Ken Burns Believes in our American Experiment

Summary

Podcast Summary: The Best People with Nicolle Wallace

Episode: Ken Burns Believes in our American Experiment

Date: September 1, 2025
Guest: Ken Burns
Host: Nicolle Wallace

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Overview of the Episode

This episode of "The Best People" welcomes acclaimed documentarian Ken Burns to discuss his vision of America, his approach to history and storytelling, and the lessons we can draw from America’s past in times of upheaval. Through stories from his new documentary on the American Revolution and reflections on the American experiment, Burns explores the fragility and strength of American democracy, the power of complex storytelling to change minds, and the ongoing challenge of living up to the nation’s founding ideals.

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Key Discussion Points & Insights

The Power and Purpose of Storytelling

• Story as Emotional Archaeology
  • Ken Burns describes his storytelling as "emotional archaeology," seeking meaning beyond "dry dates and facts."

    "I was interested in an emotional archeology, not just excavating dry dates and facts and events. They're super important, but they needed to be accompanied by something, by meaning." — Ken Burns, [02:31]

  • He compares history to storytelling that shapes how we act and interpret the present.

The Fragility of History and Democratic Ideals

• Museums & History under Assault
  • Burns expresses concern about the erosion of trust in facts and historical institutions.

    "It's terrifying in a way. It's so frustrating. I just… I feel for these people that I know. I've made all these films going to those places. I know who runs them… and history tells us the fragility of all of these systems. You feel that they're under assault." — Ken Burns, [04:26]

Lessons from the American Revolution

• Democracy Wasn’t the Starting Point

  • The American founders did not set out to create a democracy; democracy emerged as an unintended consequence of broad participation in the Revolution.
  • The Revolution was a civil conflict, involving teenagers, second and third sons, immigrants, and people whose stories have rarely been told.

• Violence, Complexity, and Community

  • Burns recounts brutal stories of neighbor fighting neighbor and fractured families (e.g., Benjamin Franklin’s son turning Loyalist and leading violence against patriots).
  • He argues America's origin is richer and more complicated than the simplified hero narratives.

    "The suffering in the revolution is proportional to the suffering in our Civil War. And yet our Civil War is not a civil war in the real sense. It's a sectional war... But in the Revolution, civilians and Americans die all the time in this bloody struggle to create this country." — Ken Burns, [12:54]

  • Embracing the "complexity" of these stories pulls us away from binary thinking, fostering more genuine connection to our history and each other.

The Metaphor of Bedford Falls vs. Pottersville

• Choice of Community
  • Burns repeatedly references "It's A Wonderful Life" and the choice between community-oriented Bedford Falls and greed-driven Pottersville as emblematic of contemporary America.

    "The whole American question is, where do you want to live? In Bedford Falls or Pottersville?... Bedford Falls is a community in which we are all bound to one another… For me, the choice has been simple my entire life since I saw that film. I want to live in Bedford Falls. I don’t want to live in Pottersville." — Ken Burns, [09:06] and [00:59]

Faith in the American Experiment

• A Reluctant, Necessary Optimism
  • Burns admits that his faith in the American experiment is born out of necessity rather than luxury.

    "I don't have the luxury of not having it. I have to believe in this experiment. People like to say that history repeats itself. It never has..." — Ken Burns, [17:41]

  • He frames the Revolution as the most important event since the birth of Christ, describing the creation of "citizen" as entirely new in human history.
  • He uses sports metaphors to underscore the need for self-critique and resilience.

The Role of Storytelling in Political Polarization

• Stories Change Minds, Not Arguments
  • Citing novelist Richard Powers, Burns asserts that stories, not rational arguments, change people’s points of view.

    "The best arguments in the world won't change a single person's point of view. The only thing that can do that is a good story." — Ken Burns, [46:29]

  • He emphasizes patience, seeking community, and telling stories rather than arguing as means of bridging divides.

The Enduring Impact of War and Who Gets Remembered

• War Stories Center Ordinary People

  • Burns recounts how his initial reluctance to focus on war gave way to an understanding of its broad communal impact—and the necessity of rescuing forgotten voices (youth, women, minorities) from historical obscurity.
  • He shares the story of Rebecca Tanner, a Native American mother who lost five sons in the Revolution, as an example of the hidden costs and breadth of sacrifice at America’s founding.

    "The only thing we know about her existence is one line. Rebecca Tanner lost five sons... Mrs. Sullivan, in World War II, four sons go down in the ship. And so we changed the rules. That gives us separated families and Saving Private Ryan." — Ken Burns, [34:21]

• Women, Minorities, and the Margins of History

  • Describes the critical roles played by women, Native Americans, and African Americans, calling out the dire consequences of reducing the founding narrative to only white, male, elite actors.

On the Burden and Hope of Being a Storyteller

• Personal Roots in Storytelling

  • Burns reveals that his own drive to wake the dead through storytelling is rooted in personal loss (his mother’s early death).

    "My storytelling is born in tragedy... My late father in law said that I wake the dead. That's what I do for a living... Who do you think you're really trying to wake up? You're trying to wake your mom up." — Ken Burns, [42:45]

  • He reflects on the hope and generational rebirth that continues the cycle of American reinvention.

• Resisting Apathy

  • Burns warns that apathy—present even in the American Revolution among the "disaffected"—is as big a threat as extremism.
  • The antidote is lifelong learning, engagement, and remembering that the nation is "a process of becoming."

