Adam Curtis

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Postby justdrew » Tue Nov 17, 2009 6:49 am

I think Curtis's main point is how the culture was lead to mis-apply Laing's insights. But not just Laing, he was one voice in a chorus and that comes though more in the full show. I'm not sure I buy the idea that these counter-culture figures really drove ruling opinion, but they likely were co-opted and used to promote a different agenda, to some extent, surely there are also getting good results from the stream still today as well.

He surely could have done a better more sympathetic presentation but Laing's record can stand on it's own, and there's been far worse criticism of it out there too and there are the defenders as well. Hopefully most who remember the name will eventually do more research independently.

One name that didn't come up, Dr. Eric Berne of Games People Play fame.

http://en.wikipedia.org/wiki/Games_People_Play_%28book%29

In the first half of the book, Dr. Berne introduces transactional analysis as a way of interpreting social interactions. He describes three roles or ego-states, the Child, the Parent, and the Adult, and postulates that many negative behaviors can be traced to switching or confusion of these ego-states. Dr. Berne discusses procedures, rituals, and pastimes in social behavior, in light of this method of analysis. For example, a boss who talks to his staff as a controlling parent will often engender self-abased obedience, tantrums, or other childlike responses from his employees.

The second half of the book catalogues a series of mind games, in which people interact through a patterned and predictable series of "transactions" which are superficially plausible (that is, they may appear normal to bystanders or even to the people involved), but which actually conceal motivations, include private significance to the parties involved, and lead to a well-defined predictable outcome, usually counterproductive. The book uses “Boy, has he got your number” and other casual phrases as a way of briefly describing each game. Often, the "winner" of a mind game is the person that returns to the Adult ego-state first.

It is important to note that not all interactions or transactions are part of a game. Specifically, if both parties in a one-on-one conversation remain in an Adult ego-state, it is unlikely that a game is being played.

Presently, more than 10,000 people around the world define themselves as transactional analysts. Though it is sometimes derided as popular psychology in professional psychoanalytical circles, it is useful to examine certain social situations with the method of psychoanalysis.
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Postby 8bitagent » Tue Nov 17, 2009 6:54 am

If Laing's work was distorted by Adam Curtis, than that is really too bad.
Well, I didn't care for the Trap too much.

Did everyone hear like The Power of Nightmares? I consider it the ultimate 9/11 truth film...because the point I got was that both the American war hawk *and* the Islamic jihadist ideology are manufactured and controlled blindness.

Nordic wrote:I never would have learned about Edward Bernays if it weren't for The Century of the Self.

I'm assuming what he presents in that about Bernays is factually true.

It's something everyone should know about.


I would think so, but it's all open to interpretation.
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Postby Sweejak » Fri Dec 04, 2009 6:36 pm

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Re: Adam Curtis

Postby Sweejak » Fri Jan 08, 2010 12:46 am

Some more of Emory with Fitzgerald and Gould.

Who We Are
Paul Fitzgerald and Elizabeth Gould, have been a husband and wife team since 1977. In 1981 we were the first American journalists permitted to enter Afghanistan behind Soviet lines. We covered the war first for CBS News, produced a documentary for PBS. We returned in 1983 for ABC’s Nightline with Harvard’s "Getting to Yes" negotiations expert, Roger Fisher in the hopes of advancing the prospects for negotiating the Soviets out.

By 1987 we knew the time was not right foretelling the Afghan story. We started to develop reality based screenplays out of the accumulated materials and research. By the end of the 1980's, we had completed four. The EX-FILE* was one. Written in 1989, it was based on a real US government Black Project that used military personnel for mind-control experiments. As the new decade arrived, we began to experience a consciousness shift. Our geopolitical perspective became the key to discovery into the deeper motivations of the players behind the most important event of our time, the war in Afghanistan.

Ultimately we found a psychic link to a blood world of Norman Geraldine (Fitzgerald) holy warriors linked to the Crusades and the holy warriors of Afghanistan today.

We met Oliver Stone in 1992 to introduce him to The Voice, a research paper we developed after years of struggling to tell the unknown geopolitical story of our experience with Afghanistan. With Stone’s encouragement and through his power of dreams we brought our mythic dream world into waking reality.

