People

Orlando Bagwell: History-teller takes his craft into new realm

By |

In many ways, Orlando Bagwell’s work announced his arrival as a notable creative talent years ago, when he and a handful of mostly inexperienced, young producers collaborated with Henry Hampton on Eyes on the Prize, the civil rights series that made television history in 1987. The opportunity to work as a member of Hampton’s team “changed my whole life,” Bagwell recalled. A young father who made his living primarily as a cameraman for public broadcasting stations and producers, Bagwell had come to believe that path would take him through life — until Hampton offered him the chance to produce and direct his own films on the civil rights movement. Now, less than a decade after Eyes premiered, the 43-year-old producer’s credits include some of the most important films dealing with African-American history and culture that have aired on public television — most recently, “Frederick Douglass — When the Lion Wrote History” and “Malcolm X — Make It Plain.”

Bagwell finds himself at another crossroads, seeking and embracing new challenges so that he will continue to find gratification in his work. Having learned his craft in historical documentaries, Bagwell is stepping into performing arts programs, a form he explored as a producer/director for WNET’s Dancing miniseries.

Programs/Content

FDR defenders enlist TV critics to refute Holocaust film

By |

Weeks before the debut of an American Experience film on the U.S. response to the Holocaust, defenders of President Franklin Roosevelt undertook a quiet campaign to influence and later discredit historical analysis presented in “America and the Holocaust: Deceit and Indifference.” In the disturbing film, aired April 6, 1994, producer Marty Ostrow argued that the Roosevelt Administration knew that the Nazis were systematically slaughtering Jews and followed a policy of not rescuing them. The critics’ complaint, in the words of William vanden Heuvel, president of the Franklin and Eleanor Roosevelt Institute, was that the film was “one-sided and grossly unfair, indifferent to the truth and deceitful in concept.” But when series producers sat down to evaluate the advance criticism with Ostrow and his team of historical advisors, they came to a different conclusion. “We came out of those meetings with confidence that the film was not only accurate, but it said what the authors of the film wanted it to say, and that they were on good ground,” said Judy Crichton, executive producer.

Programs/Content

Review finds factual flaws in ‘The Liberators’

By |

After a seven-month investigation of the factual accuracy of ”Liberators: Fighting on Two Fronts in World War II,” WNET announced Sept. 7, 1993, that some portions of the documentary were ”seriously flawed” and that the New York station would continue to withhold the film from PTV distribution until it is corrected. Judging by the producers’ reactions, the film is unlikely to return to the public airwaves. In a statement issued by Bill Miles and Nina Rosenblum, the filmmakers stood by the oral testimony presented in ”Liberators,” criticized WNET’s review for not being conducted independently, and accused WNET and PBS of censorship. Miles Educational Film Productions holds the copyright to the film.

Why public media?

‘The only place where you have a measure of creative control’

By |

Documentary-maker Ken Burns told why he’s continuing to work with public broadcasting at the Television Critics Association press tour in Los Angeles in January [1992]. During a question-and-answer session, a writer asked him: “Ken, for this project, as well as your others, you’ve found a very appreciative home at PBS. But now, with all your success, have the commercial networks tried to lure you away? Have they made offers to you?”

There have been a lot of very, very generous offers and ideas. But the fundamental reason why I don’t intend to move is that this is not only my home — and being a historian, one kind of honors the past and where you’ve been — but this is the only place on the dial where you can be free of commercials, where you can have a measure of creative control over your project, a lack of interference; where you can have a strong relationship with an underwriter that develops over time, in the case of [General Motors], where you can really forge these kinds of relationships; where we can go and we can say we’re thinking about doing this, and you can actually accomplish it.

Programs/Content

The return of the Louds: WNET to air 1973 film

By |

After 17 years in blissful obscurity, the Loud family is about to be put back into the public television fish bowl. WNET-TV in New York will rebroadcast on New Year’s Eve and New Year’s Day An American Family, the 1973 cinema verite production that followed the lives of Bill and Pat Loud of Santa Barbara, Calif., and their five children: Michele, Delilah, Grant, Kevin and Lance. “I’m amused,” said Lance Loud, who now lives in Los Angeles. “It’s no big deal. We have nothing to sell or promote because of it,” he said, adding that he has not seen the 12-hour documentary since its original broadcast on public television.