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Notable Quotes & Memorable Moments

• "Democracy is a consequence"
  • "We're not setting out to create a democracy. Democracy comes as a consequence of the revolution. And that begins to tell you that sometimes these unintended consequences, these unanticipated byproducts, are what the stuff of history is." — Ken Burns, [07:10]
• On complexity and binary thinking:
  • "Stories that have complexity then avoid the binary stuff we're engaged in." — Ken Burns, [15:21]
• On “waking the dead”:
  • "My late father in law said that I wake the dead... a lot of it is a conversation with [my mom]." — Ken Burns, [42:45]
• On patriotism versus apathy:
  • "If you value these things that we have, we can disagree... but you cannot not want to have some sort of skin in this game. You cannot just play it coy and kind of be the person that's going to profit one way or the other." — Ken Burns, [46:29]
• On the high office of citizen:
  • "Our example [is] not the pursuit of power but the understanding that the highest office is really still citizen and that the trappings of power have no place in the people's government." — Ken Burns, [38:54]

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Timestamps for Important Segments

• Opening Theme & Bedford Falls Metaphor Introduced – [00:59]
• Burns on Emotional Archaeology, Storytelling, and Meaning – [02:31]
• The Assault on Museums, Facts, and History – [04:26]
• Lessons from the Revolution: Civil War within the Revolution – [10:28]
• Bedford Falls vs. Pottersville Revisited – [09:06], [00:59]
• PBS and the Threats to Public Storytelling Spaces – [15:54]
• Faith and Optimism in America: Sports & Self-Critique Metaphor – [17:41]
• Naturalization Ceremonies and American Covenant – [23:11]
• The Stories that Change Minds – [46:29]
• The Roles of Children, Women, Native Americans, and Enslaved People – [30:45]
• On Reenactments & Voice Actor Choices – [36:11]
• Ken Burns’ Personal Motivation—Waking the Dead – [42:45]
• On the Dangers of Apathy – [46:29]

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Tone & Language

Ken Burns’ presence is warm, thoughtful, and deeply reflective, using stories, vivid details, and historical anecdotes. Nicolle Wallace serves as an engaged and respectful guide, frequently drawing Burns out on personal points, and underscoring the national relevance of his work. The conversation is earnest, layered, and frequently leavened with humor and humility.

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Takeaways

• History is not simply a record of facts but a living, breathing method of understanding who we are.
• America’s story has always been complicated, incomplete, and in progress—not a binary of “good” or “bad.”
• The “American experiment” requires constant engagement, self-critique, and commitment to community.
• Storytelling—not argument—remains the most powerful tool for changing hearts and minds.
• The roles and sacrifices of ordinary people—often left out of traditional narratives—are central to understanding America’s founding and its ongoing journey.
• In an era threatened by both extremism and apathy, embracing complexity and connection is more vital than ever.

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Transcript

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[Ken Burns]

I think the whole American question is, where do you want to live? In Bedford Falls or Pottersville? You know, in Frank Capra's wonderful movie with Jimmy Stewart, It's a Wonderful Life. And for me, the choice has been simple my entire life since I saw that film. I want to live in Bedford Falls. I don't want to live in Pottersville.

[Interviewer (Nicole)]

Hi there, everyone. Welcome to the Best People Podcast. The Best People podcast is about people like this week's guest, where being a best person doesn't begin to capture what he really is. To the country, to me, to our daily broadcast, and to our understanding of who we are as Americans and as humans. I think that I will muck this up if I go on much further. So without any further ado, this is the Best People. And this is Ken Burns. Thank you so much for being here.

[Ken Burns]

Thank you. The feeling is mutual. Best Person.

[Interviewer (Nicole)]

I don't ever feel like I've climbed a mountain worth pounding my chest about. But when I first had access to your email address, I did feel like I had arrived.

[Ken Burns]

No?

[Interviewer (Nicole)]

Well, I mean, I think that what you create is anthropological, is historical, but is above everything else, just this, the electricity of the human experience. And I wonder if you see it that way, if you set out to do that and why you think that matters now more than ever.

[Ken Burns]

Well, I'm happy that you said anthropological. I'm the son of an anthropologist and I thought I was diverting pretty far away from what I thought would be my chosen field. My father put no pressure on me. I've understood pretty early that history was a powerful teacher. And the problem with saying teacher is that it sounds then pedagogic and didactic. And there's a test on Tuesday. But history is mostly made up of the word. And so I'm happy to say that I decided to become a storyteller in film. But I. At one point, I remember typing a letter and that I wrote that I was interested in an emotional archeology, not just excavating dry dates and facts and events. They're super important, but they needed to be accompanied by something, by meaning. And I think that in a way that will be how we get out. If we say that all people are created equal, then we really have to mean it. And then there's a lot of responsibility and work that has to happened. And I think what happens now is that we've sort of said, can't we just go back to the way it always was? Well, the way it always was before there was something new under the sun, which was the United States of America, was that everybody was a subject. And we created the idea of citizens. And now we feel that fragility. There's that anxiety, there's the sense of where do I act, how do I act, what I'm going to. I think everybody's struggling with how to figure out what to do, how to know what you can't do, how to have the, like the serenity prayer, how to have the wisdom to know the difference.

[Interviewer (Nicole)]

What do you feel in your gut when you see history and museums and facts that are indisputable thrown into the mosh pit of this moment?

