Filmmaker Alan Miller chats about 21st-century heroism, the classical music industry and Grease.

What was it about the Eroica Trio that led you to want to make a film about them?

The Eroica Trio seems to challenge our assumptions, and this is something that interests me. It astounds me that people can have trained for so long, work so hard and still be fighting all the time. The classical music business is a very tough one to be in. There are so many highly talented people who aren’t even making a regular living in it.

Then there is the debate about what the Trio looks like. A double-edged sword, but we are obsessed with image today above content.

Passion seems to be the key thing, the one that got me excited about the Trio. They never do anything half-heartedly. From the time they started, it seemed that they would face challenges… and yet they have overcome them.

I wanted to also look at how a piece of music gets constructed, go behind-the-scenes. Most people never get this opportunity. How does a piece become part of the repertoire? I was fascinated by this creative process and also by the relationship between composer and performers. I wanted to get a bird’s eye view into the trials and tribulations, under the belly of the very polished surfaces we normally see as the public.

What do you hope to achieve with this film?

I hope that it will generate an interest in how such a fascinating thing as the creation of a piece of music happens. I hope it sheds light on the difficulties facing the protagonists—the composer who must sit and come up with something—in this case, a piece that only Beethoven has managed to do successfully, the triple concerto.

Also, to illuminate the fun and passion that is so apparent with these musicians and the sense of history and a passing down of a great craft, great stories and wisdom from previous generations. But also to engage people who have a broad range of feelings toward classical music and to elicit a response from them, intellectually and emotionally. And to contribute toward the recognition that this music is a vital part of our culture.

What did you find helpful in researching your film?

I wanted to explore and examine the idea of what it means to be heroic in the 21st century. This is an idea that seems to have lost its allure and is often frowned upon and seems arrogant. Yet it was certainly a theme for EROICA! — the three women battling against obstacles and the composer attempting to create a very difficult piece.

I didn’t research these specifically for the film, but our myths and stories of heroes have been very important in our culture, from The Odyssey and The Iliad through to Hollywood blockbusters. While once we thought heroism to be above the call of normal duty, now accolades are given to being “good people.”

What was the scariest thing that happened while making your film? What were some of the obstacles and challenges you faced?

The most difficult challenge, I think, was to tell a story about these amazingly talented characters, each very different and fiercely serious about their work and about the subject — and retain an interest while illuminating a number of themes. They loved to talk, so that was fun, but it was also hard to hone down with so much footage.

The scariest thing was probably when it seemed like we may have lost some of the footage!

Why did you choose to present your film on public television?

I think in many ways it is the area best suited, and the one area that has not been as badly affected by reality TV. The clambering down towards an ever-lower common denominator is a really sad moment for television, in my view.

The independent film business is a difficult one. What keeps you motivated?

To communicate ideas and tell a story. Ideas have consequences, and even though we live in an age where big ideas seem to be absent, they are what make humanity so great.

The excitement of getting into a story, of getting to know the characters intimately and also seeing the surprises that occur. To feel like I have had some contribution towards discussion and debate.

What advice do you have for aspiring filmmakers?

Perseverance, perseverance, patience, go for your dreams, perseverance. Think about other ways of making money, too!

Which filmmakers have most influenced your work?

I take my inspiration from so many genres and influences, not all film, but a few have been Ken Loach, Roger Graef, Errol Morris, John Sayles, Bruce Beresford, Tarantino, Pedro Almódovar, Coppola, Lucas, Scorsese, Fellini.

What are your three favorite films?

What a difficult question! I have the desire to list so many. But seminal for me are Brazil, Star Wars and Grease.