TONIGHT ON METROFOCUS

Frontline and ProPublica investigate a neo-Nazi group actively recruiting from inside the U.S. military. Legendary war correspondent Marie Colvin and photographer Paul Conroy were no strangers to danger, but after their final mission, only one of them would return home. Emmy and Tony Award-winning actress Stockard Channing tells us how she’s kept her fans hopelessly devoted for over three decades. And now, in her new play, “Apologia,” she delivers yet another critically acclaimed performance. This month, the independent filmmaker project kicks off its 28th Annual Gotham Awards to honor the best in indie cinema.

Aired November 20, 2018.

TRANSCRIPT

> TONIGHT ON METROFOCUS.

'FRONTLINE' AND ProPUBLICA INVESTIGATE A NEO-NAZI GROUP ACTIVELY RECRUITING INSIDE THE U.S. MILITARY.

WE HAVE THEIR SHOCKING FINDINGS.

> LEGENDARY WORK CORRESPONDENT MARIE COLVIN WAS NO STRANGER TO DANGER.

AFTER THE FINAL MISSION ONLY ONE OF THEM RETURNED.

WE HAVE THEIR STORY.

> EM AM I AND TONY AWARD WINNER STOCKARD CHANNING TELL US HOW SHE KEPT HER FANS HOPELESSLY DEVOTED FOR THREE DECADES.

IN HER NEW PLAY 'APOLOGIA' SHE DELIVERS ANOTHER AWARD WINNING PERFORMANCE.

> THE INDEPENDENT FILM MAKER PROJECT KICKS OFF ITS 20th GOTHAM AWARDS TO HONOR THE BEST IN MB CINEMA.

THOSE STORIES AND MORE AS 'METROFOCUS' STARTS RIGHT NOW.

♪ ♪ ♪

THIS IS 'METROFOCUS' WITH RAFAEL PI. ROMAN, JACK FORD, AND JENNA FLANAGAN.

'METROFOCUS' IS MADE POSSIBLE BY JAMES AND MERRILL TISCH.

SUE AND EDGAR WACHENHEIM III.

THE SYLVIA A. AND SIMON B. POYTA PROGRAMMING ENDOWMENT TO FIGHT ANTI-SEMITISM.

BERNARD AND IRENE SCHWARZ.

ROSALIND P. WALTER.

BARBARA HOPE ZUCKERBERG.

AND BY --

> GOOD EVENING AND WELCOME TO 'METROFOCUS.'

I'M JENNA FLANAGAN.

IN THE WAKE OF THE DEADLY ANTI-SEMITIC ATTACK AT THE TREE OF LIFE SYNAGOGUE IN PITTSBURGH, 'FRONTLINE' AND ProPUBLICA INVEST IN NEO-NAZI GROUP CALLED THE DIVISION THAT IS ACTIVELY RECRUITING FROM INSIDE THE U.S.

MILITARY.

TAKE A LOOK.

WE'RE UNDER FIRE.

HE HAS AN AUTOMATIC WEAPON.

HE'S FIRING IN FRONT OF THE SYNAGOGUE.

PITTSBURGH, PENNSYLVANIA, OCTOBER 27, 2018.

HE STORMS INTO THE TREE OF LIFE SYNAGOGUE WITH AN AR-15 AND KILLS 11 JEWISH WORSHIPPERS.

TALKING ABOUT ALL THESE JEWS NEED TO DIE.

MEMBERS OF THE TREE OF LIFE SYNAGOGUE CONDUCTING A PEACEFUL SERVICE IN THEIR PLACE OF WORSHIP WERE BRUTALLY MURDERED BY A GUNMAN TARGETING THEM SIMPLY BECAUSE OF THEIR FAITH.

OVER THE PAST FEW YEARS I'VE BEEN REPORTING ON A RESURGENT WHITE SUPREMACIST MOVEMENT.

I'VE SEEN VIOLENCE IN CITIES ACROSS THE COUNTRY.

AND NOW THIS.

WHAT LOOKS TO BE THE DEADLIEST ATTACK ON THE JEWISH COMMUNITY IN AMERICAN HISTORY.

AND I FEAR THERE WILL BE MORE TO COME.

HERE WITH MORE IS 'FRONTLINE' CORRESPONDENT AND ProPUBLICA REPORTER A.C. THOMPSON.

A.C., WELCOME BACK TO THE PROGRAM.

THANKS FOR HAVING ME ON.

I APPRECIATE IT.

ONE OF THE THINGS THAT STUCK OUT TO ME THE MOST WAS THE FACT THAT YOU WERE ABLE TO DRAW A LINE BETWEEN FRUSTRATED VETERANS WHO ARE COMING HOME FROM WAR AND AN UPTICK IN WHITE SUPREMACY.

HOW ARE YOU ABLE TO DO THAT?

