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17 July 2024
[morris] Errol Morris on whether you should be afraid of generative AI in documentaries… Errol Morris interviewed. ‘Film isn’t reality, no matter how it’s shot. You could follow some strict set of documentary rules…it’s still a film. It’s not reality. I have this problem endlessly with Richard Brody, who writes reviews for The New Yorker, and who is a kind of a documentary purist. I guess the idea is that if you follow certain rules, the veritical nature of what you’re shooting will be guaranteed. But that’s nonsense, total nonsense. Truth, I like to remind people — whether we’re talking about filmmaking, or film journalism, or journalism, whatever — it’s a quest.’
27 September 2023
[herzog] 10 Underrated Movies Recommended by Werner Herzog‘The movie is really a meditation on loneliness, with many of the interviewees turning to their pets for the connection they lack with other people. “Never have I looked so directly into hell,” Herzog said of the film, and he meant it as a compliment.’
19 May 2023
[tv] All Roll Is B-Roll … Interesting analysis and criticism of Adam Curtis’ latest documentaries. ‘The success of TraumaZone is the success of a work with downsized, or at least redirected, ambitions. Perhaps Curtis has been listening to the growing group of critics accusing him of dealing in sensationalized conspiracy theories coated in a thin sheen of intellectualism. Certainly he seems to have listened to the criticisms of HyperNormalisation’s relentless pessimism – hence the David Graeber quote that bookends Can’t Get You Out of My Head: “THE ULTIMATE HIDDEN TRUTH OF THE WORLD IS THAT IT IS SOMETHING WE MAKE, AND COULD JUST AS EASILY MAKE DIFFERENTLY,” leavening that series’s fundamental doomerism with a light optimism of the will.’
17 December 2021
[docu] The 78 Best Documentaries of All Time A great list of documentaries from Vogue. … ‘The Fog of War – Errol Morris’s Academy Award-winning portrait of Robert S. McNamara-roundly recognized (and vilified) as the architect of the Vietnam War-organizes his subject’s reflections on his life and career into a list of maxims about war and human error, with what The New York Times called “the cumulative message suggesting that in wartime nobody in power really knows anything.” It is not a film meant to reassure its viewer. “Believing and seeing are both often wrong,” goes one lesson. “Rationality will not save us,” says another. The final (and saddest) is delivered by Mr. McNamara with a smile: “You can’t change human nature.”’
15 November 2021
[ronson] Jon Ronson and Adam Curtis on the culture wars: ‘How has this happened? Where is the escape hatch?’ … Curtis and Ronson in discussion promoting Ronson’s new podcast. ‘The series did make me think: how has this happened? Not just the culture wars but their ferocity. And where is the escape hatch? Because I think all sides now feel that there’s something not quite right. If you examine the years since Trump and Brexit, there has been this enormous hysteria in newspapers and on television about it. But actually the politicians have done nothing to change society. It’s almost been like a frozen world.’
28 July 2021
[curtis] Adam Curtis Knows Exactly What’s Wrong With Right Now … The documenatary filmaker is interviewed about his latest series Can’t Get You Out of My Head.

In his new epic series, Curtis pulls together such disparate threads as Chairman Mao’s wife, Jiang Qing, the stoner duo who created the Illuminati conspiracy theory, Tupac Shakur, and Dominic Cummings. Through these personal histories – and many, many, more – the six-part film picks apart the rise of individualism, the fall of democracy, failed revolutions and corrupt systems of power, the addictive nature of social media and the combined psychological impact all of that has had on us.

If that particular synopsis makes it sound like the whole world is burning, while we sit helplessly and watch, Curtis wants you to know that is not his intention at all. While there are several points in the documentary that have quite nihilistic undertones, he directs me to the opening quote in the first film, by anthropologist David Graeber: “The ultimate hidden truth of the world is that it is just something we make, and could just as easily make something different.”

