Taking Action: PBS Needs Independents

EDIT: March 23. PBS has declared that they will now be reconsidering the scheduling of these series, due in large part to the pressure exerted by your advocacy. However, if you would like to add your signature we will still accept them. Thank you - Kartemquin.

The following is an open letter to PBS. We encourage all independent filmmakers and fans of public media to join us as signatories by commenting below, or emailing us at PBSNeedsIndies@kartemquin.com, or tweet #PBSNeedsIndies to us on Twitter.

Kartemquin has a long history of supporting public broadcasting, and we feel we must again rise to the challenge in raising our concern, and hopefully awareness and action, over the issues below.

As independent filmmakers, as participants in the evolution of public broadcasting, as viewers and as citizens, we protest PBS’ decision to move the two premier strands of independent documentaries, Independent Lens and POV, from their established home on Tuesday nights to Thursday, a night on which local stations program locally-selected material.

We saw the change in the programming to Thursday night and were concerned about the effect it would have on the ratings. As filmmakers, we are acutely aware of the importance of program placement in a broadcast schedule. With the publishing of the March 12, 2012 article by Dru Sefton in Current magazine, we have now seen documented the dramatic effects of this shift, and that our fears were realized.  We cannot wait any longer to signal our concern.

PBS’s programming decision has, effectively, moved these two award-winning series off the main schedule, by leaving it up to stations to program them on their own, on perhaps the most competitive night of the TV week. Both series have carved out a trusted relationship with audiences on Tuesday nights. PBS’ John Wilson has acknowledged that Thursday, a local-programming night, is a “no-fly zone” for PBS programs. Asking stations to drop programming among the most popular with their members is unreasonable.

Public television is not just a popularity contest, or a ratings game. Taxpayers support public broadcasting because democracy needs more than commercial media’s business models can provide.  PBS’ programming decision makes a statement about PBS’ commitment to the mission of public broadcasting.  We note the definition in the recently-revised and reissued Code of Editorial Integrity for Local Public Media Organizations:

“Our purposes are to support a strong civil society, increase cultural access and knowledge, extend public education, and strengthen community life through electronic media and related community activities.”

These are the stations that PBS serves.  These are the stations that are well-served by well-crafted, well-told stories about underrepresented topics, meeting needs of underserved audiences in innovative ways. These are the stations that benefit from community activities related to the strands, such as ITVS’s Community Cinema and LINCS programs. These are the stations that benefit from IL and POV’s constant technological innovation and experiment in engagement. And these are the stations that need to cultivate younger and more diverse audiences, the kind that can be attracted by the innovative, diverse films in these series.

Films such as Where Soldiers Come From, Heather Courtney’s film about Michigan reservists’ journey to Iraq and back; Chris Paine’s Revenge of the Electric Car, about a crucial energy issue; Daisy Bates: First Lady of Little Rock, which revives the memory of the civil rights activist, and was directed by Sharon La Cruise; and Connie Field’s Have You Heard from Johannesburg?, about the history of apartheid, serve important functions at a local and national level, reaching underserved audiences, providing both perspectives and information unavailable in the marketplace, and doing so with expert craft.  They serve a critical function in the public broadcasting ecology. They serve the democratic mission of public broadcasting.

We recognize the importance of public broadcasting. We have been able to reach national audiences with significant work, and we have seen meaningful democratic engagement as a result. For instance, when In the Family showed on POV, with a multiplatform campaign, legislation was pending on genetic non-discrimination. The broadcast fostered productive conversations across the nation about the consequences of that discrimination in people’s lives. The showing of Lioness on Independent Lens fostered a broad public discussion of the rights of women veterans who had experienced combat, and was instrumental in the passage of legislation, named for the film, winning these veterans the right to Veterans Administration benefits. The showing of Farmingville on POV fostered deeper, more complex and thoughtful public discussions, both online and in person, on the effect of immigration on local communities. We are deeply concerned that PBS’ poorly-considered decision could jeopardize both the meeting of public broadcasting’s mission and also stifle the innovation that is crucial to the future of public broadcasting.

Signed by:

A.B. Peters
A.G. Nigrin (Rutgers University)
Aaron G. Woolf (Mosaic Films Inc.)
Aaron Matthews (AaronMatthews.com)
Abina Manning (School of the Art Institute of Chicago)
Adam Hyman (Okapi Films)
Adam Rabiner
Adora Wilson-Eye
Adrian Arnold
Alan Kilgore
Alana Timora
Alan Adelson (Films for Humanity)
Alan Cormack
Alan Rogers
Albert Jacobson
Alejandrina Fernandez
Alex Gibney (Jigsaw Productions)
Alex Youngen Ali Pomeroy (Lumiere Productions)
Alexandra Thayer
Alice Winfree Bowron
Alitza Blough
Allen Haydon
Allen Mondell
Allen Olson
Allison Ferdinand
Allie LeCaux
Ancel Kerr
Alvin H. Perlmutter (Independent Production Fund)
Al Rogat
Al Wasser
Alfa-Betty Olsen
Alyssa W.
Amy J Boyd
Amy Bretz
Amy McDonald Burgess
Andrea Mills
Andrea Presson
Andrew Crawford
Andrew Garrison
Andrew Gersh
Andrew Peterson
Andrew Syversen
Anita Holsapple (Gizzy Bear Productions)
Anita Madsen
Anita J. Malinski
Anne Makepeace (Makepeace Productions)
Ann Parkes
Anne Zeiser
Ann Marie Mitchell
Ann Scott
Anne Burdakin
Anne Hill
Anne Scarbrough
Annie Roney (Ro*Co Films International)
Anthony Bérubé (Productions Anthony Berube Inc.)
Antonio Semeco
Anuradha Rana
Aphrodite Harris
Ardeth L. Weed
Art Citron
Arthur Milholland
Ashley Sabin (Carnivaleque Films)
B. Ray
Banker White
Barbara E. Dua
Barbara Bowen
Barbara Bullas
Barbara Haynes
Barbara Kinchen
Barbara Kopple (Cabin Creek Films)
Barbara Rick (Out of the Blue Films)
Barbara Thorpe
B. Ruby Rich (University of California, Santa Cruz)
Barry Downes
Bari Pearlman (BTG Productions)
Bart Weiss (Dallas Video Fest)
Beatrice Nava
Bella Jhunjhunwala
Ben Daviss
Ben Lappin
Benny Cespedes
Bernard Gitlin
Bernardo Ruiz (Quiet Pictures)
Beth Levison (Dandelion Films, Inc)
Bethany W. George
Betty Bastidas Beverly Seckinger (New Day Films)
Betty OHara
Beverly Crawford
Beverly J. Braunlich
Bill Gannon
Bill Moyers & Michael Winship (Public Affairs Television)
Bill and Sharon Lynch
Bill Hibbard
Bill Lichtenstein
Bill Kavanagh (Kavanagh Productions)
Bill Siegel
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Bob Hercules (Media Process Group)
Bob Pfeifer
Bob Kinney
Bob Van Keuren
Bonnie T. Summers
Brad Lichtenstein (371 Productions)
Bradford Bryce
Brenda Berck
Brenda Brody
Brenda Logan
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Brett McNeil
Brian Byrne
Brian Calvin
Brian Gebbia
Brian Gordon
Brian Wengrofsky
Brigid Maher (Veiled Voices)
Brent Morris (Indieproduction)
Bruce Allardice
Bruce Lott
Bryan Wright
Burke Townsend
Byron Hurt (God Bless the Child Productions)
C. Nordstrom
Cal Skaggs (Lumiere Productions)
Cara Pilson
Carlos Aguilar
Carlos Avila (Echo Park Films)
Carlos Sandoval (Camino Bluff)
Carl Dimitri
Carl Griesser
Carla Baron
Carlton Sagara
Carol B. Williams
Carole Lucia Satrina
Carole Recore
Carol Barclay
Carol Bash (Paradox Films)
Carol Cornsilk (Adanvdo Vision)
Carol Fairbrother
Carol Jean Gicinto
Carol Olwell
Carol Politis
Carol Teicher
Carol Vernallis
Carolyn Knoll
Carroll Heins
Carroll Long
Caroline Fisher
Carrie Love
Cate Anderson
Catherine Ellsworth
Catherine Kirkland
Catherine Mullaugh
Catherine Ridley
Catherine Tambini (Camino Bluff)
Celeste T. Kearney
Charlene and Jonathan Morse
Charlie Goedken
Charles Browne
Charles D. Brown
Charles Nichols
Charlotte Lagarde (Swell Cinema)
Charysse Tia Harper
Cheree Dillon
Chiquita Eubanks
Chuck Workman
Churchill Roberts (University of Florida)
Craig Roberts
Chris Bentley (Chris Bentley)
Chris Crane
Chris Hegedus (Pennebaker Hegedus Films)
Christina Kraemer
Christine Paurus
Christopher White (Reveal Productions)
Christopher Carson (Reverie Productions)
Chris Grimes (5414 Productions)
Chris Newberry (Free Country Media)
Chris Schmidt
Christine Turner (Christine Turner)
Christy Hargesheimer
Clayton Brown (137 Films)
Chuck Braverman (Braverman Productions) Chyung Sun
Chuck Hudan
Chuck Van Wey
Cinda Flynn
C.L. Ibes
Constance Mortell
Craig Saddlemire (Round Point Movies)
Colleen O'Brien Clopton
Connie Field (Clarity Films)
Connie Moore
Cris Bailey
Curtis John Lund
Curtis Miller
Cynthia E. Lyle
Cynthia Evans
Cynthia LaBlue
Cynthia Luster
Cynthia Mondell
Cyrille Phipps
D.A. Pennebaker (Pennebaker Hegedus Films)
D. Frank Culbertson
D. Gagne
Dan Childers (The Papp Project)
Dan Russell
Dan Satorius (Satorius Law Firm, PLLC)
Dana Briggs
Danielle Beverly (Petunia Productions)