YOU KNOW, A LOT OF THAT RESEARCH COMES FROM KATHLEEN BELLIEU, A HISTORIAN AT THE UNIVERSITY OF CHICAGO.

THAT'S ONE OF THE THINGS SHE'S BEEN LOOKING AT.

SHE WROTE A GREAT BOOK, 'BRING THE WAR HOME.'

SHE TRACED THE EVOLUTION OF THE WHITE SUPREMACIST MOVEMENT IN THE POST VIETNAM ERA AND SAW THESE SPIKES.

THAT WAS A FASCINATING THING TO US.

I SHOULD SAY, LOOK, MY FATHER WAS A SOLDIER.

MY GRANDFATHER WAS IN THE ARMY AS WELL.

MOST OF THE MEN IN MY FAMILY HAVE SERVED IN THE MILITARY.

SO I'M TOTALLY RESPECTFUL OF THE MILITARY AND I HAVE GREAT APPRECIATION FOR THEM.

BUT THERE HAS BEEN PER SIS TENTLY THIS SMALL HARD CORE OF CHARACTERS THAT COME OUT OF THE MILITARY AND GO INTO LEADERSHIP ROLES IN THESE GROUPS.

WELL, AND SPECIFICALLY THERE WAS ONE GROUP THAT YOU FOCUSED ON AND, OF COURSE, THAT WAS I BELIEVE ADAM WALTHAM, CORRECT?

RIGHT.

HOW WERE YOU ABLE TO GET PEOPLE TO TALK TO YOU SO CANDIDLY ABOUT WHAT WAS GOING ON ON THE INSIDE?

THE CHALLENGE TO GETTING PEOPLE TO TALK, THEY WEREN'T SCARED ABOUT LAW ENFORCEMENT OR THE PUBLIC IN GENERAL.

THEY WERE SCARED THAT THEIR FORMER COMRADES IN THIS GROUP, WHICH IS BASICALLY A TERRORIST ORGANIZATION, WOULD PHYSICALLY HARM THEM OR THEIR FAMILIES.

WELL, THAT, OF COURSE, THEN BUILDS ON WHAT I THINK IS THE SECOND AND MORE IMPORTANT THREAD IN THIS PIECE, AND THAT IS THE FACT THAT THERE ISN'T A FEAR OF WHAT LAW ENFORCEMENT MIGHT DO TO THEM.

THAT WAS THE STUNNING THING.

THE FOUNDER OF THIS GROUP WAS QUESTIONED AT HIS HOME IN TAMPA, FLORIDA.

IN HIS HOME HE HAD RADIOACTIVE MATERIAL, HIGH-POWERED EXPLOSIVES, A TON OF WEAPONS AND AMMUNITION, USES PARTS OF PIPE BOMBS, TERRORIST MANUALS, MINE CAMP AND THE POLICE RELEASED HIM FROM THE CRIME SCENE.

AND THAT IS A LITTLE BIT BAFFLING TO ME AND TO OTHER LAW ENFORCEMENT SOURCES I'VE SPOKEN TO.

AND A LOT OF PEOPLE I'VE INTERVIEWED SAID, LOOK, LAW ENFORCEMENT DOES NOT SEEM NECESSARILY PREPARED TO DEAL WITH THE THREAT OF WHITE SUPREMACIST TERRORISTS.

YOU'RE TALKING ABOUT A MAN NAMED JAMES MASON.

AND IN THE PIECE WE SEE YOU GO TO SPEAK WITH HIM.

CAN YOU GIVE US YOUR SENSE OF WHAT KIND OF A PROFILE THAT HE FITS?

HIS DEAL IS, LOOK, HE SPENT 30 PLUS YEARS PROMULGATING AN IDEOLOGY THAT SAYS, WE NEED FASCISM IN AMERICA.

WE NEED A WHITES ONLY COUNTRY.

AND WE NEED TO GET THERE BY USHERING IN ACTS OF HYPER VIOLENCE, POLITICAL ASSASSINATION, TERRORISM, AND OCCAS OCCASIONALLY GUERRILLA STRUGGLE SO WE COLLAPSE THE GOVERNMENT, AND THEN CAN TAKE POWER.

THAT IS HIS DEAL.

AND THAT IS WHAT THE ADAM WALTHAM GROUP AND OTHERS ARE ACTING OUT.

THIS IS A MOVEMENT THAT SAYS TO ITS ADHERENTS, YOU DON'T NEED A BIG GROUP TO DO IMPORTANT ACTS.

YOU ONLY NEED YOU AND A FEW OF YOUR BEST FRIENDS TO GO OUT AND SHOOT UP A SCHOOL OR A SYNAGOGUE OR A CHURCH OR A SICK HOUSE OF WORSHIP.

YOU ONLY NEED A VERY SMALL GROUP OF PEOPLE TO TAKE THE TERRORIST ACTS THAT WE BELIEVE WILL SAVE THE WHITE RACE.