The story eventually became the holographic door through which the geopolitics of Afghanistan in the current era walked to meet the spiritual ground of its existence; a world with rules of its own, playing out in our time. It reveals the mystical struggle for the future that underlies and drives our consciousness and goes right to the heart of understanding the true destiny of the Western Dream.

Our story will take you back to the birth of the ancient Grail quest 5500 hundred years ago, what that means for the restoration of the Grail through electronics today and why this will restore the Grail for eternity.

A story based on our dreams and visions, The Voice is our answer to the question, what is the meaning of life

http://www.grailwerk.com/00b_whoweare.htm


Well.

Look for FTR# 678, 680 and 683
http://www.wfmu.org/playlists/DX
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Re: Adam Curtis

Postby Uncle $cam » Fri Jan 08, 2010 9:46 am

Did any Americans figure out a way to watch this series yet? And if so, could you share howB? thx.
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Re: Adam Curtis

Postby Hammer of Los » Fri Jan 08, 2010 10:16 am

Gosh youre clever folk.

I noticed the misrepresentation of Laing when I saw it a few years ago. I had enjoyed reading Laing when I was younger. I think Curtis is a polemicist and in this case misapplied his thesis to Laing. He was building an argument of sorts and Laing was useful.

I think Justdrew put it well.

If I had the time I would watch some of Curtis work again. I don't always agree with what he says.

But I also thought the parts about Bernays revealing though, even if I didnt quite go along with what seemed to be his central thesis.
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Re: Adam Curtis

Postby madeupname452 » Fri Jan 08, 2010 6:21 pm

Uncle $cam said
Did any Americans figure out a way to watch this series yet? And if so, could you share howB? thx.


Adam Curtis said
By the way the BBC is now allowing me to show most of the video material on this website internationally. Some will still not be viewable for rights reasons (and I'm afraid the It Felt Like a Kiss film is one of them) but the majority should be available by the end of this week.

http://www.bbc.co.uk/blogs/adamcurtis/2009/12/afghanistan_christmas_special.html
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Re: Adam Curtis

Postby Uncle $cam » Fri Jan 08, 2010 10:18 pm

thx madeupname452, I still can't view it on site, but I also just found a torrent of it, so BBC can bite me...lol
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Re: Adam Curtis

Postby Sweejak » Sat Jan 09, 2010 7:45 pm

Some of the blog video's are working in his latest entry.
YEMEN - THE RETURN OF OLD GHOSTS
http://www.bbc.co.uk/blogs/adamcurtis/2 ... hosts.html
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Re: Adam Curtis

Postby Sweejak » Fri Jan 29, 2010 7:16 pm

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Re: Adam Curtis

Postby Sweejak » Sat Mar 20, 2010 1:33 am

... But the Yanomamo have played other roles.
They are very much the archetype for the Na'vi tribes in James Cameron's Avatar.

Throughout the 1970s western TV producers paddled up the river with their cameras. And each time the Yanomamo were reinvented to fit with the changing and contradictory demands of those making the films.

http://www.bbc.co.uk/blogs/adamcurtis/2 ... creek.html

It ought to be mentioned that Avatar appears to be lifted from a Russian sci-fi series.
http://horrorthon.blogspot.com/2010/01/ ... first.html
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Re: Adam Curtis

Postby Wombaticus Rex » Mon Dec 20, 2010 5:48 pm

"Curtis postulates an essentially monolithic explanation for an enormously polyphonic phenomenon."

Great critique of Century of the Self:
http://lebbeuswoods.wordpress.com/2010/ ... f-updated/

The Century of the Self is intelligent, often mesmerizing and, I would argue, ultimately utterly mad. Mad not in its details, which are often sharp and revealing; but in all that’s forgotten and which, in its potent absence, having become subject to a kind of massive anti-Freudian slip, enables the dots to be connected in the neat, master-convergence style common to all grand conspiracy theories.

The problem is not, really, that the movie betrays a kind of occult fascination with the Freud family gene pool, one which hints at a primitive curse passing through the different avatars of Freud’s name to subvert progressive forms of collective identification across the generations. The problem, as a psychoanalyst might frame it, is that the fabric of the Unsaid is so great here that it pressures and forces distortion in the Said—making the Said everywhere symptomatic rather than etiological. What does it say that in a discussion of movements and cultural upheaval in the 60s and 70s there would be no mention of the role of Eastern philosophy, of drugs, Marx, the Civil Rights Movement, or of any of the indigenous American utopian movements and ideas of both the self and the social collective that long predated Freud?