Danielle Greene
Daniel Rainville
Daniel Strelecki
Daniel Wolf
Darrell Greco
Daria Price
Darrell Greco
Dave Amundson
Dave Dillman
Dave Monk (Brave New Pictures)
Dave Moulton
Dave Mullen
David Bodenberg
David Cassidy (Cabin Creek Films)
David Christie
David Demonte
David DeRosa
David Donnenfield (Filmmakers Collaborative SF)
David E. Simpson (Kartemquin Films)
David Graper
David Gregory
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David Hellmann
David L. Wilkins
David Mahoney
David Orr
David O. Weissman
David R. Weissman
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David Shever
David Smith
David Spaltro
David Tabachnick
David Van Taylor (Lumiere Productions)
Dawn Fried
Dawn Smallman
Dawn Walker
Dean Hamer
Deanne Heitkamp
Deborah Dickson (Blackbird Films)
Deborah Linkowski
Dee Ann Royce
DeeDee Halleck
Dee Legvold
Deena Rosen
Denise Dean
Dennis Sutton
Denton McCullough
Debra Zimmerman (Women Make Movies)
Deborah Kaufman (Snitow-Kaufman Productions)
Devan Colley
Diana Holtzberg (Films Tranit International, Inc.)
Diane Blaize
Diane Curlette
Diane Estelle Vicari
Diane Gulbranson
Diane Melloy
Diane Pekarcik
Diana R
Diane Sylvester
Diane A. Wood
Dolores Longo
Don Argott (9.14 Pictures)
Don Bay
Don Cole
Don Fogg
Don West
Donald Goldmacher
Donna Hagens
Donna Nelson
Donna Terrence
Donnie L. Betts
Doreen Ringer Ross (BMI)
Doug Balcom
Doug Block
Doug Blush (Mad Pix, Inc)
Doug Giebel
Doug Gruenau
Doug Hawes-Davis (High Plaines Films)
Doug Whyte (Hollywood Theatre)
Dr. Bob Carver
Drew Sargent
E. Ann Villemaire
E. Martens
E. J. Vaughn
Ed Gullo
Eddie Schmidt
Edgar W. Mills
Edgardo Resto
Edward J. Stewart
Edwin Stepp (Django Productions)
Eisha Mason
Elaine Bailey
Eldon Milnes
Elena Mannes
Elizabeth Burleson Mortilla
Elizabeth Karnes Keefe
Elisabeth Haviland James (Thornapple Films)
Elizabeth Marro
Elizabeth McGraw-Austin
Elizabeth McMahon
Elizabeth Sempadian
Elizabeth Westrate (Five Spot Films LLC)
Ellen J. Terry
Ellen Wagner
Elliott Kalan
Elwood H. LaBrosse
Emily Patterson
Emmy Scharlatt
Eric Campbell
Eric Kiesling Thompson
Eric Olson
Eric V. Tait Jr.
Ethel Leider
Eugene Rosow
Evelyn Redtree
Everett and Ellen Long
Faith Fuller (Desktop Documentaries)
Fay Dabney
Fenell Doremus
Fidencio Campos
Floyd O'Brien
Frances Causey
Frances Moulder
Frances Nkara (New Day Films)
Francisca James Hernandez
Frank Foster
Frazer Pennebaker (Pennebaker Hegedus Films)
Frank Poliat
Fred Drumlevitch
Fred Griffith
Freida Mock
Frits J. den Hertog
Gabriel Lataianu
Gail Griffith
Gail Mallimson (Mallimson Media)
Gail Perry
Gail S Preston
Garrett Bader
Garret Savage
Garry Coomans
Gary Cohen (Triple Threat Television)
Gary Hammond
Gary Johnson
Gary Ray
Gary Starkweather
Gary Weimberg
Gary W. Longsine
Gary Weiss
Garry Helms
Gay Leah and Glen Barfield
Gena Hegelman
Gene Messick
Geoffrey Smith (Eyeline Films)
George May
George Philippides
Gerald Nelson
Geri Theobald
Ginger Holster
Ginny Durrin (Durrin Productions Inc.)
Gini Reticker
Glee Ingram
Glen Caplan
Glenn Marcus (New Voyage Communications)
Gopa and Ian Campbell
Gordon Quinn (Kartemquin Films)
Graziella V. Danieli (San Francisco State University)
Greg Garduno
Gregg Carleton
Greg Scott (Sawbuck Productions)
Gretchen Sidener
Haley Martin
Hari S. Khalsa
Harold Brown
Harriet B. Mathis
Harry Hanbury (Harry Hanbury Productions)
Haydn Reiss
Heather Courtney
Heidi Reinberg (Latebloomer Productions)
Helen Hanna
Helen Harte
Helen Hood Scheer (Nutshell Productions)
Helene Brazier
Henry Breitrose (Stanford University)
Henry Norr
Henry P. Day, Jr.
Henry R. Post
Herbert V. Missry
Hercules D. Morphopoulos
Holly Butz
Holly O'Connell
Howard Weinberg (Priority Productions, Inc)
Hugh Drescher
Hugo Perez
Ian Cheney (Wicked Delicate Films)
Ian Kibbe
Ilse Funk
Ines Sommer (Panacea Pictures)
Ira Schwartz
Iris Lochner
Ismael Rodriguez
Izak Smith
J. Barksdale
J. Huges
J.W. Moerman
Jack McDonald
Jack Spector
Jackie Brookman
Jackie Weissman (Rock Moma Films)
Jack Walsh (National Alliance for Media Arts + Culture)
Jack Whalen
Jack Willis
Jacob Bricca
Jacob Kaufman
James Baker
James Callanan
James Chressanthis
James Provenzano
Jan Albert Janet Goldwater (Attie & Goldwater Productions)
James Bates Brinton
James Belcher
James C. Mulloy
James Conlon
James R. Little
James Longley (Daylight Factory LLC)
James Naval