WHAT DO YOU THINK IS THE MOST IMPORTANT THING FOR PEOPLE TO TAKE AWAY FROM SEEING THIS FILM?

YOU KNOW, ONE THING THAT WE DEFINITELY WANT PEOPLE TO CONSIDER IS, LOOK, THERE IS A TERRORIST ORGANIZATION OPERATING IN OUR MIDST.

AND SINCE THE AUTHORITIES FIRST STARTED LOOKING AT THIS GROUP IN MAY OF 2017, THREE MORE PEOPLE HAVE BEEN KILLED ALLEGEDLY BY MEMBERS OR ASSOCIATES OF THIS GROUP.

AND I THINK THAT SHOULD BE A CONCERNING THING FOR FOLKS.

THIS GROUP, ADAM WALTHAM DIVISION, HAS BEEN ABLE TO CONTINUE TO OPERATE, TO RECRUIT NEW MEMBERS, TO DISSEMINATE ITS IDEOLOGY ON THE WEB WITHOUT A LOT OF INTERFERENCE.

SO I THINK THAT'S A KEY THING.

THE SECOND KEY THING I THINK IS THAT WE NEED TO LOOK AT THIS NEXUS BETWEEN THE MILITARY AND THE WHITE POWER MOVEMENT.

AND, AGAIN, YOU KNOW, THAT'S NOT TO DISPARAGE THE MILITARY.

NOT MY GOAL AT ALL.

IT'S ACTUALLY TO STRENGTHEN THE MILITARY BECAUSE, YOU KNOW, WHEN YOU HAVE THESE PEOPLE WITHIN THE RANKS, YOU CAN'T HAVE DECENT UNIT COHESION, A DECENT WORK FORCE.

THESE PEOPLE ARE COMING OUT OF THE ARMED FORCES, JOINING UP WITH THE WHITE POWER MOVEMENT, AND THEY TEND TO BE THE ARCHITECTS OF SOME OF THE MOST SERIOUS CRIMES THE MOVEMENT IS RESPONSIBLE FOR.

THAT'S A THING, WE NEED A REAL AGGRESSIVE LOOK AT THAT BY THE PENTAGON AND BY THE CHIEFS OF THE VARIOUS BRANCHES.

ALL RIGHT.

WELL, ONCE AGAIN, IT'S ANOTHER COMPELLING PIECE OF JOURNALISM.

A.C.M., I WANT TO THANK YOU FOR JOINING US AGAIN AND FOR THE WORK THAT YOU DO.

THANK YOU.

I'LL COME ON AND TALK ABOUT A STORY THAT'S NOT SO DEPRESSING SOMETIME, I SWEAR.

GREAT, WE WOULD LOVE TO HAVE THAT JUST ONCE.

ALL RIGHT.

THANK YOU.

THANK YOU.

ON FEBRUARY 13, 2012, SUNDAY TIMES WAR CORRESPONDENTS ILLEGALLY CROSSED LEBANON INTO WAR RAVAGED SYRIA.

THEIR GOAL?

TO SHARE THE STORIES OF THE CIVILIANS TRAPPED IN HAMS, A CITY UNDER SIEGE AND RELENTLESS TACK FROM THE SYRIAN ARMY.

ONLY ONE OF THEM RETURNED HOME.

THE NEW DOCUMENTARY, UNDER THE WIRE, TELLS THEIR STORY.

TAKE A LOOK.

SHE WAS COMPLETELY UTTER ONE OF, ONE OF THE GREATEST WAR CORRESPONDENTS OF OUR GENERATION.

IT'S ABOUT PEOPLE.

BASICALLY WE'RE IN THE MIDDLE OF A FIRE FIGHT.

WE COVERED THE SPRING, IT WAS IN FULL SWAY.

THE CITY OF HAMS IS THE NEXT.

WE HAD ONE OPTION.

WE DECIDED TO GO IN ILLEGALLY.

I WAS IN HERE.

MARIE -- I LOCKED UP AND FROZE.

IT WASN'T WAR.

WHAT WAS IT?

HERE TO TELL US MORE IS THE DIRECTOR, CHRIS MARTIN.

CHRIS, WELCOME TO THE PROGRAM.

THANK YOU.

NICE TO BE HERE.

AMAZING FILM.

WHAT REALLY STRUCK ME MORE THAN ANYTHING WAS THE PURPOSE OF BEARING WITNESS.

WAS THAT YOUR INTENT?

YEAH, ABSOLUTELY.

I MEAN, IT WAS -- I -- ACTUALLY, I WAS FILMING ON A COMPLETELY DIFFERENT SHOOT YEARS AGO AND I HEARD THAT MARIE HAD DIED.

AND THEN I SAW A CLIP THAT'S IN THE FILM OF PAUL MAKING A PLEA TO -- YOU KNOW, FOR HELP BASICALLY.

HE WAS TRAPPED IN HAMS.

