Factual America

Wayne Shorter has long been considered one of the greatest modern composers and musicians of American music. His career reads like a Who’s Who of the genre, starting with Art Blakey and The Jazz Messengers, then the Miles Davis Quintet, followed by solo fame and the founding of fusion super group Weather Report. His collaborations extend beyond jazz greats such as Herbie Hancock and Ron Carter to include Carlos Santana, Joni Mitchel, Milton Nascimento and Steely Dan, just to name a few. 

In Wayne Shorter: Zero Gravity, acclaimed producer and director Dorsay Alavi moves beyond typical music doc territory to capture the essence of the man who touched so many lives, including her own. As Shorter’s long-time friend and music-video collaborator, Dorsay paints an intimate portrait and cinematic ode to a truly American visionary, innovator and icon. 

Wayne Shorter: Zero Gravity is a three-part docu-series streaming on Amazon Prime from August 25th 2023, which would have been Shorter’s 90th birthday. 

Watch the episode at https://factualamerica.com

"There's so many layers to Wayne, but I would say mostly, he's a very, very principled person. And I believe that he has always been very authentic and true to what he has always done on an artistic level, [and] in life as well." - Dorsay Alavi

John McEnroe’s volcanic temper on the tennis court is legendary. But there was always more to him than just the explosive outbursts. 

In McEnroe, a documentary now available to watch on Sky Documentaries and streaming service NOW, John McEnroe takes a night time journey through his home town of New York, reflecting on, discussing, and interrogating his life on and off the court.

Joining Matthew Sherwood is the film’s director Barney Douglas. He shares how McEnroe has changed from his wilder, younger self, the triggers that still make him a challenging person to be with, and how McEnroe sees himself in relation to today’s tennis super stars.

Barney also discusses McEnroe’s ‘New Yorker perspective’ as a tennis player, his relationship with his father, and how it influences his relationship with his children.  

The picture that Barney builds of John McEnroe is of a complex individual, one for whom connection and communication is important, who was an entertainer as well as a highly strung sportsman, and who is a thinker, not just a slave to his emotions.

In addition to discussing John McEnroe, Barney pulls back the veil on how he made his film: inevitably, Covid looms large, but so do exorbitant fees for archive footage; he had to make sure he asked McEnroe the right questions, and then, there is the use of animations inspired by Tron of all films.

McEnroe is a film that is built different, just like its star. In his short career, Barney Douglas has already made two other accomplished sporting documentaries – Warriors and The Edge – thus showing himself to be the right man to help John McEnroe tell his story.

Watch the episode at https://factualamerica.com

“[He is] very authentic... there’s nothing Machiavellian about McEnroe. For good or bad, you know he will be very true to how he feels, and that's actually... a very endearing quality.” – Barney Douglas

For 200 years, the people of central Appalachia in the US have lived off the industry of coal. Now, though, times are changing, and the coal industry is dying. One day, it will become no more than a memory. 

Director Elaine McMillion Sheldon describes King Coal as “part documentary, part fable”, and the film aims to not only tell the story of Appalachia and its coal, but also to preserve Appalachians’ memory of it. 

And that is not all. Through Lanie and Gabby, two young Appalachian girls, Elaine looks to the future, to the new world that is now coming into being. In doing so, she is able to say truthfully that far from now ending, Appalachia’s story is just beginning.

In the course of their conversation, Elaine discusses her own intimate connection to Appalachia, the surprising origin of one mark of deep respect given to miners, and how she broke her filmmaking rules in order to make the documentary.

Watch the episode at https://factualamerica.com

 “... if this was just a story about facts and figures, it would make no sense. But this film is really about the psyche and soul... I think that King Coal dominates a time when work, and pride in work, of belonging was a huge part of our identity.” – Elaine McMillion Sheldon

Humanity is the master of the world. But how did we achieve this? And what do our actions say about us as a people? These are the questions at the heart of Human Footprint, a new PBS docu-series directed by Nate Dappen and Neil Losin. They join Matthew Sherwood to discuss the programme, which they describe as ‘a science show that explores human history and culture’. 

Human Footprint starts with an exploration of invasive species. Nate and Neil discuss our response to this problem, which we created. It has led to the rise of some unusual jobs: would you like to be a python hunter?

Through Nate and Neil, we discover some more sedate occupations, for example, duck calling and hunting. This brings them to Ramsey Russell, who, in addition to being a duck hunter, is also ‘a poet [and] philosopher’.

If humanity has transformed the world, some animals have transformed humans. Dogs are one of them. According to Nate, dogs’ relationship with humans has been ‘symbiotic’, and he describes visiting Resolute Bay in the Arctic Circle where dogs and Inuits help each other to survive. 