[Ken Burns]

It's terrifying in a way. It's so frustrating. I just. I feel for these people that I know. I mean, I've made all these films going to those places. I know who runs them. I know who's in the back room with the white gloves with the archives. And you just sort of feel, and history tells us the fragility of all of these systems. You feel that they're under assault. And that's an incredibly disconcerting position to be in, Particularly because we'd felt. I'm just finishing this film. It's on the American Revolution. I began it when Barack Obama had 15 months in his administration. And so the kind of water under the bridge that's taken place, the rhymes that have changed. We follow lots of characters, all the top down important people, but lots of bottom ups, dozens of bottoms up people that we've Never heard of people that don't have portraits of them. One of them is the wife of a German, a Hessian general who's fighting the patriots with John Burgoyne up in Saratog, arriving with her kids, Transatlantic joy. She's there to watch the triumph of the British army against this upstart rebels. Doesn't happen, but she's come loaded with ideas about what Americans are like. And one of them is she's heard that we eat cats.

[Interviewer (Nicole)]

My God.

[Ken Burns]

I was thinking if the film came out last fall, people would go, oh man, you put that in. Well, that was so, you know, unbelievable. By this fall people have probably forgotten about cats. The Americans did think that the Germans, eight people and were particularly interested in children. There's a continent wide pandemic, there's a failed invasion of Canada, there's a total eclipse. But in this idea that basically human nature stays the same and all of these things happen and that maybe in the study of where we've been can be a clearer understanding of how to understand what's going on now and then how to react, how to create our future, how to repair, how to figure out, how to, how to reinstitute those things that seem so threatened. And it doesn't happen at once. It can be sometimes with humor. We've seen the way in which humor is so disarming in every sense of the word. And so I think being able to proudly say this is how we were born, it's really complicated. Democracy wasn't on the table in the beginning. Democracy is a consequence. Our founders celebrated as they should be, had intended this to be a kind of republic of an aristocracy of white propertied males. And in order to win that war, there was of course zero chance on April 19, 1775 at Lexington Green of their success. And in order for that to become 100% at Yorktown, they had to open that up. And so it isn't just our ideas of the sturdy militia who did do that, but it's teenagers. We follow a 14 year old and a 15 year old into this war. Americans are fighting Americans. This is a civil war. It's going to take second and third sons without a chance of inheritance. Irish and German immigrants who've never owned a piece of land. And so we're not setting out to create a democracy. Democracy comes as a consequence of the revolution. And that begins to tell you that sometimes these unintended consequences, these unanticipated byproducts are what the stuff of history is. And so we were able to Get Maya Hawke, whose daddy is in the film, as a voice, too, to read it. To compliment Tom Hanks and Meryl Streep and others. To bring the story. Samuel L. Jackson, to bring the story to life. Because it's many voices. I came across a quote in my own film that I hadn't thought about in 30 years. The civil War series. And Lincoln said, as a nation, we began by declaring that all men are created equal. We now practically read it all. All men are created except Negroes. Soon it will read, all men are created equal except Negroes and foreigners and Catholics. When it comes to this, I should prefer emigrating to some country where they make no pretense of loving liberty, to Russia, for instance, where despotism can be taken pure and without the base alloy of hypocrisy. This is Lincoln in the late 50s.

[Interviewer (Nicole)]

Wow.

[Ken Burns]

And I mean. And he's using Russia as an example. And you kind of go, okay, folks, where do you want to go? Which. Which. What's the choice is super simple. I think the whole American question is, where do you want to live in Bedford Falls or Pottersville? You know, in Frank Capra's wonderful movie with Jimmy Stewart, It's a Wonderful Life, he has a chance to see what the world would be without him. And it's presented with the fact that the greedy, moneyed banker in town turns the town into Potterville. This loose, amoral thing. And that what he has been participating in, Bedford Falls is a community in which we are all bound to one another. Immigrants as well as long arrivals in which there's a kind of sense of common purpose. And for me, the choice has been simple my entire life since I saw that film. I wanna live in Bedford Falls. I don't wanna live in Pottersville.

[Interviewer (Nicole)]

One of the things, I think, because this film has been sort of on your palate for so long, probably for as long as I've been talking to you on my show, is this idea that this was a civil war.

[Ken Burns]

Yeah.

[Interviewer (Nicole)]

American intelligence in this time was telling on your neighbors.

[Ken Burns]

That's right.

[Interviewer (Nicole)]

This was a brutal war fought here, informed by intelligence gathered neighbor to neighbor. Just talk about that.

[Ken Burns]

Well, a lot of it is pretty difficult for us to sort of get our heads around. Benjamin Franklin's own son, William, was the royal governor of. Of New Jersey. He was deposed and sent to prison in Connecticut. Finally released, assumed he would go back to his beloved England. Instead, he started a terrorist organization of Loyalists killing patriots. There were lots of patriot organizations that were killing Loyalists. More German and Hessian soldiers fell In New Jersey, which has big battles like Trenton and Princeton and Monmouth Courthouse by guerrilla actions, by ambushes, than in those big set battles before the war, the committees of correspondence and these Home Guard patriots were opening letters of their neighbors to find out their sympathies. If you had still royal sympathies, your names were printed, you were ostracized, you might be tarred and feathered. We follow lots of loyalists and particularly one named John Peters who lives in what is now Vermont in a town that doesn't exist anymore. But his fellow citizens say, you're the upright guy, we're sending you to the first Continental Congress. He gets there and he goes, I'm not about this. And he gets arrested four times on the way home. In Hartford, in Wethersfield, Connecticut, in Springfield, Massachusetts, and in his own hometown of Moorefield, Vermont, as it was then called, he's shunned. He finally is driven out of town, leaving his wife and small kids. They are eventually driven out of town, she finds by luck through the winter, going all the way to Lake Champlain, British thing. They reunite in Quebec. He starts a loyalist unit up there. His son, 15 year old son signs up first and they come back down and join Burgoyne's army. And at a sub battle before Saratoga. This is really important why I'm telling you. Starting to go off on a storytelling.

