THE VIETNAM WAR | PBS Previews: Sights & Sounds | PBS Video Lecture | The Impact of the Vietnam War Era on the Present day - Personal Learning

(muffled siren wailing)
- [Philip] I am getting a
little bit antsy because
first of all,
we're losing light.
Second of all, we are now,
outside of artillery range.
We gotta get out of there.
- [Philip] I went to the,
Major Yars, his name was,
and I said, "Major, we have
got to get out of here, now!"
- [Lady] There he is.
- We have extraordinary
people looking for stills
and archival footage
and music and all
the elements that
make up our series.
They are all really committed to
finding material that is not
only accurate and relevant,
but they all have creative
artistic minds and eyes
and, we're really
good as a team.
- There are literally
25,000 photographs
that were pulled
into our system.
It's an enormous arc of
his job to keep track.
- One of our interviewees,
his name is Philip Brady
and he said, "I will
tell you my story,
if you can find this photo
that ran in Paris Match."
they found that the source
was AP and they called AP
and AP said, "yeah, I ran,
but we don't have it anymore,
we can't find it,
we're so sorry."
and I thought, "well,
can we actually go back
into your archives, have
us look at the folders
because we feel like,
maybe we could just look."
and, lo and behold, there
was a folder called, Advisors
and Philip Brady was
a Marine Advisor.
We looked through and
we found actually,
three photographs
of Philip Brady.
Two of which had never
been seen before,
have never been published
and they're in the film.
- What we have is, kind
of two parallel tracks,
in which research and the
collection of material is
ongoing and we
have writing in the
other track, which is ongoing.
- I can't believe
I've been lucky enough
to work with Geoff Ward,
for all these years.
I can't imagine doing a
film like this without him,
I don't think it would
actually be possible.
- We don't wanna stop, we
just wanna make it better.
- [Man] It's rolling.
- Today we are extremely
lucky to be recording music
with Yo-Yo Ma and the
Silk Road Ensemble.
It's just such a privilege
to work with these musicians.
- Working with Silk Road
is such an incredible
joy for me because these
are people who are like
brothers and
sisters and I think,
what musicians
specialize in doing is to
actually locate the emotions and
even, the juxtaposition of
different types of emotions
in one thing, so by doing
like a wounded soldier
for example, in
six different ways,
there's so many ways
you can show that.
- [Narrator] As many
as 23,000 teenagers,
many of them volunteers,
worked to keep the
roads open and the
traffic moving.
More than half of
them, were women.
Le Minh Khue, who had
left her home in the North
with a novel by Ernest
Hemingway in her backpack,
observed her 17th
birthday on the trail.
- We brought all
our editors with us
and you can see them taking
a take in their own mind
and pulling out a piece of
music that was sort of in there
and putting this back in
and having it be something.
- Ultimately, the music is gonna
come from a variety of places.
Some of them are very
well known tunes like,
there's a lullaby
that is very much,
really all known in Vietnam
and other pieces are
tunes that we try and
show in different ways.
(applauding and cheering)
- I went to the movies
and I saw a film,
The Girl with the Dragon Tattoo
and I found myself sitting
there, mostly
listening to the music
and thinking, that
is exactly what
we want for our film, Vietnam.
It's just, constant
state of tension.
I stayed to watch
the credits and I saw
the music was done by Trent
Reznor and Atticus Ross.
- I got a call from
my manager who said,
Ken Burns and Lynn Novick
have reached out about
a new massive project
that they're working on,
about the Vietnam War
and we're wondering if
you would like to be
involved in composing
and I just cut him off
and said, "for sure,
we want to be involved in that."
- Their music was an
extraordinary combination
of a kind of, cold,
metallic, electronic sound
mitigated by this incredibly
beautiful, melodic sensibility.
- Somewhere around
80% of our causalities
came from landmines
of all sorts.
And Vietnam for me, just
to get up in the morning
and look out at
the land and think,
"in a few minutes, I'll
be walking out there
and will my corpse
be there or there?"
- It's always
nerve-wrecking handing off
a lot of music, but I was amazed
at how sophisticated it
was and how it goes from
music that we might
have created to music
of the hero and stuff that
they might wanna hear.
It was mind blowing.
("Talking World War III
Blues" by Bob Dylan)
♪ Long time ago a
crazy dream came to me
♪ I dreamt I was walking
into World War Three
- The music of this era of
the Vietnam War era is iconic.
We knew we would
be including some
very important and
recognizable music.
- This is the best
music in American
history, you could argue.
We have Jimi Hendrix
and Led Zeppelin
and Neil Young and Bob Dylan and
I think it was important
to the artistes
and to the record
companies that,
if we're in 1968 in
our film, we're not
gonna play a piece of music
that came out in 1972.
("Magic Carpet Ride"
by Steppenwolf)
♪ I like to dream yes yes
♪ Right between
the sound machine
♪ On a cloud of sound
I drift in the night
- You could just bring them
down even more to give them.
This is one of the
most exhilarating
and difficult and
bittersweet part
of the whole process,
this is mixing.
- [Narrator] Saigon's troops
would gradually take over
responsibility for
engaging the enemy.
- I'm putting reverb on it.
- [Crew] Oh okay.
- [Man] Good.
- I think the series has
a very different sound
than the other
work we've done and
I attribute that
most to the genius
of our editors
and sound editors.
Each editor has their
own personality,
each editor has their
own interests in music
and in stories that
they like to tell
and so, each one has
brought their own
particular genius
tot heir episodes.
- There are four
editors and 10 shows.
The producers just
give it some thought,
who would be good for the show?
- I think sound is
important in every story.
It's the other half without
that full sound effect feeling,
it's just one step
shy of being real.
(somber music)
- We're coming up to Kent
State here, in episode eight
and people seem to be reacting
very strongly to the
Kent State scene.
- I held it in pretty
much really well,
up until Kent State.
And I just lost it
and I actually had
to leave the studio,
and you know, walk around for
10 minutes just
to collect myself.
- That just symbolized, for me,
what this war was
doing to our culture.
These were kids on both sides,
young national
guard boys who had
very little training
and probably scared,
and not well led and
young men and women
on the other side,
protesting the war,
out there for
idealistic reasons.
And, look at what
happens when we
let things get as
bad as they got.