Executive producer Dr. Steven Channing and Producer Rebecca Cerese talk about meeting the Greensboro Four and their families, interviewing an ex-Klansman, and the relevance of non-violent protests today.

What led you to make FEBRUARY ONE?

Steven is a historian who has long been interested in stories about social change in the American South. Martin Luther King, Jr. called the Greensboro Sit-ins a “turning point” in the civil rights movement, and we knew of no other documentary on this event, so we decided to approach the three surviving sit-in pioneers, as well as the family of deceased David Richmond, and encourage them to do the film with us.

What did you learn about the Greensboro Four that you didn’t know before? What surprised you?

What still amazes us is the age of the Four when they sat at that counter. Seventeen, 18 years old and thinking about the world around them and not just about their dates on Saturday night!

How do you think non-violent protests can be relevant in today’s political climate?

We live in a world where violence is everywhere. It has turned into the assumed first resort instead of the last. The non-violent aspect of FEBRUARY ONE was to us of utmost importance. It was a unique example in our often violence-ridden American history, when the use of passive resistance moral authority was successful. Young people today are not exposed enough to stories in which discipline and non-violence are successfully employed to change the course of history. This story is an excellent example of just that.

What impact do you hope to have with this film?

Our greatest hope is to get this amazing story out to the widest possible public so that it can take its true place in our history books. Only when we have a history that includes all people who have struggled to contribute to the making of our country, can we have an open and honest discussion about race. One of the lessons of this film is the importance of actively participating in our democracy, and our hope is that this film will motivate young and old people to become familiar with issues that are important to them and work toward making this country a better place.

What were some of the obstacles involved in making FEBRUARY ONE?

Rebecca: We have a strong belief that showing different sides of a story works to make a more well rounded film, therefore we went in search of people who opposed the sit-in protesters. We found out about an ex-Klansman, George Dorsett, who was around at the time of the sit-ins, and was not happy about the idea of integration. The co-producer of the film, Cynthia Hill, contacted him, and after much back and forth, he agreed to meet Cynthia and me to discuss the possibility of doing an onscreen interview. I was very nervous to say the least. First off, I am a very opinionated woman, who has little tolerance for close-minded and racist individuals. Secondly, I am a Jewish woman, and I did not how that would go over with an ex-Klansman.

We get to the meeting place, and he is nowhere to be found. After waiting for over 45 minutes, we finally see a man pull up in a car. It is Mr. Dorsett. We go over and introduce ourselves. The first thing he says to me is that I have very nice hair, to which I thought he was going to add, “for Jew Hair,” however he left it with just the compliment. We decide to walk to the shopping center next to which we parked to get some lunch and discuss the possible interview. As we are walking in the parking lot, we hear the squealing of wheels and we turn around to see a red sports car coming right towards us. Cynthia and I jump out of the way, as a woman drives right up to where Mr. Dorsett is standing. I really thought she was going to run him over. This woman starts screaming at the top of her lungs about how she is going to kill Mr. Dorsett and how he would come home to find all his stuff on the front lawn, and then she would shoot him with her rifle. Apparently, the woman in question was living with George and thought that perhaps he was going to embark on an affair with one of us or possibly both. Cynthia, exaggerating her already rich Southern accent, went over to the woman and explained what were there to do. Luckily things sort of quieted down, and we were able to go out to lunch with Mr. Dorsett. Although we never got our onscreen interview, this was an eye-opening experience on so many levels.

Steven: My story is less colorful, but speaks much about what makes producing documentary films such a labor of love. Our co-writer, Dr. Daniel Smith and I initially had the idea of producing FEBRUARY ONE as a dramatic movie for television. We secured a partnership with an L.A. producer, David Simon, and proceeded to pitch the idea to the likely venues, HBO, Turner, Showtime, et al. Well, the fates were with us and we landed a contract with Showtime to proceed toward scripting. Unfortunately, they chose a rather inexperienced and inappropriate (no sense of history) writer; in addition, of course, Dan Smith and I were practically excluded from the creative process and the Showtime hire foundered. Then, soon after that, the Writer’s Guild strike hit, and projects were axed right and left, including FEBRUARY ONE.

Instead of feeling completely devastated, however, I took this to be a sign that we needed to reclaim this precious territory. We proceeded with production of the documentary, and the rest, so to speak, is history. We’ve produced what we think is a superb treatment of this surprisingly neglected, but pivotal moment in modern American history, and look forward to putting it out there for many more millions of viewers and students to enjoy.

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

The business is difficult but the rewards are many. First off, getting to meet the Greensboro Four and their families was absolutely inspiring. Second, the response to the film has been beyond our expectations. As we have traveled with the film around the country, we are always moved by the raw emotion this film evokes in people. We have had strangers come up to hug us, thanking us for telling this story. We have had children ask us real questions about the film that showed me that not only did they watch the movie, they actually digested some of what was said. We have had people come up to us and share their own inspiring stories of struggle for equality. As they say in those Mastercard commercials…these experiences… priceless…

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

We felt public television was by far the best venue for our film. Public television has been broadcasting quality documentaries since before documentaries became the IN thing. We also feel that the film appeals to the entire family, and in fact, we hope that families will watch this film together, and discuss the important issues that arise during the viewing. Public television has long served up great programs for the entire family.

What are your three favorite films?

Rebecca: Hard to pick just three, but let’s say, Room With a View, Fog of War, Control Room.

Steven: These are great. I’d add Paths of Glory.

If you weren’t a filmmaker, what kind of work do you think you’d be doing?

Rebecca: I weren’t a filmmaker, I think I would be a teacher. I have a real passion for history and I would love to introduce history in an interesting way to kids in elementary and middle school.

Steven: Having taught at several universities and published three books, I think if I weren’t producing documentaries I’d be working on my watercolors.

What advice do you have for aspiring filmmakers?

Making documentary films is definitely a labor of love. Our advice would be to work on stories that you passionately care about, and be perseverant, knowing that you’ll have to fight to make the film and get it distributed because there will be roadblocks, particularly financial ones. Our other advice would be to assemble a small, great team to work with, because a film is never done by just one person, and if you find people you get along with and have similar creative values, the final product has to benefit.

Which filmmakers have most influenced your work?

Rebecca: Michael Moore is my biggest influence. He has really put documentary on the mainstream map, and his courage to tell his stories at all costs is inspiring. His films always have people talking long after they have left the theater and that is all a documentary filmmaker can hope for, to inspire people to continue the dialogue about issues raised in his or her film.

Steve: Not “influence” in an artistic sense, but definitely Ken Burns for the tremendous impact his success has had in lifting the boats of all documentary filmmakers.

What sparks your creativity?

Our creativity is sparked by the courage and strength of everyday people doing extraordinary things to make a positive impact on their communities. When we hear these stories, we’re inspired to think of ways to present them in ways that will make an impact in a country that has been trained to be uninterested in the history of this country.

If you could have one motto, what would it be?

The truth is holy.