One quote seems to flash subliminally beneath many scenes of the “There’s A Policeman Inside All Our Heads”: “The one thing which we seek with insatiable desire is to forget ourselves, to be surprised out of our propriety, to lose our semipiternal memory and to do something without knowing how or why; in short to draw a new circle. Nothing great was ever achieved without enthusiasm. The way of life is wonderful; it is by abandonment.” Jerry Rubin? Huey Newton? Wilhelm Reich? In fact, no, Ralph Waldo Emerson, writing at a moment when ideals of the self and the social collective were so porous as to be promiscuous—achieving a fraught symbiosis, which in fact forms a recurrent pre-Freudian strain in American thought.

Even the film’s completely understandable valorization of FDR is riddled with contradictions. If this was the Century of the Self, how did FDR and the New Deal ever come about? FDR’s leadership didn’t just birth a collective social self. It was involved with trying to harness the power of a massive American left-leaning political tide, more radical and socialist than the New Deal itself. Part of Roosevelt’s task involved, indeed, attempting to co-opt left wing ideals from the populist parties and tone them down for Washington in a manner suggestive of the struggle faced by the remnant of Republican moderates today to effectively harness Tea Party-type rage.

Neither the powerful grassroots left wing of the American political process that helped drive many of FDR’s policy decisions, nor the fundamentalist Christian-inspired new right have much, if anything, to do with Freud or Edward Bernays. This problem of the absence of context for FDR’s appearance in the film points toward a much larger omission: The film provides no historical perspective through which we might begin thinking about the nature of the self humanity possessed before Freud. The implication in this absence is that, had there been no intervention of Freudian thought, class-based identities would have evolved by effective leadership and a natural process of human development into positive, self-sacrificing universal socialism. Really? How can one even glance at Twentieth Century history without acknowledging that humanity’s capacity to form self-abnegating social collectives has at least as much potential to produce ghastly destruction as it does to nurture good?

Of course it is true that no film, however long, can include anything like everything. But, when a film purports to explain so much and yet leaves out everything, save one sinister Vienna-whelped strand, we must wonder what’s actually going on.

I would ask that, in watching this film, you do as much as you can to look at the manner in which its polemic is presented: watch the nervous, quick cuts; listen to the disturbing music; track the tics and repetitions; follow the syntactical turns; study its slips and evasions. Pretend, if you will, that The Century of the Self is, itself, a patient that you’ve been called upon to psychoanalyze. Then pull out your personal version of the DSM.

In the end, what may be most interesting about The Century of the Self is the particular strain of nostalgia in which it indulges. Using a fast-slash, often frenetic visual style splashed with disparate soundbite interviews, Curtis postulates an essentially monolithic explanation for an enormously polyphonic phenomenon. For this reason, the documentary is more revealing as a harbinger of the Twenty-first Century decidedly post-Freudian cultural pathologies, than it is of the Freudian legacy. What The Century of The Self exposes is a whole other register of irrational desires from the ones for which Freud attempted to provide a taxonomy.

The film demonstrates that, along with our deep, dark cravings for sexual delight and territorial domination, we labor under a profound lust for overarching coherent narratives. In our own Century of the Scrambled Self, issues of mass distraction, ADD, ADHD, and all the overstimulation-driven kith and kin of these syndromes threaten to overwhelm our capacity to construct a cohesive self. At the same time that they also degrade our ability to function as a responsible electorate, they give us the comfort of imagining we can still peek behind the curtain to find one smoking wizard—pinpoint A Villain—and follow the yellow brick through-thread to our self-annihilatingly dissipated Ozymandias estate. However frightening this film might seem, how much more frightening it would be if—instead of this sophisticated, yet BBC-viewer-level accessible explanation for why we’re so screwed—we had to confront an exurban-style sprawl of historical trends and individuals that all converged, overlapped and rear-ended one another to leave us floundering and fearful.

