That’s such a crucial issue. In order to protect journalists, we need to believe in the integrity, accuracy, and reliability of their work…Some people with agendas try to sow seeds of distrust in the media, labeling it as an enemy rather than a friend of the people because they don’t want that level of accurate reporting; they want to control the narrative.
Trust in journalism has eroded partly due to how people consume news. It used to be that figures like Tom Brokaw delivered unbiased, just-the-facts news. Now, news is personality-driven and often skews politically, blurring the lines between news and entertainment.
I think a solution lies in supporting real journalism. I subscribe to established newspapers because that’s how I prefer to absorb my news — I trust what I read in The Times, The Post, or The Wall Street Journal over what I see on TV or online. I wish more people would rely on these trusted sources rather than going down Internet rabbit holes which lead to wild conspiracy theories and chaos.
Additionally, advancements like AI and deep fakes have exacerbated distrust. Even if you see and hear something, you can’t be sure it’s true, which feeds into the confusion. This makes it even more crucial for journalists to be beacons of truth and integrity, shining a light on what some may prefer to keep hidden.
I had the pleasure of talking with Mark Maxey. Mark is an accomplished American producer, writer, and director. He is known for his work in both film and television, with particular acclaim for the documentary “Up to Snuff” (2019), which profiles the life and career of musician and composer W.G. Snuffy Walden.
Maxey’s early life was steeped in a musical environment, being the son of Linda Maxey, a concert marimbist, and Lawrence Maxey, a clarinetist and professor at the University of Kansas School of Music. Raised in Lawrence, Kansas, his proximity to the Centron film studio ignited his passion for the visual arts. During his childhood, Maxey often found himself on sets, performing small roles and working as an extra. His involvement in the local community theater further developed his love for storytelling and production.
After graduating from Lawrence High School in 1987, Maxey ventured to Washington, D.C. in 1990, where he began his career in television production. His early professional years were marked by significant growth, leading to his role as a vice president at Yorktel, a position that honed his skills in managing large-scale productions.
Maxey’s career in documentary filmmaking gained notable recognition with “Up to Snuff,” a documentary that delves into the life of W.G. Snuffy Walden, a rock musician who turned to sobriety and became a revered television and film composer. The film not only explores Walden’s personal and professional transformations but also reflects Maxey’s ability to capture deeply personal stories with sensitivity and insight.
In addition to his documentary work, Maxey has produced numerous television specials, including “The Honors: A Salute to American Heroes,” for which he won an Emmy Award in 2014. His other projects, such as “American Valor,” “Salute to Veterans,” and the “National Memorial Day Parade,” are broadcast nationally and have helped cement his reputation as a producer who skillfully blends entertainment with poignant tributes to American heroes.
Mark Maxey’s commitment to the film community extends beyond production. In 2011, he co-founded the Washington West Film Festival alongside Brad Russell. Serving as chairman of the board, Maxey has been instrumental in shaping the festival as a platform for inspiring films that enact positive change in society.
Maxey resides in the Washington D.C. metro area, where he continues to influence the film and television industry through innovative projects and community involvement.
Mark, it’s a delight and an honor to meet you. Before we dive in deep, our readers would love to learn about your personal origin story. Can you share this story of your childhood and how you grew up?
I was born in California but grew up in the Midwest. My father was a college professor who taught music at the University of Kansas. In the town where I grew up, there was one motion picture production studio that did primarily industrial and educational films. It happened to be across the street from where we lived. So, I spent my childhood playing in their lot, helping myself to craft services, and being an extra in their films. I think that’s where I grew to love the visual arts from an early age. Fast forward to after school, I made my way to the East Coast, to the Washington, DC, area, where I met my wife and started my family. I’ve done a variety of things related to production and post-production here, which culminated in me founding a company called Rolling Pictures to focus solely on motion picture production, primarily narrative feature films. That’s what I’ve been doing, and we’ve been very fortunate to find some really compelling stories and be able to work with some incredibly talented people.
Yeah, I was so impressed with the caliber of production you’ve made and the people you work with. Can you share with our readers some of the highlights for you of what Rolling Pictures has produced?
Sure, I’m very proud that we worked with Mayim Bialik on her directorial debut, a film called As They Made Us. It starred Dustin Hoffman, Candice Bergen, Dianna Agron, and Simon Helberg — a brilliant cast with a very powerful story. It was somewhat autobiographical for Mayim. Her father was a documentary filmmaker who was bipolar and sometimes abusive, and this film is very much a story about her own dysfunctional family, written after her father had passed away. It’s an incredible film that looks at how family dynamics change over time.