Fast evolving lizards, dancing dogs, and city ecosystems also come under discussion. However, a series like Human Footprint is not easy to make. As Neil says, ‘you have to pre-produce everything... to a really... high degree’. Despite that, however, not everything is planned out, and they did still manage to be surprised by some ‘unexpected gems’ they found during filming, and afterwards.

In a conversation that ranges from evolutionary biology, how Shane Campbell-Staton came on board as presenter, to the role of rap music in the making of Human Footprint, Nate and Neil take Matthew Sherwood on a journey across the world and even through time.

Watch the episode at https://factualamerica.com

“... what the series reveals to me [is] that we have an enormous capacity for messing things up if we're not careful. But we also have an amazing capacity for good as a species, and it's really just a matter of what we decide to do collectively.” – Neil Losin

Eli Timoner lived a life founded on love. As a result, long after an accidental stroke forced him into retirement, he was celebrated by his former workers. And when he died aged 92, on 3rd March 2021, he did so, surrounded by his family.

Last Flight Home, a documentary by Eli’s daughter Ondi, tells the story of his last days. But more than that, it relates how Eli chose the date of his passing, something he was able to do through California’s End of Life Option Act. In this moving and poignant episode of Factual America, Ondi joins Matthew Sherwood to discuss the film, her father, family, and how her experience of his dying and death has made her an activist in support of the right to end one’s own life.

Ondi speaks frankly about her fears when Eli told her that he wished to die, and how filming him – something she did with his blessing – helped her come to terms with what was happening. She reflects on the differences of opinion that existed within her family over Eli’s decision before they came together to see the world anew. She also shares how she believes Eli continues to watch over his family today.

Eli’s story is not an easy one. But neither is it one sided. As Matthew and Ondi’s conversation makes clear, loss is accompanied by grace, beauty, and good memory.

Watch the episode at https://factualamerica.com

“[Dad] said to me... Ondi, would you rather know the day I'm going to die? Or would you rather get a call in the middle of the night? And it's true, it really allowed us all to prepare, and to plan, and to have closure, and to be able to celebrate, even, his life. And for him, it was like wind in a sail.” – Ondi Timoner

Once upon a time, to be the conductor of an orchestra was to be a man. No longer. Female conductors, however, are still very much a rarity. The Paris based La Maestra Competition aims to break down the barriers that women still face in becoming conductors by giving them a space to showcase their skills.

In Maestra, Maggie Contreras follows five women as they prepare to take part in the 2022 La Maestra Competition. Among them are Mélisse, a Parisian from Iowa, Zoe, a single mother who juggles her preparation with looking after her young twins, and Ustina, a Ukrainian whose country was invaded by Russia just a week before La Maestra started.

Maggie joins Matthew Sherwood to discuss these women and more: the physicality of being a conductor, the loneliness of preparation, and extreme limits of time that the women have in competition with their orchestra. 

Maggie explains why she chose Maestra’s unlikely opening scene, how she ensured that the film would be accessible to viewers with no experience of conducting, and how her own background as an actor helped her to direct the film. 

As with all films, Maestra could not have been made without its financial backers. These include David Letterman’s Worldwide Pants production company, and Jamie Wolf’s Foothill Productions. Maggie reflects on their contribution as well as that of the Northern Irish companies that handled the film’s editing.

Maggie takes Matthew back to her own musical childhood before discussing the challenge of making Maestra, both in the shadow of Covid and by being an outsider in Paris. Together, she and Matthew look at the bond that draws her diverse range of films together. It’s all about making them entertaining.

Watch the episode at https://factualamerica.com

“... you always have to have an idea of what it is you're getting into, but then the magic and joy and fun and danger is you take a step back and let it blossom into what it needs to be.” – Maggie Contreras

Arnold Schwarzenegger is one of the most recognisable figures in the world today. His meteoric rise to fame began in the 1960s and 70s when he won the coveted Mr Olympia and Mr Universe bodybuilding titles multiple times. In the 80s and 90s, Schwarzenegger starred in some of the most successful action films ever to be made, including The Terminator, Terminator 2: Judgment Day, and Predator. And in 2003, he won election as governor of California, a feat he would repeat in 2007.

But life hasn’t always gone so perfectly for Schwarzenegger. Drug use and allegations of sexual misconduct are just two of the controversies that he has faced. And in 2011, Maria Shriver, his wife of 25 years, left him, when he admitted to having had an affair several years earlier.

In a new Netflix docu-series Arnold, Schwarzenegger reflects on the highs and lows of his life. From its humble beginnings in post-war Austria, stardom in America, to life at 75, his new ventures, and pets.

