favorite film – Gertrude Stein: When This You See, Remember Me. That was on the air in December 1970. At that time I began to find out in doing my research for the film, all these artists who were in Paris.
Then, in 1980, I was interested in doing a film because the Museum of Modern Art was doing an exhibit on the work of Pablo Picasso. I got all the cooperation in the world from the museum. I worked a year on that film [Picasso: A Painter's Diary], and I had, for the first time, unlimited money to get incredible research and books and pictures from Paris, and I began to find out – all these people from every country, how many people were in Paris all at the same time! It turns out that from 1905-1930, I would say that anybody who did anything which is important in any of the arts at that time were there. It was the place to be. As Gertrude Stein said, “We all came to Paris – it was where we had to be.” It was the first really international avant-garde in history. It was the beginnings of modern art – the center of the storm was Paris. Artists all over Europe knew what was happening in Paris, and they wanted to be there. For however long they were there, it changed their life and it changed their work.
IT: Is there anything that this diverse group of artists had in common?
PMA: I think what they had in common was the feeling, that this was the 20th century, and the world had changed so much that suddenly even recent art, like Impressionism, seemed obsolete. We needed forms that expressed the new, modern world. That’s what they had in common. They were exposed to all the new things that were going on in Paris and this affected how Hemingway, E.E. Cummings, John Dos Passos, and others wrote. It was in the air. Innovation and experimenting with new forms – Paris was a laboratory for trying new things. Paris not only allowed you to do something new and astonishing, but demanded that you do. You felt that you had to do something new, because that was the new world.
IT: What was the hardest part of making this film?
PMA: No question about it – it’s cutting it down to size. There was so much marvelous material that I couldn’t use. If you’re going to do a film about two hours long, you have a rough cut of three hours. The whole time, there was this pressure – “Perry, how long is the film now?” my executive producer would say. The things that you have to give up, that’s the most difficult thing. And then a few things that I couldn’t get that I was unhappy about. Some things you just can’t clear. But, on the whole, we were very lucky. One of the exceptional things about the film is the footage that we have of all these people while they were alive. I wish that I had time to use more – I mean there are people that should be in the film, but you had to make choices. When I started working on the script, I knew that I could not do everything. I handled it by thinking about who were key people in that period – the most influential.
IT:You have had a long and successful documentary film career. What keeps you motivated?
I don’t have just a general urge to make films – there’s a film that you want to make. In this case, I wanted to make a film about Paris in that period. Sometimes it’s your passion, and sometimes somebody comes to you and says, “we would like a film on such and such.”
IT: Are there any topics or people you still would like to cover that you have not yet?
PMA: I always wanted to do a film on Cézanne. Not a very original subject, but I always felt that was a great story there. It’s always the story that you have to look for – what is the story? What is the struggle? Before you can do a film, you have to find that out.
The magic of Harry Houdini comes to THIRTEEN next Thursday with the premiere of No Escaping Houdini.
Hosted by Dateline NBC correspondent Edie Magnus and featuring interviews with magicians Penn & Teller and David Blaine, the documentary revisits Houdini’s life, beginning with his roots as a Jewish immigrant. It also explores his many death-defying feats and popularity with audiences around the world.
WABC-TV anchor Sade Baderinwa and special guests John Pizzarelli, Eileen Ivers, and Chia’s Dance Party kicked off the festivities with the annual tree lighting. The evening also featured street performances, food tastings, in-store activities, and shopping from Columbus Circle to 68th Street.
WNET opened the doors of its new Tisch WNET Studios at Lincoln Center for guests, offering studio tours and meet and greets with Digit, from THIRTEEN’s hit kids show, Cyberchase.
Check out photos from the event here:
Tisch WNET Studios at Lincoln Center
Digit high-fives a young fan
Gloria Deucher, THIRTEEN’s Director of Volunteer Services, gives a studio tour
On November 17th, 2010, the Korean-American Friends of Thirteen hosted a celebration to support the recently launched Friends of Thirteen Pacella Fund for Community Engagement. The lively event took place at Tisch WNET Studios at Lincoln Center and included authentic Korean cuisine and a live musical performance from Na Sun, a Chinese-born violinist with the New York Philharmonic. (more…)
Filmmakers Sally Rubin and Jen Gilomen shared with Independent Lens the arduous process of making Deep Down and the profound rewards of doing what you love with someone you trust. The film premieres Tuesday, November 23 at 10 p.m. on THIRTEEN. (more…)
In the last installment of Circus, the Big Apple Circus travels to Monte Carlo to scout new acts for next year’s show, and bids farewell to the current season as the cast performs their final shows.
PBS’Circus documents the world of circus performers, with an exclusive behind-the-scenes look at the ups and downs they experience on tour. Born to be Circus and Down the Road air tonight at 9 p.m. on THIRTEEN. (more…)