[applause and cheers] david so welcome everybody. I want to say a few words about the 50th and the library. We have had a sit and listen to nancy thanking everybody. Let thank her for what she does every day, every day. [applause] and those of you who know me know that i think libraries are the cats meow. That is from someone allergic to cats. It is more important than ever. It is not the stacks, as great as they are. It is not the books, as essential as they are, it is the people, the information professionals. I cannot thank you enough, not only at the smithsonian but on behalf of a grateful country to put your money into Something Like this and put your emotional and moral intellectual support behind an endeavor that is more and more important. I want to mention a couple things about your opening remarks. You said our guest made at least 21 movies. That is specifically correct, but we thought there were more. Lets go over the numbers. I will thank you not to bring up dillon ripley, who was the first the sainted secretary in the 1960s. Whenever someone mentions him, they say something, then there is a comma and say that was a secretary. Anyway, this is one of those nights you dream about when you have opportunities that i do. To interview one of my and i am sure your idol, ken burns. [applause] so i have a bunch of questions here. These are questions that we came up through a very deep and difficult scientific process. Me and another guy made them up. If i want to ask these questions, maybe some of you will want to see the answers. Why and how did you get into filmmaking . Ken i am the son of an anthropologist and a biology major. My mother is a biology major, contracted cancer when i was two years old and died around, before my 12th birthday. My father had a very strict curfew for my younger brother and me, and we would stay up until 1 00 on a school night looking at old movies. It was the first time i saw my dad cry was at a movie, odd man out about the irish troubles. I promised that i would be a filmmaker. And looking at howard hawks, the great directors of the 1960s, i ended up at Hampshire College in massachusetts. All of my film teachers were social documentary still photographers who reminded me correctly there is as much drama in what is and what was then anything the imagination dreams of. By 12 i wanted to be a filmmaker. 18 or 19 i knew it was documentary. By the time i left hampshire, it was American History. I am untutored except for what the Public School systems make us take. I have always been interested in who we are as a people that animates the films we made. That is what i have been doing for the last 40 some years. David you are doing a pretty good job, i would say. Lets did you ever think about making anything other than documentary . Ken i started off wanting to be a feature film maker. For me, comingofage and for you, a documentary was more often than not a didactic thing. It was expository, telling you what you should know, homework, castor oil. I firmly believed there were exceptions. For me, because i had grown up inc. Located with feature films inculcated with feature films, by the time i was out of high school, i was versatile. I realized the same laws of storytelling applied to a feature filmmaker as a documentary filmmaker. But we cant make stuff up. I sat down the road with Steven Spielberg a couple years ago art at the archives interviewing him. We felt the same way, the same, you could call it poetics, the same poetics. He can make stuff up and i cant. But the same ordering and pacing is there. I dont make a distinction. I am finishing a film on Country Music now, excited about it. It will be on next september. Brenda lee, a great singer, like many of the people in the jazz series, which you were kind enough to say you had an opportunity to see, i speak about the fact that the rest of us in pose artificial designations on things. We label this jazz, blues, country, whatever. The musicians themselves dont actually perceive the distinctions in the same way. We do it in order to order our existence and make it easier and go, now i know what he does or what she is playing. In point of fact it is all the same. I have felt that in the community of filmmakers i got to know across my professional life that had been experimental filmmakers like samba package or stand package, or feature hollywood filmmakers like Clint Eastwood or Steven Spielberg or foreign film makers, that have reminded me we are in the same business, telling stories. We use different palettes or something. I chose American History the way some painter might choose oil as opposed to watercolor or to focus on still life rather than landscape. David here we are sitting in the National Museum of American History, and you do an extremely admirable job telling stories. When you do, going back to your comments how things dont have to be categorized like music, one of the things i worry about and am curious if this resonates with you, realworld problems dont come into categories. One of the things i have been worried about is a shift in our view of education, formal and informal, toward the stem disciplines because it is important, utilitarian, leads to a better job. I worry about the arts and humanities and social sciences shoved into the second or third row. Ken i couldnt agree more. I am a steam guy, the arts in their broadly and so many other in there broadly with so many other things. We are so didacticly preoccupied. We are engaged in constantly pointing out where you are. I suppose by contrast where i might be. Red state, blue state, young, old, black or white, male or female, rich or poor, from north or south, east or west, and we forget to select for most of what we are that we share in common. In this rushed specialism to categorize and differentiate, discriminate in the worst sense of the word, we have isolated ourselves. We need the arts and humanities and history