11 June 2021
[curtis] Adam Curtis Hate Matrix‘I mean we were just having a lovely time for my nan’s birthday, what does that have to do with nuclear disarmament? – Man whose Butlins holiday footage was played, over-exposed and at half-speed beneath Aphex Twin’s Avril 14th.’
4 June 2021
[herzog] Exploring Werner Herzog’s obsession with chickens‘In the AMA, Herzog added a more tangible but bleaker insight into the nature of the chicken: “I would note: chickens are living manifestations of death, bred only to be domesticated and killed. When we look into their eyes, we see the part of ourselves of which we are most afraid – our ultimate destination, death.”’
1 February 2021
[tv] Adam Curtis Explains It All … Adam Curtis has a new series of film coming out and the New Yorker has a preview/interview with Curtis. It has comments from “a former comic-book writer” called Alan from Northampton for those that are interested. :) ‘[Alan] Moore told me that he felt “quite neurologically fizzy” after each film. At the end of the binge-watch, he sent Curtis a postcard, comparing his work to “the kind of dream where we become aware that we are dreaming and can thus attain agency over the torrent of nonsense.”’
2 December 2020
[herzog] Five of the best documentaries, as chosen by Werner Herzog‘Vernon, Florida – This was his second documentary, after Gates of Heaven, and I pushed Errol [Morris] into doing it at the time, when he was very young. He spent some time in a small town in the Florida Panhandle, just engaging with and talking to local people. And it’s a completely incredible world of fantasies and strangeness. You have to see it. How can I describe it? I’m not a reviewer. It’s a great, great film.’
23 June 2020
[hertzog] Werner Herzog: ‘I’m fascinated by trash TV. The poet must not avert his eyes’ … Herzog interviewed during lockdown in Los Angeles. ‘The director sits bolt upright inside his book-lined study. His glasses are perched on the bridge of his nose. His fleece is zipped to his chin. “Your face has stuck,” he announces with disgust. “You will have to hang up and dial the number again.”’
30 October 2019
[morris] “The World Is, of Course, Insane”: An Interview with Errol Morris … The New Yorker interviews Errol Morris on Steve Bannon amongst other things.

Ed Gein was the famous “Psycho” killer, arrested in Plainfield, Wisconsin, in 1957. A kind of American fable, if you like, and I really, really wanted to meet Ed Gein. I remember lying to people about how I had met him, when I hadn’t. And then I thought to myself, why lie about meeting him when you can actually meet Ed Gein?

I got in to see Ed, finally, because I had these letters of introduction from various forensic psychiatrists at Berkeley School of Criminology. The head of the hospital, Dr. Schubert, was probably as nuts as Ed Gein. I ask him if there’s any truth to the claims that Ed was a cannibal. He seems insulted, he says absolutely not. I asked Ed about this very issue, and he told me that, although he had tasted human flesh many times, that he didn’t like it.

See, I live for this kind of thing. It confirms some kind of satisfying idea about the world that the world is really fucked. It’s really insane. Our heads are such foreign countries. Such strange, uncharted territories. And it’s fun. It’s fun for me to talk to geniuses, it’s fun for me to talk to monsters.

