Errol Morris Quotes
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Those who cannot condemn the past repeat it in order to remember it.
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We have more information - a glut of information - than ever before, and perhaps less knowledge. That's what's peculiar. And the only way you can deal with it, I suppose, is to make fun of it. I would rather watch Comedy Central for the news than I'd like to watch any other program on television. Maybe that shows you the state of affairs.
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People can burn archives; people can destroy evidence, but to say that history is perishable, that historical evidence is perishable, is different than saying that history is subjective.
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Truth exists independent of style. It involves all kinds of issues. Properly considered, it's a quest, a pursuit. To say that vérité is more truthful than something that is narrated is just misplaced. Completely wrong. And the fact that people still talk about it as though they're really talking about something... it puzzles me greatly. A moment of reflection about it tells you that it makes no sense!
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I think calling someone a character is a compliment.
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I am profoundly skeptical about our abilities to predict the future in general, and human behavior in particular.
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The pursuit of truth, properly considered, shouldn't stop short of insanity.
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In the case of The Thin Blue Line, I was surprised actually by many things. I was shooting down in Texas where the actual killer David Harris lived and I interviewed the town cop. He described these guys as being David Harris' partners in crime and even though they had criminal records and had committed crimes, they sued me! More often than not, the insurance company that protects you against this type of lawsuit will settle it with cash and contest it in a court of law.
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Twenty to thirty years ago, who was making documentary films? Nobody. Well, relatively few people. It was an art form that had limited theatrical distribution, if any at all. Some television distribution, but relatively small audiences regardless. And in the intervening years it's become more and more popular with a lot of people.
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I've been horribly depressed (lately), which, as you know, can be terribly time-consuming. I mean, if you're going to do it right, that is.
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You can ask yourself, if a film makes a claim, is the claim true or false? Having said that, a style of presenting material doesn't guarantee truth. There's this crazy idea that somehow you pick a style, and by virtue of picking the style, you've provided something that is more truthful. It's as if you imagine that changing the font on a sentence you write makes it more truthful.
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A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.
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The chance that any given sentence is a lie, rather than a truth, I think, is fairly great. An intentional lie, a self-deception, a misconception - there are lots of categories of untruth, not one grab bag. And hotographs can reveal something to us, and they can also conceal things.
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Ecstatic absurdity: it's the confrontation with meaninglessness.
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I remember on page one of The New York Times the article about Fred Leuchter. The heading was "Can Capital Punishment Be Humane" and it was the story about an electric chair repairman and execution machine designer. And then buried in the back of the paper was the fact that Fred Leuchter had also been involved in holocaust denial.
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Maybe existence is ultimately a lonely thing.
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Appearing on the front page of the New York Times even given the state of papers today is still something that's seen by a lot of people.
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I used to work as a private detective years and years ago.
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My films are as much concerned with truth as anything in vérité. Maybe more so.
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The fact that the world is utterly insane makes it tolerable.
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Part of the mystery of any given photograph is the fact that it was taken at a certain time and in a certain place and time keeps moving on. A photograph might be a moment in time preserved, but the world continues to change around it.
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There are artists who are very well known and many of us feel they should be less well known, while there are others who aren't well known and many feel deserve more attention.
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This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa Dorfman and actually operate the camera. Well one of the cameras, because there were four cameras there.
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Tell me what's wrong with this idea: If you're selling to somebody, find someone like that person to sell to them. If you're trying to reach swing voters, if you're trying to reach people on the fence, if you're trying to reach Republicans who are unsure about this candidate... get people who switched! Get people who are registered Republicans. Get people who were George Bush voters who can't bring themselves to do it again. Talk to them, get them to explain what their reasons are, and show them to people. What's wrong with this idea?!