July 1, 2011
For the observant and devoted.
Seeing Tabloid in a few days, and interviewing Morris in person, most likely. Jinxing it by saying this I’m sure, but any questions?
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Holy fuck!!! Just channel Chris Farley from whatever that SNL skit was were he interviewed people and asked them if they remembered that movie they were in and how awesome it was.
I’m thinkin’. I’m thinkin’.
A couple things have come to mind. He tweeted recently about being frustrated with all the unacknowledged imitations of his documentary style. Seems like there’s a good angle there. Which gets me to another thought — something about how he perceives the transition of his style from the relative simplicity of Vernon, Florida, in which the people and their faces are mostly counted on to carry the story, to the heavily intercut style we have come to expect from him. Plus maybe something about Philip Glass and his interest in directing a feature film.
Deron, what you say, those are good foundations for questions. Tied neither to oft-repeated tales nor in any immediately obvious way to recent work, whether filmed or written.
Differences between commercial and documentary directing. Something about his newish role as a columnist at NY Times.
Oh! Ask him if he ever got around to reading Cormac McCarthy’s Child of God. Because, you know–he told us he would.
Also, god damn, Amanda. You might get to interview Errol Morris!
One of the things I’ve always loved about Morris is his apparent interest in people who have slipped over the line into mental illness. Just barely–they walk the edge of sanity. I wonder if he has any thoughts on that.
Oh, and whether he has had time to read Child of God.
Good question, Cindy. And you beat me to it.
Great minds.
Ask him whether he ever feels as though his heart will break.
I’m also interested in the psychology of befriending, and encouraging, borderline crazy people to present themselves.
I wonder if he would speak to the role of objectivity in documentary filmmaking. The line between personal bias and objectivity. What, for instance, does he think of Michael Moore?
Also, I’d love to know which documentarians he admires.
Yes, Deron. I often wonder what happens once the filming is over. And I do not mean that as even the slightest cheap dig at Errol Morris nor any filmmaker I admire. I really do wonder. What happens? How does it unfold?
Yes. I’ve often wondered whether there is a sense of having participated in an entrapment. A betrayal.
Damn, I love this.
I’m inviting Errol Morris to Marfa, by god.
I am all of a sudden thinking of Steve James (Kartemquin Films) and his film Hoop Dreams and most especially of his film Stevie.
I love it that these searching questions are coming from people I know love and admire the work of Errol Morris.
Cindy, if Errol comes to Marfa, might Danny and I rent a room for the time he’s there? I’d just like to be in the neighborhood. Maybe sit at dinner within earshot? Danny could cook?
I’ll clean up. Promise.
Oh, Rick, of course! My whole plan is to bring amazing people together out in the high desert. I know some people think it’s crazy, but I honestly expect that, once we get our little sanctuary/salon established, any number of people will be charmed by my invitation and show up. Kind of a Build It and They Will Come thing, minus Kevin fucking Costner.
Cindy, I’m inviting myself and David because, Rick, I want the same as you — especially if I get to be Danny’s sous again!