We also did a completely different film, directed by Kyra Sedgwick, called Space Oddity. It starred Kyle Allen and Alexandra Shipp, and included Kyra’s husband, Kevin Bacon, along with other incredible actors like Madeline Brewer and Carrie Preston. Filmed on a flower farm in Rhode Island, it tells the story of a young man, raised on this farm, whose dream is to be a horticulturist on the first Mars colony. His life takes a turn when he falls in love and has to choose between following his dream or following his heart. It was a beautiful setting and a very sweet story.
Our current project is about Anna Politkovskaya, a Russian journalist who exposed atrocities in Chechnya early in Putin’s presidency. She was poisoned, detained, beaten, and ultimately murdered on Putin’s birthday. Tragically, she is one of more than 1,800 journalists killed this century — a staggering number. This story is tragically timely and relevant today, with themes of Russian aggression and suppression of the truth. We hope it will shine a spotlight on these issues and start conversations, expanding people’s awareness of the importance of press freedom. Every journalist should have the right to report without fear of death or reprisal.
I see behind you, you have almost maybe a dozen awards. Can you tell the readers what those are?
Yes, those are actually not related to my film work. Before, I did some work in television and was fortunate enough to have been awarded an Emmy for one of the programs I produced. It was really focused more on veterans’ issues — stories of American valor, courage, and heroism from men and women in uniform who served our country. I’m very proud of those stories. But that was a different phase of my career where I was doing more TV and industrial production.
That’s amazing. Most of your projects, do they have a social impact theme? Are they meant to have a broader message or do you have other criteria?
That’s a great question. For me personally, I’m drawn to projects that make a social impact. I’m involved in the Washington West Film Festival in Northern Virginia, which I helped start and have been with from the beginning because it’s philanthropic. The festival donates 100% of the box office proceeds to help communities in need, leveraging the visual arts to have a positive impact on society. I love that kind of stuff. That said, not every story Rolling Pictures takes on falls into that category. We’re an entertainment company, not strictly issues-oriented. My nature just gravitates toward compelling personal stories that might enlighten as well as entertain. We don’t really do genre films like low-budget indie horror, which is a thriving market, nor are we into big-budget action movies with car chases. Most Rolling Pictures productions are character-driven, focusing on personal narratives.
Amazing. So I saw that Anna was presented at the National Press Club, and you had John Brennan and Sean Penn there. How did that come about?
Yes, Sean Penn is the executive producer of the film and has been a great partner and friend to this project, helping to elevate the story. He has witnessed Russian aggression firsthand. Sean was with the president of Ukraine, President Zelensky, on the day Russia invaded. At that time, he was there to make a documentary on a different subject, which then pivoted to focus on Zelensky and how he dealt with Russia attacking his country and harming his people. This subject is very important and personal to Sean. And yes, John Brennan was there, along with Bob Woodward and Congressman Eric Swalwell. After our film was shown, they spoke on a panel discussion led by Emily Wilkins, president of the National Press Club and an employee of NBCUniversal at CNBC. It was an incredible group of thought leaders, and I appreciated the conversations around the film and the insights they shared. Journalists worldwide are being killed at an alarming rate. If 1800 taxi drivers were killed, it would be a major topic of discussion, so I don’t understand why the deaths of 1800 journalists this century aren’t more widely discussed. We live in a time where political leaders in various countries demonize the press, calling journalists the enemy of the people. Now more than ever, we need a free press to tell us the truth, filter what’s real and what’s not, and hold people accountable. This helps citizens stay informed and make wise choices about their leaders and the future of their countries. This issue transcends national borders; it’s a global issue. Former CIA Director John Brennan, Congressman Eric Swalwell, who introduced the Journalism Protection Act in Congress, and Bob Woodward, a legendary journalist known for speaking truth to power, all brought significant perspectives to the panel. It was a privilege to sit and listen, and I was grateful they were willing to discuss these topics following our film about Anna Politkovskaya. It was the Press Club’s event, and I was proud and thankful for their interest in bringing Anna’s story to the forefront. We are exploring different distribution options for the film to reach the broadest audience possible. This can be challenging for any independent filmmaker, but perhaps more so with a film that addresses Russian aggression and the dangers faced by those who oppose Putin. It’s unusual for us to consider whether distributors might be hesitant to promote a film due to fear of retaliation, but it’s a reality we have to contemplate.
Do you personally feel fear of reprisals from Putin?