James Spione (James Spione)
James W. Donaldson
Jane Allgood
Jane Gillooly

Jane Silverman
Jane Snyder
Janet Harrison

Janet Remington
Jan Rofekamp

Jarred Alterman
Jason Fabeck
Javier Gomez Serrano (Elegant Mob Films)
Jayasri Hart
Jayne Lyn Stahl
Jay ray
Jean Beek
Jean Darsie
Jean and Jim Jackson
Jean Soliz
Jean Waller
Jeanne Jordan (West City Films)
Jeanne van der Hurk
Jeanne Wilson
Jef Riffe (Jed Riffe Films)
Jeff Lieberman (Re-Emerging Film)
Jeff Meyers
Jeff Newman
Jeffrey Tomecek
Jeff Toste
Jem Cohen
Jennie Crystle
Jennie Gambach
Jennifer Cool (University of Southern California)
Jennifer Fox
Jennifer Howell
Jennifer Merin
Jennifer M. Weishaar
Jennifer Smith
Jeremy Pikser (Writers Guild of America East)
Jeremy Rayner
Jerret Engle (CK Studios, Inc)
Jerry Gerber
Jessica Yu
Jill Hileman
Jill Jensen
Jim Christiansen
Jim Conlon
Jim Engelking
Jim Foley
Jim McSilver
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Jim Sanders
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Joan Braderman
Joan Churchill
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Joan Grossman (Pinball Films)
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Joan Middendorf
Joan Sekler
Joan Taves
Joanna Rudnick (Kartemquin Films)
Jocelyn Boor
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Joe Hodgson
Joe Widener
Joe Wilson
Joe Vitrovic
Joellen Gilchrist
John Bish
John Bridge
John Campbell
John Cummings
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John Farbstein
John Fecile
John Fleener
John Hume
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John Kean
John LaDuex
John Latsko
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John Maroney
John Michaelson
John Morris
John Nadai
John O. Gilmore Jr.
John Patrick Shanley
John Ressler
John Salamack
John and Sebern Fisher
John Vias
John Yoakum
John Yingling (Gonzo Chicago)
Jon Curry (International Documentary Association)
Jon Silver
Jonathan and Charlene Morse
Jonathan Grupper
Jonathan Smoots
Jon Else (University of California, Berkeley)
Joni Bosh
Jorge Castaneda-Campos
Jorge Emmanuel
Joseph Clark
Joseph Marra
Joseph Santarromana
Joshua Salzman (Wavecrest Films)
Josh Welsh (Film Independent)
Joyce Woods
Juan Mandelbaum (Geovision)
Juanita Anderson
Judea Goins-Andrews
Julia Hungerford
Julia Reichert (Community Media Productions)
Julie Gustafson
Jude Ray
Judith Helfand (Chicken & Egg / Working Films)
Judith Maben
Judith Vogelsang
Julie Winokur (Talking Eyes Media)
Jude Ray
Judy Citrin
Judy Jones
Judy Maben
Judy Schelble
Julie Bayer (Wavecrest Films)
Julie Newmar
Julie Wedge
June Cross (Columbia University)
June Forbes
Justin Root
Justin Simon
Justine Nagan (Kartemquin Films)
Juston Cole
K. M. Carey
Kambiz Shabankare
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Karen Clark
Karen Coulter
Karen Mezick
Karen Odom
Karen Olson
Karen Parker Lears
Karen Skloss
Karen Twyman
Karen Wilkison
Karl David Reinhardt
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Kathi Forssell
Katie Cato
Katie Galloway
Katie Harwood
Katherine Sainz
Kathleen Hallal
Kathleen Johnson
Kathleen Sonnabend
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Karhryn Jonas
Kathryn M. Zunich
Kathryn Portnow
Kathryn Rodenmeyer
Kathleen Hallal
Kathleen Husler
Kathleen Johnson
Kathleen Killinger
Kathleen Wakefield
Kathryn Hardage
Kathryn Pyle (Honey Alley)
Kathy Cole
Kathy Kelly Daniels
Kathy Monk (Brave New Pictures)
Katie Powell
Katy Chevigny (Arts Engine)
Kay and George Novak
Keith Fry
Kelley C. Smith
Kelly Duane de la Vega
Kelly Luchtman
Ken Atchison
Ken Ikeda
Ken Ring
Ken Schneider (Patchworks Films)
Kendyll Stansbury
Kent Strock
Keri Pickett (Pickett Pictures)
Kevin Carr
Kevin C. Smith
Kevin C. Soles
Kevin Hefferan
Kevin Lambert
Kevin White (Filmmakers Collaborative SF)
Kurt Jacobsen
Kim James
Kim Peterson
Kit Burns
Kitty Vangunten
Kristen Brandt
Kristi Barlow
Kristi Jacobson
Kristina Cliff-Evans
Kristine Idarius
Lacey Schwartz (Truth Aid)
Lajwanti Waghray
Lamar Hankins
Lance Kramer (Meridian Hill Pictures)
Larry Johnson
LaSonya Thompson
Laura Mac Dougall
Laura Maria Censabella
Laura Poitras (Praxis Films)
Laura Sabransky
Lauren Sattler
Lauren Simon
Laurie Kahn
Laurie Little (Luminist Films)
Lauryn Taylor
LaVonne Berrysmith
Lawrence Crowley
Lawrence Gersh
Leah Fischer
Lee Redfern
Leigh Lehman
Leila Lustig
Lenora Lawrence
Leonard Kurz (Forest Creatures Entertainment)
Leonard Zamkoff
Leslie Benscoter
Leslie Epperson
Leslie Lethridge
Leslie Lutz
Leslie Provatas
Leslie Simmer (Kartemquin Films)
Lillian Benson
Lil and Gene Clifford
Lily Keber (Mairzy Doats Productions)
Lily Owyang
Linae Warden
Lincoln Potter
Linda Blackaby (Cinema Projects)
Linda Graae
Linda Howe
Lindsay Robinson
Lisa Brenneis
Lisa Hartman (Photopia Productions)
Lisa M. Kolbuss
Lisa M. Niermann
Lisa Zumwait
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Liz Garbus
Liz Wassell
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Lloyd Cherry
Loira Limbal
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Loring Mandel
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Louise Quirk
Louis Massiah (Scribe Video Center)
Lowell Thompson
Lowell J. Triplett
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L.W. Dodd
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Lynn Geri
Lynn Maynard Gollin
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Lynzee Klingman
M. E. Colwell
M. Mills
Macky Alston (Reveal Productions)
Madeline Troche-Rodriguez
Marc Bridgham
Marc Damour
Marc Joseph
Marc Smolowitz
Marc Weiss
Marco Williams (Hiptruth Productions)
Marcia Jarmel (Patchworks Films)
Marcia Urbin Raymond
Margaret Day
Margo Liebers
Maria Agui Carter
Maria DeBella
Maria Finitzo (Kartemquin Films)
Marie Hidem
Mariel McEwan
Marina Zenovich
Marissa Aroy (Media Factory)
Marjorie Trifon
Mark A. Meggs
Mark Anders Melin
Mark Bernier
Mark Dischler (International Documentary Association)
Mark Honer
Marki Evans
Marlene Ganz Bogard
Marlo Bendau
Marshall Curry
Marshall Efron
Martha Keeler
Martha Miller-Hampton
Martha Murphy
Martha Spanninger
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Mary Akashah
Mary Alice
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Matt McCabe
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Mark Ancker
Mark Russell Gallagher
Martin Buechley
Mary Batten
May Bowden
Mary Decker
Mary Elizabeth McIlvane
Mary Harris
Mary Harron
Mary Jane Daicoff
Mary Jo Murphy
Mary Kay Cook (Potenza Productions)
Mary Kelly
Mary Lawson
Mary McCawley
Mary McIlvane
Mary Olive Smith
Mary Skinner (2B Productions)
Mary Suda
Matthew Gordon
Matt Klein
Maureen Moffat
Maureen O'Connor
Maurice P. Held
Maxine Haytin
Megan Mylan
Meg Scarpetta
Melissa Godoy
Melissa Sterne
Meredith Beam
Micah Fink (Common Good Productions)
Michael Andregg
Michael Butler
Michael Camerini (The Epidavros Project & Epidoko Films)
Michael Caplan (Montrose Pictures)
Michael Epstein
Michael Fox (New Channel Media)
