For a guy who has spent the last three decades mapping the contours of human frailty and folly, director Errol Morris is awfully upbeat about the future. Of course, his is not just any map: It illustrates redoubts of genius ( A Brief History of Time , Mr. Death ) and islands of quirk ( Gates of Heaven , Vernon, Florida ) in vast seas of systemic failure ( The Thin Blue Line , the Oscar-winning The Fog of War , Standard Operating Procedure ). Its moral compass points mysteriously inward, challenging viewers to orient themselves accordingly. His latest film, Tabloid , exists as its own sort of hemisphere in this schema, marking milestones of crime, gossip, sex, religion, love, science and indiscretion in the jaw-dropping story of Joyce McKinney.
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Errol Morris on Tabloid Truth, Media Fury and Kissing Reality Goodbye