I hope not. We’ve presented an honest look at Anna’s story and life. We don’t claim that Putin personally killed her, and I’m sure he was elsewhere when she was murdered. So, we’re not suggesting anything overt. However, the fact remains that she was poisoned and gunned down, and these tragic events did occur. She’s one of seven journalists from her newspaper in Moscow who have been killed. There’s a poignant line in the film from her editor, Dmitry Muratov, who recently won a Nobel Peace Prize. The people at the center of this story are incredible, doing truly remarkable work, with Anna and the managing editor being prime examples. He mentioned that the autocrats never come after him directly; they just keep killing his reporters. Dmitry is a remarkable man. After Russia invaded Ukraine, he auctioned his Nobel Peace Prize and raised more than $103 million which he donated to help Ukrainian child refugees.
So just to clarify, those 1800 journalists that were killed, were any of them in a combat zone, were they in a dangerous area?
That’s a great question. Yes, some of them were indeed in high-risk areas. For instance, in Gaza, I think more than 100 journalists have been killed since October. These journalists were simply doing their jobs, reporting from where the stories were unfolding, often in dangerous situations, which tragically led to their deaths. The Committee to Protect Journalists, an organization dedicated to the safety of journalists worldwide, keeps track of these incidents. They report on the circumstances under which journalists are harmed or killed. The figure of 1800 journalists includes those killed under various circumstances globally, not exclusively for political reasons or for something they wrote, though that is often the case. Well-known cases include American journalist Daniel Pearl and Jamal Khashoggi, who worked for an American news organization. Both were brutally murdered. However, there are many others like Anna, whose stories are less known but equally significant. These journalists were merely fulfilling their roles, striving to inform the world about current events, and their contributions should not be forgotten. We truly need such individuals.
Do we know if a significant number, either a plurality or majority, were killed under circumstances like Anna’s or Jamal Khashoggi’s, where there was clearly a political reprisal or there’s a political intent behind it? What number are cases like Anna’s?
I’d like to get back to you on that. Let me ask the Committee to Protect Journalists, because they’re the ones who track all that. They’ll have the answer.
Sure, OK, for sure. I mean, personally, I’m also invested in the times that I wonder if I should even do that interview or something, you know. But it hasn’t stopped me yet, and I’m curious about it.
Yeah, well, thank you. I mean, you’re a journalist. You’re the person who we need to be protecting. It’s so important and so necessary. It seems like the dangers that journalists face now are greater than ever before, which is tragic for the world and the communities they’re trying to serve.
This might be a bit of a digression, but I think it’s related. You probably have some amazing stories from working on all these incredible stories and with this fantastic cast. Can you share one or two of your favorite memories or anecdotes with the readers?
Sure. Well, with this film specifically, the story is set in Moscow. But obviously, we did not want to be filming in Russia, so we filmed in Latvia, a former Soviet bloc country, which was beautiful and looked very authentic. We filmed during winter, so you’re in Eastern Europe in wintertime. It’s cold and snowy, exactly how you would imagine Moscow during that period. But the people were lovely, the architecture was very authentic, with buildings built by Stalin, which really served our purpose well. The majority of our crew were Latvians. Some of our department heads came from English-speaking countries. We all lived in a wonderful hotel that we actually used to film some of the scenes. Maxine Peake plays Anna and is just brilliant in the role. She captured the essence of who Anna was perfectly. We even had a former bureau chief in Moscow who knew Anna personally attend a press screening, and he mentioned he got goosebumps because Maxine and the film so accurately captured who Anna was and her passion to speak truth to power on behalf of the people she wrote for.
Jason Isaacs is another favorite; to my kids, he was the guy from Harry Potter, but I admired him from other films like ‘Death of Stalin’ and ‘Mass,’ a powerful film about the aftermath of school violence. Ciarán Hinds and Ian Hart, both from Harry Potter, and Ciarán also from Game of Thrones, were amazing as well. We spent two months in Latvia, working 12-hour days and then spent evenings playing poker, singing karaoke, or exploring the city. There were big winter markets and lots of fun things happening around the December holidays. It was just a lovely time, and the people involved are amazing individuals who put everything into telling the story the right way and doing it in a way that respected the truth and the real people’s stories that we were dramatizing. It’s not a documentary, but we wanted to honor the spirit of these individuals. The writer, Eric Poppin, did a thorough job researching, trying to capture the voice of these people and that helped. So, yeah, it was a wonderful experience.
Yitzi: It feels like the message of the film is that we have to protect journalists. What are a few things that society, individuals, or governments can do to help address this issue? It seems like people like Putin aren’t necessarily going to listen to this message.
