Often armed only with a camera and his own curiosity, Errol Morris has turned the most static of filmic devises—the talking head interview—into an endlessly eventful act of pure cinema. In Morris’s work, conversation is a form of spectacle. Words are important, but no more important than the acts of formulating, conveying and reacting to words. Under his gaze we’re confronted by the infinite expressiveness of communication, by a spectrum of frankness, obfuscation, reluctance, fear, guile, guilelessness, intelligence, doltishness, anger, skepticism, flirtation, humor, wit, playfulness, craftiness, naiveté, opacity, confession. His methods have evolved over the years, but Morris’s fascination with the seemingly simple is apparently inexhaustible. |