[Interviewer (Nicole)]

No, no, I love it, I love it.

[Ken Burns]

At Bennington, near Bennington is actually in New York State. He's on a redoubt. He's about to lose a battle, but he hears somebody say, Peters, you damn Tory. As this person sticks him in the breast with a bayonet. Which is the violent ugly way that most of the stuff is happening battlefield wise. And it's deflected by the bone. And he realizes it's the voice of Jeremiah Post, his best friend growing up.

[Interviewer (Nicole)]

Oh my God.

[Ken Burns]

And then he says, I am obliged to destroy him.

[Interviewer (Nicole)]

Jeez.

[Ken Burns]

So even though it is a patriot victory, he kills his best friend. And the stuff in New Jersey, the stuff in South Carolina, where a fifth of all the battlefield deaths take place. And they're not big gigantic battles. They're at little tiny places called 96 South Carolina, where it's just the only person in the battle are Americans killing other Americans. So the suffering in the revolution is proportional to the suffering in our Civil war. And yet our Civil War is not a civil war in the real sense. It's a sectional war, right? It's north against south, south against North. There's not a lot of civilian Deaths. One or two people die during Gettysburg, the greatest battle ever fought in North America. But in the Revolution, civilians and Americans die all the time in this bloody struggle to create this country. And so you want to know about Betsy Hamler. You want to know about John Greenwood who's 14 years old. You want to know about Joseph Brandt, who is a Mohawk Native American siding with the Brit. You want to know about James Forten, who's a free black kid, 9 years old, who hears the Declaration read when it's read for the very first time in Philadelphia two days after the Declaration is signed. And he doesn't for a second think that these self evident truths don't apply to him. They do apply to him. There are threads in this that connect all the way to this moment to you and to me and to everyone listening to our voice. And it's, it's really important that we embrace the complexity of it, the undertow of it, the fact that I can tell you right now who the most important person is. George Washington. We don't have a country without him. But he's also a flawed rash and makes a lot of really bad, avoidable tactical mistakes on the battlefield. The largest battle of the revolution is the battle of Long island. And he leaves his left flank exposed. He does the same thing at another gigantic battle, the battle of Branch. But then it doesn't mean by telling the complexity of that that you in any way undermine it. I think that's what it is because it's paintings, it's not photographs. We don't want to get into the violence of it. We think that if we diminish the big ideas, somehow we're slessor. But those big ideas are even more exhilarating, even more impressive when you see what we had to go through to get them. And if you tell an engaged story, you bring everybody along and stories that have complexity then avoid the binary stuff we're engaged in.

[Interviewer (Nicole)]

Now as you're talking, I'm thinking that it doesn't exist without you. And I think it doesn't exist for all of us without you putting it on pbs. And even the storyteller and the place where the story is told is under threat. Does that wallop you?

[Ken Burns]

Yeah. No, we're going to have to. Look, I'll tell you the story. The main story about the American Revolution is that Washington comes to some realizations pretty early on that he's the head of an insurrectionary force. He doesn't have to win, he just can't surrender. The British have to win. He doesn't have to win. The scholar just.

[Interviewer (Nicole)]

He just has to resist.

[Ken Burns]

He has to resist and he gets beat all the time. And even in the Southern campaigns, his general Nathaniel Greene says, we fight, we get beat, we fight again. It's just about resisting. It's just about waking up. Yes, the Corporation for Public Broadcasting has been involved in, I think, every single one. But one of my 40 or so films that PBS has done, I couldn't produce any of the films except on pbs. We're going to just have to figure out how to, you know, wake up and beat them again. That's just the way you have to do it. You know, if you want to make God laugh, tell her your plans. So I'm just. We're going to have to improvise. That's our genius. Right? Right. Our constitution is four pieces of parchment. Four. That's the shortest constitution on earth. You know, that's, you know, if it's applied, it adjudicates any complicated problem that we have.

[Interviewer (Nicole)]

How much of your faith. I mean, you sound more optimistic to me right now and more sort of rooted in faith about the ideas behind our country and the people than you did when we last talked. I think we last talked on television after a speech you gave with a warning for the country about the two paths. And Trump has done more than what you and a lot of other people warned about. Much, much more and much, much more quickly. From where do you gather your faith?