Michael Green
Michael G. Rose
Michael Koran
Michael Levin
Michael Lumpkin (International Documentary Association)
Michael Moore (Dog Eat Dog Films)
Michael P. Gaughan
Michael Phillips
Michael Simons
Michael Spinos
Michael T.
Michael Thornton
Michael V. Kniat
Michelle Collins
Michelle Ferrari
Michelle Le Brun (Harken Productions)
Michelle Paster
Michelle Ross
Mick Benderoth
Mike Bradley
Mike Dysinger
Mike Farrell
Mike Garman
Mike Rega
Miki Magyar
Millie Fife
Milo Vannucci
Miriam MacGillis
Molly Malone
Monica Riley
Monte Montgomery
Nadia Michelle Robertson (1931 Productions)
Nan Ballot
Nancy Christopher
Nancy Golden
Nancy Hall
Nancy Hatfield
Nancy Kelly
Nancy Mildren
Nancy Weant
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Naomi Schechter
Natalie Adams
Natalie Peart (Women Make Movies)
Nathan Antila
Neal Madnick
Neal McNamara
Ned Murphy
Neil O'Sullivan
Neil Peterson
Nell F. Cox
Nettie Toeller
Nicole Docta (371 Productions)
Nicole Franklin (Epiphany Inc)
Nicole Perrot
Nina Shapiro-Perl (American University)
Nina Shengold
Noreen Bloch
Noreen Sullivan
Oren Jacoby (Storyville Films)
Paco de Onis (Skylight Pictures)
Pamela Roberson
Pamela Yates (Skylight Pictures)
Patrice O'Neill (The Working Group)
Patricia Donlan
Patricia Flynn
Pat Kelly
Pat Mackie
Patty Clucas
Patricia Donlan
Patricia Lazz
Patricia L'herrou
Patricia Mannix
Patricia Medina
Patricia Murphy
Patricia Quinlan
Patrick Yacco
Patsy Washburn
Paul Andrew Lawrence
Paul and Ann Lebel
Paul Bonesteel (Bonesteel Films)
Paul Devlin (DevlinPix)
Paul D. Rettig (Haymarket)
Paul Espinosa
Paul Hartel
Paul Marioni
Paul E. Sjordal
Paul Henninger
Paul Turner
Paul Wagner
Peter Dunning
Peter Forges
Peter Harrell
Peter Hawxhurst
Peter Kinoy (Skylight Pictures)
Peter Kuttner
Peter Miller (Camino Bluff)
Peter Nicks (Open 'hood)
Peter Paget
Peter Rosen
Phil Corn
Phil Rippke
Philip Eller
Philip Palombo
Philip Stewart
Philip V. Hull
Philomena Sucharda
Pratibha Parmar (Kali Films)
Presley Adamson
Quentin B. Deming
R&R Silver
R. Kevin and Jody Hammond
Rachel Peters
Rachel Raney (Southern Documentary Fund)
Ralph Cuellar
Ralph Niebuhr
R. Brooke Lewis
R' dambrosio
Ray Berthiaume
Raymond Smiley
Rebecca Cammisa (Documentress Films)
Rebecca Hellman
Rebecca Ziv
Regan Brashear
Regina Capelletti
Reiner Peery
Renee Gayle Brutvan (New Urbanism)
Renee Tajima-Pena
Rhonda Moskowitz (Shining Light Productions)
Ricardo Baker
Rich Burlingham (TMF Entertainment)
Richard Barber (Band Room Productions)
Richard and Diane Story
Richard Fidler
Richard Garella
Richard Jackman
Richard Notter
Richard Pearce
Richard Saiz
Richard Snook
Richard Van Aken
Richard Wormser
Rick Boyd
Rick Goldsmith
Rick Clogher
Rick Minnich
Ricki Stern (Break Thru Films)
Rick Young
Riley Naff
Risa Morimoto
Rita Rausch
Ritchie Albert
Rob Baxter
Rob Lemkin
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Roberta Schonemann
Robert W. Belew
Robert Barnhart
Robert Cruickshank
Robert Serra
Robert Davies
Robert Holt
Robert Kraynik
Robert Meadows
Robert Rooy
Robert Stone (Robert Stone Productions)
Robert S. Thompson
Robert and Virginia Ghirardelli
Robert Watts
Roberta Beach
Roberto S. Fernandez
Robin Anderson
Robin Herzig
Robin Hessman (Red Square Productions)
Roger Felix
Roger Green
Roger Harshaw
Roger Ludke
Roger Pelizzari
Roger P. Hancock
Roger Widenoja
Rolf Brachwitz
Ronald Blumer (Middlemarch Films)
Ronald Helfrich
Ronald Morrisseau
Ron Nelson
Ron Shackelford
Rory Kennedy (Moxie Firecracker)
Rose Priven
Rosalie Bishop
Rosalie MacCready
Rosemary Rotondi
Rotondi Rosemary
Rose Marie Kirwin
Rose Rosenblatt (Incite Pictures)
Rose Stevens
Ruth Leon
Ruth M. Black
Ruth Matthews
Ryan Early
Ryan Gleeson
Ryan Jacobi
Ryan Krivoshey (The Cinema Guild)
Russell Long (Sacred Planet Films)
Russell Martin (Say Yes Quickly Productions)
Ruth Bailey
Ruth Leitman (Ruthless Films)
Ruthie Sakheim
S. Brasseux
S. C. Sheola
S. Gluck
S. Newell
Sally Boyson
Sally Rubin (Chapman University)
Samuel Gerace
Sandi DuBowski (Films That Change the World)
Sandra Dickson
Sandra Haddock
Sandra Itkoff (Reveal Productions)
Sandra Milliner
Sandra Ruch (Cinema Elixir)
Sara Berliner
Sara Booth
Sara Olsen
Sarah M.
Sarah McUmber-House
Sarah Woodside Gallagher
Sasha Futran
Schuyler Gould
Sean Welch
Selma B Milchen
Shanita Lawrence
Shari Robertson (The Epidavros Project & Epidoko Films)
Sharon and Bill Benge
Sharon La Cruise (Sakkara Films)
Sharon Lennon
Sharon R. Weinblatt
Shawn Mathew
Sheena Joyce (9.14 Pictures)
Sheila Hogg
Sheila Parks
Sheldan Collins
Shelley Stallings
Sherie Day
Shirley Siluk
Sian Evans
Sid Kivanoski
Sky Sitney
Stacia Simmons
Stanley Nelson (Firelight Media)
Stella Townsend
Stephanie Black
Stephanie Cunningham
Stephanie Mortenson
Stephanie Wall
Stephanie Wang-Breal
Stephen Margulis
Stephen Most
Stephen Nielsen
Steve Brand (Praying With My Legs)
Steve Boagarts
Steve Golden
Steve James (Kartemquin Films)
Steve K. Waldron
Steve Mendelsohn (Arts Engine)
Steve Pringle
Steven Ascher (West City Films)
Steven Bognar
Steven Lippman
Steven Walsh
Steve Turner
Steve York
Stu Levy (TokyoPop)
Stuart Simon
Su Friedrich
Sue Duffy
Susan Griffiths
Susan Hodnot
Susan Kim
Susan MacDonald
Susan Mumpower-Spriggs
Susan Tran
Susan Suntree
Susanna Styron
Susanne Mason (Passage Productions)
Susanne Twight-Alexander
Susan Richardson
Susan Robinson
Susan Rutherford (DEAF Media)
Susan Squires
Susie Caragol
Susie Czarnecki
Susi Walsh
Suzan Lastovica
Suzanne Farwell
Suzanne Gentling
Suzanne Verderber
Suzy Valentine
Swati Srivastava
Sylvia Diss
T. Bass
Tammie McCrary
Tammy Cromer-Campbell (Tammy Cromer-Campbell)
Ted Morgan
Teddy Roe
Teri Melof
Theodore James (Theodore James Productions)
Theodore Radamaker
Thomas Basile
Thomas O'Brien
Thomas Washburn
Tiffany Stauffer
Tim Horsburgh (Kartemquin Films)
Tim shea
Tina DiFeliciantonio
Tod Lending
Tom Ackerson
Tom Boschert
Tom Caine
Tom Canton
Tom Fontana
Tom Knoff
Tom Harman
Tommy Heffron
Tom McKenna
Tom Miles
Tom Robischon
Tom Weinberg (Media Burn)
Tom White (Documentary.org)
Tom Wilson
Toni Moore
Tracie Holder (The Papp Project)
Tracey Scott Wilson
Tracy S. Troth
Tray Semmy
Tristan Creeley
Trudy Brown
Tucker Robbins
Urania Messing
V. Hernandez
Valerie C. Rhodes (Carbo Films)
Valerie Van Isler
Valerie Solomon
Valerie Vallarta
Van Waggoner
VennieEline White
Veronica L. Feinstein
Vic Anderson
Vickie Marton
Vicky James
Vicky Vallarta
Victor Stuhl
Victoria Light
Video Production San Diego
Virginia Carlson
Virginia Carlisle
Virginia Kassel
Virginia Rigney
Vito Greco
Vivian Price
Walter Fox
Wayne Borean
Wayne Johnson
Wendy Levy
Whitney Dow
Will Spires
William D. Livergood
William Earley
William Lex
W. Michael Slattery
Wm e bailey
William Nichols
William Rasmussen
William Segen
William Solomon
William Thomas
William Wade
Wyndham Boulter
Xan Parker
Yoav Potash
Yofi Dzidzienyo
Yon Wacker
Zach Niles (SodaSoap Creative)
Zak Piper (Kartemquin Films)
(institutional affiliations for identification only)