24 October 2018
[docu] Adam Curtis: “Social media is a scam” … Brief Interview with Adam Curtis. ‘I’ve always thought John Le Carré did spies a great service because he made it seem as if there were endless depths of mystery and darkness when in fact, if you’ve ever researched the spies, they are a) boring and b) useless. I mean really, really useless. I researched MI5 once and they hardly ever manage to capture any traitors … it’s usually someone else who points them in the right direction.’
9 July 2018
[true crime] The Queasy Verdict of ‘The Staircase’ … A spoiler filled examination of the true-crime documentary “The Staircase”. ‘It’s tempting to call the story of Michael Peterson a tragedy. Not just because his protestations of innocence and grief are pitiable (although they are), or because he summarizes his life with a quote from Romeo and Juliet, “All are punished” (although he does). It’s tempting because, in The Staircase, it’s Peterson-as opposed to his dead wife-who’s unfailingly presented as the victim. After a short news brief detailing how Kathleen Peterson’s body has been found in the couple’s mansion in Durham, North Carolina, the series begins in earnest with Peterson walking the camera crew around the home, describing the events on the evening of Kathleen’s death. He’s calm and detailed in his account of how the couple watched a movie, talked about their kids, and drank a first bottle of wine, followed by a second. Then, he explains, the couple went down to the pool on their property. In Peterson’s telling, Kathleen went upstairs to bed while he stayed by the pool with his wine. It was the last time he saw her alive. What happened next was so bizarre, so unpredictable, that it made the Peterson murder investigation a national story…’
23 May 2018
[docu] From ‘Making a Murderer to ‘Evil Genius’: Netflix’s Golden Age of True-Crime … Examining Netflix’s successful approach to True-Crime documentaries. ‘They invite speculation and discussion by pulling at the threads of a mystery rather than defining and/or vilifying its subjects. They benefit from the Netflix model, which has allowed viewers to chart a case in either parceled-out chapters or, thanks to the service’s tendency to dump full seasons in a single bound, to inhale it as one continuous stem-to-stern investigation. They have a tendency to treat the sensationalistic material with a narrative seriousness that’s often missing from the tabloid-style shows. “There’s a lot of true crime content out there, right?” Nishimura told Business Insider. “What made [Making a Murderer] compelling and interesting and for me … was that commitment to the level of storytelling.” And they allow for viewers to get to know the players in these complex stories, and gives them the chance to understand their motivations rather than simply condemn their actions.’
22 January 2018
[wormwood] The Bitter Secret of ‘Wormwood’… Another Look at Errol Morris’ Wormwood. ‘If Morris had simply recounted the facts, even in a way that emphasized the real suffering of the victims, that would have shocked nobody. They are the stuff of every spy movie, a genre that has successfully turned state surveillance and assassinations into seductive excitement. But unlike that genre, Wormwood-a word for a bitter poison, used by Hamlet to describe bitter truths-doesn’t produce dramatic tension by exploiting our desire to be in on the secret. It exposes us to the baser side of that desire: the narcissism, mean-spiritedness, and contempt that are so often the psychological realities of secrecy.’
3 January 2018
[morris] The Truth Is Out There: Errol Morris’ ‘Wormwood’ … Errol Morris discussing his Netflix documentary …

“In its essence, Wormwood is a story about a very, very smart young boy, now a man in his 70s, who has been involved in an epistemological journey into the nature of his father’s death. And I like to think that the movie, in its attempt to examine these questions, matches his own sophistication about these questions. How do we know what we know? How do we know that my father was murdered? What does that murder mean? He asks this question again and again and again, particularly near the end of the film. It’s one of my favorite sections of Wormwood, when he asks, ‘What does it mean?’

“It’s the same question that I’m always asking: What does it mean? And this irony, which I learned from Eric, is not something I imposed on the material-the irony of, How much are we willing to sacrifice in order to know something? Knowledge comes with a cost. And to what extent is knowing something worth the price that we have to pay to know it? The other option is to live in a fantasy, but if you ask me if there’s anything that makes us great, it’s the pursuit of truth. It’s the fact that we attempt to reach outside of ourselves and to know something about the world around us, and ourselves.