AND THE STORY JUST GRABBED ME.

IT WAS VERY CLEAR AFTERNOON HE WR AFTER HE WROTE THE BOOK WHEN HE CAME HOME, YOU HAVE TO TELL THE STORY -- WE HAVE TO TELL THE STORY IN THE FIRST PERSON AS THOUGH YOU WERE WITH THEM.

THE WHOLE IDEA, THE NATURE OF THE FILM IS YOU ARE WITH THEM AS THEY GO INTO THIS HELL REALLY AND TRY AND TELL THE WORLD ABOUT IT.

IT'S VERY MUCH A -- I HATE TO USE THE WORD, BUT I WILL -- IMM IMMERSIVE.

THE IDEA IS TO TAKE THE AUDIENCE WITH THEM INTO HAMS.

YOU DO.

FROM THE BEGINNING -- I WON'T GIVE EVERYTHING AWAY, BUT EVEN THE MANNER THEY GET INTO HAMS, YOU FEEL LIKE YOU'RE WITH THEM.

SO WHEN THE AUDIENCE WATCHES THIS FILM -- BECAUSE FOR ME PERSONALLY, IT FELT AS MUCH, AS I SAID EARLIER, NOT JUST ABOUT MARIE, BUT THE KIND OF JOURNALISM THAT SHE WAS KNOWN FOR DOING.

AND IS THAT WHAT YOU WANT YOUR AUDIENCE TO REALLY COME AWAY WITH?

YES.

THE STORY, THE FILM IS SET IN SYRIA.

I THINK IT COULD HAVE BEEN SET ANYWHERE FRANKLY.

I MEAN, WHAT MARIE WAS KNOWN FOR AMONGST ALL OF THE MANY WAR CORRESPONDENTS OUT IN THE FIELD, SHE HAD THIS THING ABOUT BEING WITH THE CIVILIANS.

SO WHEN PEOPLE WERE BACK IN STUDIO, SHE ALWAYS USED TO SAY IT'S NOT ABOUT THE T-52 TANK OR THIS ROCKET OR THIS STRATEGY.

SHE WAS JUST INTERESTED IN THE EFFECT OF THE WAR ON THE PEOPLE.

AND SHE WOULD SAY, AND PAUL CONROY SAYS IN THE FILM, THEY WOULD GO, WHERE ARE THE WOMEN AND CHILDREN HIDING?

THAT WAS THEIR STORY.

SO, IT IS SET IN SYRIA AND HAMS IS A PRETTY HORRIFIC PLACE.

IT WAS UNDER HORRIFIC SIEGE AND ATTACK.

BUT IT COULD HAVE BEEN ABOUT ANYWHERE.

MARIE WAS IN A U.N. COMPOUND IN DELHI, AND THERE WERE 1500 WOMEN AND CHILDREN.

EVERYBODY LEFT.

SHE STAYED.

AND AFTERWARDS THEY WERE UNDER ATTACK FROM VIGILANTES.

IF IT HADN'T BEEN BROADCAST FROM THERE THEY WOULD HAVE BEEN DEAD.

THEY WEREN'T JUST REPORTING ON WHAT WAS HAPPENING.

THEY WERE ACTIVELY INTENDING TO HELP THE PEOPLE THAT THEY WERE, THEY WERE, THAT THEY WERE -- THEY MET.

THERE IS A POINT IN THE FILM MARIE IS AT AN AWARD DINNER.

SHE SAYS, JOURNALISM CAN MAKE A DIFFERENCE, AND IT'S NOT ALL IN VAIN.

AND I'M WONDERING, WHERE DO YOU SEE THIS DOCUMENTARY FITTING INTO THE LARGER DISCUSSION OF THE IMPORTANCE OF JOURNALISM, PARTICULARLY BEING A WAR CORRESPONDENT?

WE DIDN'T TIME THE FILM TO COME OUT AT THE MOMENT.

YEAH.

IT JUST SO HAPPENS TO HAVE COME OUT IN THIS CLIMATE WHEN I THINK JOURNALISM IS -- I THINK IT'S ALMOST LIKE A DEFILED OCCUPATION OR PROFESSION, IT SEEMS TO BE.

YOU KNOW IN THIS COUNTRY IT IS UNDER DIRECT ATTACK.

I DON'T KNOW IF I'M ALLOW TODAY SAY THAT, BUT I THINK WHEN YOU HAVE A PRESIDENT ACTUALLY ATTACKING JOURNALISTS, YOU KNOW, ATTACKING THEIR CREDENTIALS TO REPORT, THEY'RE DANGEROUS TIMES REALLY.

AND I THINK THAT WHAT'S REALLY, REALLY CLEAR IS THAT IF YOU'RE LIVING IN A DICTATORSHIP, YOU KNOW, THE FIRST TARGET IS THE DOCTORS IN SYRIA BECAUSE THEY WANTED TO STOP ANY KIND OF MEDICAL HELP TO ANYONE WHO WOULD OPPOSE THEM.

