Errol Morris, My New Hero
Comments: 2 - Date: March 18th, 2007 - Categories: Errol Morris
I was thinking about what Dr. Campbell said about Errol Morris and his films, how he referred to them not as documentaries, but as non-fiction feature films. Now, I don’t know the exact description of a documentary, but I think we can all safely assume that they are real life events filmed exactly how they naturally occur in real life, peppered sometimes by interviews, and are more often than not rather boring. Don’t get me wrong, I enjoy the History, Animal, and Discovery Channel as much as the next guy, but there is a point when you feel rather inundated by history, and bored to tears by the monotone voice over man that I’m convinced is the same man who used to give lengthy speeches ay my Grandpa’s Elk’s Lodge… Errol Morris, doesn’t film documentaries. He is in a class all his own. I agree when he says that his films are “non-fiction full length feature films.”
My first hint that this was way more than a documentary? The opening credits. As the credits begin to roll I thought I could hear birds, but it was way to fait to tell. I strained my ears trying to hear them, then suddenly the Sound Mixer’s name appeared on the screen and I could hear the birds and other outside noises loud and clear. Coincidence? I think not. Errol Morris obviously was meticulous about the way he filmed and edited his film. I don’t think I’ve ever felt like a documentary was trying to tell me something other than the obvious message of the film. I do feel like Errol Morris is trying to tell us something more important than this, rather simple, story of a pet cemetery. When you think about it, this film could have been so much shorter. It is, in fact, a really simple story. Guy starts pet cemetery, cemetery goes bust, they move pets to new cemetery, and cemetery flourishes. End of story. Not the case with Mr. Errol Morris.
I agree with Dr. Campbell, I now need to watch this film about ten times over, to get what it is trying to day to me.
Pingback by Dancing Bread Rolls » Non-fiction feature film… - March 19, 2007 @ 7:21 am
[...] I wonder what the distinction is between a “documentary” and a “non-fiction feature film”. I think Leighton was on to something in her post (that is Leighton’s blog, isn’t it?), but rather than trying to classify a film by what occurs in it and its style, perhaps we should examine purpose. How does Gates of Heaven differ from, for example, a documentary about whales? I could make the argument that the primary purpose of the documentary about whales is to educate its audience, but isn’t that also what Gates of Heaven is doing, in a way? But what about other traditional films? Some of them also educate viewers in the same way that Gates of Heaven does, but they’re not non-fictional. [...]
Pingback by Rick’s Cafe Americain » Blog Archive » Final Paper on Gates of Heaven - April 27, 2007 @ 7:28 am
[...] To start off the 2nd part of the final essay, I’d like to comment very broadly about the entire Morris unit. I think Leighton was one of the first people to comment on the idea of Morris making “Non-fiction films” rather than documentaries. This is something that everyone should know going into seeing an Errol Morris film. Although Morris does film real events and people, his artistic methods are largely different from the methods used by most traditional documentarians. When I think of popular documentary features, I think about strong political or social commentary that is usually slanted to a very obvious side. Such is certainly not the case with Morris. Morris’s films, while often about seemingly random and scattered people or situations, always feature something very deep and philosophical under the surface. At the same time, he never looks to push any kind of ideal or lack there of on the audience. Morris’s films are about highlighting the ambiguities of life and drawing our own conclusions from those ambiguities. This description of his cinematic styles is not to say that Morris is trying to show us the most direct and unaltered form of real-life; there is still obviously quite a bit of editing done to his films. I agree with what Robyn said in her blog that Morris’s editing these people to his liking is justifiable simply because he is not trying to paint the most accurate portrait of these people as possible but instead trying to teach us a bit about life. Morris has no more power of skewing people’s personality than any other documentarian but unlike most documentary film-makers the editing is done to make the meaning of the film that much more ambiguous rather than obvious. This was a very different idea for the “documentary”; one which took awhile to really gain Morris his proper recognition. [...]
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