10 October 2017
[docu] Louis Theroux Explains the Staged Realities of ‘My Scientology Movie’ … interesting Q&A interview … ‘You get that feeling-which is some of my favorite material in documentaries in general-that the wheels have come off. Someone says, “Fuck you,” the set wobbles, and the mic drops down. You hear them on the mic: “I’m fucking done with this shit. Go join the cult of Louis Theroux if you want to.” There’s an electricity to that kind of material, where it’s slightly going awry. When [Rathbun] is like, “Your questions are fucking insipid and repetitive. Ask me a real question,” he’s basically saying, “You’re a bullshit journalist, and I’m sick of you.” That crackles with the quality of real life.’
3 October 2017
[documentaries] Unsolved Mysteries … another examination of the limits of what documentaries can tell us … ‘Almost every single moment contained in the 18-hour The Vietnam War could be treated in the “What really happened? And can we ever know?” style of contemporary, searching documentaries. Co-director Novick told Vanity Fair of the war, “There’s no agreement among scholars, or Americans or Vietnamese, about what happened: the facts, let alone whose fault, let alone what we’re supposed to make of it.” To have adjudicated all these questions on camera would have led to a documentary 1,000 hours long, one that told us so much more about the nitty-gritty subjectivity of the Vietnam War it might as well have told us nothing.’
7 September 2017
[Herzog] Celebrate Werner Herzog’s 75th Birthday with These Peak Herzog Moments‘I don’t see [the jungle] so much erotic. I see it more full of obscenity. It’s just – Nature here is vile and base. I wouldn’t see anything erotical here. I would see fornication and asphyxiation and choking and fighting for survival and growing and just rotting away. Of course, there’s a lot of misery. But it is the same misery that is all around us. The trees here are in misery, and the birds are in misery. I don’t think they sing. They just screech in pain.’
14 August 2017
[true-crime] How “Making a Murderer” Went Wrong… a sobering critique of True Crime Documentaries … ‘Yet the most obvious thing to say about true-crime documentaries is something that, surprisingly often, goes unsaid: they turn people’s private tragedies into public entertainment. If you have lost someone to violent crime, you know that, other than the loss itself, few things are as painful and galling as the daily media coverage, and the license it gives to strangers to weigh in on what happened. That experience is difficult enough when the coverage is local, and unimaginable when a major media production turns your story into a national pastime. “Sorry, I won’t be answering any questions because . . . TO ME ITS REAL LIFE,” the younger brother of Hae Min Lee, the murder victim in “Serial,” wrote on Reddit in 2014.’
17 July 2017
[docu] The Keepers: ‘I’ve dealt with survivors and they’re sickened by the church’s response’ … Another look at Netflix’s True Crime documentary ‘The Keepers’… ‘The response of the archdiocese of Baltimore has been surprising, to say the least. “People in churches and schools in Baltimore started sending us literature that the archdiocese was sending out, on how to tell people what we got wrong. The documentary wasn’t even out. I just found it incredibly disappointing.” The @archbalt account retweeted a message that called the series “fiction”, a spokesperson subsequently admitting that this was “bad judgment”. “They’re trying to re-message. They’ve lost. It’s too late now,” says White.’
21 June 2017
[docu] Errol Morris on Interviewing Trump: ‘It’s Obvious: This Person Is Insane’… Errol Morris on his new film, true crime and Donald Trump … ‘I am utterly appalled by it all. I can’t even stand people trying to make sense out of it. There’s no point in trying. There’s a scene I’ve always loved in Dr. Strangelove, where General Turgidson (George C. Scott) is reading his letter from Brigadier General Ripper (Sterling Hayden) in the Pentagon war room, and Ripper is going on and on about precious bodily fluids. Peter Sellers’ president says “Give me that,” looks at the letter, and suddenly says, “It’s obvious: this person is insane!” Well, it’s obvious! It’s so obvious, it’s overt! I mean, every day you pick up the paper and it’s appalling.’
23 May 2017
[tv] The Keepers review – a breathtakingly brave true-crime documentary … reviewing a new true-crime documentary from Netflix… ‘In November 1969, a young nun, Sister Cathy Cesnik, went missing from her Baltimore apartment. The following year she was discovered, lying on her back on a frozen hillside, far from home, her skull broken in. From that day to this, no one has been able to conclusively say what happened to her. In this meticulous, skilfully edited series, White sets about interviewing key witnesses, police, former pupils from the school where Cesnik worked, local journalists and conspicuously few members of the church, painstakingly unearthing the complex story like a palaeontologist with a fine paintbrush. And his way in is a group of dedicated sixtysomething former pupils of Sister Cathy, who band together to find out what happened, despite the passing of years and the repeated denial of any justice. It is their story, and rightly so.’
6 January 2017
[docu] The 16 Best Documentaries of 2016‘Not many movies have been accused of throwing national elections, intentionally or otherwise. And while the sentiment that Weiner is somehow at fault for the presidential result is a bit ridiculous. It’s a testament to the incredibly strange year that directors Josh Kriegman and Elyse Steinberg have had. In January it was an epilogue. In August it became a second act. By November, it had become a prop in a much grander narrative. Yet what is most impressive about Weiner is the way that its treatment of the nuts and bolts of politics only gets more compelling. From the constant thrum of media distraction to the choreographed avoidance of already-made mistakes, it is a film in constant motion. And the scene of Weiner yelling at the unseen head of Lawrence O’Donnell will go down as one of American political cinema’s most resonant images.’
14 December 2016
[docu] Is the Art World Responsible for Trump? Filmmaker Adam Curtis on Why Self-Expression Is Tearing Society Apart … another interview with BBC documentary maker Adam Curtis‘I believe you can be clever whilst also being very clear and imaginative for ordinary people. You can do it by being funny sometimes, by using music that people like, and by writing very simply and very clearly. But you can’t make ordinary people out to be chumps-I come from a working class community, and I know they’re really clever. They may feel completely isolated and fed up and pissed off, but they’re not stupid. They’re angry, and they were given a giant, big button that said “Fuck off” on it, and they pressed it. And I think the same thing happened in the Midwest, in your country. They didn’t believe Trump’s stories, they were just given this button-and they pressed it.’
23 November 2016
[documentaries] From Weiner to Making A Murderer: this is the golden age of documentaries … an look at recent documentaries worth watching … ‘In the last decade, all that’s been turned on its head, as a handful of factors have conspired to render non-fiction film-making the liveliest pocket of the cinematic coat. For one thing, the films themselves – singular creations such as The Arbor, Citizenfour and Banksy’s Exit Through The Gift Shop – have fought tooth and nail to expand not just their audiences but their horizons. They’ve rejected the insipid library music and staid talking heads of yesteryear and instead borrowed from the rainbow of stylistic devices available to dramatic film-makers. Technology has also levelled the cinematic playing field. As more and more films have left the cinema and arrived in our homes, or on our phones, documentaries have been spared the Sisyphean task of competing with the latest Marvel Studios megalith for each potential ticket sale. Instead, fiction and non-fiction are now thrown together on low-cost subscription services that draw no distinction between the two.’
4 November 2016
[curtis] HyperNormalisation … go watch this long, new, iPlayer documentary from Adam Curtis … ‘Our world is strange and often fake and corrupt. But we think it’s normal because we can’t see anything else. HyperNormalisation – the story of how we got here.’
13 October 2016
[docu] Hypernormalisation: Adam Curtis on chatbots, AI and Colonel Gaddafi … Adam Curtis interviewed by Andrew Orlowski about his new documentary

