I recorded this interview with producer and writer, Jill Hargrave, whose latest documentary is "Road to Liberty: Through Their Eyes" about the American Revolution.
What has your career basically been?
I had a very different life in England. I was a pop singer in the 1960s on the Parlophone label (the same as the Beatles). I was only 16 when it happened. I stayed in show business for about three and a half years, then became a blackjack dealer. Through that work I got the chance to work on the QE2, where I met Americans who told me I’d fit in well in the United States. They sponsored me, and I arrived in 1972.
I went back to college in America and majored in journalism, graduating around age 30. An internship at WCBS led me into documentaries. I’ve been producing, writing, and directing them ever since, eventually forming my own company, Eagle Vision Productions, in 1997. I work because I love it; I don’t consider myself retired.
How did you manage to stay consistently employed in such a tough industry?
I could do everything: raise the money, write the scripts, shoot, and edit. I learned linear editing, then taught myself Avid. I became a one-woman band while still collaborating with strong team members. Being reliable and willing to learn new skills helped me keep getting work.
How do you raise funds for a documentary?
I use the Foundation Directory (free for nonprofits) to match my project with foundations and corporations whose interests align. For "Road to Liberty: Through Their Eyes," I combined small grants, a successful Kickstarter campaign, and support from longtime contacts and family foundations. You have to be persistent, unafraid of rejection, and good at selling your passion.
Tell us about your current documentary, Road to Liberty: Through Their Eyes
It focuses on the formative years of the American Revolution, especially the often-overlooked 1776 New York–New Jersey campaign. It includes the African American experience from 1775 onward and uses many contemporary quotes from Washington and others. The film is now complete and will be distributed via public television stations and other channels.
You’re British. Has anyone given you a hard time for making a film about the American Revolution?
Not really. After 52 years here, I tell people that if I had been in America in 1776, I would have been a rebel. I tried to show both sides fairly; it was in many ways a civil war.
How do you write a documentary script?
I start with a detailed blueprint/outline. Then I interview historians, transcribe the interviews, pull the best soundbites, and build the script in short segments: narration, quotes, and visuals. I lay down the full audio track first (narration + interviews + quotes), time it, cut it to length (max 58 minutes for PBS), and only then add the images and B-roll.
You were a pop singer as a teenager. How did that start?
My brother wrote songs and my sister originally sang them. One night I sang along in the car and a producer liked our voices together, turning us into the sister act “Jackie and Jill.” We signed with Northern Songs (the Beatles’ publisher) and recorded for Parlophone/EMI. We worked clubs in northern England and entertained American troops in Europe. It was an amazing experience at 16 and 17.
What were some of the challenges of being a teenage girl in the music business in the 1960s?
The main challenges were the expectations from men in the business and suddenly having a lot of freedom. My sister and I were very different personalities, which eventually led us to part ways professionally.
You also write screenplays. What advice do you have for writers?
Keep writing and find or form a supportive writers’ group. I joined Stage 32 during COVID and built a wonderful ongoing writers’ room that still meets regularly. Writing doesn’t have to be lonely. Enter good festivals strategically (Austin Film Festival is excellent for screenwriters) and just keep practicing.
Any final advice for people who want to produce documentaries?
Have real passion for creating. Be willing to learn every aspect of the process and be ready to troubleshoot constantly. Build relationships, network, and never be afraid to ask for support. Most of all, enjoy what you do — the money comes second.
I went back to college in America and majored in journalism, graduating around age 30. An internship at WCBS led me into documentaries. I’ve been producing, writing, and directing them ever since, eventually forming my own company, Eagle Vision Productions, in 1997. I work because I love it; I don’t consider myself retired.
How did you manage to stay consistently employed in such a tough industry?
I could do everything: raise the money, write the scripts, shoot, and edit. I learned linear editing, then taught myself Avid. I became a one-woman band while still collaborating with strong team members. Being reliable and willing to learn new skills helped me keep getting work.
How do you raise funds for a documentary?
I use the Foundation Directory (free for nonprofits) to match my project with foundations and corporations whose interests align. For "Road to Liberty: Through Their Eyes," I combined small grants, a successful Kickstarter campaign, and support from longtime contacts and family foundations. You have to be persistent, unafraid of rejection, and good at selling your passion.
Tell us about your current documentary, Road to Liberty: Through Their Eyes
It focuses on the formative years of the American Revolution, especially the often-overlooked 1776 New York–New Jersey campaign. It includes the African American experience from 1775 onward and uses many contemporary quotes from Washington and others. The film is now complete and will be distributed via public television stations and other channels.
You’re British. Has anyone given you a hard time for making a film about the American Revolution?
Not really. After 52 years here, I tell people that if I had been in America in 1776, I would have been a rebel. I tried to show both sides fairly; it was in many ways a civil war.
How do you write a documentary script?
I start with a detailed blueprint/outline. Then I interview historians, transcribe the interviews, pull the best soundbites, and build the script in short segments: narration, quotes, and visuals. I lay down the full audio track first (narration + interviews + quotes), time it, cut it to length (max 58 minutes for PBS), and only then add the images and B-roll.
You were a pop singer as a teenager. How did that start?
My brother wrote songs and my sister originally sang them. One night I sang along in the car and a producer liked our voices together, turning us into the sister act “Jackie and Jill.” We signed with Northern Songs (the Beatles’ publisher) and recorded for Parlophone/EMI. We worked clubs in northern England and entertained American troops in Europe. It was an amazing experience at 16 and 17.
What were some of the challenges of being a teenage girl in the music business in the 1960s?
The main challenges were the expectations from men in the business and suddenly having a lot of freedom. My sister and I were very different personalities, which eventually led us to part ways professionally.
You also write screenplays. What advice do you have for writers?
Keep writing and find or form a supportive writers’ group. I joined Stage 32 during COVID and built a wonderful ongoing writers’ room that still meets regularly. Writing doesn’t have to be lonely. Enter good festivals strategically (Austin Film Festival is excellent for screenwriters) and just keep practicing.
Any final advice for people who want to produce documentaries?
Have real passion for creating. Be willing to learn every aspect of the process and be ready to troubleshoot constantly. Build relationships, network, and never be afraid to ask for support. Most of all, enjoy what you do — the money comes second.
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