THERE MUST BE AN IMPORTANT STORY TO TELL – an interview with Ewa Ewart

While working, both for the CBS NEWS as well as the BBC, I met many wonderful people. I had an opportunity to learn from the best and work with the real legends of British journalism. Each of these individuals was for me in some way the authority and role model which I tried to follow and reflect in my own work – says Ewa Ewart, an investigative journalist, producer and author of documentary films showed, among others, on tvn24. Her latest film: „Seizing the city” was shot to commemorate the 70th anniversary of the Warsaw Uprising.

Interviewed by IZABELLA JARSKA

How a graduate of Iberian studies ended up as a journalist? Was it a matter of coincidence or a dream?

– It was a coincidence. As it turned out, a very happy one. The last year of my studies coincided with important events in Poland, which hit the headlines around the world. The „Solidarity” movement started a few months later martial law was introduced. A lot of foreign correspondents, representing all the media, arrived in Warszawa. There was also Iberian press. The Spanish news agency EFE offered me a job as a translator. It was the first step that eventually led me to journalism.

How do you remember the beginnings of your work for the BBC? Was it difficult to start your career from scratch?

–Working for the BBC was a natural continuation of all the previous stages. This was also a coincidence. It partially resulted from my determination to learn the art of a longer form of communication, which is a documentary. Before I appeared on the BBC I had worked as a news producer for three years at the Moscow Office of CBS NEWS of one of the major American television stations. It was an amazing professional adventure. I witnessed how the Soviet Union broke down after 70 years of existence. At the end of this period, I went to London for a holiday and thanks to a happy and completely unexpected coincidence I came back to Moscow with an annual contract in a new project of Socio-Political Documentary, which then was created by the BBC. I remember the first years as one of my best ones. It was definitely the time of the documentary, which quickly became my passion. It is difficult to imagine a better place than the BBC when it comes to the possibilities and learning how to create this form of communication.

British station is traditionally known for its high standards. In comparison with other media, do you see any differences in the functioning of the BBC and other TV stations in, for example, thorough approach and concern for credibility?

– I believe that such a comparison would not be quite fair. Starting from the scale of the organization. The BBC has more than 50-year history, employs thousands of people, has its people and local branches around the world. The BBC is not just a TV station, it is also a great radio. The media environment is undoubtedly an institution that has become a benchmark for others. Its means and possibilities of broadcasting are incomparably larger than most stations. Who, for example, can afford to create a few large documentaries a year, each costing a lot of money? And I do not only mean my editorial office. Thus, in this sense, the comparison is rather unfounded. The care and concern for credibility are the guiding principles and duties of every BBC journalist. Out of these grew this station’s reputation. Which does not mean that other media journalists do not rely on exactly the same values. First of all, it is a matter of personally practised professional integrity.

Is there someone among journalists and documentary film-makers who is for you a special authority, and if so, for what reason?

– While working, both for the CBS NEWS as well as the BBC, I met many wonderful people. I had an opportunity to learn from the best and work with the real legends of British journalism. Each of these individuals was for me in a sense the authority and role model that I tried to follow in my own work.

Is an investigative journalist sometimes the target of attacks, which are a threat to him, or meet such threats or pressure from those who are the object of his journalistic investigation?

– The risk of threats and pressure is always there. I also experienced something like that. As a rule, an investigative journalist seeks to disclose the facts, which for many are very inconvenient. There are people able to go to extremes to prevent such a journalist form doing his job. One of the most dangerous places for an investigative journalist was for many years Colombia. Many lost their lives pursuing their desire to show the truth about the problems of this country. Now, certainly it is difficult to carry out a journalistic investigation in Russia. It is heartening, however, that despite the risks, this kind of journalism is doing well. There have been created lot of really great documentaries and their authors show admirable creativity in avoiding the risk and daring to bring inconvenient truths to light.

The range of topics raised in your films is very wide – from terrorism through sex trafficking to corruption. How do you choose the topic? What do you find intriguing enough in the story to do a documentary about it? Is there a common denominator?

– The common denominator is the importance and significance aspect of the story to be told. Both in terms of the content, as well as in terms of characters, through which one can show the topic. While working for the BBC, the most important topics that we produced were proposed by the editor-in-chief who supervised everything our editorial team produced. However, there were also productions that I originated and put forward myself. Luckily, each of the imposed topics turned out to be fascinating, and I had never had any problems to accept them.

How did you cope with your own sensitivity while shooting such a film as „Children of Beslan”?

– It turned out to be very difficult. I have to admit that this topic surpassed me emotionally. It had happened to me for the first time. As a rule, I manage to keep my emotions under control. I let go emotionally only after finishing the work. In this case, I had to surrender and I did not fight either with emotions or tears, which also appeared. I think that in some sense it probably built my credibility in the eyes of the film characters and their parents. They saw me as a normally reacting person and not a robot with the crew, who came to make a film about them.

While dealing with emotionally touching stories, people’s misfortune or issues that people find outrageous is it difficult to keep cool or objectivity, which are often required while working as a journalist or documentary film-maker?

– Sometimes it is very difficult to keep cool. Opposite to keeping a poker face, we are not deprived of our natural emotional reflexes which are caused by witnessing sometimes unimaginable human stories. Personally, I do not think that losing one’s cool, which I understand as showing one’s emotions, is a crime. However, by no means, should it affect the objectivity of the documentary which, in such situations, is certainly one of the biggest challenges in this profession.

Which of your documentaries do you feel the greatest sentimental attachment to?

– Undoubtedly, one of the most important is for me „Children of Beslan”. Both because of the subject and the circumstances of its production. Also my last documentary, created on the 70th anniversary of the Warsaw Uprising is another important one.

You are the winner of many awards, including the nomination for an Emmy Award for „Children of Beslan”. Have the prestigious awards and nominations, apart from the obvious satisfaction, also helped you to develop your career?

– I think that only to a small extent. The truth is that as the creator of the documentary you are as good as good your last film is. When you create something mediocre, no one will remember about your awards. For me, the awards and prizes were mainly motivating to keep a consistently high level. Besides, I have never had a so called career development plan. If so, then, at some point, I would have to be promoted to the BBC management. It was a traditional path that a few of my colleagues followed. I had never been interested. What I have always wanted though, and it’s remained so until today, is to pursue interesting projects.

Will you tell our readers about your career plans?

– My new potential film is at a very initial stage. I am not sure if and how I will make it happen, so as not to jinx it, I will not yet reveal what it will be about.

What are your passions outside work? And do you have enough time for them?

– Contrary to popular belief, my life is not only about work. Although I admit that my profession, which turned out to be an idea for life, can be very demanding and time-consuming and does not tolerate competition too much. I love travelling, which has nothing to do with the film set. I have friends all over the world and the opportunity to spend time with people close to me is one of the greatest pleasures. I really like skiing and yoga. I would like to learn another language because foreign languages are also my passion. This would be Portuguese, because Brazil is one of my biggest passions.