What if the thing we had most to fear right now was precisely the consequences of surrendering to belief in any master-narrative—of foregoing the granular excavation of all those sedimentary and disrupted strata of the self and society alike? Where does this kind of hyper-compressed history—McHegel, iHistory—that provides a playlist of easy targets for our encompassing dread actually leave us? Think, at the end of the film, about how you feel. When everything wrong is tracked through one channel emanating from a single font, everything must be undone or there is no hope. What possibilities for social change remain if this full arc is taken on faith?

In fact, at the end, what we might find ourselves remembering is that it is against just this sort of repressed-material-riddled history that psychoanalysis, in its most expansive, least dogmatically shrill iterations, can be wielded. The best of the Freudian legacy involves a patient, broadly attentive examination of the past that attempts not to shear off the complex root system nurturing the patient’s frame of reference. It is an approach, we might add, in which the individual self, the socially constructed self, and the social collective itself are highly interpenetrative. If we’re ever to come to a more fruitful understanding of why our current political system is so rotten, I suspect it will happen when we give over the idea of this Weltanschauung to which Freud himself was certainly susceptible—when we examine the range of phenomenon in and of themselves and go light on the ways they link together; when we accept that the very idea of periodization intrinsic to identifying a Century of the Self already entails an act of concealment. Might not the film as easily have been called The Century of the Masses, The Century of War, The Century of Self-Annihilation? What sort of history transpires under the rubric of the Century of Anything?

How might the film and its portrayals of myriad fascinating characters have been different? Well, I think of a remark by one Freud who goes unmentioned in this film. Freud’s grandson, the painter Lucian, once noted in his very quiet, very precise, exquisitely non-alarmist voice: “I paint people not because of what they are like, not exactly in spite of what they are like, but how they happen to be.”
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Re: Adam Curtis

Postby Wombaticus Rex » Wed Jul 20, 2011 3:12 pm

from a recent interview in The Wire:

I ask what he thinks about the criticism that he manipulates people by seducing them into his narrative; cherry-picking a disparate collection of subjects, mixing them about and re-editing them into a fiction-like narrative? He seems exasperated. "Yeah, of course it is, because what do you want me to do, make a boring programme? No, I want to make programmes that mesmerise you and provoke you, so you're going 'hmm I like that, hmm, no I don't think that!' I want you to get engaged. So of course I'm playing with you. But that's what a good film maker does. It's an emotional thing. I think I'm quite honest about it, because here you are, you're saying don't you do this, and I'm like, well yeah, I do! And half of it is just the fun of finding the right music."
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Re: Adam Curtis

Postby gnosticheresy_2 » Wed Jul 20, 2011 3:30 pm

After Networks: In Defence of Adam Curtis

by Mark Fisher

When I spoke to a fringe meeting after the recent TUC-organised protest against the government cuts, a small group in the audience started mildy dissenting. They were objecting to my claim that what we must do now that neoliberalism has fallen into crisis is impose a new orthodoxy. As far as I could tell, the dissenters didn’t belong to any kind of political organisation –rather, they expressed a weary contempt for political organisation as such. There was little point participating in existing political processes, or in competing for hegemony in the media, they said. Furthermore, trade unions were “bureaucratic” (but, as I suggested to them, wasn’t the “bureaucratic” structure of the TUC what enabled it to get half a million people including them onto the streets of London?). All that you could do, they maintained, was withdraw as far as possible from the structures of the state; maybe it would be possible to influence some of the people with whom you immediately came into contact. They seemed to believe that a widespread spiritual renewal was more likely than even modest change achieved through organised politics.

What was striking about these views – coming from people who would presumably consider themselves far to the left of mainstream politics – was their remarkable congruence with the ‘Big Society’ rhetoric pushed by David Cameron. Just like Cameron, they argued that top-down control, government, hierarchy and bureaucracy are all old, inefficient and oppressive.

I don’t think it’s going too far to say that these anarchist-lite views constitute one of the dominant ideological constellations of our times. Adam Curtis’s recent television series All Watched Over By Machines Of Loving Grace has come in for some criticism - not least on this site, in a post by Luther Blissett – but I maintain that Curtis’s television essay was timely and important because it went some way towards identifying the contours of this ideology. What Curtis identified in the series was a curious and superficially paradoxical mixture of fatalism (DNA means that nothing much will ever change) and can-do dynamism (individuals are a boundless reservoir of creativity). But this is only apparently paradoxical – the view that nothing can change at the level of political system is actually perfectly compatible with the belief in the “creativity” of individuals and small groups.

