Jon Ronson writes: I’ve known Adam Curtis for nearly 20 years. We’re friends. We see movies together, and once even went to Romania on a mini-break to attend an auction of Nicolae Ceausescu’s belongings. But it would be wrong to characterise our friendship as frivolous. Most of the time when we’re together I’m just intensely cross-questioning him about some new book idea I have.
Sometimes Adam will say something that seems baffling and wrong at the time, but makes perfect sense a few years later. I could give you lots of examples, but here’s one: I’m about to publish a book – So You’ve Been Publicly Shamed – about how social media is evolving into a cold and conservative place, a giant echo chamber where what we believe is constantly reinforced by people who believe the same thing, and when people step out of line in the smallest ways we destroy them. Adam was warning me about Twitter’s propensity to turn this way six years ago, when it was still a Garden of Eden. Sometimes talking to Adam feels like finding the results of some horse race of the future, where the long-shot horse wins.
I suppose it’s no surprise that Adam would notice this stuff about social media so early on. It’s what his films are almost always about – power and social control. However, people don’t only enjoy them for the subject matter, but for how they look, too – his wonderful, strange use of archive.
His new film, Bitter Lake, is his most experimental yet. And I think it’s his best. It’s still journalism: it’s about our relationship with Afghanistan, and how we don’t know what to do, and so we just repeat the mistakes of the past. But he’s allowed his use of archive to blossom crazily. Fifty percent of the film has no commentary. Instead, he’s created this dreamlike, fantastical collage from historical footage and raw, unedited news footage. Sometimes it’s just a shot of a man walking down a road in some Afghan town, and you don’t know why he’s chosen it, and then something happens and you think, ‘Ah!’ (Or, more often, ‘Oh God.’) It might be something small and odd. Or it might be something huge and terrible.
Nightmarish things happen in Bitter Lake. There are shots of people dying. It’s a film that could never be on TV. It’s too disturbing. And it’s too long as well – nearly two and a half hours. And so he’s putting it straight onto BBC iPlayer. I think, with this film, he’s invented a whole new way of telling a nonfiction story.
VICE asked the two of us to have an email conversation about his work. We started just before Christmas, and carried on until after the New Year. [Continue reading…]