BUT THEN IT WAS THE JOURNALISTS.

THEY KNEW IF THEY COULD STOP THE MESSAGE, THEN THEY WOULD HAVE A BIG EFFECT ON THE WAR.

AND I THINK IT'S PROBABLY TOO COMFORTING TO THINK IT ONLY HAPPENS IN DICTATOR SHIPS.

I THINK IT'S HAPPENING EVERYWHERE.

WE'RE ALMOST RUNNING OUT OF TIME.

SINCE WE ARE ON THE TOPIC OF JOURNALISM, I WANT TO ASK, WHAT DO YOU THINK HER IMPACT WAS ON THE WAY THAT AT LEAST WE VIEW THE PEOPLE WHO ARE LIVING THROUGH A VIOLENT CONFLICT?

WHEN WE SET OUT TO LOOK FOR THE ARCHIVE AND TO MAKE UP THIS FILM, A LOT OF SYRIAN PEOPLE WERE VERY JADED AND THEY SAID TO US, LOOK, WE'VE HEARD IT ALL BEFORE.

YOU KNOW, THE WESTERN JOURNALISTS, THEY'RE GOING TO HELP, THEY'RE GOING TO CHANGE THINGS AND NOTHING HAPPENS.

YOU MENTION MARIE COLVIN, AND IT WAS LIKE, THE LIGHTS WENT ON.

HOW CAN WE HELP?

WHAT THEY SAID WAS SHE AND PAUL -- SHE LIVED WHAT WE WENT THROUGH.

LIKE SHE ACTUALLY PUT HERSELF IN THE SAME SITUATION THAT WE WERE IN AND SHE PAID, SHE PAID THE PRICE OF HER LIFE FOR IT.

AND I THINK THAT, WITHOUT MAKING HER INTO SOM OF HEROINE BECAUSE SHE WASN'T, I THINK THAT, THAT RAW -- YOU KNOW, THE FACT THAT SHE WENT IN THE FIRING LINE REALLY.

I THINK IN ORDER TO TRY AND HELP THE PEOPLE WHO WERE IN THE FIRING LINE I THINK MAKES A DIFFERENCE.

I REALLY DO THINK IT MAKES A DIFFERENCE.

I THINK SHE -- A LOT OF JOURNALISTS HAVE SAID TO US, THAT'S WHY I WENT INTO JOURNALISM.

ALL RIGHT.

CHRIS MARTIN, I WANT TO THANK YOU SO MUCH FOR CREATING THIS FILM ON GIVING THIS INCREDIBLY INTIMATE AND PERSONAL VIEW INTO THE LAST DAYS OF ONE OF THE MOST AMAZING JOURNALISTS THAT I'VE EVER FOLLOWED.

SO, THANK YOU.

THANK YOU FOR HAVING ME.

THANK YOU.

HERE WE ARE AGAIN.

BUT THIS TIME WE'RE SENIORS AND WUR GOE'RE GOING TO RULE TH SCHOOL.

AUDIENCES LOVE STOCKARD CHANNING'S PORTRAYAL IN THE MUSICAL GREECE.

ANYONE WHO FOLLOWED HER MORE THAN FIVE DECADE ACTING CAREER NOT ONLY KNOWS SHE RULES THE SCHOOL, BUT ALSO THE STAGE AND SCREEN AS WELL.

THIS TONY AND EMMY AWARD WINNER IS NOW BACK ON STAGE STARRING IN ROUND ABOUT THEATER COMPANIES, PAPOLOGIA.

AS A DECORATIVE OBJECT, IT SEEMS TO ME A LITTLE DISRESPECTFUL.

AND OF THE ARTIST WHO CREATED IT.

BUT THANK YOU.

[ LAUGHTER ]

AND WE ARE DELIGHTED TO WELCOME STOCKARD CHANNING TO 'METROFOCUS.'

IT'S SO NICE TO HAVE YOU HERE.

GLAD TO BE HERE.

JUST YESTERDAY I SAW YOU ON STAGE.

I WANT TO TALK TO YOU ABOUT THE PLAY, BUT LET'S START WITH THE TITLE, APOLOGIA.

I'M SURE IF YOU ASK TEN PEOPLE ON THE STREET, NINE OF THEM WOULD GET IT WRONG.

BASICALLY HER DEFINITION WHAT SHE SAID ON STAGE, IT'S THE FORMAL WRITTEN DEFENSE OF ONE'S OPINIONS OR CONDUCT.

BUT NOT --

NOT AN APOLOGY, NOT TO BE CONTUS CONFUSED WITH AN APOLOGY.

THAT SETS THE STAGE SO WELL.

I THINK IT DOES.

