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  Waiting for Beckett

  CLIR, Global Village, Guerrilla Television, John Reilly

  WAITING FOR BECKETT profiles the life and work of Nobel prize-winning author and playwright Samuel Beckett, a writer who shunned publicity throughout his life, and yet became a worldwide cultural influence. More than five years in the making, the 1993 documentary is a blend of rare archival footage, performances of his work, interviews with friends and scholars, as well as excerpts from Beckett’s letters which provide an astonishing and often humorous insight into his personal opinions of his life and art. Co-produced and Directed by John Reilly and Melissa Shaw Smith, WAITING FOR BECKETT was undertaken with the blessing and guidance of Samuel Beckett, who died in 1989 at the age of 83. It depicts Beckett turning one of his last plays ‘What Where’ into a highly stylized video production. It stands as the only known footage of Beckett at work as he critiques the work-in-progress with collaborator John Reilly. It also features letters written by Beckett and excerpts across his body of work, voiced by Irish actor Chris O’Neil. Actors Steve Martin and Bill Irwin perform and discuss their personal response to Beckett’s work. Footage shows Burgess Meredith and Zero Mostel in the first production of ‘Waiting for Godot’ made for television, along with famous performances by Jack MacGowran, Patrick Magee, Billie Whitelaw, and Buster Keaton starring in one of his last film roles in 1964, the only screenplay written by Beckett, entitled FILM.

  Mary Manning, the only known surviving family friend who grew up with Beckett, recounts personal anecdotes of their childhood in Ireland. Never before recorded interviews with the villagers of Roussillon in the south of France recall the important but unknown period in Beckett’s life when, as a member of the French Resistance, he was forced to remain there in hiding. WAITING FOR BECKETT paints a portrait of a painfully shy man who devoted much of his life to his art, spending many impoverished years in Paris, receiving over 40 rejections for one of his early novels, before recognition slowly came his way. At the same time, we see a man who was a loyal friend, generous to a fault, full of good humor and always ready to share a bottle of whiskey over a long night’s conversation. Writer and critic S.E. Gontarski said of the documentary: “No one else has this sort of footage of Sam commenting on and working with his own play. Intercutting Sam’s comments with portions from ‘What Where’ makes for an extraordinary recreation of Sam at work. And seeing Sam alert and at work even in his advanced age is incredibly moving.” Robert Koehler of the Los Angeles Times said: WAITING FOR BECKETT is sure to stand as one of the lasting records of Samuel Beckett’s life and work.”

  Three additional works exist in The Beckett Project series: WHAT WHERE, PEEPHOLE ART: BECKETT FOR TELEVISION, and WAITING FOR GODOT IN SAN QUENTIN.

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  The Trial of the Avco Plowshares

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  In July 1983, seven United States citizens entered AVCO Systems Division, a manufacturing plant for MX and Pershing II missiles in Wilmington, Massachusetts. They threw blood on blueprints and computers to protest the buildup of nuclear arms. AVCO PLOWSHARES documents the ensuring trial, which includes dramatic testimony on civil disobedience and the question if a greater moral imperative exists beyond the letter of the law. Acting on their own behalf, the defendants argued “the justification defense” to claim their duty as citizens to warn of impending nuclear threats. Jean Hollady, a nurse and mother of four, asks those in the courtroom to picture the threat of one MX missile, containing ten warheads, representing “the equivalent of 260 Hiroshimas.” Frank Panopoulos, an anti-poverty worker, explains, “we were there so these weapons will not be made.” John Schuchardt, a former Marine and an attorney, ask the jury, “in light of weapons with the (equivalent power) of 335,000 pickup trucks full of TNT… please tell me what I could have done.” Expert witnesses and commentators from retired Rear Admiral Gene LaRocque, Daniel Berrigan, and George Wald concur that because of anti-Soviet weapons in Europe, nuclear war could be “eight minutes away.” Howard Zinn says in defense, “creative, inventive, dedicated action is needed by Americans in this courtroom and everywhere else to prevent that risk to the world.”

  Despite permission to film this trial for broadcast, the presiding judge, Edward M. Viola, restricted distribution to educational venues after screening the work-in-progress.

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  The Pursuit of Happiness

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  A video exploration of the Declaration of Independence’s most ambiguous “self-evident truth” through portraits of six people whose paths intersect at a maximum security prison in Pittsburgh, PA. Molly Rush is a mother of six and a member of the Plowshares Eight who faces jail for damaging nuclear missiles at a GE plant. Rush doesn’t “pursue happiness,” but finds meaning in acting against the threat of total annihilation. Her husband, Bill, an engineer and family man struggles to understand her apocalyptic fears and worries about their children. Molly visits a fellow activist in jail, Warden George Petsock, who opposes breaking the law for any reason. At home, Petsock dreams of retiring and purchasing a mobile home. His wife Ida May ponders the happiness she sacrificed in thirty years of supporting George’s career. Finally, two “lifers,” Ron Grimm, a Vietnam veteran, and Walter Henderson, an African American who works in the prison garden, contemplate the paradox of pursuing happiness while incarcerated and if that right was really meant for everybody.