Joining Matthew Sherwood is Lesley Chilcott, the director of Arnold. Amongst other things, she discusses Schwarzenegger’s ‘laser focus’, the secret to his success, his failures, his humour, and the mystery of what might be called his prescience. Lesley also talks about how she likes to ‘edit musically’, the challenge of making a docu-series about such a rich and diversely lived life, and even the comic idea of ‘Arnold’s limitlessness’.

Schwarzenegger may indeed be one of the most recognisable people alive today but that doesn’t mean we know everything about him. Join Matthew and Lesley as they unpeel the layers from the life of Arnold.

Watch the episode at https://factualamerica.com

“... a good friend of [Schwarzenegger’s], Paul, always says, You know, I've known Arnold for 40 years, and he sees around corners, and I don't know how he does it. And I don't know what's planned versus what isn't, even though I talk to him almost every day.” – Lesley Chilcott

It’s the 1990s, and in New York, guitar music is at its nadir. But as the new millennium approaches, new bands rise out of the ashes of the past. The Strokes, Yeah Yeah Yeahs, Interpol, and LCD Soundsystem, are just a few of those bringing a new, powerful sound to the Big Apple.

In the middle of this renewal, however, another, wholly discordant, sound rings out over New York: that of terror on 9/11. And in the years that follow, more changes take place. Rents rise, ending the ability of upcoming musicians to live and play close by, while the advent of music downloads forces bands to find new ways to make money.

Meet Me in the Bathroom explores the rise of New York’s millennial bands, their love of music, and the essential role that friendship played in their development. Using archival footage, as well as interviews with the musicians themselves, the film charts their rise, journey through 9/11, and beyond.

The film’s co-directors, Dylan Southern and Will Lovelace, join Matthew Sherwood to discuss this renewal of New York’s music scene at the end of the twentieth century and the tumultuous events at the start of the twenty-first. They look at the importance of Britain to the bands, the ‘romantic’ nature of this period – a time when the lack of social media meant that bands had a greater element of mystery about them – and of New York itself. Dylan and Will discuss how they made the film, the challenges they faced, and the goldmines they found, as well as how the pandemic lockdown proved to be both a blessing and a curse.

Meet Me in the Bathroom is both an exploration and, as Matthew says, a tribute to another age in music, one more innocent, but no less powerful and authentic.

Watch the episode at https://factualamerica.com

‘What we knew we could do [is] sort of viscerally bring to life the time and a sense of the culture, a sense of the differences between then and now, just through building this kind of collage of that period.’ – Dylan Southern

Working: What We Do All Day is a docu-series that explores both what it means to work and the ways in which the meaning of work is changing. 

Presented by former US President Barack Obama, the docu-series focuses on people working in three different industries: technology, hospitality, and home care. Through him, we hear of their dreams, and their reality; their hopes, and their fears.

Joining Matthew Sherwood to discuss Working: What We Do All Day is its director, Caroline Suh. Among other things, she reveals how President Obama became involved in the docu-series, the discoveries that she made in the making of it, and the rationale behind choosing the featured companies.

Working: What We Do All Day is a multi-layered film. As Caroline tells Matthew, it enters the lives of people up and down the corporate ladder and seeks to find points of connection between them. In doing so, the docu-series challenges our tendency to do what Caroline admits she once did; that is, only think about the work she is doing now rather than the deeper meaning of it.

To quote Barack Obama, ‘our work is one of the forces that connects us’ to each other. Working: What We Do All Day helps demystify that force. In doing so, it brings us closer to one another. Find out what he means, learn about some of Matthew’s dirtier jobs (!), and even Richard Scarry on this episode of Factual America!

Watch the episode at https://factualamerica.com

“... when someone does something incredibly well, no matter what it is, there’s a beauty to it, and it reaffirms your faith in humanity.” – Caroline Suh

It’s March 2020 and the pandemic has just begun. All of a sudden, director Sam Green has a lot of time on his hands. He uses it to read a book, which mentions Annea Lockwood, a composer, who has spent fifty years recording the sound of rivers. Intrigued, he contacts her. 

Their conversation leads Sam to contemplate sound. The result is 32 Sounds, a documentary that he describes as a ‘meditation’ upon a subject that is both ‘mysterious’ and ‘ephemeral’ but yet can still make a powerful impact on us.

In his conversation with Matthew Sherwood, Sam discusses the challenge of using a visual medium to explore sound. He affirms that watching a film at home with headphones can be just as intense as watching it in the cinema, and he opens up on his relationship with the film’s composer, JD Samson: before their meeting of minds, there was a tension between them born of different ideas about the role of music in the film.

32 Sounds is not your typical documentary. Be warned. By the end of this podcast, you may, like Matthew, start hearing all the sounds around you in a new and intense way!

Watch the episode at https://factualamerica.com

“... opening your ears can be incredibly pleasurable and can bring you back to the present and root you in your body.” – Sam Green