and ethics and civics and Political Science and philosophy more than ever because they become the glue that rebind us back together as a people. When the stem aspects are just what they are, we neglect to select for something that includes all of us. We become over specialized which is a great danger. We cant speak to each other, exacerbated by the divisions. I am reminded, early in my life, i was trying to raise money. Late in my professional life i am trying to raise money. I was making a film on the brooklyn bridge, i looked 12 years old and people looked delighted to tell this 12yearold, trying to sell me the brooklyn bridge, no. They get to keep gigantic three ring binders, four inches thick with every rejection i got from that film as a kind of reminder to not get too big for my britches. Not to get above your raisin, meaning your raising, your upbringing, not your dried grape. [laughter] ken i was with a kind of a, i can only call him a mentor, he was a Senior Executive at at t when that existed in Lower Manhattan in the magnificent deco building. He showed me 77 or 78, a working phone with a tv, where you could call somebody and look. It was like buck rogers. David i remember. Ken you couldnt believe i could be in another room talking to this guy. He said i am really anxious about the future because we have been minting these ndas for the last 10, 15 years. People are getting mbas rather than proceeding through liberal Arts Education and moving into business. These guys are smart, they know their stuff but dont know anything about ethics, dont know how to write a letter, dont know where they are. I can teach you what you need to know mba wise, but i cant teach all that other stuff. Somehow the genie got out of the bottle and we are obligated. In institutions like the smithsonian, the reason why we attract people and your support, not just to start off, happy birthday but to thank you as the secretary did for your support because this is really the front line of our survival. It doesnt seem sexy enough to put it in the hands of librarians, but it is really sexy and important. [applause] david i know you were hoping to get ideas for your next films after this. You know a documentary about librarians wouldnt be the worst thing . [laughter] [applause] ken after the civil war came out, funding groups would come to me and say what are you working on . I would say baseball and their eyes would glaze over. After one meeting, particularly unsuccessful, the head of a foundation said, ok. She said if you ever do something about the constitution i wheeled around and said i do it in every film. It is in every frame. She came and saw it. To her credit, they helped fund the baseball series and have been involved. Sometimes we often presuppose you have to, and if you have been a parent, that best way is being indirect. If we say we do something on education are on libraries, you somehow will do it, when in fact it is music works. I dont need to tell you not because of the notes, but because of intervals between the notes. David exactly. Ken sometimes the best work is not the subject matter but the interval of the notes of that subject matter. When you see Country Music i will presume not everybody in this room is an avid fan as i was not. David i am. [laughter] ken as Harlan Howard said, three quarters of the truth. When you strip away the next couple stuff, and in next couple if you get down to elemental things, it is talking about the joy of birth, sadness at death, falling in love, falling out of love, losing someone, feeling lonely, seeking redemption for forgiveness, or some other thing. That is the basic elemental Building Blocks of everyones human experience. Pickup trucks, the sixpacks and dogs are jokes, to not deal with tough four letter words like dogs. David beautifully said. Staying with the music theme, i met a student of film scoring. It is fascinating. In a feature film as you put it, those things have enormous, in my eyes, enormous effect on the audience. I am sure you have seen and done many of these experience experiments where you play without music and it is different. To me about your point of view on how you work with a composer. Do you do the whole thing, then find one . Ken we are different. I would like to sort of acknowledge the centrality of Wynton Marsalis calls the art of the invisible. It is the fastest art form, to notes, it has got you two notes, it has got you. We have issued we really have composers, i can speak to that presently. Too often soundtracks, not just in documentaries but more often features are something added at the end. A score is a mathematical term, and they finish the film. They have locked it, then they bring in the composer and literally time with the orchestra or whatever watching on a screen, and it has got to be exactly 27 seconds in 13 frames. We dont do it that way. We recorded our music, usually sound music of the time, before early in editing. We will identify a tune we like and play 30 different versions of the battle hymn of the republic or the battle hymn of the right of freedom. We will do it with one hand, two hands, marshall martial, minor key, different orchestrations. We havent even started ending editing. We end up with beds, musical beds of hundreds of selections. The editors are encouraged to use music right away. Quite often, as we become attached, we are not going in to score it. This will be the music. We will change the rhythm and pacing of the scenes based on the music. We could shorten a sentence or lengthening a sentence to fit a phrase of music. The narrator works extra. Music is not an afterthought. It is not icing. It is baked in. We know the experience of a horror film without music, it is no longer scary. We hope this organic way when i talk to people, two or three questions in, they want to know about the music. Ashokan farewell, the only piece, a film he be not about music but the music