Rather than deal with something complicated, Western powers found that Gadaffi who had until then been isolated and ignored by the Arab world, fitted the bill of a cartoon villain.

“Gadaffi illustrates, like a flash of lightening on a dark night, just how corrupt, how hypocritical, and how empty of values our middles class elites have become,” Curtis told us. “It was quite shocking to me. It’s just rubbish that he had WMDs. There were no biological weapons and he’d got a a centrifuge but none of his people knew how to put it together – it was in boxes.”

But after being demonised in the 1980s and 1990s, Gadaffi finds himself rehabilitated.

“After the Gulf War all these people go out and make him into a modern thinker: David Frost, Anthony Giddens, even Lionel Ritchie went out there, and said Gadaffi was good. Then, after they Arabs Spring he was a villain again, so they just dropped him.”

“I was thinking of making a sort of comedy…

7 September 2016
[docu] What Werner Herzog’s new film ‘Lo and Behold’ reveals about the internet … More about Werner Hertzog’s new documentary from the Independent … ‘And when I bemoan the proliferation of cat videos, he rises to the defence of the internet, which is the triumph of the useless, and the beautiful, the cruel and the ingenious and the insane, the place we go when we are bored, when we are lonely, when we want to know Steph Curry’s stat line and why your knee is making a weird sound and why they tore down the Bastille and what happens when we die, which we will, unlike the internet, which will not. “There are fantastic, crazy cat videos out there,” says Herzog.’
13 June 2016
[hetzog] Lo And Behold: Reveries Of The Connected World Trailer … the official trailer for Werner Herzog’s film about the Internet … ‘Have the monks stopped meditating? They all seem to be tweeting.’ [via Kottke]
11 January 2016
[hertzog] Lo And Behold, Reveries Of The Connected World Trailer … a new documenatary about the Internet from Werner Hertzog …

9 May 2014
[docu] Fail better … another Adam Curtis interview …

After the broadcast of Curtis’s 2007 film The Trap, which traced the influence of game theory – the idea that humans behaved as self-interested individuals – on contemporary economic thought, Prospect magazine’s Max Steuer argued that the series “greatly exaggerates the power of ideas, and at the same time almost wilfully misrepresents them”. Others made similar criticisms of All Watched over by Machines of Loving Grace, which linked the anti-state philosophy of Ayn Rand with the “techno-utopians” who developed modern computing. At the very least, don’t his films encourage precisely that gloomy feeling – a sense that power is in the hands of an unaccountable elite – that so exercises him?