SHE BASICALLY, IN THE COURSE OF THE PLAY, YOU GET AN IDEA WHAT HAPPENED TO HER AND HER SONS IN THE PAST AND THEIR EVALUATION OF THAT BEHAVIOR AND THE IMPLICATIONS OF THE DECISIONS SHE WAS FORCED TO MAKE 25 YEARS AGO HAS ON ALL THEIR LIVES.

AND PROBABLY ALL THEIR PERSONALITIES, TOO.

WHAT WAS IT THAT FASCINATED YOU ABOUT THIS?

ITS COMPLEXITY.

I READ IT AND I THOUGHT THERE WERE A LOT OF GRAYS IN THIS.

I THINK EVERYBODY HAS THEIR POINT OF VIEWS, AND THERE'S ALSO TREMENDOUS EMOTIONAL INTENSITY THROUGH IT WHICH I THINK DOES HAPPEN IN FAMILIES.

IT'S BASICALLY ALL ABOUT LOVE.

BUT IN THIS PARTICULAR SEMI, HALF WEEKEND HOUSE ON HER BIRTHDAY IN THE COUNTRY, IT HAS EXPECTATIONS.

IT IS AMAZING TO PLAY THIS PART BECAUSE SHE'S A KIND OF CAUSTIC INTERESTING HUMAN BEING, AND THAT TOUGHNESS THAT SHE HAS ALSO I THINK IS FORMED BECAUSE OF HER OWN PAIN ABOUT LOSING.

BUT THE SONS HAVE DIFFERENT NEEDS THAT THEY FEEL WERE NOT MET BY HER.

IT'S A VERY COMPLICATED SITUATION.

BUT I THINK IT'S A TREMENDOUS PAIN IN ALL OF THEM AND A DESIRE -- IF THEY DIDN'T REALLY ALL LOVE EACH OTHER, THERE WOULDN'T BE A PLAY.

CERTAINLY IT LOOKS, AS I MENTIONED IN THE INTRODUCTION, YOU'RE SOMEBODY WHO GROWS UP IN THAT ERA.

YES.

THE '60s.

YES.

AND IT WAS A TERRIBLY TROUBLED AND TURBULENT YEAR IN THE '60s.

SHE SAYS ANYTHING AND EVERYTHING FELT POSSIBLE, WHICH WE NOW REALIZE PROBABLY WAS A MOMENT OF UNREALISTIC EXPECTATIONS.

BUT FOR THOSE OF US WHO SORT OF CAME OF AN AGE, IF YOU WILL -- I MEAN, I WAS A LATE TEENAGER, YOU KNOW.

AND SO EVERYTHING WAS WIDE OPEN.

AND NOT EVERYBODY TOOK ADVANTAGE OF IT, BUT A LOT OF US DID.

SO, BUT IT'S A TOTALLY DIFFERENT TIME, WHICH IS SOMETIMES DIFFICULT TO EXPLAIN TO PEOPLE BECAUSE IT'S LACK OF MATERIALISM BY NECESSITY SOMETIMES WAS THERE, AND ALSO A KIND OF SENSE OF CIVIC RESPONSIBILITY THAT WAS DRILLED INTO US.

AND THERE WAS A REAL THOUGHT ABOUT WHAT WAS OUR OBLIGATION TO SOCIETY AND THIS, THAT AND THE OTHER.

SO THAT FOCUS THAT WAS POSSIBLY IN FOCUS AT THE TIME IS NOT ALWAYS, YOU KNOW, AVAILABLE TO US NOW.

BUT I THINK IN THE WORLD WE LIVE IN NOW, THERE IS SOMETIMES A LONGING FOR A CERTAIN KIND OF CERTAINTY, LIKE WHO IS A HERO AND WHO IS A VILLAIN, THIS AND THAT.

AND I FIND WITH AUDIENCES, THEY SOMETIMES GET A LITTLE UNCOMFORTABLE AND DECIDE THEY WANT TO MAKE UP THEIR MIND WHO . IT'S NOT RESOLVED.

IT HAS AMBIGUITY WHICH IS ONE OF THE THINGS I ADMIRE ABOUT IT.

LET'S TALK A LITTLE ABOUT YOUR CAREER.

I'M ALWAYS CURIOUS ABOUT PEOPLE WHO HAVE HAD GREAT SUCCESS ON STAGE AND ON SCREEN.

HOW DO YOU DECIDE WHAT YOUR NEXT PROJECT IS GOING TO BE?

I HATE TO BE LIKE I'M PLUGGING THIS PLAY, BUT APOLOGIA IN EFFECT IS CONSEQUENCE OF SOMEONE HAVING TO MAKE A DECISION.

WHEN SOMEONE SENDS YOU A PROJECT OR TALKS ABOUT A PROJECT, YOU HAVE TO SAY I'LL GO TO THE NEXT STEP OR NOT.

SOMETIMES THEY WORKOUT FANTASTICALLY AND SOMETIMES THEY JUST TANK.

WITH ALL THE WILL IN THE WORLD.

