Exclusive interview: Julian Assange on Murdoch, Manning and the threat from China

The WikiLeaks founder talks to John Pilger.

In this week's New Statesman, the WikiLeaks founder Julian Assange talks to John Pilger about Bradley Manning, his "insurance" files on Rupert Murdoch and News Corp – and which country is the real enemy of WikiLeaks.

To read the entire feature, pick up a copy of this week's New Statesman, available on news-stands from tomorrow. Some highlights of the piece are below:

The "technological enemy" of WikiLeaks is not the United States, but China, according to Assange.

"China is the worst offender" when it comes to censorship, says the controversial whistleblower. "China has aggressive and sophisticated interception technology that places itself between every reader inside China and every information source outside China. We've been fighting a running battle to make sure we can get information through, and there are now all sorts of ways Chinese readers can get on to our site."

On Bradley Manning, the US soldier accused of leaking diplomatic cables to WikiLeaks, Assange says: "I'd never heard his name before it was published in the press." He argues that the US is trying to use Manning – currently stuck in solitary confinement in the US – to build a case against the WikiLeaks founder:

"Cracking Bradley Manning is the first step," says the Australian hacker. "The aim clearly is to break him and force a confession that he somehow conspired with me to harm the national security of the United States."

Such conspiracy would be impossible, he says. "WikiLeaks technology was designed from the very beginning to make sure that we never knew the identities or names of people submitting material. We are as untraceable as we are uncensorable. That's the only way to assure sources they are protected."

Yesterday, Assange's lawyers warned that if he is extradited to America he could face the death penalty – for embarrassing the leaders of the US government. "They don't want the public to know these things and scapegoats must be found," Assange says.

And despite the pressure the website has been under, reports of trouble at WikiLeaks are greatly exaggerated, he claims.

"There is no 'fall'. We have never published as much as we are now. WikiLeaks is now mirrored on more than 2,000 websites. I can't keep track of the spin-off sites – those who are doing their own WikiLeaks . . . If something happens to me or to WikiLeaks, 'insurance' files will be released."

The contents of these files are unknown, but, according to Assange, "They speak more of the same truth to power." It is not just government that should be worried about the content of these files, however. "There are 504 US embassy cables on one broadcasting organisation and there are cables on Murdoch and News Corp," he says.

The attempts by Washington to indict him should worry the mainstream press, he adds.

"I think what's emerging in the mainstream media is the awareness that if I can be indicted, other journalists can, too," Assange says. "Even the New York Times is worried. This used not to be the case. If a whistleblower was prosecuted, publishers and reporters were protected by the First Amendment, which journalists took for granted. That's being lost."

More WikiLeaks coverage by the New Statesman:

Protect Assange, don't abuse him

Getting the Assange issue wrong

WikiLeaks whistle blows time on the old game

Julian Assange arrest: why both sides are wrong

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Did Titantic do more for climate change than Leonardo DiCaprio’s new documentary?

Sex, icebergs and individual plight: the actor’s earlier outing teaches us more about vast disasters than his new docufilm about global warming’s impact, Before the Flood.

“Now you know there was a man named Jack Dawson and that he saved me . . . in every way that a person can be saved.” Or did he? For Titanic actor Leonardo DiCaprio, there is one way in which Jack never did rescue Rose: from the threat of climate catastrophe. 

Over the last 15 years, DiCaprio has made the issue a personal mission. Yet even in his role as UN climate ambassador, he stills feels far from heroic:

“If the UN really knew how I feel, how pessimistic I am about our future . . . I mean to be honest, they may have picked the wrong guy.”

So begins his new documentary, Before the Flood. A quest for answers on climate change, the film sees Leo racing around the world, marvelling at the sound of endangered whales, despairing at the destruction caused by tar-sands – “it looks like Mordor” – and interviewing a series of concerned experts, from professors to Barack Obama to the Pope.

There are plenty of naysayers to stand in his way and put him down. “Who better to educate world leaders on made-up climate change and a crisis that doesn't exist, than an actor with zero years of scientific training?” mocks one commentator from Fox News.

But if DiCaprio can gather enough evidence to believe in himself – AND believe that there are viable solutions out there – then so can we. Or so the story arc promises. His journey thus stands as a guide for our own; a self-education that will lead to salvation for all. 

It's all a little messianic. The film is even named after a biblical painting. And will those who don't already know who DiCaprio is even care? 

The sad fact is that, while DiCaprio’s lasting popularity still owes so much Titanic, the 1997 box-office smash that made his name, his new documentary fails to recapture the dramatic wisdom that put him there. It doesn’t even quip about the icebergs.

This is an oversight. Titanic didn’t win 11 academy awards for nothing. As well as a must-see rite of passage (pun intended) and soundtrack for infinite school discos, it taught me something invaluable about storytelling. Though I was not initially a DiCaprio fan, over the years I’ve come to accept that my lasting love of the film is inseparable from my emotional investment in Leo, or at least in his character, Jack. What Titanic showed so brilliantly was that the fastest way to empathise with suffering on a vast scale – be it a sinking ship or a sinking planet – is to learn to care for the fate of one or two individuals involved.

Every part of Jack and Rose's story is thus intimately linked with the story of the ship. Even that famed sex scene gains its erotic force not from the characters alone, but from their race through the blazing engine room (situated as it is between the foreplay of the naked portrait and the famous post-coital ending in the back of the cab).

And such carefully crafted storytelling isn't only essential to great entertainment but to great activism too. It can literally inspire action – as evidenced by fans’ desperate attempts to prove that both Jack and Rose could have climbed to safety aboard the floating piece of wood.

So would Before the Flood have been better if it had been a little bit more like Titanic and less like An Inconvenient Truth? Yes. And does that mean we should make climate films about epic polar bear love stories instead? Not exactly. 

There are many powerful documentaries out there that make you emotionally invested in the lives of those experiencing the consequences of our indirect (fossil fuel-burning) actions. Take Virunga, a heart-wrenching insight into the struggle of those protecting eastern Congo’s national park.

Sadly, Before the Flood is not one of them. Its examples of climate change – from Beijing air pollution to coral reef destruction – are over-familiar and under-explored. Instead of interviewing a Chinese official with a graph on his iPad, I would have preferred visiting a solar-panel factory worker and meeting their family, who are perhaps suffering from the effects of the smog in a way I can't yet imagine.

If you want a whistlestop tour of all things climate change then this necessary and urgent film is the movie for you. But those hoping it will give new depth to climate activism will be disappointed.

DiCaprio's distant relationship with the effects of climate change leave him stranded at the level of a narrator. He makes for a great elderly Rose, but we need a Jack.

Before The Flood is in limited theatres from 21 October and will be shown on National Geographic on Sunday 30 October.

India Bourke is an environment writer and editorial assistant at the New Statesman.