We Want the Airwaves Television Documentary
In a world where creative dreams collide with harsh realities, filmmaker Scott Ryan's journey epitomizes the highs and lows of chasing a visionary idea. Ryan, along with producer Charmel Green and co-producer/cinematographer Cory Clay, set out to sell their groundbreaking docuseries, Manifesto!, to television executives. But the path to success is fraught with challenges – from crafting the perfect pitch to facing the dreaded words of uncertainty from industry insiders.
Despite their ability to capture compelling stories on film, Ryan and his team grapple with the art of selling their vision, a struggle laid bare in We Want the Airwaves. Through a blend of actual footage and recreations, the documentary serves as both a cautionary tale and a celebration of perseverance in the face of adversity. Aspiring filmmakers and media enthusiasts alike will find invaluable lessons in Ryan's journey, making We Want the Airwaves an essential educational resource for those navigating the complex intersections of creativity, marketing, and the media landscape.
Video Librarian recently sat down with the director Scott Ryan who offers a behind-the-scenes look at the journey documented in We Want the Airwaves. This discussion promises a compelling exploration of filmmaking realities, educational insights, and the enduring impact of storytelling in media production.
What is unique about this film to you?
In many ways, I think the film covers an area that is almost completely barren (and once considered taboo in Hollywood) a virtual “how to pitch your show.” I’m also writing a book that will cover this and our backstory more thoroughly. It certainly captures a unique, rarely discussed moment in time when Hollywood transitioned to streaming, high-definition cameras came into play, the writer’s strike, the subsequent proliferation of reality TV, and the 2008 economic crash happened. That said the universality of the story is key - almost nothing has changed (for filmmakers) from the business side of things in Hollywood.
We Want the Airwaves also manages expectations and goals for young filmmakers; it admits that the idea is “the thing” but that the idea alone is not enough. You have to package your project if you want a studio involved. Without a package, your last name would need to be Coppola or Spielberg to get something made. But the fact that we could capture this historic moment—a group of filmmakers creating the first citizen’s platform on television—for me, is what sets it apart from the crowd. The issues that Manifesto! covered were (and are) extremely critical, especially in the times we live in today.
Do you consider the film a warning or more optimistic—even educational?
We didn’t really set out to make a film that would be seen as an educational resource but I’m elated that it’s filling that need! I do kind of wish that I had a film like this when I was in school. The closest films we had were scripted—Swimming With Sharks, Living in Oblivion, etc.When we were talking to distributors, more than one executive called it a “niche” film (and therefore not a contender for mainstream audiences in their minds) but we’re happy to have made a film hyper-focused on Hollywood. There is no shortage of talking points that stem from this film.
The moving image has such a hold on the human psyche. Because of this, media literacy is incredibly important to me and this film casually opens an angry beehive of topics related to media literacy, audience effects, human behavior, and ethics for filmmakers. I do think We Want the Airwaves is ultimately optimistic; thematically we argue that stories matter, especially positive human stories that are focused on solutions for our communities. The subjects of our film wouldn’t have suffered through so much if they didn’t feel this way.
Would you consider We Want the Airwaves a meta-film since it reflects upon the art of documentary filmmaking while documenting the creation of your series?
Sure, I mean the film is about the making of Manifesto! So it’s a documentary film we made about a documentary-based TV show we made. At times even we get confused about which we are talking about. In the documentary world, I’m not sure it gets more meta than that!
Do you have any advice for filmmakers in training?
Try not to allow the realities of budget to limit your imagination. It’s obviously entirely possible now for nearly anyone to make a film that can gain traction with the right audience. We faced many roadblocks along the way with We Want the Airwaves and after exhausting available resources, practicing the art of acceptance got us through to the finish line. This is really the heart of independent filmmaking; we grow accustomed to seeing literally millions of dollars up on the screen but so often this doesn’t equal good storytelling.
As you approach the completion of your film, accepting that a simple little idea can replace an elaborately blocked or conceived shot is often what can get your independent project finished. I think we must forge forward with great ideas and an innovative whatever-it-takes mindset to tell our stories. With peak TV and studio trends, the trend has been against independent film/TV (although there are still countless indies being made) but there will be another cycle where indie films innovate, are respected for their innovation, and lead the way. We will reclaim the hearts and minds of moviegoers.