AND SO WHEN YOU ASK ME ABOUT MY CAREER, I'M VERY LUCKY TO BE SITTING HERE TALKING TO YOU BECAUSE I COULD HAVE HAD ACCUMULATION OF DECISIONS, SOME OF WHICH WERE MADE FOR ME, THAT WOULD NOT END UP EXACTLY FABULOUSLY.

BUT I'VE BEEN VERY LUCKY.

I'VE BEEN LUCKY TO BE INVOLVED IN SO MANY PROJECTS THAT ARE JUST -- I'M SO PROUD OF BEING PART OF.

OFTENTIMES SOMEONE WILL SAY TO ME, WHO ARE YOU TALKING TO TODAY OR NEXT WEEK?

I TOSSED OUT YOUR NAME.

ONE PERSON SAID, OH, 60 DEGREES OF SEPARATION.

YEAH.

THE ORIGINAL CAST.

SOMEBODY ELSE SAID, OH, WEST WING.

I LOVE THAT.

THAT'S MY FAVORITE SHOW.

AND THEN INVARIABLY SOMEBODY SAID, IS THERE ANYTHING BETTER THAN 'GREASE?'

OF COURSE NOT.

IN MANY WAYS WHAT IT DOES IS ILLUSTRATE THERE IS NOT ONE THING THAT PEOPLE WILL REMEMBER YOU FOR.

NO, GOT TO KEEP ON GOING.

WELL, THE PLAY, AS I SAID, IT'S WONDERFUL.

THANK YOU.

IT'S THAT COMBINATION, AS I SAID, OF GREAT LAUGHTER AND GASP-INDUCING MOMENTS, WHICH I GUESS GOOD STORYTELLING --

YES, LIVE THEATER.

IT'S LIVE THEATER.

STOCKARD, IT'S A PLEASURE TO TALK TO YOU.

THANK YOU.

WE ENJOY HAVING YOU HERE WITH US.

AND THE PLAY, AS I SAID, APOLOGIA, IT'S WONDERFUL.

PEOPLE SHOULD GO SEE IT.

THANKS SO MUCH FOR JOINING US.

THANKS.

BE WELL.

> APOLOGIA IS AT THE THEATER UNTIL DECEMBER 16.

FOR MORE INFORMATION LOG ON TO METROFOCUS.ORG.

FOUNDED IN 1979, THE INDEPENDENT FILM MAKER PROJECT OR IFP, IS THE LARGEST AND LONGEST-RUNNING NONPROFIT ORGANIZATION DEDICATED TO INDEPENDENT FILMS.

OVER ITS LONG LIFE, IT HAS CONNECTED ARTISTS ACROSS VARIOUS MEDIA DISCIPLINES WITH ESSENTIAL RESOURCES IN ALL STAGES OF THEIR CAREER.

AND DURING ITS 40-YEAR HISTORY IT HAS SUPPORTED OVER 10,000 PROJECTS AND OFFERED ASSISTANCE TO MORE THAN 30,000 FILM MAKERS.

KICKING OFF THE 2018-2019 AWARD SEASON, THE IFP WILL HOLD ITS 28th IFP GOTHAM AWARDS LATER THIS MONTH.

AMONG THE NOMINEES ARE THE CRITICALLY ACCLAIMED FILMS, FIRST REFORM, AND THE FAVORITE, AND THE CRITICALLY ACCLAIMED ACTORS STEVEN HAWK, ADAM DRIVER, GLENN CLOSE AND MICHELLE FIFER TO NAME A FEW.

JOINING ME TO TALK ABOUT THE INDEPENDENT FILM PROJECT MILTON.

WELCOME TO THE PROGRAM.

THANK YOU, RAPHAEL.

CAN YOU ELABORATE, WHAT IS IFP?

LIKE YOU SAID, IFP IS A NONPROFIT BASED HERE IN NEW YORK CITY IN OUR 40th YEAR.

IT WAS BEGUN BY A GROUP OF FILM MAKERS IN THE LATE '70s, 1979, WHO THOUGHT MORE ATTENTION NEEDED TO BE PAID TO THIS THING CALLED AMERICAN INDEPENDENT FILM.

IT'S HARD TO BELIEVE NOW THAT PEOPLE DIDN'T HAVE REALLY AN IDEA OF WHAT INDEPENDENT FILMS WERE.

SO, IN THE VERY EARLY YEARS IT WAS ABOUT PROVIDING A SPACE FOR INDEPENDENT FILM MAKERS TO COME, SHOW THEIR WORKS, THEIR WORKS IN PROGRESS, THEIR COMPLETED FEATURES, THEIR SHORT FILMS AND TO REALLY GET ATTENTION.

FAST FORWARD TO NOW, IFP HAS MULTIPLE PROGRAMS.

WE HAVE WORKSHOPS.

WE HAVE SEMINARS.

