Alex Gibney

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.

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.

So that if you went by A and E, it's like, oh, that's A and E, because you can automatically tell, like... in three seconds, what the channel is. And so documentaries just became either something that was dull, that was on PBS, even though they weren't always dull on PBS, or that was just a cable channel documentary, which meant it was just... more fodder.

So that if you went by A and E, it's like, oh, that's A and E, because you can automatically tell, like... in three seconds, what the channel is. And so documentaries just became either something that was dull, that was on PBS, even though they weren't always dull on PBS, or that was just a cable channel documentary, which meant it was just... more fodder.

So that if you went by A and E, it's like, oh, that's A and E, because you can automatically tell, like... in three seconds, what the channel is. And so documentaries just became either something that was dull, that was on PBS, even though they weren't always dull on PBS, or that was just a cable channel documentary, which meant it was just... more fodder.

They were all stamped with a kind of corporate seal. There was no personality to them. Like the documentaries that I liked, like the ones I just talked about, even the cinema verite ones where you don't hear a narrator or anything, you know, the cinema verite filmmakers saw themselves as visual poets.

They were all stamped with a kind of corporate seal. There was no personality to them. Like the documentaries that I liked, like the ones I just talked about, even the cinema verite ones where you don't hear a narrator or anything, you know, the cinema verite filmmakers saw themselves as visual poets.

They were all stamped with a kind of corporate seal. There was no personality to them. Like the documentaries that I liked, like the ones I just talked about, even the cinema verite ones where you don't hear a narrator or anything, you know, the cinema verite filmmakers saw themselves as visual poets.

So there was a mark of personality to them. That's what was intriguing and engaging. They were engaging with real life, but it wasn't some stentorian narrator telling you the way the world was.

So there was a mark of personality to them. That's what was intriguing and engaging. They were engaging with real life, but it wasn't some stentorian narrator telling you the way the world was.

So there was a mark of personality to them. That's what was intriguing and engaging. They were engaging with real life, but it wasn't some stentorian narrator telling you the way the world was.

That's right. There was a lot of years in the wilderness I spent doing other stuff, whether it was doing some journalism or I cut exploitation trailers for a while, you know, all sorts of stuff. Did you feel like a person who had, like, fallen in love with the wrong thing? Yeah. I had. And my wife was particularly convinced I had fallen in love with the wrong thing. What about the post office?

That's right. There was a lot of years in the wilderness I spent doing other stuff, whether it was doing some journalism or I cut exploitation trailers for a while, you know, all sorts of stuff. Did you feel like a person who had, like, fallen in love with the wrong thing? Yeah. I had. And my wife was particularly convinced I had fallen in love with the wrong thing. What about the post office?

That's right. There was a lot of years in the wilderness I spent doing other stuff, whether it was doing some journalism or I cut exploitation trailers for a while, you know, all sorts of stuff. Did you feel like a person who had, like, fallen in love with the wrong thing? Yeah. I had. And my wife was particularly convinced I had fallen in love with the wrong thing. What about the post office?

The regular hours? You know, it was like, because I was always, I had a zillion projects, right? But the projects never went anywhere.

The regular hours? You know, it was like, because I was always, I had a zillion projects, right? But the projects never went anywhere.

The regular hours? You know, it was like, because I was always, I had a zillion projects, right? But the projects never went anywhere.

That was the period when I was scuffling up in Canada trying to make something. I was trying to make it for the Disney Channel, and then... the Disney Channel had a change of heart about what it was gonna do because Michael Eisner, you know, was caught trying to make a slave ride. Wait, what happened? Okay, so the Disney Channel was gonna change to become an Americana channel. Okay.

That was the period when I was scuffling up in Canada trying to make something. I was trying to make it for the Disney Channel, and then... the Disney Channel had a change of heart about what it was gonna do because Michael Eisner, you know, was caught trying to make a slave ride. Wait, what happened? Okay, so the Disney Channel was gonna change to become an Americana channel. Okay.

That was the period when I was scuffling up in Canada trying to make something. I was trying to make it for the Disney Channel, and then... the Disney Channel had a change of heart about what it was gonna do because Michael Eisner, you know, was caught trying to make a slave ride. Wait, what happened? Okay, so the Disney Channel was gonna change to become an Americana channel. Okay.