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  Home: A Documentary About Four Families (Part IV)

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  The fourth and final sequence of Julie Gustafson and John Reilly’s documentary HOME which portrays a young man who gives up his job to care for his terminally-ill mother in her home. He sums up a mejor theme of the video: “she has never turned her back on anybody, so why should I?” Co-produced by the Television Laboratory of WNET and aired on public television in 1979. Tom Shales of THE WASHINGTON POST wrote, “HOME has immediacy and impact possible with no other medium but television, and an inquisitive compassion that turns cold video images warm and real.” Originally shot in 3/4″ Color and B&W video. See HOME Parts1-3 on Media Burn at https://mediaburn.org/video/home-pt-1-of-2/

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  Home: A Documentary About Four Families (Parts I-III)

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  Through eloquent portrayals of four different life experiences—birth, aging, marriage, and the death of a parent—HOME explores the changing social dynamic of American families during the 20th century as many life events and roles begin to shift from homes to institutions. The tape opens with the birth of a baby, not in the sterile atmosphere of a hospital, but in a home-like clinic staffed by midwives. The second portrait focuses on a widow growing old in a nursing home, who is disappointed because her adult children have no time or room for her in their homes. The third celebrates the marriage of two divorcees that hope a traditional wedding will fortify their union. The final sequence portrays a young man who gives up his job to care for his terminally-ill mother in her home. He sums up a major theme of HOME: “she has never turned her back on anybody, so why should I?” Co-produced by the Television Laboratory of WNET and aired on public television in 1979. Critic Tom Shales of THE WASHINGTON POST said, “HOME has immediacy and impact possible with no other medium but television, and an inquisitive compassion that turns cold video images warm and real.” Originally shot in ¾” Color and B & W Video. See the final sequence, HOME Part 4 at https://mediaburn.org/video/home-pt-2-of-2/

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  Joe Albert’s Fox Hunt and Other Stories from the Pine Barrens of New Jersey

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  In JOE ALBERT’S FOX HUNT, documentary team Julie Gustafson and John Reilly experiment with the short story form in a series of vignettes about the people and environmental issues facing the New Jersey Pine Barrens, the last remaining open wilderness between Washington, D.C. and New York City. Once considered a wasteland, the Pine Barrens have become a battleground of conflicting interests between developers, conservationists and longtime inhabitants. Colorful characters include the developer of Crestwood Village, a 6000 unit housing project aimed at urban dwellers seeking a piece of the American Dream; a small town mayor who believes in biblical stewardship of the pristine aquifer that underlies the area; and Joe Albert, a fox hunter and member of the “Pineconers,” a bluegrass group whose music descends from early English settlers. Albert laments, “I never thought it would go. I always thought it would be there. That’s what the Indians felt.” Completed in 1979 and aired in 1980 on public television stations in New York and New Jersey. Anne Wooster of the VILLAGE VOICE said, “Autobiography and politics intermingle in personal tales from the last wilderness in the Eastern Megalopolis…a complex and compelling orchestration of passions.”

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  Giving Birth: Four Portraits

  CLIR, Global Village, Guerrilla Television, John Reilly, Julie Gustafson

  An examination of American birthing traditions focusing on four couples and four different types of childbirth: a standard hospital delivery with high technology and anesthesia, a Leboyer “birth without violence,” a Caesarean section, and a midwife-assisted natural childbirth using the Lamaze method. The first collaboration of husband and wife documentary team Julie Gustafson and John Reilly, GIVING BIRTH illustrates the joys and pains of childbirth in intimate, video vérité portraits. Through interviews with Frederick Leboyer, Elizabeth Bing and Margaret Mead, GIVING BIRTH contextualizes emerging ideas and techniques for birthing. As Mead says, “There are cases when childbirth is surgery, but there is no reason we should take a life process and treat it always like a disease.” One of the first video documentaries produced by WNET’s pioneering TV Laboratory, GIVING BIRTH aired nationally on public television in 1976 to critical acclaim. The Scripps Howard News Service said, “Splendid… absolutely candid…The medical, physical and spiritual points of view explored.” According to John Cashman of Newsday, “Men should see it…Women should see it…Explicit and absolutely real.” Originally shot in ¾” Color and B & W video. Winner of “Best Video Documentary” awards at the Athens Video Festival (1977) and the Chicago International Film Festival (1977).

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  The Irish Tapes

  CLIR, Global Village, Guerrilla Television, International, John Reilly

  THE IRISH TAPES was one of the first major video documentaries produced with 1/2-inch portable equipment. From 1971 to 1973, John Reilly and Stefan Moore shot over one hundred hours of footage in Northern Ireland, profiling one of the most volatile and violent moments in the decades-long conflict from the vantage point of those who lived through and remembered it. Includes rare interviews with members of the Provisional IRA, individuals suffering from unrelenting violence in Belfast and Irish-American perspectives on “The Troubles.” Originally shown as a three-channel, twelve-monitor installation at Global Village. Edited and kinescoped for broadcast by WNET in 1975. Originally shot in 1/2″ B & W video. Permanent collection of the Museum of Modern Art, Lincoln Center, 2013, Brooklyn Academy of Music 2014.

  In 2014, curators at the Brooklyn Academy of Music described THE IRISH TAPES as “a striking example o the creative and political potential of the then-new video technology… offering an immediacy, intimacy, and unabashed subjectivity that was then unheard of in broadcast television journalism.”