[Ken Burns]

I think I don't have the luxury of not having it. I have to believe in this experiment. People like to say that history repeats itself. It never has. And Ecclesiastes says, we've talked about this. There's nothing new the sun. But I think the most important event since the birth of Christ was the American Revolution. And I'll defend that. I mean, I'm happy to have a conversation, explain, explain. I just think something new under the sun happened. Everybody was a subject. You know, Jefferson says in the Declaration, a few lines after Pursuit of Happiness, he says, all experience has shown that mankind are more disposed to suffer while evils are sufferable. Meaning we just kind of put up with this, you know what. And we're creating this new thing, a citizen. And that's going to require extraordinary responsibilities. And to me, my interpretation of that is to begin to have a little faith. Faith in the process of these ideas. You know, we like to credit the destruction of the Soviet Union, the collapse of the Soviet Union with our efforts only in our ideas. Right. Collapsed of their own. Just flaws. It wasn't a good idea to do this. And the American people are a lot smarter than that. Maybe it takes a while to wake up. Maybe it's, you know, we've bought into this idea of deep state and now we have met the deep state and he is us. You know, I mean, it's like, what? How did that happen? Maybe it's the fact that you believe in free trade. Trade is not a zero sum game. It's not, I win, you lose. Trade is mut. And if you base trade entirely on some victory over somebody else, you've upset the apple cart of free trade. So I think you can go sort of situation by situation and just say, all right, I have to breathe. I have to do what I know how to do, which is to try to tell complicated stories about us. Not just the US but us, and then hope that that story is able to be. I told Maureen Dowd this a kind of benevolent Trojan horse, right? It's not this gift you take in and then it gets out at night and kills you and burns down the city. No, you go, oh, yeah, that's who we are. We're complicated. I've got a neon sign in my editing room in cursive, and it says, it's complicated because you always want to just go for the simple story, the one that's working. And we sort of define heroism as perfection. And of course it's not that heroine is an internal negotiation, sometimes a war between your strengths and your weaknesses. And that's why we study heroism not for perfection, which we're constantly disappointed if you live in a binary world, but because Achilles has his heel and his hubris to go along with his great strengths. So what are you going to do? Just show when Babe Ruth hits the home run? Or do you show when he strikes out? Or do you show when the shortstop is up? Or do you show when somebody hits into a game ending double play and we don't win that game? You have to be able to say, I'm big enough. In order to be the best team, you have to be incredibly self critical. If you're the biggest, most important country, exceptional country on earth, you've got to be harder on yourself. You think Tom Brady went, oh, I just won a Super Bowl, I don't have to do anything. It's cruise control control from now on. You're deeply mistaken. This is a constant readjustment and of self evaluation, which is what we need to do as citizens on our own interpersonal level, in our relationship with friends, and most important in relationship to the people that disagree with us. And then as a country.

[Interviewer (Nicole)]

We'Re going to take a quick break right here. When we come back, we'll have much, much, much more with legendary documentary filmmaker national treasure Ken Burns. We'll be back in a moment.

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[Interviewer (Nicole)]

Life, made for real life moments.

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Maurices.

[Interviewer (Nicole)]

I read your speech at a immigration proceeding.

[Ken Burns]

It was so beautiful. Nicole didn't like it's so beautiful. I told him it's like, you know, except being in a maternity ward at a hospital. There's nothing with more potentiality than seeing these new citizens. And it was at Monticello. The oath that they take is much longer than the oath the president. And it was written by Thomas Jefferson in a law that was passed in 1802. And we're still reading it when people raise their right hand and say yes.

[Interviewer (Nicole)]

But I felt so bittersweet reading it because it's always been about what you're talking about. This mutual they want to be here and we want them here. And that covenant seems so violated. And so I mean even the most basic and beautiful thing, and I agree with you, outside of a maternity ward, it's one of the most beautiful things. Cause it's like a marriage. Everyone has to opt into it. I feel like even that is on the line right now.

[Ken Burns]

So. It is. It is. And we can't soft pedal it. But we also can't be our own version of Chicken Little, that the sky is falling. If it bleeds, it leads this naturalization ceremony. You have to create a court. Then there are all these justices and they come in and they create a court on the spot and we're witnesses to it. And then the Acting Attorney General for the Western District of Virginia. Virginia, I think I've got that right. A Trump appointee goes up and reads the names of all the people, which he clearly worked so hard to get them right, because there was one Irishman in it, there was one easy, not going to blow it, pronunciation in the whole bunch. And so, yeah, we say this, there are all these signals. We're verifying this, we're saying that. But here's the ceremony in which lots of South Asians, whole bunch of, of Latin, Hispanic people, there are lots of Afghans still coming into our country, still being accepted as full fledged citizens of the United States. And then many of them had a chance to go up and give a speech and you just kind of went, okay, my tank is full. And that gives me a little strength to go out and try to do this. So I've got four daughters and all through their lives they reach these impasses and I give them what I call the three things. And I've done it with my friends and loved ones, which is, this won't last. Get help from others and be kind to yourself. I have realized just in the last few months this is advice for all of us collectively as well as individually. Just there has to be a kind of patience. Things are constantly in motion and changing. And maybe we can't wait for the midterms. Or you can wait for the midterms. Guess what? You have to wait for the midterms. And we have to seek community. And strangely enough, I've tried to stop arguing and start just telling stories to people who don't necessarily agree with me. And if you can say, have somebody go, wow, I didn't know that. Which is what I think people will be doing throughout the American Revolution series, then you've got a place that isn't like, you're wrong. And let me tell you why you're wrong. Because nobody's mind was ever changed that way. They're always changed by complicated stories. Where, I mean, we see it now, where I think it was a Missouri town was about to lose their beloved fellow citizen. Carol.

[Interviewer (Nicole)]

Carol, yeah.