The task of thinking critically about this ideology is given special urgency by the adoption of a language of anti-hierarchy by new political groups. Indeed, it was Curtis’s mention of UK Uncut in an article he wrote for the Observer which prompted so much of the anger he faced. I unequivocally celebrate the emergence of UK Uncut – but this does not entail an uncritical acceptance of some of the rhetoric that has surrounded the group.

In my view, All Watched Over By Machines Of Loving Grace raised at least three crucial issues about discourses of self-organisation and anti-hierarchy.

1. They can be functional for neoliberalism.

One question Curtis’s series posed was: why has the rhetoric of self-organisation been allowed to propagate so readily under neoliberal hegemony? The uncomfortable fact is that, while the ‘old’ ‘hierarchical’ and ‘bureaucratic’ labour movement forced capital into conceding a welfare state and the NHS, groups espousing ‘self-organisation’ have tended to fail in their stated aims. Sadly, this goes for the recent student movement too. It would be a terrible mistake to underplay the importance of this movement: the very fact that militancy was happening on this scale produced a rupture in the UK’s supposedly ‘post-ideological’ atmosphere. But as with UK Uncut, the celebration of the student movement shouldn’t mean that we consume all of the breathless rhetoric it has inspired, or accept inflated claims about what it achieved. Some went so far as to proclaim that the movement’s allegedly new forms had ‘abolished hierarchy’ – yet there seemed to be something of an informal hierarchy within the movement itself. Many of the hubs were Russell Group universities, and some of those pushing the idea that hierarchy was dead were privately educated Oxbridge graduates. One of the pernicious effects of the emphasis on hierarchy (and anti-hierarchy), in fact, is that it obfuscates questions of class.

It should be noted that whilst rhetorics of self-organisation have propagated, neoliberalism itself used every single thing it wants the left to believe is outmoded: top-down control, government, leaders, hierarchy and bureaucracy. Neoliberalism was as top-down as you like: originating in think-tanks, its ideas were then propagated via government and influential party leaders (what would neoliberalism in the US and the UK have been without Reagan and Thatcher?) Furthermore, neoliberal power shows that there is no necessary opposition between the top-down and the decentralized: instead, neoliberal managerialism combines the two. In their post, Luther Blissett cite Felix Guattari, but Guattari’s collaborator Gilles Deleuze understood very well the Kafkaesque form that neoliberal power would assume. With uncanny prescience, Deleuze’s essay “Postscript On Societies Of Control” describes a power that is both top-down (management must be obeyed) and decentralized (via systems such as ‘continuous professional development’, the worker ends up performing their own self-surveillance).

2. There is nothing new about these discourses

Curtis also showed that, despite appearances to the contrary, there is nothing ‘new’ about discourses of anti-hierarchy and self-organisation. Some of us first encountered them via cyberculture in the 1990s: in 1995, the Wired editor Kevin Kelly’s Out of Control: The New Biology of Machines laid out the then latest version of the ideology that Curtis analysed in All Watched Over By Machines Of Loving Grace. But the series demonstrated that these ideas have a lineage which can be traced back from ‘60s communes, to postwar cybernetics and to the early days of the ecology movement. All of this is important, because neoliberalism’s triumph depended upon the imposition of a temporality which defined hierarchy, the state and organisational discipline as old and the network, rhizomatic distribution and individual creativity as new. Yet concepts that have been absorbed by Bill Gates and mobile phone companies can hardly continue to be described as ‘new’.

3. Adopting self-organisational methods could be counter-productive

Curtis also questioned the efficacy of these discourses as the basis for oppositional practices. Here Curtis’s critique closely resembled arguments recently presented by Jodi Dean, most notably in her book Democracy and Other Neoliberal Fantasies. Dean argues that even “as they echoed the criticisms of the state prominent on the right, leftists failed to provide a compelling vision of a new form of social solidarity.” (34) “The emphasis on networked communication strategies,” she adds, “displaces political energy from the hard work of organising and struggle.” (40)

It might be that the student movement and UK Uncut have been impeded by their commitment to discourses and practices of self-organisation . UK Uncut’s success in disrupting capital could have far less to do with its much vaunted network openness and much more to do with the fact that is organised around a simple dogmatic message – if tax-avoiders paid more then there would be no need for cuts in services.

