Interview with George Csicsery
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Interview with George Csicsery George Csicsery is the producer and director of the film Julia Robinson and Hilbert’s Tenth Problem (see movie review, pages 573–575, this issue). The following is an interview with Csicsery, conducted on February 19, 2008, by Notices graphics editor Bill Casselman, University of British Columbia. Notices: How did you come to make this film? you consider that she had already written, or co- Csicsery: The idea for this film came in 1998. written, Julia Robinson’s autobiography, Julia: A Charlie Silver, a logician and a friend, sent me an Life in Mathematics. email in which he summarized the idea of the film My main conceptual contribution was to tell for me in a few enthusiastic paragraphs, beginning the mathematical story inside the biography of with “While waking up this morning, I had a flash Julia Robinson. And this proved to be the most of a math film … .” In the rest of his email he out- difficult part—making the two parts move forward lined much of what eventually went into the film. in tandem so that neither would subtract from Charlie had helped me a great deal while I was the other. making N is a Number: A Portrait of Paul Erd˝so , Notices: How did you get interested in making mathematics films in general? Csicsery: That’s a question I get often, since I’m not a mathematician and my understanding of mathematical ideas is rather primitive. Just as often, my official answer is that I’m a refugee from the social sciences looking for terra firma. And this is only half a joke, because in my lifetime there has been terrific erosion in the quality of work being done in what used to be called the social sciences, and more precisely the fields in which I was best trained—anthropology, sociology, comparative religions, and history. My interest in mathemati- cians, rather than mathematics itself, was sparked by hearing and reading about individuals who had Photograph courtesy of George Csicsery. George of courtesy Photograph a passionate dedication to finding out things that George Csicsery filming in 1977. might actually be close to truth. There’s a second part to this. My films about mathematicians are also films about people who found ways to over- and he’s worked extensively on the films of Errol come the less pleasant aspects of life. Paul Erdo˝s Morris. He had been a student of Julia Robinson and Julia Robinson are both interesting exemplars at Berkeley, and knew her. As he explained it, the of the life of the mind prevailing over the daily story of how Hilbert’s Tenth Problem was solved travails that consume most people. came to life for me. Constance Reid was already a legend in math- When I agreed that the story was compelling, ematics, being the pre-eminent biographer she Charlie flew out to California and we went to visit is. I always felt that she is an important part of two people together. One was Constance Reid, the the story in her own right, independently of Julia other Martin Davis. Both of them embraced the Robinson. Constance also had a wonderful col- idea for a film and agreed to participate. In a sense, lection of photographs taken by their father. She Constance, being Julia Robinson’s sister, became made these and countless other artifacts available her surrogate in the film. This is not so strange if to the project. 576 NOTICES OF THE AMS VOLUME 55, NUMBER 5 Photograph by Helen Moore, courtesy of George Csicsery. George of courtesy Moore, Helen by Photograph Some of the people involved in the making of the Julia Robinson film, including Kirsten Eisentraeger, Yuri Matiyasevich, Alexandra Shlapentokh (top row, first, fourth, and seventh from left), George Csicsery (front row, third from left), Bjorn Poonen (to the right of Csicsery), and Martin Davis (standing, third from right). All of those named appeared in the film, with the exception of Csicsery. Martin Davis is one of the four people cred- an audience, or in the case of a film like this one, ited with solving Hilbert’s Tenth Problem. He creating an audience. The third is actually making had worked with Hilary Putnam, then with Julia the film. Of course, these three things are inti- Robinson, and then later, with Yuri Matiyasevich. mately connected. His descriptions of the other participants and of I started working on the film with no funding be- events turned out to be key parts of the narrative, cause Constance Reid was flying to St. Petersburg, shedding light not only on an important piece of Russia, in January 1999 to celebrate her birthday mathematical history, but adding color and nuance and the anniversary of the solution of H10 with to the characters. Yuri Matiyasevich, and I thought this should be About a year into the process I was able to meet covered. It was frustrating to say the least; I paid a Yuri Matiyasevich at a Hilbert’s Tenth Problem Russian crew to follow them around, but in the end meeting in Gent, Belgium. Here was the man who could not afford to go myself. Talk about remote had actually succeeded in solving the problem in directing. Well, as you can imagine, there is very 1970, and then, overcoming the immense politi- little footage from that adventure in the finished cal barriers between the U.S. and the USSR at the film. Then I was committed. I kept shooting from time, went on to forge a creative partnership with 1999 through about 2005 with no resources. There Julia Robinson and Martin Davis. Is there anything were two or three times when I was working on more dramatic? Matiyasevich proved invaluable to projects for MSRI [Mathematical Sciences Research the film. The deep sincerity and intense emotion Institute] and would be shooting an interview with with which he addressed every one of my ques- someone who figured in Julia Robinson’s story as tions reveals a great deal about him. He brought well. I asked David Eisenbud, the former director another gift to the project—his own 8mm films of MSRI, if I could shoot an extra roll or two for from 1970 and 1971. His first presentations of his the Julia Robinson film. Fortunately, he always said yes. Finally, in 2005 I got a decent grant from the solution to Hilbert’s Tenth Problem were filmed, Clay Mathematics Institute, followed by two more. and he had the footage, which you see in our film. And in 2007 we got a generous grant from the Mar- In 1971 he also filmed about one minute of scenes garet & Will Hearst Foundation. As a result we were with Julia and Raphael Robinson at the Bucharest able to schedule the final shoots and complete the mathematics meeting where they first met. As far editing. The film premiered at the Joint Mathemat- as I know, this is the only existing piece of film ics Meetings in San Diego in January 2008. with Julia Robinson in it. The challenge of finding an audience for the film Notices: What were the trials and tribulations seems mitigated by the terrific outpouring of inter- involved in making this film? est from mathematicians and teachers. I can only Csicsery: The biggest challenge for most docu- hope that this will lead to some television broad- mentary films is funding. The second is finding casts. It’s hard to be optimistic about TV though; MAY 2008 NOTICES OF THE AMS 577 even the best science series have been dumbed time it’s impossible to explain to people why you down to accommodate the fleeting attention spans have chosen such an arcane subject. People seem of viewers. If you’ve seen the film you can appreci- to question your grip on reality, and sometimes ate that it takes more than five seconds to grasp you start suspecting they may be right and that some of the concepts. you’re wasting your time on a futile effort that Finally, there was the challenge of actually was doomed from the outset. Then you show the making the film. The film has three threads: the film, and people with no interest in mathematics biography of Julia Robinson, the history of how come up and say they got something out of it. And Hilbert’s Tenth Problem was solved, and some when you ask what that might be, they tell you the quite demanding mathematics. Weav- exact thing that you had in mind when you set out ing these together into a single narra- to make the film. That is rewarding. tive without sacrificing any of the bits Notices: Can you tell us a bit about your own was possibly the hardest task I’ve ever background? attempted. To be honest, I’m still not Csicsery: I was born in Germany in 1948. My sure how well we succeeded. I worked parents were refugees from Hungary, and we came with a superb editing crew consisting to the United States in 1951. They sent me to a six- of film editor Tal Skloot, and assistant year boarding school in Buffalo, New York, that had editor/animator Andrea Hale. We also been founded by Hungarian refugee priests who had the best available mathematical had run some of the best high schools in Hungary consultants, many of whom are in the before the war. From there I went to Berkeley in film, and had worked—or still work—on 1965, and got to experience the full blast of the some of the ideas we had to find ways 1960s.