Ken Burns has evolved into beyond being a documentarian; his name is a franchise, a one-man industrial complex. With each new documentary series arriving on the PBS network, everybody wants a part of him.
Burns has done “more fucking podcasts than I ever thought possible”, he remarks, wrapping up of his extensive publicity circuit that included numerous locations, dozens of preview events and hundreds of interviews. “There seems to be a podcast for every citizen, and I believe I’ve appeared on most of them.”
Happily the filmmaker is incredibly dynamic, as loquacious behind the mic as he is prolific in the editing room. The veteran director has appeared at locations ranging from prestigious venues to popular podcasts to talk about a career-defining series: The American Revolution, a comprehensive multi-part historical examination that occupied the past decade of his life and debuted recently on PBS.
Similar to traditional cooking in an age of fast food, this documentary series intentionally classic, evoking memories of The World at War as opposed to modern digital documentaries new media formats.
However, for the filmmaker, who has built a career documenting American historical narratives including baseball, country music, jazz and national parks, the nation’s founding transcends ordinary historical coverage but essential. “I said this to my co-director Sarah Botstein during our discussions, and she shared this view: this represents our most significant project Burns reflects during a telephone interview.
Burns, co-directors Botstein and David Schmidt plus scripting partner Geoffrey Ward referenced countless written sources plus archival documents. Numerous scholars, covering various ideological backgrounds, offered expert analysis together with prominent academics covering various specialties like African American history, indigenous peoples’ narratives and the British empire.
The style of the series will seem recognizable to devotees of The Civil War. The unique approach featured gradual camera movements through archival photographs, generous use of period music featuring talent interpreting primary sources.
This period represented Burns established his reputation; years later, presently the respected veteran of historical films, he can attract virtually any performer. Appearing alongside Burns at a recent event, the Hamilton creator Lin-Manuel Miranda observed: “Nobody declines an invitation from Ken Burns.”
The lengthy creation process proved beneficial in terms of flexibility. Sessions happened at professional facilities, in relevant places using online technology, a method utilized amid COVID restrictions. Burns recounts working with Josh Brolin, who found a few free hours in Atlanta to record his lines as George Washington before flying off to his next engagement.
Additional performers feature numerous acclaimed actors, Jeff Daniels, Morgan Freeman, Paul Giamatti, Domhnall Gleeson, Amanda Gorman, Jonathan Groff, multiple generations of actors, celebrated film and stage performers, Damian Lewis, Laura Linney, Tobias Menzies, skilled dramatic performers, television and film stars, and many others.
Burns emphasizes: “Honestly, this could represent the finest ensemble recruited for any project. Their contributions are remarkable. They’re not picked because they’re celebrities. I got so angry when somebody said, regarding the famous participants. I responded, ‘These are performers.’ They represent global acting excellence and they vitalize these narratives.”
Nevertheless, the lack of surviving participants, photography and newsreels required the filmmakers to depend substantially on primary texts, weaving together individual perspectives of multiple revolutionary participants. This methodology permitted to present viewers beyond the prominent leaders of the revolution plus numerous additional essential to the narrative, several participants never even had a portrait painted.
The filmmaker also explored his personal passion for geography and cartography. “I have great affection for cartography,” he notes, “and there are more maps in this project compared to previous works I’ve done combined.”
The team filmed at nearly a hundred historical locations across North America and in London to document environmental context and collaborated substantially with historical interpreters. All these elements combine to present a narrative more bloody, multifaceted and world-changing versus conventional understanding.
The film maintains, was no mere parochial quarrel concerning territory, taxes and political voice. Instead the film portrays a violent confrontation that eventually involved multiple global powers and improbably came to embody what it calls “mankind’s greatest hopes”.
What had begun as a jumble of grievances leveled at London by far-flung British subjects throughout multiple disputatious regions rapidly became a bloody domestic struggle, dividing communities and households and creating local enmities. In one segment, academic Alan Taylor comments: “The main misapprehension about the American Revolution is that it was something a unifying experience for colonists. It leaves out the reality that colonists battled fellow colonists.”
For him, the independence account that “generally is overwhelmed by emotionalism and nostalgia and lacks depth and doesn’t have the respect for what actually took place, every individual involved and the widespread bloodshed.”
The historian argues, an uprising that declared the revolutionary principle of the unalienable rights of people; a brutal civil war, dividing revolutionaries and royalists; and a global war, continuing previous patterns of conflicts between Britain, France and Spain for control of the continent.
Burns additionally aimed {to rediscover the