We encourage all independent filmmakers and fans of public media to join us as signatories by: 

1) commenting below

2) emailing us at PBSNeedsIndies@kartemquin.com

3) or tweet #PBSNeedsIndies to us on Twitter

or 4) all of the above



With the diversity of opinions that are given voice in documentary films and with the dedication that POV and Independent Lens display in finding, supporting, and securing such films, it is a deep shame that PBS fails to show its corresponding support and instead relegates those two series to struggle on their own with regard to scheduling. I, for one, would trade a dozen repeats of tired Doo-Wop revivals and dated travelogues for a fresh, current point of view on a subject of substance. I urge PBS to reconsider and reverse its decision. A greater man than any of us said that the cornerstone of democracy rests on the foundation of an educated electorate. Many shows on PBS amuse, entertain, and enlighten. The films on POV and Independent Lens do all of that and educate as well.

I'm an American filmmaker based in Berlin. While none of my films has been broadcast on PBS, they have been shown extensively on public television stations in Germany and around the world over the past two decades. With their public service mandate, these stations are the lifeline for challenging films which might not otherwise get made, let alone get seen. PBS' recent decision is clearly short-sighted and ignores viewer needs. Sadly, it is also in line with similar decisions public broadcasters in other countries have been making over the past several years. It's time to speak up against these ill-fated practices before it's too late.

My PBS-broadcast short film, "Bi-Racial Hair", had its national premiere on Independent Lens and I am pretty sure it would not have had as much airtime if it were programmed by local stations. I support KTQ's petition to keep POV and Independent Lens on their regular Thursday evening slot. Thanks, Lisa

As an documentary maker and someone who has worked for 3 PBS stations, as well as ITVS, I want to lend my signature and voice to this petition. PBS is a crucial outlet for independent works. Please don't make it harder for our nation to find these quality, nuanced, and diverse documentaries. Please keep POV and Independent Lens where viewers know to find them. SIncerely, Danielle Beverly Petunia Productions

I founded the graduate program in documentary film and video at Stanford University. Many of our graduates have had their works shown on Independent Lens and POV. These programs serve to bring freshness and diversity to the public broadcasting. Henry Breitrose Professor of Communication Emeritus Stanford University Former Member of the Board of Directors, KQED San Francisco

PBS is a coalition of stations, programers, filmakers and viewers. Respecting the need and the place for independent films on POV and Independent Lens is an all important role for national PBS. Setting indies and local programing to compete for time on Thursday nights makes no sense for either party, and makes even less sense in light of need for an informed public. Public. You know, public as in the "P" in PBS.

Dear PBS, please reconsider the plan to move POV and Independent Lens. In an ever fragmenting world, these series are one of the only national showcases for documentary we have. Moving them to Thursday will destroy that showcase and the audience that has been so long in the making. What is the role and purpose of pubic media other than to support programming like this that has become "an institution" for socially-conscious viewers, citizens, educators. Jennifer Cool Lecturer, University of Southern California Social Documentarian

Please sign me up for this petition. I love PBS! Thanks KTQ Films for organizing this. As a documentary filmmaker (Briars in the Cotton Patch, PBS 2005 - 2010), I am incredibly grateful for the opportunity to showcase a story that would probably not have been seen anywhere else. This decision sure doesn't seem a good thing for independent filmmakers (or the public!). Please add my name to the list. Let's make this right. Faith Fuller Publisher, Desktop Documentaries

As a producer of TWO SPIRITS, which won the Audience Award for the Indpendent Lens 2010-2011 season, I want to lend my support to the effort to convince PBS to continue its long tradition of airing its two outstanding documentary series on Tuesday nights. It was in large part because of that Tuesday programming slot that more than 150 stations around the country aired our film, spreading the vital message of the importance of gender diversity and the freedom to be oneself to wide audiences who were eager to hear it. How many films like TWO SPIRITS will fail to reach critical audiences--people who are hungry for this kind of programming--if these two series are effectively moved off the PBS main schedule? Sincerely, Russell Martin Say Yes Quickly Productions

As a documentary filmmaker and a producer who has had an award winning mini-series and feature documentary air on PBS, I want to add my signature in support of this petition. Please keep POV and Independent Lens where viewers know to find them.

Our documentary Downside UP aired on the PBS Independent Lens series - I support Katemquin's position about why it is important to keep P.O.V. and Independent Lens in their Tuesday night position.

As George Seldes is quoted as saying, in "Tell the Truth and Run," "if people only KNEW about it, they'd DO something about it!!!" At this time, people have to know what's going on to take action and make critical change in our society. They shouldn't have to chase their information sources all over the place. Now they know where to find them. Let's keep it that way. Ruthie Sakheim

I applaud Kartemquin's stand on the move of POV and I.L. to Thursday night. This move not a small thing. My partners and I have had several programs on these important, award winning strands; the impact of such a decision by PBS is clear to us all as independent voices. Let's stand together! Julia Reichert Community Media Productions, Yellow Springs, Ohio Professor, Wright State University Dept. of Motion Pictures

I completely support Kartemquin and all points raised in its letter to PBS.

Thank you for writing this letter. I think it is crucial that PBS support independent films being seen by the largest numbers of Americans. Some of the deepest film investigations occur through the labor of independent makers unearthing subjects, which would never be seen, known, or understood otherwise. Placing these films on the schedule on Thursday night is sadly like throwing them to the wind. I join with my fellow makers to ask that the Tuesday night slot be returned. Jennifer Fox

Please keep this programming where it has grown an audience for so many years. There is no more important time than now for us to build upon the expanding audience that POV and Independent Lens have fostered for years. Keep it 'public' PBS. Stand up for what you have been charged to do. Sincerely, Ruth Leitman Director /Producer Ruthless Films http://ruthlessfilms.com http://tonyandjanina.com

Now more than ever our democracy needs a robust mixture of well articulated points of view. Especially on television the conversation is dominated by the culture of hysterical sound bites and twenty second media clips. This is happening at a time when there is a proliferation of high quality, fascinating long form documentaries. These film are produced but often do not reach their deserved audience, the American public. There must be a PROMINENT place on the public airwaves for these important films to be seen by millions of Amicans.