[Ken Burns]

To the ice mob, you know, but you go, the town said, no, no, no, we need her back. Right? And so I think the Bedford Falls of us at some point kicks in, maybe in fits and starts. But we've have a lot of work to do. We have a lot of things to rebuild. We have a lot of things work on. But first we have to remember to sing as loud as we can the anthems of our beliefs. And they're right there. We know exactly when we were born, and more importantly, we know why we were born. And it is a very simple sentence. And by the way, pursuit of happiness does not mean the acquisition of things in a marketplace of objects. It's lifelong learning in a marketplace of ideas. All the founders would say that. And the key phrase is still pursuit. Right. It's a process. So, you know, we're a nation in the process of becoming and do we take some steps back? Yeah. And it's really scary. We've just gotta keep going forward.

[Interviewer (Nicole)]

War is, you know, the recent wars were fought so far away that stories really take care of a lot of what people know about war. But war is all these things, right? It is the worst, it is hell, it is the ultimate sacrifice. But it's also community. And I wonder how drawn to stories of war and where it intersects with extraordinary feats taken by humans, how that pulls you to the American Revolution.

[Ken Burns]

It's a super good question. And right at the heart. After the Civil War series came out in 1990, 35 years ago next month, I just said, we're not doing any more wars. It was really tough. And we're looking at photographs, but it was tough. And we just sort of agreed we're not going to do a war. And then at the end of the 90s, I heard that a thousand American veterans of the Second World War were dying each day. But that number is tiny now. I mean, it's minuscule. And that a huge large proportion of graduating high school seniors thought we fought with the Germans against the Russians in the Second World War. And I said, f we gotta do it. And it's the only time I've made a film in which it had literally hundreds of other brethren, other films about World War II. So we decided to do it from the bottom up and do it in that intimate way. Took four geographically distributed American towns and tried to show the greatest cataclysm in earth through their eyes. Before the ink was dry on that, before we'd locked it In December of 2006, I said, we're doing Vietnam. And before Vietnam, the ink was dry on that. I said, we're doing a revolution. Much harder because there's no photographs and there are no Memories, particularly In World War II and in Vietnam, of people that were actually lived through it. But I knew from the Civil War, you could make folks come alive if you've got enough talent and enough varieties of people reading it to do it. Every day of the last nearly 10 years has been an incredible, sometimes humiliating lesson in. Wow. I had no idea just how bad it was in so many ways. And then all of these rhymes, from eclipses to invasions of Canada. We wanted to make it the 14th stage then didn't work.

[Interviewer (Nicole)]

I think what's amazing when you watch it, too, is you realize that no one was spared, right? And it makes you feel, you know, it sort of underscores all the privilege of this era, right? Women and girls, you know, figure prominently. Young, young, young. You know, 14 isn't a man or a young man, it's a child. And so just. Just talk about the importance of. Of reminding us how. How everyone was impacted.

[Ken Burns]

Everyone was impacted. And I think that's why you're drawn to war. Obviously, it's the worst, but it also brings out the best in that community, in individual actions. And so our idea of wars, particularly, because what we know of them are from the romanticized paintings, are all male, they're nearly all white, and they're just not like that. Women are attached to these armies. They're fighting there. We have this wonderful shot. Well, I have never really liked reenactments, and I didn't want to do reenactments. But we filmed reenactors, which is a little bit differently. And we filmed them for years in French, in. In British, in militia, in continental uniforms, black soldiers, French soldiers, whatever it might be. And it supplemented what we don't have in photographs and newsreels. But there's a wonderful moment when the Battle of Monmouth ends. It's unbelievably hot. The British are just trying to get their supply train and their army back to New York. They've abandoned Philadelphia, which they've occupied for a while. We're holding the field, the British retreat. So it's a draw technically, but because we're holding the field, it's an American victory. Of course, that's the way you spin it. And then the next thing you see are these barefoot women and children, just from the calves down, walking over the battlefield, because women came and cleaned it up. Women were central to the resistance before the war started. They were the making the homespun cloth they were doing without the English goods. They were running the family households. And if they weren't with their husbands at the battle with their kids. They were back home running for farms and businesses and doing pretty well. Thank you very much. And I'd make an argument that of all the great writers, and Washington was a great, great writer, and obviously John Adams was a great writer, you have to put Abigail Adams right up there. And thank God they were split up. War splits families up. So all of a sudden, you have communication between people in a very fraught situation. And in our opening minutes, in our introduction and the overture of this 12 hours, six episodes, you hear from him saying, you know, we're in the middle revolution. Oh, my goodness, you know, the fate of millions unborn. Meaning you and me, Nicole, are hanging in balance. And all of a sudden you hear from. That's read by Paul Giamatti, reprising his great role. And then you hear from Claire Danes, who is reading off camera, Abigail. And she says, you know, we realize that this overthrowing of empire stuff is really bloody and it can't be taken lightly. And so she's. You've got within one family in a communication between a husband and a wife. Exactly polarities of what it does. And so let me give you a statistic. Most Native Americans, because they were watching the encroachment west of settlers, Americans, they called them in the north, the hated Bostonians. They called everybody Bostonians who were trying to take their land. And it's not just them. It's not one tribe. It's 300 tribes, but there's 20 or so that are germane to the story. And they're as important. The Shawnee or the Delaware are as important as, say, Virginia or the Netherlands or France in this geopolitical story. But most of them are fighting for the British. But Rebecca Tanner, a Mohegan Native American, that means probably Connecticut lost five sons fighting for the patriot cause. Think about it. The only thing we know about her existence is one line. Rebecca Tanner lost five sons. So, Mrs. Sullivan, in World War II, four sons go down in the ship. And so we changed the rules. That gives us separated families and Saving Private Ryan.

[Interviewer (Nicole)]

Yeah.

