Word: everly
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Dates: during 2000-2000
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...want to be film directors independently of wanting to convey anything, as if somehow it's a job description, it's a container without content. Originally, I wanted to be a writer, and I started interviewing people well before I became a filmmaker. I don't think it was ever wanting to make films, per se, but I was becoming more and more excited by the idea that the stuff I wanted to say, I could say as a filmmaker...
...interview was a success, one of the best Morris had ever done, in part thanks to what he has dubbed "the TV set that cares, the TV set that wants to find out more about you." Nevertheless, several years passed during which the filmmaker was alternately consumed by other projects and unable to secure the money needed for what was clearly a risky project. When funding did arrive, Morris returned to Auschwitz to recreate parts of Leuchter's journey and interviewed him again, recording many more hours of an older, if not wiser, Fred...
...continues: "It's like when I ask Fred at the end of the movie, 'Fred, have you ever considered the possibility that you might be wrong?' and he says 'I'm well past that.' Well, none of us are well past that...
...Morris himself is an odd blend of the visionary and the realistic, maintaining his values and consistently producing excellent work while maintaining a consciousness of the audience's experience. "Of course I worry about whether anyone will ever go to see these things, but I don't make them with that in mind. I read somewhere that some journalist had said that "Fast, Cheap, and out of Control" was some kind of cynical attempt on my part to make a commercial movie. I thought that was really insane. Yes, it's like that commercial formula we're all familiar with...
...Today, people are responding to Errol Morris' films more than ever, with "Mr. Death" already on several top ten lists and "The Thin Blue Line," "Vernon, Florida," and "Gates of Heaven" all being reissued by the Independent Film Channel. One way of looking at his success in creating great art without "selling out" is that he engages people by respecting them, by trusting their intelligence. He doesn't assume a superiority that would lead him to simplify his presentation, and in doing so, he engages audiences on levels unusual to many current films...