“Well, I am a creature of my time,” he concedes. We’ve found our way to a café in the shopping centre near Thamesmead, where we can chat at greater length. “What I’ve been trying to do is analyse why progressive ideas failed.

“Secondly, I’m interested in telling stories, because I like telling stories and I think ideas are important. I take particular influences of particular groups of people as a way of showing how that idea spread out. I never say this is where it all came from, this shadowy group of people. I’m telling you a story, like a novelist would, but as a factual story to try and bring it to life to you.”

24 September 2013
[movies] Errol Morris on How Donald Rumsfeld Sees His Own Legacy … interesting preview of Errol Morris’ new film on Donald Rumfield. Here’s the trailer.

The most distinctive thing about Rumsfeld is his use of language. Is it Orwellian? In 1984, language is used as a means of control-but it is conscious control. With Rumsfeld, I felt I was witnessing something more complex: a man using language to obscure the world from himself as well as from others. In his Pentagon press conferences he would frequently quibble over the meaning of words: “pre-emption,” “insurgency,” “quagmire.” It was almost a way of keeping a safe distance from reality.

Most people remember that Rumsfeld’s famous comment about “known knowns,” “known unknowns,” and “unknown unknowns” happened at a press conference, but few remember that it was in response to a question about what evidence we had that Saddam Hussein was linked to terrorist organizations-which was the justification for the war in the first place. The more I studied this performance, the more I realized that what Rumsfeld said wasn’t really an answer. It was an attempt to change the subject, to turn reporters’ questions about intelligence into a lofty question about the nature of knowledge: “Sometimes we have evidence for things and sometimes we don’t; sometimes we know what we’re looking for and sometimes we don’t.”

31 January 2013
[tv] Looking Beneath The Waves … another Adam Curtis interview … ‘The great wonder of our time is also a disease of our time: the desire to experience things for ourselves. It’s just the thing at the moment, what we don’t want is to be told stuff. We don’t like elites any longer because we’re all like each other. We want to know it ourselves, we want to feel it. It’s partly due to the rise of individualism. But what we get to is what I call the “duchess paradox”, where everyone is now a duchess in society. The real problem with that is that if you’re all duchesses then what’s the point of being a duchess? Everyone’s a celebrity now. Everyone wants to be a celebrity, they want to be treated like celebrities. They want to go to spas, they want to get married in big, posh houses. People will pay for VIP tickets to concerts. It’s extraordinary. Everyone is desperately searching for where it’s at. The point is there is nowhere it’s at – “it” simply just doesn’t exist. It’s the great tragedy for that generation: they just want to experience something.’
25 September 2012
[docu] A List Of Twelve Terrific Documentaries From Louis Theroux‘A Letter to Zachary – A posthumous love letter from the filmmaker to his murdered friend, it has one of the most explosive and upsetting twists two thirds of the way through. I recently saw this was on the IMDB as one of the most popular documentaries of all time, it’s number two right after Night and Fog. So it’s not exactly obscure but it is totally riveting.’
21 February 2012
[curtis] Interview With Adam Curtis (Part 1): ‘…my working theory is that we live in a managerial age, which doesn’t want to look to the future. It just wants to manage the present. A lot of art has become a way of looking back at the last sixty years of the modernist project, which we feel has failed. It’s almost like a lost world, and we are cataloging it, quoting it, reconfiguring it, filing it away into sliding drawers as though we were bureaucrats with no idea what any of it means. They’ve got nothing to say about it except that they know it didn’t work. It’s not moving onwards-we’re just like academic archaeologists. It’s terribly, terribly conservative and static, but maybe that’s not a bad thing. Maybe in a reactionary, conservative age, that’s what art finds itself doing. The problem is that it pretends to be experimental and forward-looking. But to be honest, in some ways I’m just as guilty. What I do is not so different-using all sorts of fragments from the past to examine the present. Maybe this is simply the iron cage of our time-we’re like archaeologists going back into the recent past, continually refiguring it, surrounding it with quotations. It’s a terrible, terrible prison, but we don’t know how to break out of it.’
6 July 2011
[docu] 59 Minutes With Errol Morris … brief interview with the documentary director …

“Good Lord, it’s my past,” Morris says as he leafs through a box filled with folders labeled “Manson Girls” and “Lobotomy.” Many of the boxes are cardboard coffins for movies he pursued for years but couldn’t fund.