[Ken Burns]

Becca Tanner exists for me as the mother who lost the most. And she's a Native American doing what a fraction of native peoples were doing, which is fighting for the patriot cause. Same with black Americans. The British very cynically offered their freedom to just slaves of rebels, not slaves of Loyalists. They had to stay slaves, not to their own slaves. They would keep them enslaved. Their entire economy, the British economy, is based on the 13 other colonies in the Caribbean. Caribbean. And all of the riches of the British army is based on the slave labor Jamaica and Barbados. 90% enslaved people there. So it's understandable why when somebody says, hey, we'll give you your freedom, people flop. Jefferson lost. Washington lost enslaved people to that thing. But of the 20,000 blacks that fought, 15 probably fought for the British, but 5,000 fought the Americans. Who said, I see this, like James Fortin, this kid who hears the Declaration. Declaration, I see this possibility, right? I mean, so you've got just complicated dynamics at our founding. And to make it tiny and minuscule in only one color and one sex and only one place and only a binary is to do a disservice to the just exultant complexity of our origin story.

[Interviewer (Nicole)]

There's something about Paul Giamatti and Claire Danes that you start to feel it, right? You can read it, you can study it. You can, you know, prepare for an interview to talk about it. But there's something about hearing it. And I wonder at what point you realize that and how you decide who is best suited for that. That's a really important part of it.

[Ken Burns]

It's a huge important part. And the first thing is that making a film like this is not additive, right? It's subtractive. It's like we make maples syrup right out here, and it takes 40 gallons of SAP to make 1 gallon. So you're taking it away. So I'm the scratch narrator through 95%. But as soon as Peter Coyote comes in, you go, oh, there's the music. And all of us in the editing room are reading these quotes and George Washington and this. And then all of a sudden you get Josh Brolin as George Washington. And I tell him, I said, look, this guy, we don't have a country without him. And he's opaque, he's unknowable. So you have to both convey all of that stuff. And he's great. You can't get in. You can knock at the door of George Washington. You can't get in. Only a couple people. Somebody says in the film gets into him. Martha, his wife, maybe Lafayette, maybe Hamilton. We don't really know who gets into that, into his head. But it's extraordinary. And then Paul Giamatti is just amazing. Laura Linney, who reads a lot of voices, including a lot of loyalist voices, make it come alive. Jeff Daniels takes Thomas Jefferson's words. Matthew Rees does Thomas Paine, an Englishman who gives every one of our six episodes its title from In Order to Be Free to the Times that Try Men's Souls to An Asylum for Mankind. About the Declaration. This is a reset in the human story. And that deserves a kind of, excuse me, put a pin in it. Can we go back to that and get really involved and understand how does the odds of zero on Lexington Green go to 100% six and a half years later at Yorktown? It's phenomenal. And then what do you do when you've won? Because the winning was then. Turns out, in some ways, not quite as hard as trying to forge a federal government out of these 13 states whose articles of Confederation did nothing, were completely without any force. And that's another story. And before we end the film, we have to have George Washington do two things, right? Right. He has to give up his power twice. If he'd said, look, I'm thinking of becoming Emperor, everybody would have gone, okay, the general, the Napoleon. And he gave it up, resigned his military commission, and then is unanimously elected President of the United States and leaves after two terms. And even George III said then he's the greatest character of the age, because he was. And this is our experience, example, our example of not the pursuit of power, but the understanding that the highest office is really still citizen and that the trappings of power have no place in the people's government.

[Interviewer (Nicole)]

Do you think we are the same?

[Ken Burns]

Exactly the same. No. Stuff happens. DNA changes. But we are in these basic, elemental things. You can see it in just the way MAGA has kind of stuttered a little bit in the face of not just Epstein, which is the. We're always. Everybody's always like, oh, well, this is the thing. There's no this thing. It's just the question of whether the fever dream is just. It passes, you know, like, what's happened to the party of Abraham Lincoln, particularly in the United States Senate. The party of Abraham Lincoln, who said, I would prefer emigrating to some country where they make no pretense of loving liberty, to Russia, for instance, where despotism can be taken pure and without the base alloy of hypocrisy. I mean, they're talking to us, all of them, and nobody's perfect. And that's, I think, the mistake we made. I think it's the world we live in, which is a computer world, which is binary. Everything's a one and a zero. And it is a political world in which it's one thing or the other. And of course, everything we know about our personal lives, our own psychology, everything else is just complicated, which is why that sign's up there every day to go. Right. It's complicated.

[Interviewer (Nicole)]

My conversation with Ken Burns continues right after a quick break. Stay with us.

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[Interviewer (Nicole)]

When I had a chance to talk to you, I think for the first time about why you tell stories and about the space, the storytelling. And I think it's a love affair with stories and history that you led us into. People are so moved by you and you constantly try to get out right? You don't talk about yourself for two seconds and then it's back to the stories. I wonder if you ever sit with your role in our sense of who we are as Americans and your place in everything we know. I feel this preciousness of all of it and I couldn't wait to see it. Because we wait for this work and we need it so much. And I wonder how that feels on the receiving end, our need for you and what you create.

