Journalism Wins an Oscar
Q&A with "20 Days in Mariupol" documentary producer Raney Aronson-Rath
PBS “Frontline” editor-in-chief and executive producer Raney Aronson-Rath was on stage at the Oscars on Sunday night as part of the team that shepherded the stunning film “20 Days in Mariupol,” to a best documentary award.
Three AP news journalists risked their lives to film and talk to the citizens of the Ukrainian city as it came under attack from Russia at the outset of the war.
Director Mstyslav Chernov made history picking up Ukraine’s first Oscar but delivered a somber acceptance speech. “I probably will be the first director on this stage to say I wish I never would have made this film.”
Aronson-Rath talks to The Media Mix about PBS’ first Oscar and why it keeps the spotlight on good journalism.
Q: How did you feel when you heard that the film had won the Oscar last night?
A: We are all very gratified that the film got attention, the journalism is being acknowledged. It is really seen and centered in this story. One of the most remarkable parts of all of this is the documentary category were all global films.
The actual moment when they called “20 Days” was, as you might imagine, very surreal. But one of these moments you think boots on the ground reporting - the reporting that they did - this will help say that essentially journalism matters too. To have that acknowledgement in Hollywood, at the Oscars, was remarkable as a long time journalist to have that feeling that work is being appreciated.
Q: And in that moment that you heard the title called?
A: I was sitting next to Mstyslav Chernov, the director and we looked at each other like this is the actual moment. We were very somber too, and that’s really important. We are all thinking about the gravity of what is in the documentary, the people he filmed and the lives that were lost and we carried that with us as we were walking on the stage. As he spoke, the crowd really responded. It was surreal but really gratifying.
Q: Individual news reports on the war can seem abstract but the movie really brought home the reality of war.
A: The man whose 16 year-old was killed because he was playing soccer outside and [me] having a son who is an athlete as well, hearing the father cry, “My son. My son.” I was so moved. Looking at the raw footage at the time there was something that could transcend geographic boundaries.
The other thing that struck me was the journalists talking to each other off camera saying, ‘be careful,’ ‘get down.’ That’s how close they were to danger. These were the last three independent journalists in Mariupol during that part of the siege. They are the only ones that captured that history.
Journalism is at the heart of this film. The idea of recording the only history of that moment, filmed by them, that’s really profound. It’s why journalism matters. Why it’s important to have actual journalists on the ground filming and saying this is what’s actually happening here.
Q: How did the project start?
A: It starts with Mstyslav Chernov and his two colleagues, (Evgeniy Maloletka and Vasilisa Stepanenko.) Then it starts with me seeing a lot of what the whole world saw in the maternity ward which struck a chord with us. And we were doing a partnership with AP at the time. Derl McCrudden, (AP VP of News) told me this team had just gotten out of Mariupol and that they had a lot more footage than what had been seen…I had a meeting with Mstyslav Chernov the day after he escaped from Mariupol. He was in an undisclosed location, he started to talk to me as a filmmaker right away. I could tell there was a cinematic quality to his work than what we saw in the news. This person could direct the film and make the film. The next call I made was to Michelle Mizner who was the editor and producer with me. We brought all the footage in house at “Frontline” and GBH. This is non-profit media.
Q: Why was award season important to you?
A: There was a moment in San Francisco where in the theater there was “Barbie,” “Oppenheimer” and “20 Days in Mariupol.” Ours was sold out too. People were choosing to see “20 Days.”
Q: People talk about fake news and undermine the media. What is the journalism landscape like right now?
A: I think journalism is under siege, all the way from dis/mis information, sustainability and the business model. Journalism has been disrupted, as we all know, but what’s really important today if you think about it if you don’t have journalists telling you what’s happening, independent journalists - not advocates for a government or a company, they’re just truly a journalist that’s one of the only ways that we can keep reality and truth at the heart of what we know and believe in. The importance of news organizations like the AP that reach 58 percent of the world with their journalism every day, those people are so important to push back against dis/misinfo.
Q: What do you think about the difficulty journalists are having getting into Gaza to cover that war?
A: One of the most poignant, tragic examples are journalists in Gaza and journalists trying to get into Gaza. Right now, all journalists believe that more coverage is needed and we need more access to what is happening. We hope for the safety of journalists and people all around the world. How does journalism thrive when you need to gain access? We’re all hoping for that.
* This interview has been edited for length and clarity.