Alex Gibney

Yeah.

Hey, thanks, BJ.

Hey, thanks, BJ.

Hey, thanks, BJ.

The Japanese have a term for that, shinju. It's a mutual suicide, right. That sounds like a lovely, that's what we're going to teach listeners today is how to do shinju.

The Japanese have a term for that, shinju. It's a mutual suicide, right. That sounds like a lovely, that's what we're going to teach listeners today is how to do shinju.

The Japanese have a term for that, shinju. It's a mutual suicide, right. That sounds like a lovely, that's what we're going to teach listeners today is how to do shinju.

Well, at the moment, I kind of feel the way Tony does. I think the golden age of documentary, which was proclaimed maybe even as recently as like four years ago, now feels like it's got a lot of rust on it.

Well, at the moment, I kind of feel the way Tony does. I think the golden age of documentary, which was proclaimed maybe even as recently as like four years ago, now feels like it's got a lot of rust on it.

Well, at the moment, I kind of feel the way Tony does. I think the golden age of documentary, which was proclaimed maybe even as recently as like four years ago, now feels like it's got a lot of rust on it.

So I made documentaries in film school, and one of the ones I made in film school, I actually got on TV, which was back then, you know, hugely successful. But then I went through a long period where... I was underemployed, even after I'd had kids. And if I was going in to look for a job, my wife would always say, honey, listen, if they ask you what you do, don't say you make documentaries.

So I made documentaries in film school, and one of the ones I made in film school, I actually got on TV, which was back then, you know, hugely successful. But then I went through a long period where... I was underemployed, even after I'd had kids. And if I was going in to look for a job, my wife would always say, honey, listen, if they ask you what you do, don't say you make documentaries.

So I made documentaries in film school, and one of the ones I made in film school, I actually got on TV, which was back then, you know, hugely successful. But then I went through a long period where... I was underemployed, even after I'd had kids. And if I was going in to look for a job, my wife would always say, honey, listen, if they ask you what you do, don't say you make documentaries.

Because then you'll never get hired for whatever it is you want to do because you couldn't get hired to make documentaries. Oh, they would see it as like, why would we hire you even for like a commercial or something like that? Right, because you're interested in documentaries and documentaries are spinach and nobody cares about them. Why did you like them?

Because then you'll never get hired for whatever it is you want to do because you couldn't get hired to make documentaries. Oh, they would see it as like, why would we hire you even for like a commercial or something like that? Right, because you're interested in documentaries and documentaries are spinach and nobody cares about them. Why did you like them?

Because then you'll never get hired for whatever it is you want to do because you couldn't get hired to make documentaries. Oh, they would see it as like, why would we hire you even for like a commercial or something like that? Right, because you're interested in documentaries and documentaries are spinach and nobody cares about them. Why did you like them?

I liked them because, I mean, when I was going to college, you'd see them at film societies alongside the feature films. So to me, they were movies like, you know, Gimme Shelter, documentary, great documentary, really entertaining. And then Fred Wiseman, I always liked his films, and Barbara Koppel, Harlan County, USA, Woodstock. I mean, they're documentaries, right?

I liked them because, I mean, when I was going to college, you'd see them at film societies alongside the feature films. So to me, they were movies like, you know, Gimme Shelter, documentary, great documentary, really entertaining. And then Fred Wiseman, I always liked his films, and Barbara Koppel, Harlan County, USA, Woodstock. I mean, they're documentaries, right?

I liked them because, I mean, when I was going to college, you'd see them at film societies alongside the feature films. So to me, they were movies like, you know, Gimme Shelter, documentary, great documentary, really entertaining. And then Fred Wiseman, I always liked his films, and Barbara Koppel, Harlan County, USA, Woodstock. I mean, they're documentaries, right?

So, I thought they were great, but there came a period, and particularly the period of cable TV. was a period where channels were like, you were supposed to be able to recognize them as you went up and down the dial with your clicker, before there were too many channels to use a clicker.