Mark: That’s true. It’s not just about protecting journalists but understanding that the truth matters, and journalists play a crucial role in presenting the unfiltered truth. There’s a lot of interpretation on cable news networks, and it often depends on which one you tune into. But when you read an article from a journalist, you’re hoping to get just the facts — who, what, where, when, and why — without their opinion or interpretation. This is crucial and worth protecting, especially since the dangers in autocratic regimes are profound. When there’s no freedom of the press, people remain uninformed, and the narrative is controlled by authoritarian powers.
As for protecting the press, it’s not about physical gestures like hugging a journalist but instead ensuring that our representatives respect and protect a free press. Anyone labeling the press as the enemy of the people should be questioned, as this is typical autocrat or dictator rhetoric. There’s a saying, “First they came for the journalists, and after that, we don’t know what happened because there was no one to tell us.” We really need the press.
At Rolling Pictures, we’re committing a portion of the proceeds from this film to support the important work of the Committee to Protect Journalists and the National Press Club’s Journalism Institute. This is our way of using the story to raise awareness, spark conversations, and provide meaningful support for these organizations.
Yitzi: It sounds like the thrust of the film is talking about the importance of the press and the importance of us supporting the press, recognizing it as the fourth estate, which is critical to democracy. I recently saw a Gallup poll that said only about 30 percent of Americans trust the mass media. It’s sadly a low number, and I think part of it is due to the perception of partisan media, whether conservative or liberal, which makes it feel less objective. From your work, what would you say should be done to increase trust both from the consumers and from journalists and editors on how to increase trust in journalism?
Mark: That’s such a crucial issue. In order to protect journalists, we need to believe in the integrity, accuracy, and reliability of their work. If we don’t, what’s the point of protecting them? Some people with agendas try to sow seeds of distrust in the media, labeling it as an enemy rather than a friend of the people because they don’t want that level of accurate reporting; they want to control the narrative.
Trust in journalism has eroded partly due to how people consume news. It used to be that figures like Tom Brokaw delivered unbiased, just-the-facts news. Now, news is personality-driven and often skews politically, blurring the lines between news and entertainment.
I think a solution lies in supporting real journalism. I subscribe to established newspapers because that’s how I prefer to absorb my news — I trust what I read in The Times, The Post, or The Wall Street Journal over what I see on TV or online. I wish more people would rely on these trusted sources rather than going down Internet rabbit holes which lead to wild conspiracy theories and chaos.
Additionally, advancements like AI and deep fakes have exacerbated distrust. Even if you see and hear something, you can’t be sure it’s true, which feeds into the confusion. This makes it even more crucial for journalists to be beacons of truth and integrity, shining a light on what some may prefer to keep hidden.
Yitzi: That’s an amazing point. From what you’ve shared, it struck me that the main beneficiaries of your film and its message might really be the journalists themselves, to realize that they are the structural support of democracy. If they falter in their responsibilities, everything else can tip over. It’s really about shaking up newsrooms, editors, journalists, and pundits. If they’re not trusted, everything else falls apart.
Mark: Yes, I wasn’t fully aware of this issue before making the film. I knew subconsciously which is why I subscribe to reputable newspapers and avoid relying primarily on cable news or the internet for information. However, I didn’t fully grasp just how critical journalists are and the dangers they face. I used to picture journalists just banging away on a keyboard in some office, maybe smoking and drinking coffee in a rumpled suit. I didn’t imagine them on the front lines, facing death for reporting the truth.
This project opened my eyes to how vital journalists are to a free society and how much we depend on them. That’s why we need to embrace, protect, and sustain them. This film has been a revelation for me and underscores why it’s important. I want it to be distributed worldwide because these are the kinds of stories we need to tell and focus on. People like me probably don’t realize the gravity of what’s happening or the importance of these voices. I’m hoping this film becomes a conversation starter that increases awareness, understanding, and appreciation for the people dedicated to telling us the truth about what’s going on.
Yitzi: Amazing. So this is our signature question, and we’ll wrap up. So you’ve been blessed with a lot of success now. Looking back to when you first started, for someone considering becoming a filmmaker like you, can you share five things that you need to create a successful career as a filmmaker?
- Mark: Yeah, I think perseverance, for one. As with any kind of creative endeavor, it’s definitely hard work. And you really have to believe in yourself and what you’re doing and stick with it. So perseverance, certainly.
- I think networking is also important. That’s something that I try to impress on my kids and people that I speak with — it’s not just who you know, but it’s who knows you. It’s one thing if you know a lot of people, but it’s a whole other thing if a lot of people know who you are and think of you in a positive way and know to call you when they’re looking for someone that does what you do. So I think networking is huge.