was really important. Maybe not about music but the music was really important. We havent mostly rock n roll or just from we have mostly rock n roll and jazz from the time period, but we also have others looking at really early footage of interviews, not anything in editing, and they wrote three hours worth of original music out of the kind of modes and themes we talked about. I would give a right arm to the end of their process. They watched this and said it was the most satisfying collaboration we have had, trent and atticus, have had. As vietnam was for us so far the most satisfying professional thing. We took some folksongs from vietnam and lullabies, other popular music people would have known north and south that was ubiquitous. Asked yoyo ma and the silk road ensemble to bend them. It is farther north, but to bend them musically and geographically into this vietnamese place. It was wonderful. We had that experience. All of this delivered before editing. It was never added to. I have never been with an editor with the film running. I have never gone in with a firstperson voice, asked meryl streep to read that while zooming in on her and her we had consultants go, where did you get that tape of eleanor . It is called meryl streep. [laughter] ken she is going places, let me tell you. Or with the case of the soundtrack itself, we never put it up and changed the music to what fit what was on the screen. David i tried to figure out how you might have done that in vietnam. Now i can answer people. Just as a real quick digression, you talked about fundraising. Forgive me this. When i was a kid i was going to be a rabbi. My dad was a firstgeneration american, religious jew from russia where it one day i marched in and said i will not do it. He said, that is interesting. How did you decide . I said rabbis have to do fundraising. I will never take a job i have to do fundraising. [laughter] david live and learn. So back to libraries, and through the Extensive Research department, we found out you told the graduating class of Stanford University my kid is a stanford alum. I will not sure the amount it cost to do that. It is not really that important is it . Ken a lot of fundraising. [laughter] david you told the graduating class of stanford the book was the greatest machine of all. Can you enlarge on that . Ken i think i meant mechanical invention. I believe that. We are always in the thrall with technology. That is usually to our detriment. It is a tail that wags the dog, not the other way around. The book early on might have been that way but it has come down to it i am individual medium we are unafraid of words and they come from reading and studying books. I dont know where there is any other place to begin. In the beginning is the word. We firmly believe that. I was trying to offer the generation that is so, you know, dependent on this, that there was Something Else as well. I think everyone knows that deep down, and we all have an experience that is dwindling among many of us of just that pleasure of reading a book, being our own directors, casting agents, our own cinematographers. That is a wonderful, intimate, private thing i still think is sacred. When we start off any project, it is in libraries and archives, educational places where stuff, mostly books, are saved. David in that regard, perfect segue, what kind of libraries do you use, and how do you get to the information . Is it local universities, public library, phone line . Ken it is across the board. I live in new hampshire. We have a classic library we go to. We will head up the road to dartmouth, avail ourselves of their stuff. Invariably our subject matter is pretty diverse. When you watch the fine print, slow it down on dvd of the credits, it is hundreds of libraries and archives across the country. We are visiting them more often than not and spending a lot of time. Sometimes digitizing photographs or graphics but more often than not it is reading and trying to find primary sources that will help and also reading the works of, in many cases, a panel of two dozen historical advisors. David have you had any occasion to use our libraries . Ken on every film we have done. I would say it is well more than half that we have availed ourselves. If you added in your sister institutions in this town, on this street, across the street and up the hill, it is every film 100 with the library of congress and the national archives. David there is no special reason to bring those up. [laughter] david this is the time to go into my other story. [laughter] ken now that was a secretary. [laughter] david join the crowd. Stephen ambrose, historian, is said to have said more americans get their history from ken burns than any other source. What do you think . Ken i was there when he said it and wrote it in a letter and some pr person grabbed it. I dont know if it is true. We need to get history from lots of places. That is clear. We have to be getting it from i loathe to say mainstream sources. We are beset by this notion of fake news, and it is, it extends , and people can dismiss stuff it represents, years and years of scholarship from just saying it doesnt quite jive with what they think political beliefs are. We work extra hard to not put those in our films. We cannot help, i suppose, osmosis. We took a lot of criticism in the civil war film that we focused on what Joshua Lawrence chamberlain did from the second day of gettysburg on the extreme left of the union line and ignored other engagements, which is true. That is what storytelling is. When somebody says, honey, how is your day . You dont say i backed slowly down the driveway, avoiding the garbage can at the curb, unless unless somebody tbones you at that is exactly how you tell it. Our job is, and a team, i represent i am a conductor of a Extraordinary Group of musicians. It is our job to figure out how to tell that story and leave out 9 10 or 3940 as we like