Thank you for making this aware to me. As an emerging producer/filmmaker now creating a short film slated for PBS , I'm saddened to learn of the move by PBS to air Independent Lens and POV on a more competitive night like Thursday and further to make it up to local stations when they choose to program it. It takes a lot to bring brand awareness to this these award winning documentary series which it has done, and such a move would not be taking this into account nor would it be looking out for the best interest of its audience and its content producers. We want our stories to get the most viewership possible. Please stand by that and honor your audience and its content creators by keeping it where it traditionally has been--Tuesday night. Thank you. Betty Bastidas

The proposal to move independent films to a less desirable time slot is a huge disservice to PBS's audiences. We need MORE slots and the chance to reach broader and more diverse audiences. PBS risks falling behind the curve as a progressive entity that truly serves the public. Joan Grossman Pinball Films Brooklyn, NY

In these end days of democracy where the .01% control our political dialogue, that PBS would banish these two exemplary shows, leaving it up to program directors of local stations to choose to air (or not) the films shown on Independent Lens & POV, is truly scandalous. I know personally what it's like trying to persuade local stations to show controversial programs when I tried to get our prison film, "Tattooed Tears" (winner of a DuPont Columbia Award for Outstanding Journalism) shown on PBS. In the end we had to get the great journalist, Tom Wicker, to do wrap-arounds & even then it was only broadcast on very few PBS stations. Shame on you, PBS. Please reconsider this move & don't disappoint the ever-growing & appreciative audiences of Independent Lens & POV. Joan Churchill

I fully support this petition, for all of the reasons stated. I very much hope you will reconsider, in light I these comments. Sally Rubin Co-Director/Editor "Deep Down: a story from the heart of coal country" Independent Lens, 2010 Professor, Documentary Film, Chapman University

Please keep POV and Independent Lens where viewers know to find them. POV and IL are invaluable resources in a commercial market with ever-increasing fragmentation. THank you. Greg Scott Sawbuck Productions

As an independent filmmaker and a PBS viewer, and as a former associate producer/producer for WTTW, I support the efforts of my colleagues in making sure the POV and Independent Lens stay on Tuesday nights.

The documentaries seen on Independent Lens and POV comprise the limited PBS offerings for underserved audiences that also appeal to a younger demographic. PBS needs both these audiences to fulfill its mandate. Local programmers are not going to give up local programming that resonates in their communities. Their has got to be a better solution. Keep IL and POV where they have already gained an appreciative audience! Carol Cornsilk Adanvdo Vision Professor, Documentary Film, University of North Texas

As someone who has had many projects broadcast both on POV and IL, I know the value of having those strands on the PBS schedule, and appreciate their value in generating a national dialogue. I fully suport the comments expressed by my colleagues at Kartemquin and urge the folks at PBS to keep POV & IL on the Tuesday night schedule.

We salute your efforts and are pleased to sign your petition. This is another retreat by PBS from its mission of providing a prime time forum for alternative voices and independent producers in favor of programming that skates on the surface of conventional wisdom. Bill Moyers Michael Winship Public Affairs Television

As a documentary filmmaker who has had my films broadcast on PBS, I want to add my concern about plans to make POV and Independent Lens less accessible to the public. There are so few outlets for documentary film on television, and these two programs have consistently brought outstanding, important films to a wide audience. Documentaries are a critical part of public discourse, helping to educate people about meaningful issues. By taking the primary vehicles for documentary storytelling out of wide circulation, PBS is reneging on its commitment to serve the public. I fully support the comments posted by Kartemquin and urge others to join in voicing their dissent.

The films brought to the public by POV and Independent Lens are an important contribution to keeping the public informed, and thus to the continually threatened democracy in this country. PBS knows better than any of us the effects that changing the schedule in this way will have on viewership and access, and I sincerely hope will reconsider this ill advised change. As a programmer for film festivals and exhibitions, I can vouch for the importance of proper positioning of programs, and the way in which valuable work can fail to reach people, because of the timing of the screenings. And, I agree with all of the reasons in the formal statement Linda Blackaby Cinema Projects San Francisco

I can see that, as an independent filmmaker, I am in excellent company both at PBS and among the signatories of this petition. I choose to make documentaries for PBS broadcast because they offer most of the few available opportunities for marginalized individuals and communities to be heard and appreciated by mainstream audiences. I wonder what replaces POV and Independent Lens on Tuesday nights and how PBS benefits from the rescheduling!

The world of television programming is littered with failure stories due to playing around too much with schedules. I love Independent Lens! PBS, explain yourself.

In full support. Fanshen Co-founder Mixed Roots Film & Literary Festival

This change disproportionately affects underserved communities of color. POV and Independent Lens have been an indispensable home for programming made by and about Asian Americans. If public media fails to be relevant to America's growing populations today, we risk being irrelevant to the new audiences of the future.

Independent film gains importance as dominant media extends its control over broadcasting.Only PBS can guarantee a vibrant, independent film community in today's market. Some will always value quality over quantity. PBS should do all it can to encourage that quality. When people have a chance to see it, they will know it. I, for one, will use my contributions to encourage quality. Why not have independent work on Tuesday AND Thursday?

These programs are supported in good faith by funding institutions and caring individuals. To marginalize them like this is not only one more timid PBS move to accommodate programming to vague political pressure but also an insult to the funders. Thanks to Kartemquin for fighting this.

Thanks Kartemquin for taking the lead! As a longtime documentary producer who began my career advocating for independent filmmakers at AIVF/FIVF, I too urge PBS programming executives to take notice and reassess any decision to move the most important broadcast documentary strands being programmed into slots that will substantially reduce viewership and exposure. Any further retreat from supporting the challenging, informative, creative, powerful independent programming represented by POV and Independent Lens represents a clear violation of PBS's mission and mandate: to bring to the fore alternative voices and visions and make them accessible to the widest possible viewership in the most prominent ways. Stay true to this path, and PBS will continue to play to its strengths. Waver, and risk further deterioration of a crucial national civic space for dialogue, shared engagement and learning. Jude Ray Executive Producer/Co-Director P.O.V.'s "Traces of the Trade"

POV and Independent Lens are two of the best series on television.There must be a PROMINENT place on the public airwaves for these important films to be seen. They bring diversity and innovation to PBS in a way that no other programming does -- offering a glimmer of hope that PBS could become relevant to younger and culturally diverse audiences. Independent documentaries give voice to underserved and marginalized communities in ways that no other programming does. They MUST be part of national programming so that diverse, independent voices can be amplified and public media can make good on its commitment and responsibility to improve the lives of people all over this country.

