Errol Morris, Bannon, Harcourt Smith discussed on The Big Picture
I am delighted to be rejoined by the great morris. Thank you for being on the show. Thank you for having me on. This film feels of peace with <hes>. The fog of war and the unknown to me these memory. Pieces with these elusive. Almost mythical characters. Why did you make this movie. One thing what you just said is music to my ears. I've been trying to explain in a number of interviews. I'm not exactly sure why part because it interests me the similarities between my psychedelic love story and the fog of war. So hearing you say it unprompted thank you. You're welcome picked up on that no absolutely <hes>. The result of making certain oddball choices off of war. Came out of the entira tron my interviewing machine and this idea of first person storytelling. I'm not sure which came first. I think the entire tron came before this obsession with the first person although they kind of happened at the same time <hes>. By phil mr death about an electric chair man and holocaust denier fred. Luter junior would have been an entire tron film save for the fact that the material became so controversial. It's really interesting. I wanted it to be one character film. But i couldn't because it involved holocaust denial as it turns out. I am a jew and i believe that the holocaust happened. I've never had any reason to doubt that it happened. But i've always. I've always been fascinated by people denying stuff because after all it seems to be a tickly now in our day and age it seems to be the central element of human existence. All you have to do is look at the results from this last presidential election. The understand that denial is sort of what we're all of our. When i made the fog of war it was my opportunity. I saw it as an opportunity. To really indulge in first person storytelling.