to say in new hampshires, it takes 40 gallons of sap to make one gallon of maple syrup. Documentary filmmaking is that ratio, 3940. David my wife is a molecular biologist. She wants to hear those details. I just want you to know that. When she says how was your day, she wants it. I think she is the exception that proves the rule. I want to get back to the humanities for a moment. When you include the jefferson lecture which was amazing, you called the humanities the glue that allows us to understand how things work and get things done. Walking away from the issue i raised earlier of utility of stem and so on, how do we get folks, especially young people and their parents to understand that is the case . I tried exhortation through universities. Didnt work well. I chaired a study where we studied whether adding arts and humanities to other curriculums would show advantages in learning outcomes. Turns out they do. In medical school, graduate school, undergraduate. But people are unconvinced. Ken i think at first blush i would take one, small corner of the humanities and civics which is now a dirty word. It has disappeared almost completely from educational systems. It isnt sending 100 senators and most americans cannot answer that question. It is about much more complex things, how do you get those things done . How do you forge a connection with people looking at them in the eye, not in a text . It is actually how you, from the dogcatcher or the fire pump, right up to what took place yesterday. This is a big deal. And i think the reintroduction of that. The problem is that civics sounds like a dirty word. The answer and it is not a simple one, it is a simple answer but the solution is not simple. It is stories. We tell each others stories. As i said in the jefferson lecture, to keep the wolf from the door, the inevitability of our mortality, that is to say that nobody here is getting out of this alive. What we do is we tell stories in large measure to continue our own lives, to achieve something beyond this physicalness, to communicate and bond with others in this relatively short passage we have. And to try in the distillation of those stores, the maple syrup, to distill the essence of who we are and what we think is valuable and find some way to convey that to, as lincoln said, to the latest generation. Thats our task. It is made complicated by the technology. It is made complicated by a political moment. Everything changes. It will never remain the same. Conspires against that kind of communication. In the sense of, you know, ive been very fond for decades now and friends of mine roll their eyes of quoting slusser junior, we suffer from too much pluribus and not enough unum. I have found i have been coming on a different way of approaching that which is i think the essence of your question, and i apologize of i have taken it off in a place, but i have spent most of my professional life in a place between the two letter lower face plural part on us and its uppercase u. S. And all that i have done exists in the places between them. Both the idea of us as a we as positive sense of being together but also the u. S. And its possibility and its flaws. I do not think we have been ever been afraid of speaking about that. Quite often as we know from life, these things come hand in hand. War, the subject of many of the films, is human beings at their worst it also it is turns out human beings at their best. That kind of push me, pull you under two, winton when sent to me, sometimes a thing in the a thing and the opposite of a thing are true at the same time. And that is kind of the wayi i roll. Im looking for that kind of thing. And what you find is that we give it lots of different names. Sometimes it is faith, sometimes it is art, sometimes it is reason, sometimes it is literature, poetry. Whatever it might be is able to subsume those two contributions two contradictions and produce something bigger and that is what we are looking for. Where one and one equals three. We spend our rational lives depending on one and one equaling two, but the thing that compels us in our love and our relationships our work is where , one and one equals three. Im interested in that improbable calculus. David let me give you a verbal review of all of your work. You do an amazing job of getting information and emotion across to us without being pedantic. It is a very good skill. People are standing up and look at me like they want me to stop. But im the secretary and who is going to drag me off stage . I have on one or two more questions. Nancy is writing down, note to self, do not have this guy do more interviews. [laughter] david so, last friday, i had the chance to go to Northern Virginia committee college, nova, and its the tenth anniversary of National Writing day. Had a chance to interact with the students. Despite the fact that i was in the ivy league, etc. , i think Community Colleges are the american dream. Where our most Student School to school, our best hope for a lot of things in the country. Anyway, it was an interesting panel of which i was probably the least interesting talking about the linkage between learning, careers and writing itself. Made comments about writing. You have talked about absorption of knowledge and so on, obviously you are literate and , articulate. You spend a huge amount of your time writing. What should we be telling our young people about that . Ken this is the key, i think if the book is the greatest mechanical invention is filled with writing. With whatever modest expectations we might have but practice it. Alas, we do not do that today. And we have to figure out some way distracted as we are by my , profession and by the technological world and the vastness of the internet which is a gigantic maw that swallow psyches whole. They sometimes never come back. Ive been thinking. Im going offtopic and i apologize, mr. Secretary, but we spent a lot of time