20 June 2011
[docu] The Loving Trap … perfectly done parody/hatchet job of Adam Curtis. [via Meg]
2 June 2011
[docu] How The ‘Ecosystem’ Myth Has Been Used For Sinister Means … Adam Curtis on the history behind self-organising systems … ‘Field Marshal Smuts was one of the most powerful men in the British empire. He ruled South Africa for the British empire and he exercised power ruthlessly. When the Hottentots refused to pay their dog licences Smuts sent in planes to bomb them. As a result the black people hated him. But Smuts also saw himself as a philosopher – and he had a habit of walking up to the tops of mountains, taking off all his clothes, and dreaming up new theories about how nature and the world worked.’
29 May 2011
[docu] Adam Curtis: The Rise of the Machines … Andrew Orlowski interviews Adam Curtis … ‘I’ve always wanted to make a film about managerialism. It’s impossible, because with managers nothing really happens. What I’m dealing with here is the ideology behind managerialism. Behind all this, behind the flipchart, is the idea that you’re nodes in a system, and ‘our job’ is to keep things stable.’
24 May 2011
[tv] Grace Dent On Adam Curtis’ All Watched Over By Machines Of Loving Grace‘And look at me, I’m so happy. Twitter alone has given me retinal migraine issues, RSI and cajoled me into believing I am a free-thinking revolutionary fanning flames of liberty in Iran, Libya and Syria, when in fact I’m just a woman in pyjamas, hugging an Intel Pentium processor, waiting for Ocado to fetch more olives. Up the revolution … oooh, have these got pimentos in them? Yum, yum, slurp.’
11 May 2011
[tv] Adam Curtis – All Watched Over by Machines of Loving Grace … promotional trail for Adam Curtis’ latest documentary … ‘WE DREAMED THE SYSTEMS COULD STABILISE THEMSELVES THROUGH FEEDBACK.’
10 May 2011
[docu] Have computers taken away our power? … Adam Curtis on his new documetary series “All Watched Over By Machines Of Loving Grace” …

The central idea [of All Watched Over By Machines Of Loving Grace] leads Curtis on a journey, taking in the chilling über-individualist novelist Ayn Rand, former chairman of the Federal Reserve Alan Greenspan, the “new economy”, hippy communes, Silicon Valley, ecology, Richard Dawkins, the wars in Congo, the lonely suicide in a London squat of the mathematical genius who invented the selfish gene theory, and the computer model of the eating habits of the pronghorn antelope.

You can see why Zoe Williams once wrote that, while watching one of Curtis’s programmes, “I kept thinking the dog was sitting on the remote.”

1 May 2011
[docu] The Teaser Trailer for a documentary about Alan Turing


31 March 2010
[morris] New Details on Errol Morris’ Next Documentary, Tabloid‘His next film, Tabloid, is a considerable departure from his previous film, Standard Operating Procedure, and centers on the fascinating figure of former Miss Wyoming, convicted rapist, and dog-cloning supporter Joyce McKinney.’
23 February 2010
[politics] Adam Curtis On How All Of Us Have Become Richard Nixon‘Just like him we have all become paranoid weirdos.’ (more…)
7 December 2009
[morrison] Grant Morrison: Talking With Gods Trailer … a bunch of comic-types try to sum up Grant Morrison … (more…)
10 August 2009
[docu] Errol Morris is on Twitter … … ‘HISTORY LESSON: The camera was the first version of Photoshop.’ [link]
22 June 2009
[curtis] Charlie Brooker on Adam Curtis’ latest projects

TV industry! Here’s a little bombshell for you. From now on, all of Curtis’s work will be produced first and foremost for the internet. It will be hosted at bbc.co.uk/adamcurtis (coming soon). Go there to find a trailer for It Felt Like A Kiss. An hour-long cut of the whole thing will be placed on the site on the last day of the Manchester International Festival (MIF). It will also host his next two projects: “A long thing about our complicated relationship to the Congo over the last 100 years and how our idea of nature as a sacred yet terrifying realm has risen up during that same time.” That will be followed by a piece about “the political and cultural ideas that underlie the internet – and the idea that we are all linked in an interconnected web – out of which can come a new form of democracy.”