SO WE SUPPORT CREATIVE ARTISTS IN THE FILM AND MEDIA.

SO, AS I SAID, YOU'VE HELPED THOUSANDS OF FILM MAKERS OVER THE DECADES THAT YOU GUYS HAVE BEEN IN EXISTENCE.

CAN YOU NAME SOME NAMES OF FILM MAKERS MOST OF US WOULD KNOW?

FLASHING BACK 40 YEARS IN THE '80s, IN THE '90s THERE WERE PEOPLE LIKE KEVIN SMITH.

FIRST GOT NOTICED IN THE FILM MARKET.

EDWARD BURNS EVEN BEFORE BROTHERS McMULLEN.

PEOPLE LIKE DEBORAH -- SHE HAS AWARDS FOR HER FILMS THIS YEAR.

HER FILM DOWN TO THE BONE, HER SCRIPT --

SHE LIKES BONES IN TITLES.

LET'S TALK ABOUT THE GOTHAM, IFP GOTHAM AWARDS COMING UP LATER THIS MONTH.

I SAW IT REFERRED TO IN ONE PLACE AS THE IOWA CAUCUSES OF FILM AND VIDEO AWARDS.

WHY IS THAT?

IS IT BECAUSE IT'S THE FIRST?

I DON'T THINK IT'S THE FIRST.

HOWEVER, THE IOWA CAUCUS PHRASE WAS COINED I'M PRETTY SURE BY A REPORTER AT VARIETY.

JUST A FEW YEARS AGO, THE GOTHAM AWARD HAD GONE IN I THINK 2005 TO BIRDMAN WHICH WENT ON TO WIN THE ACADEMY AWARD BEST PICTURE.

THE BEST FEATURE AWARD THE FOLLOWING YEAR WENT TO SPOTLIGHT, WHICH WENT ON TO WIN THE BEST FEATURE AWARD.

AND I THINK THAT'S WHEN HE COINED THAT PHRASE, IT'S BECOMING THE IOWA CAUCUS.

AND THEN THE NEXT YEAR MOONLIGHT WON GOTHAM AND WENT ON TO WIN.

YOU GUYS PAY ATTENTION -- NOT SAYING THERE IS A DIRECT LINE BETWEEN GETTING A GOTHAM AWARD AND ACADEMY AWARD.

OUR MAIN MISSION IS TO BRING ATTENTION TO THESE FILMS AND ARTISTS.

OKAY, WE HAVE ABOUT 20 SECONDS LEFT.

I'M SORRY IT'S SUCH A SHORT TIME.

BUT YOU'RE PRESENTING SPECIAL TRIBUTES THIS YEAR.

WHO IS IT GOING --

YES.

EVERY YEAR THERE ARE TRIBUTES, USUALLY AN ACTOR, DIRECTOR, INDUSTRY PERSON.

THIS YEAR THE ACTORS ARE RACHEL VICE AND WHO IS ALSO GETTING PART OF THE ENSEMBLE AWARD GOING TO THE FILM THE FAVORITE.

WILLUM DE FOE, LONG TIME COMING DESERVES AN AWARD.

DIRECTOR GREEN GRASS.

THE INDUSTRY AWARD IS GOING TO JOHN CAYMAN WHO IS HEAD CEO OF RADICAL MEDIA HERE IN NEW YORK, WHICH IS A BIG FILM PRODUCTION, THEATER PRODUCTION, LIVE EERNT PRODUCTION.

YEAH.

PHIL MILTON, THAT'S ALL THE TIME WE HAVE.

THANK YOU FOR JOINING US TO TALK ABOUT THIS IMPORTANT ORGANIZATION.

MANY HAVE NOT HEARD OF, BUT THE FILM MAKER SHOULD.

THANKS FOR HAVING ME.

'METROFOCUS' IS MADE POSSIBLE BY JAMES AND MERRILL TISCH.

SUE AND EDGAR WACHENHEIM III.

THE POYTA PROGRAMMING ENDO YOUMENT TO FIGHT ANTI-SEMITISM.

ROSELYN P. WALTER.

BARBARA HOPE ZUCKERBERG.

AND BY --

CORPORATE FUNDING FOR 'METROFOCUS' WAS PROVIDED BY MUTUAL OF AMERICA, YOUR RETIREMENT COMPANY.

AND BY PSE&G, SERVING CUSTOMERS, STRENGTHENING THE BUSINESS COMMUNITY, AND INVESTING IN THE FUTURE.

Funders

MetroFocus is made possible by Sue and Edgar Wachenheim III, the Sylvia A. and Simon B. Poyta Programming Endowment to Fight Anti-Semitism, Bernard and Denise Schwartz, Barbara Hope Zuckerberg, Janet Prindle Seidler, Jody and John Arnhold, the Cheryl and Philip Milstein Family, Judy and Josh Weston and the Dr. Robert C. and Tina Sohn Foundation.

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