William Greaves (Finding Aid)

William Greaves

1926 -

Favorite Color: Olive

Favorite Food: West Indian and Caribbean Food

Favorite Time of Year: Spring, Fall, Summer

Favorite Vacation Spot: Goa, India

Interview Length: 169 minutes

Interview Date(s): April 17, 2003

Interview Location(s): DuArt Film Laboratories, New York, New York, DuArt Film Laboratories

Abstract

William Greaves talks about his parents' Caribbean Island origins and shares that he may be related to an infamous 17th-century Scottish pirate. Greaves continues to discuss his parents and how they arrived in Harlem. He then details the cultural exposure he received while growing up during the Harlem Renaissance. Greaves talks about his interactions with various intellectuals in Harlem as well as his cultural contemporaries. He then discusses the impact Africanist William Leo Hansberry had upon his education and career direction. Lastly, Greaves talks about the activities of John Henrik Clarke designed to inform others of African Americans' true place in world history. William Greaves discusses his parents' active role in his educational experiences and his displeasure with America's current media and educational systems. Greaves then details the schools he attended while growing up in Harlem. He then shares a story about the scholarship he received and his experience studying art under the sculptor William Artis. Greaves details his brief career as a dancer and the African choreographers he performed with as part of the dance company of the African Academy of Arts and Research. Greaves talks about his acting career in the 1940s and recalls the theatrical plays and movies in which he had roles. He then recalls an acting audition that was racially demeaning and tells of how he abandoned his acting career for a career in filmmaking. Lastly, Greaves recalls his filmmaking education in New York and he explains his leaving the United States for employment opportunities in Canada. William Greaves discusses the changes in the political and racial climate in the 1960s and 1970s and how it influenced his decision to return to the U.S. from Canada. He then details the documentaries he produced for Canada's governmental agencies as well as the United Nations. Greaves shares a story about his experience with the poet Langston Hughes while filming the World Black and African Festival of Arts and Culture, in Dakar, Senegal in 1966, one of his first filmmaking assignments after returning to the United States. He then talks about his decision to form his own film production company after not being allowed enough creative control over his films by U.S. governmental agencies. Greaves details some of the documentaries he produced and speaks at length about his experiences with the 1970s television series, 'Black Journal.' He discusses today's television networks and their attempt to quash programming that shares a similar viewpoint and format as 'Black Journal.' Lastly, Greaves shares a story William Greaves discusses some of his more notable films and discusses the uniqueness of his avant-garde film titled, 'Symbiophychotaxiplasm: Take One.' He talks about cinéma vérité, the documentary filmmaking style that stresses unbiased realism, and how his film inspired such famous film directors as Martin Scorsese and Steven Soderbergh. Greaves then discusses his experiences with Muhammad Ali and the initial difficulties he had with filming the boxing champ. He then details how his boxing documentary inspired such fictional movies as 'Rocky' and 'Raging Bull.' William Greaves then discusses his longest documentary on United Nations Undersecretary General Ralph Bunche, and the twelve years it took to complete the film series. He then details his experiences with actor Anthony Quinn, and how he persuaded him to participate in a film project. Lastly, Greaves discusses the importance of the need for black documentary filmmakers and their importance in raising the cult ural consciousness of America's bla William Greaves gives advice to future black filmmakers on the responsibility to correct the misinformation told about African Americans over the years. He then talks about his intellectual role models and 'William Greaves Aesthetic,' the ability to reflect positive images of blacks and to raise the cultural consciousness. Greaves then gives quick impressions of a number of notable people in the arts and filmmaking who are friends or with whom he shared experiences. He then discusses his concerns for the future of the black community and its image in the media. William Greaves shares a story about his parents' reaction to his success and subsequent acceptance of his career path. Lastly, he talks about his legacy and the hope that his films will inspire others to make similar films with a positive message. William Greaves discusses how he would like to be remembered, mainly through the many films he produced over the years. Greaves then describes the photographs he provided from his career and personal life. William Greaves describes more of the photographs he provided from his personal and professional life.

64 Stories (See Ordered Story Set)