In any case, power and hierarchy cannot be abolished by fiat. When formal power disappears, a more oppressive informal power structure can appear in its stead. What we can be then be faced with, as Curtis showed, is a worst of all worlds situation– in which the most manipulative, vocal or passively aggressive dominate, but in which decision-making is slow and cumbersome. One of the reasons that the student movement has been so quiet since Christmas might be that it lacked institutional robustness which could allow its antagonism to be sustained after the initial outpourings of affect had waned.

Besides, is hierarchy an intrinsically bad thing? When these disputes over self-organisation blew up in December, Richard Seymour argued that hierarchy “is, as much as anything else, an ordering of priorities and tasks, a division of labour, which is indispensable for radical political organisation. This is not to say that there hasn’t been elitism on the Left. This isn’t to say that all the old hierarchies are defensible. Sexism, racism and imperialism have been among the flaws of large parts of the European Left in the 20th Century, and I would be the last to claim that these have been completely overcome despite the civilizing effects that past struggles have had. But there is nothing about hierarchy per se that is objectionable. On the other hand, there is such a thing as the tyranny of structurelessness.”

The upshot of all this is not that we return to what the neoliberals called the ‘old’ politics, even supposing that were possible. This would confirm rather than challenge the temporality neoliberalism has imposed. It isn’t a case of having to choose between an ‘old’, discredited Stalinism and a ‘new’ networked post-leftism. Rather, we can learn from what the neoliberals did, and use an ensemble of strategies. The trade union movement is evidently still capable of mobilising hundreds of thousands of people, as the March TUC event and the June 30th strike amply demonstrated. The student movement and UK Uncut, meanwhile, have energies, concepts and strategies which the trade unions lack. A synthesis of these two approaches would yield something genuinely new.

Much of the leftist discourse around self-organisation stems from a time when Stalinism was a clear and present danger; to say the least, it doesn’t pose such a danger any more. The primary challenges we now face no longer concern the critique of ossified structures, but the creation of new organisations, institutions and concepts. Similarly, rather than being confined by a too-rigid set of ideological dogmas, the problem is a set of ideas that are too loose and vague to pose a challenge to the neoliberal orthodoxies which continue to dominate our workplaces, our public services and the media. The task is to produce a vision of social solidarity that is actually new, and Curtis’s series is valuable for showing that this cannot be delivered by familiar discourses about networks and self-organisation.
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Re: Adam Curtis

Postby MacCruiskeen » Wed Jul 20, 2011 3:42 pm

Wombaticus Rex wrote:from a recent interview in The Wire:

I ask what he thinks about the criticism that he manipulates people by seducing them into his narrative; cherry-picking a disparate collection of subjects, mixing them about and re-editing them into a fiction-like narrative? He seems exasperated. "Yeah, of course it is, because what do you want me to do, make a boring programme? [No, I want you to cease making programmes, full stop.] No, I want to make programmes that mesmerise [i.e., stupefy] you and provoke you [Why, exactly? Are you two years old?], so you're going 'hmm I like that, hmm, no I don't think that!' [You're an adman.] I want you to get engaged. [With what? This is mediababble.] So of course I'm playing with you. [Of course you are. So fuck you.] But that's what a good film maker does. [No it isn't, you smug prat. See the work of any good film maker for proof.] It's an emotional thing. [Ah yeah right, you're an artist (TM), so to you that means nothing you ever do ever has to make any sense. It's all just feelings and stuff, innit?] I think I'm quite honest about it [No you're not.], because here you are, you're saying don't you do this, and I'm like, well yeah, I do! [This is just fucking imbecilic.] And half of it is just the fun of finding the right music." [Shurely nine-tenths?]


Reminder: Adam Curtis is fifty-five-and-a-half.
"Ich kann gar nicht so viel fressen, wie ich kotzen möchte." - Max Liebermann,, Berlin, 1933

"Science is the belief in the ignorance of experts." - Richard Feynman, NYC, 1966

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