[Ken Burns]

So I have it's not right here, it's out of sight. But I have in every place that I put my head. I've got a copy of an old New Yorker cartoon that shows three men standing in hell, the flames licking up, up around them, and one guy says to the other two, apparently my over 200 screen credits didn't mean a damn thing. My storytelling is born in tragedy. My mother's sickness, nearly 10 years and death when I was nearly 12 years old 11 years old, my late father in law said that I wake the dead. That's what I do for a living. He said, who do you think you're really trying to wake up? Wake up Abraham Lincoln. Jackie Robinson. You're trying to wake your mom up. And a lot of it is a conversation with her. Her name was Lila. L Y L A. My oldest daughter, who of course never met her grandmother, named her first child my first grandchild, Lila. And so a name that was draped in black crepe is now, you know, birds sing and flowers bloom when we say that. And. And so that's what it's about too. It's about hope and it's about rebirth. And all of these things are important. At the heart of it, it's about story. And making the storyteller important is a disservice. A few people can get away with it, but you don't want to really hold a mirror up. You want to say, we share these stories in common. I mean, my great, great grandfather fought for the Confederacy army, right? Abraham Burns. That's an important punchline if you're trying to remind people of the intimacy of the ideas of history. Because for most people, history is that test. History is the memorization of dates. History has nothing to do with where I am right now. And there's nothing more important. I find in studying this. We are aware of the fact that, that as Twain is supposed to have said that it rhymes. It doesn't repeat itself, but it rhymes. So we're really aware of all the rhymes that are going on. And maybe nationwide pandemics and eclipses and police actions in metropolitan areas and invasions of Canada. And just the people, good, bad and in between, greedy and generous and venal and virtuous. All of that stuff is populated really good histories. But at the end of the day, it's just like us. And we have to sort of go forward. I mean, everybody at the Constitutional Convention is trying to figure out how not to design for a dictator. You know, Hamilton says, what if somebody rides the hobby horse of popularity and reaps the whirlwind? No man should be above the law. You know, this is like, you go, okay, so this is our founding. This is our complicated story. Not everybody got along, not everybody agreed, not everybody thought that the Norman Rockwell painting was at the end of this long corridor. But it turns out that what came out of it is still the best thing going.

[Interviewer (Nicole)]

There's no one in this story that you would ever accuse of apathy. And I wonder how much of being in Love with our history and our story and this story and the ideas behind our founding, you think could be an antidote to what I think is. I think political extremism is incredibly dangerous. I think the one thing more dangerous is apathy. But if you are indifferent or think it doesn't matter to you about the pollution in the air or the water or the freedom like apathy. Can you just talk about apathy?

[Ken Burns]

Yeah, well, it's there in the revolution too. There's people that are called disaffected. They're neither loyalists nor patriots. They're hoping that the things will just pass. We understand that sort of people. Maybe they're the people that don't vote. Maybe they're the people that already understand, maybe well beyond us, who've been sucked in, in various forms into politics and the machinery of politics our whole lives and love that part of it. They're often more suspect. And then there are people who disappear from the battle. But I think the important thing is that if you value these things that we have, we can disagree, as you say, on that. But you can, cannot not want to have some sort of skin in this game. You cannot just play it coy and kind of be the person that's going to profit one way or the other. I mean, that is what the biblical teachings, including Christ's teachings, and that's what the virtue that our founders, reaching back over the Dark Ages, to antiquity, to the Greek and Romans, they're looking for these human values. And there's anguish quote by John Adams who says, you know, do we have enough virtue to create a republic? There's so much avarice and ambition, there's so much greed for this, this lust for profit. Are we ever going to be able to create? That's why they saw lifelong learning. The pursuit of happiness is key to it. So if you kick out a block of lifelong learning, then we've got some issues and we have to engage everybody. And it doesn't mean, I mean, I think I said this to you once before, Nicole, that the novelist Richard Powers says the best arguments in the world won't change a single person's point of view. The only thing that can do that is a good story. And I think we're obligated to figure out. When you say I can talk to anybody, what you mean is that I don't have to say you're wrong. Because when you tell somebody they're wrong, it's over. It's over. Just as when they tell us we're wrong, it's over. That's why the visions are so, you know, I used to, every film used to be invited into Fox News, you know, and I go, I met Donald Trump once in my life coming out of Bill O'Reilly and he was going in and he told me how much he liked the Civil War series.

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[Ken Burns]

There's a place to begin, right? Let's begin. What is it about it? Is it the complication that's in it of black and white and it's not states rights, it's about slavery? Is it Lincoln and his powerful words and his asceticism and devotion to citizenship and to the Constitution? What is it that draws us to this near national suicide that he, as a young lawyer, predicted we'll live forever or die by suicide?

[Interviewer (Nicole)]

Kim Burns, you know how I feel about getting to talk to you for a segment on the show or a special, but to have a whole hour and to talk about this project, it's a privilege. Thank you so much.

[Ken Burns]

Thank you. Feeling is mutual.

[Interviewer (Nicole)]

Thank you. Thank you so much. Thank you so much for listening to the best people. You want to be sure to subscribe to MSNBC Premium on Apple Podcasts to get this and other MSNBC podcasts ad free now. As a subscriber, you also get early access and exclusive bonus content. All episodes of the podcast are also available on YouTube. Visit msnbc.com thebestpeople to watch. The Best People is produced by Vicki Vergelina and senior producer Lisa Ferry with additional support from Alison Stewart. Our audio engineer is Bob Mallory and Bryson Barnes is the head of audio production. Pat Berkey is the senior executive producer of Deadline White House. Brad Gold is the executive producer of content strategy. Aisha Turner is the executive producer of audio and Matt Madeline Herringer is the senior vice president in charge of audio, digital and long form Search for the best people wherever you get your podcasts and follow the series.

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