- You know, find your tribe and your team. I learned early on to surround myself with really talented people who were more talented than I was. I say that if I’m the smartest person in the room, then I’m in the wrong room. And that’s one of the things I love about film; it is such a collaborative medium. It’s not the solo pursuit of an individual at a desk, but you’ll have a hundred or more people on set, each with their own job, all working in concert. It’s like an orchestra coming together to make this incredible, beautiful thing happen. But it takes all these different people doing their different roles to achieve that. And that’s one of the things that I love — it’s such a collaborative medium.
- Find good stories. I think that’s another thing. And one of the great things about this business is that anyone can be a filmmaker. You don’t have to have a degree or focus on a certain thing. You don’t need someone telling you, okay, you are a filmmaker. You just have to decide you’re going to go make films and do it. And some of the greatest filmmakers of my generation started making home movies in their backyard with their friends and, you know, went on to just do incredible things. So, yeah, I’d say find great stories and then find really talented people to help you tell them and stick with it, persevere.
- And then follow the fun. I think that’s the most important thing, if you love what you do, which I do. I mean, every day when I get up, I’m excited about the stories that I’m telling. I’m excited about the work that I’m doing, and it is work, and it is hard, and it does take time, and you do put blood, sweat, and tears into the projects. But if you love what you do and you’re passionate, then it doesn’t feel like work. Every day is just a joy to get up and get at it. So follow the fun is, I think, my last piece of advice for anyone, because, you know, that’s what makes life worth living.
Yitzi: So this is what we usually call a matchmaker question, but I like to be more specific with this. What’s your dream distribution? What’s your dream platform, whether it’s streaming, festivals, or movie theaters, and who do you need to speak to? Who needs to be cajoled to make this happen?
Mark: That’s a great question, and one that I’ve given a lot of thought to. This story is truly global — it’s not just a North American or European story, it’s one that affects everyone, no matter where they live. So for distribution, I’m looking for a partner who can release it on a massive scale. It doesn’t need to be a specific giant like Warner Brothers or Netflix, but it needs to be someone who understands and has the capability to handle a story like this and give it the extensive reach it deserves.
A film like Spotlight, which also dealt with significant and sensitive issues, received a major release that helped elevate public awareness and understanding. I believe this film, much like Spotlight, needs a strong distributor who won’t just release it piece by piece in small, regional markets but will provide a comprehensive, worldwide launch. I’m confident in Anna’s story and what she symbolizes — the importance of not shying away from tough conversations and learning from our past. So, while I don’t have a specific name yet, I’m looking for a major distributor that can commit to giving it the visibility and impact I believe it can achieve.
Yitzi: So, to wrap up, how can our readers continue to follow your work? How can they watch the film when it’s available? How can they support or purchase anything you’re offering?
Mark: I appreciate that. RollingPictures.com is our website where anyone can add themselves to our mailing list. We’ll be more than happy to keep people updated on Anna’s premiere and distribution path. For those interested in the story, if you share your email with us at RollingPictures.com, we’ll keep you in the loop about when and where it’ll be available. There’s also information about our other films. So, if any other stories spark your interest, we have a very diverse portfolio, and there’s likely something there that you would enjoy watching until Anna’s release. We would love to hear from anyone interested in following news about this film specifically. I look forward to being able to let people know when and where they can see it. If they do, I hope they tell someone, post a review, and let us know what they think on sites like Rotten Tomatoes or IMDb. Once it’s available, those reviews really matter. I tend to look at those scores when choosing how to spend my time and what to watch. I really appreciate that kind of honest feedback from people on the work we do as well.
Yitzi: If it’s helpful to you, I’ll be happy to interview the cast.
Mark: Yes, I’d love to take you up on that. It would be great to bring in Maxine Peake or Jason Isaacs to talk about the film from their perspective. Jason is currently in Thailand filming season three of White Lotus, and Maxine Peake is starring in a sci-fi thriller. Despite that, we all stay in touch because this is a role and a story that was so meaningful. It’s not just one film among many in their illustrious careers; it’s an important story that they’re staying connected to. I’d love to facilitate those conversations and get them involved in helping get the word out as well. So thank you very much for that.
Yitzi: Of course, it’s my pleasure. I’m invested in your mission to protect journalists. (Laughs)
Mark: I appreciate that. Thank you so much for your time today. If I can ever be of service to you, you have my number and email as well.
Yitzi: My pleasure, Mark. I wish you continued success and blessings. Thank you.
Filmmakers Making A Social Impact: Why & How Mark Maxey Is Helping To Change Our World was originally published in Authority Magazine on Medium, where people are continuing the conversation by highlighting and responding to this story.