Please, PBS, reconsider your ill-thought out programming shift and return POV and Independent Lens to Tuesday nights! Josh Welsh Co-President Film Independent

I have been making films for PBS since the early 1990s - NETA, CEN, POV, Independent Lens, APT, and more. It's never been easy - even in the PBS system - to get provocative, challenging content to the public, but moving the strongest two series in this regard to a time slot where they are far less likely to be seen, makes no sense at all. Doug Hawes-Davis High Plains Films Missoula, Montana

I have been a post supervisor and finishing editor for broadcast documentaries since the mid-1980s. When I began my career, independently produced films did not have a home on national broadcast television. ITVS was founded to create that home and has been successful in promoting the independent documentary to a prominent position in the American media landscape. This time slot move to local programming on Thursdays is a damaging blow to that position; it doesn't just hurt Independent Lens, it makes it that much harder to sustain and develop this very important genre of filmmaking. PBS can still be one of the best outlets for distributing thought-provoking films, but I am discouraged by this move on the part of its executives. I hope they reconsider.

There is no media organization in the United States that even comes close PBS's commitment to diversity and civic engagement. There is no greater expression of this commitment than POV and Independent Lens. Films are just the beginning. POV and Independent Lens are pioneers and leaders in outreach and engagement efforts that capture new audiences for PBS and move them towards action, from getting involved with local community issues to reaching across the globe to fight for human rights. PBS has a laudable track record of giving voice to the many, especially the underrepresented people and views that must be heard for democracy to thrive. And so it is with this sense of mission that I and my many colleagues proudly make content to serve this mission. I ask PBS to reconsider its programming decision and return Independent Lens and POV to Tuesday nights. Give us the support we need to extend the impact of what we do.

I fully support this petition, for all of the reasons stated by my colleagues. My life has very much been shaped, inspired, touched deeply, "saved" in lots of ways literally, and catalyzed by the independent non-fiction films I've viewed on Public Television, especially when I was young -- way before I wanted to make films myself. But as it became clear that i wanted to make documentaries... it was P.O.V. and later Independent Lens that helped me see, helped me shape ideas and images into thoughts, challenged me to ask hard questions and encouraged me again and again to challenge form, stand by my intent, my content and my deep belief in the American Public to stand by what is best about our freedoms of speech, thought and action. It is those slots, on nights that we can count on, week in and week out.. at a time people are still awake - pre "the news and John Stewart" -- that critical discussions are started, art meets hope and inquiry, and the public inserts itself into the PUBLIC television and discourse. You want us "TO BE MORE"... well we are trying. As artists and citizens, as viewers and advocates for free speech, free airwaves, access to broadcast and a robust public television that is as strong and courageous as the citizens of this great republic - can, should and need to be, if we are to be a part of this global community. The America I want to live in, is a country that has the courage to let us indeed have our point of view/P.O.V and broadcast it out to millions... it is a place where the commitment to protect our independent voices, visions and LENSES is more sacred than any one religion or "church". I remember so many years ago.. during what I think was the first season of POV in 1987 or '88 I saw AMERICAN TONGUES for the first time. I was around 24 and I had never seen a film explore class before -- not like that. It was a radical experience for me -- it rattled, shaked and pushed me to think in ways i had not. And a few years later I got to add to that discussion about class, power, language, accents, access and mobility -- on P.O.V. in 1995 with The Uprising of '34 (co-directed with George C. Stoney) and two years later again in 1997, this time with a more personal exploration, also on P.O.V. with A HEALTHY BABY GIRL And within a year of that broadcast, for which I and P.O.V. and ITVS received a Peabody Award for.... i got word that I had helped change a life of a women in Florida.. who was all alone with her DES cancer experience and her grief.. until a Tuesday night when she watched my film A HEALTHY BABY GIRL with her husband in their living room. Her story.. that is, the impact of watching that film on POV on that night Tuesday night at 9:00 or 10:00 pm became the real-life dramatic life-changing stuff of a "BE MORE" commercial for PBS... which still runs these days. The viewers become MORE when they can count on the programming, when they can count on more of it at the same time, night and venue. WE have worked years to create the viewership, citizenship, comradeship and fellowship of America on those beloved POV and ITVS nights of national viewing.. please don't change it, mess with it, undo what we have all done together. P.B.S. --- BE MORE courageous with US, would ya? Please. Yours Sincerely, Judith Helfand Co-Director/Producer THE UPRISING OF '34, (ITVS supported) POV, 1995 Director/Producer A HEALTHY BABY GIRL (ITVS supported) POV, 1997 Director/Producer COOKED (ITVS supported and supposed to be broadcast on Independent Lens in 2013 or 14...... Co-Founder, Chicken & Egg Pictures www.chickeneggpics.org Co-Founder, Working Films wwww.workingfiilms.org

Independent Lens and POV are the kind of impactful programming PBS should offer and increasingly does not. They should be restored to the schedule.

In full support! The world of documentaries and Independents is challenging enough without now losing a viable support and position within the PBS family. We, those independent filmmakers, illuminate the varying pulse-points of society, creating an insight to the sociological culture from perspectives that are often ignored by the mainstream media. Through avenues such as PBS, we are offered an opportunity to create awareness, insight and education, which seemed part of the core foundation of PBS. It is truly a sad day when that option is now minimized. Anita Holsapple, MS Gizzy Bear Productions Los Angeles, CA

POV and Independent Lens tell the thought-provoking human stories and profile the important issues of our times that don't get the attention they deserve on other network shows focused now more than ever on sensationalist reality programming. As a documentary filmmaker, I could not be prouder to say that my films have been broadcast on POV and Independent Lens. For the reasons stated by Kartemquin and everyone above, please reconsider and move POV and Independent Lens back to Tuesday nights. Sincerely, Heather Courtney Producer/Director, WHERE SOLDIERS COME FROM

Please add my name to this letter. PBS, please return POV and Independent Lens to Tuesday Evenings. Please don't silence independent filmmaker's and the voices of the wonderful subjects of their documentaries...PBS is one of the only places to get these stories out to a wider public- a public that is hungry for good programming!

Please heed this message from the community of filmmakers whose works are the backbone of the vital content needed by PBS for continuing the struggle to elevate television to its true potential. Brent Morris Indieproduction, LLC