in this modern world talking about convenience. I think convenience is a deadly thing. We want our refrigerators to turn on and defrost things by themselves. We want doors to open by themselves. We want to be able to see things where we are not. We want to be able to not have to do lots of different things. So, i have been practicing not convenience. I like a cup of tea in the morning. And i live on a hill, pretty high hill, about a mile and half down from my town. Down to the town is not as bad as the mile and a half back up, but every morning with my dog i walk into town and walk back up with the most aerobic cup of tea on earth, because it is not convenient. I can make a cup of tea at home but there is something about actually taking the hour and six minutes that it takes me to do this, that is, you feel this incredible rush of going against the grain of things, the expectation. Im very busy. I work very hard. This is not a waste of time because thanks take things take place, but it is not a you would even experience nature, you have this ability to stop certain things. Im with my dog, who is really a great, great guy. I can go over into vermont for most of my trip. I can look down in my town it looks like currier and ives blueprint. They never got the essence of new england. Its wonderful. I have gone off topic about convenience but i think it is applying to the same thing. We have to figure how to engage in other things to retrain as about these forms of communication that will be central to our survival, not just as a republic, which is clearly under great existential threat but as a species. Period. Full stop. David one last quick question from left field. I want to ask you for a piece of advice. Directness and bluntness appreciated. Do not worry about nancys feelings. If you look at polls of what americans trust, what kinds of institutions we trust, the vast majority of the kinds of institutions have plummeted in trust. Government, media, the medical profession, much to my chagrin. Libraries and museums and the military are three that ken pbs. David pbs is, i consider it a culture institution. My theory, it is fine if you want to dash. The interview is over and i cannot hurt you now. My theory is that these trusted institutions like the smithsonian but not limited to the smithsonian, should be places where we convene conversations on topics where people are not comfortable hearing each other out or talking. We are trying some experiments. Is that right . Is this a place that makes sense . Ken absolutely, and you can see the way libraries have evolved. There was a point in which there was a presumption, in the mid1990s, that libraries were obsolete. You will be able to read a book on your phone or computer. Were not going to the libraries. Now you find that libraries are the centers of town. They have got access to internet. Not everybody has that. They have the latest periodicals. They are sometimes warm. They often have a bathroom. Theres lots of stuff that is very basic, 3 4 of the truth. Its usually important. I think we spent a lot of time talking at people about, lets have a National Conversation about this or that. You cant have a National Conversation. I can yell at the top of my lungs and barely 250 people will hear me. So, what you want to do is find institutions and places that foster intimate conversation. So, our vietnam series, the last big program we broadcast on tv has been out a little bit over a year. Its been huge. 52 million people. The first time out. It has been on netflix. It is a daily occurrence of my life that someone stops me on the street and says my husband, my son, my brother, my grandfather, whomever was there. Dont say was there, but we made them watch and now they are talking. David that is so fabulous. Ken that means you want to ignite millions of conversations, not one deep, vast conversation because it is actually impossible to have that. Even with media Like Television that permits simultaneous stuff going on. David we believe in that creed completely which means it must be right, that we have an Organization Called Smithsonian Associates that allows amazing outreach locally and beyond. Then we have 214 affiliate museums in 45 states, puerto rico and panama. Im working toward a national day of conversation which would be local and see if we can find that. Ken we can use the new media, you can teleconference in. But in point of fact, this is, you know, youre back to aspiring to be a rabbi. Conversions are going to happen one soul at time. And that is our job turn one person onto this book or this opportunity or this idea or the story. And then the rest will follow suit. The problem is we have allowed darker forces to get a huge head start. And a lot of it is based purely on money and profit. A lot of it is based on the enthusiasm towards new technologies that have to be event to our well and not us to them. A lot of that has to do with human curiosity. All of that is good, but we have to get back and realize that there are some eternal truths we have to remember generation after generation after generation. David you have taught so much and you will teach us so much and you have done so much for our emotions and minds and hearts. Thank you. Ladies and gentlemen, ken burns. [applause] [captions Copyright National cable satellite corp. 2019] [captioning performed by the national captioning institute, which is responsible for its caption content and accuracy. Visit ncicap. Org] all i can say after that is wow. Please join us across the lobby for a champagne reception and a and our 50th anniversary. Thank you. [applause] you are watching American History tv all week and every weekend on cspan3. To join the conversation, like us on facebook at cspan history. We will visit the Santa Monica History Museum to learn about the areas earliest inhabitants, the tongva. The city of Santa Monicas geography is something that has always d