Her father was a computer programmer at a hospital, her mother a registered nurse.
“I don’t love it when someone comes up to me in a coffee shop,” she says, almost sheepishly. Documentary Filmmaker Support Guide. One idea is to project onto the museum’s ceiling overhead views from parts of the world where the U.S. drone program is active.
Eventually, she relocated to New York, studying political theory and media studies at the New School. Her steeliness behind the camera is legendary. But then, as we see in the film, Assange is charged with sexual assault in Sweden; to avoid extradition, he takes shelter in the London embassy of Ecuador, which has granted him asylum; a coterie of worshipful aides serves his needs; the paranoia runs deep (sometimes justifiably), as does the grandiosity. Bradley (later Chelsea) Manning, who spent years in an Army prison for his act, put WikiLeaks on the map and drew Poitras to Assange as a figure willing to take enormous risks in order to change the world. “I mean, for a long time, I was very hard to reach.”As the backstory to the Snowden affair has grown more public, Poitras has taken on the glimmer of an icon. Over the course of several years, she was detained and questioned more than 40 times at airports, having her notes photocopied and at one point, a laptop confiscated, which led her to start securing her communications and eventually to move from New York to Berlin, where she felt less compromised.When a message arrived from an anonymous source calling himself Citizen Four, she worried it was a trap. She also says that a personal breach occurred when she decided not to give Snowden’s documents (which she obtained while making this film) to WikiLeaks, a move that Assange—in a text to her, which she quotes—considered a “betrayal.”But what specifically bred Poitras’ distrust of Assange? I loved the fact that every day you had to make something new.” It was also, she adds, good training for the quick-paced, high-stress filmmaking she would later do. He contacted her after seeing a short documentary she’d made about William Binney, a whistle-blower who left the NSA in 2001. “She has this profound regard for art and its ability to enlighten and move people,” he says. “It doesn’t let me rest or sleep.”Earlier that day, Poitras allowed me to read excerpts of the journal she kept in Berlin, which she has decided, after some hesitation, to publish in the catalog accompanying the Whitney exhibition. These days, there’s little chance of her staying under the radar. When I ask if it feels good to have a cell phone again, Poitras laughs.
“I’m battling with my nervous system,” she wrote in her journal at the time. And you'll never see this message again. You can cancel anytime. She did yoga to try to stay calm. Laura Poitras is a filmmaker, journalist, and artist. Poitras tells me she doesn’t much enjoy being well known.
As she recounts in her occasional, diary-like narration, Poitras—who also made Those materials leaked by Pvt. The exhibit includes a number of short films but is primarily a series of immersive installations, designed almost as a walk-through narrative about the world post 9/11. I was seriously scaredHer work could be seen as attempting, again and again, to redirect the American gaze. “But it didn’t feel that way then.
Her colleague Glenn Greenwald—whose reporting from Hong Kong introduced the world to NSA spying—says that the archive represents “both a massive opportunity but also a very heavy burden” for Poitras, adding that “Laura is one of the most creative, passionate, intense, and complicated people I’ve ever met.” And while Greenwald is verbose and comfortable in the spotlight, Poitras seems bent on keeping a lower profile. films About Staff Field Notes Submissions Newsletter. “In retrospect, a lot of people think, Oh, the Snowden story is a great story that any journalist would want to get ahold of,” she says. Diane Weyermann, executive vice president for documentaries at Participant Media and one of the producers on Snowden also recognized Poitras’s grit. )Hollywood remains a strange kind of otherworld. “And Laura Poitras knows the issues firsthand.” She’s titled the exhibition “Astro Noise,” which is also the nickname Edward Snowden gave to the massive file of leaked documents he sent her in 2013, which landed in her life with the force of a meteor. It’s not relaxing at all.”Poitras was 35 years old when she embarked on her first long-form documentary, collaborating with a filmmaker named Linda Goode Bryant on In her films, Poitras is mostly invisible, dedicated to the let-it-happen style of cinema vérité.
She’s also relaxed her guard enough to start carrying an iPhone. Weinberg predicts that the exhibition will serve as a lightning rod for public discourse. “I love weekends,” she says.
I get so much done.” It’s the most revealing disclosure she’s made about her personal life yet. Laura Poitras has directed several documentaries including The Oath and the Academy Award winning Citizenfour about Edward Snowden.In their conversation, Poitras and Robert Scheer discuss Assange’s complexity and whether he has the right as a … “I go into work mode,” she says with a laugh.
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