Nick Broomfield: “She very much reminded me of Margaret Thatcher”

The documentary maker on Sarah Palin, Mitt Romney and sex in Bedford.

After your last two projects, the drama films Ghosts and Battle for Haditha, what inspired you to return to your old style?

I’ve worked with lots of different styles. I did a couple of low-budget features using real people to act as themselves and I had embarked on a feature, The Catastrophist, using actors, and there was this endless process of getting it off the ground, so I thought it would be good to recharge my batteries and go back to my roots. Plus there were other things. There’s always an interaction between the personal and the work. My father had just died and was anxious to go and do something on the spur of the moment. The thought of going off to Alaska was actually rather appealing at that time.

Many of your subject seem to see themselves as victims, even when they’re not. Is that fair?

I think that’s true. [Palin] very much reminded me of Margaret Thatcher, who in her later years would only allow herself to be interviewed by designated interviewers. Sarah Palin was exactly like that. She only would be interviewed by Fox News. I think the paranoia you’re talking about comes with power. It’s somebody with an absolute philosophy who isn’t interested in people who disagree with them. None of them were interested in democracy and open discussion, or a belief that several brains looking at a problem will come up with a solution better than your own. They’re all very reluctant to embrace criticism and regard it as a destructive thing.

How big a role do you think Palin’s parents play in her life?

I think she’s incredibly close to her parents. Her father was her science teacher and track coach. Apparently as well as being somebody who was rightfully very popular as a teacher – he had all these mammoths and dead animals – he was incredibly brutal to people. I don’t think Sarah was a natural athlete and she was always trying to get his respect and approval. Basically, nothing was ever good enough. It’s interesting she married Todd, who was the best basketball player, the one star they had. She was always devoted more than anything else to impressing her father and having him on board, and he’s somebody who absolutely sees the world in black and white tones: you’re either with him or you’re against him.

Why are those who loved her so reluctant to embrace Mitt Romney?

Well, firstly he’s a Mormon. He’s not a fundamentalist Christian. He doesn’t embody all those fundamentalist positions. He’s changed his position on abortion, which is a fundamental thing for them. He’s changed his position on things like health care, so I think he’s basically toadying to the extreme right because he knows he needs their support to carry the Republican party in the election. But no one really believes that he’s a dyed-in-the-wool fundamentalist in the way Sarah Palin or Michele Bachmann are. I think Romney is regarded as an outsider.

I see she has a TV show now.

She’s been under contract with Fox for some time. I think Murdoch regarded her as a rising star and believed in a lot of the stuff she was saying. Believed in her populism. That she was a great demagogue and had a loyal following. Maybe believed mistakenly that she was going to be vice-president and that his empire would benefit from her philosophy...

How many of you were there working on the film?

In Alaska there was a researcher who was looking at archives, contacting people and making phone calls, then somebody doing all the technical side of things – film making has become more and more technical: downloading footage, coming along on shoots, keeping everything going – and then Joan Churchill was the camerawoman and I was doing sound. So there was basically four of us. In post-production we probably had another three researchers. The Sarah Palin film was a frustrating film and it was very hard to get footage for stuff. It required more people than normal.

Do you think people have started to distrust you?

I think certain people do. I guess Sarah Palin obviously did. I think when I was doing things like Aileen or Kurt & Courtney, Biggie and Tupac, everything was fine, but I think probably right-wing politicians and those kinds of people do distrust me. And of course everything has got more difficult with the internet. You can find out what somebody’s done and how they’re perceived.

What are you up to now?

I’m just finishing an undercover film I did with the same journalist who I worked with on Ghosts, Hsiao-Hung Pai. She did a stint as a housemaid in a Chinese brothel in Bedford. Based on those studies we did another undercover film which is called Sex in Bedford and should be out some time in the new year.

Did you manage a cameo?

I did actually visit once, but no, I didn’t make a guest appearance as an evening customer.

"Sarah Palin: You Betcha!" and the "Nick Broomfield Documentary Collection" are available now on DVD from Universal Pictures (UK).

Nick Broomfield. Photo: Getty Images.

Philip Maughan is a freelance writer in Berlin and a former Assistant Editor at the New Statesman.

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In Guardians of the Galaxy Vol 2, every other line reeks of a self-help manual

This lame sequel suggests the makers have largely forgotten why the original was so refreshing.

The 2014 romp Guardians of the Galaxy boasted the budget of a blockbuster and the soul of a B-movie. What that meant in practice was that audiences had to endure the same biff-pow battle scenes and retina-blistering effects as any space adventure, but they were rewarded with eccentric characters and tomfoolery for its own sake.

Despite the Marvel Studios imprimatur, the film showed the forces of intergalactic evil being fought not by superheroes, but by a ragtag band of bickering goofballs: Peter Quill (Chris Pratt), aka Star-Lord, a self-regarding rogue in the Han Solo mould; the green-faced alien Gamora (Zoe Saldana); Drax (Dave Bautista), a literal-minded hulk; Rocket, a racoon-like warrior (voiced by Bradley Cooper); and Groot, a piece of bark that says “I am Groot” over and over in the dulcet tones of Vin Diesel. Movies this odd don’t usually become $770m smash hits but this one did – deservedly.

Those characters return in Guardians of the Galaxy Vol 2 (the “Vol 2” reflects Peter’s love of mix-tapes) but the new film suggests the makers have largely forgotten why the original was so refreshing. Gags are rehashed; several sequences (including an interminable slow-motion section involving a laser-powered arrow) are dragged way beyond their desirable lifespan. Late in the day, Rocket tells his shipmates that they have too many issues, which rather pinpoints the problem with the screenplay by the director, James Gunn. Gunn has saddled his characters with unreasonable baggage, all of it relating to family and belonging. No matter how far into space they travel, all roads lead back to the therapist’s couch.

Peter, raised by his late mother, is delighted when Ego (Kurt Russell) materialises claiming to be the father he never knew. The old man makes grand pronouncements, only to undercut them within seconds (“’Scuse me, gotta take a whizz”) but, on the plus side, he has his own planet and pulls the whole “One day, son, all this will be yours” shtick. Gamora also has family business to contend with. Her blue-skinned sister, Nebula (Karen Gillan), wants to kill her: Nebula has never quite got over Gamora being Daddy’s favourite. To be fair, though, he did force them to fight one another, replacing parts of Nebula’s body with metal whenever she lost, so it’s not like we’re talking about only one sister being allowed to watch Top of the Pops.

The more Peter gets to know Ego, the less admirable he seems as a father, and soon we are in the familiar territory of having parenting lessons administered by a Hollywood blockbuster. The reason for this became obvious decades ago: the film industry is populated by overworked executives who never get to see their children, or don’t want to, and so compensate by greenlighting movies about what it means to be a good parent. Every other line here reeks of the self-help manual. “Please give me the chance to be the father your mother wanted me to be,” Ego pleads. Even a minor character gets to pause the action to say: “I ain’t done nothing right my whole life.” It’s dispiriting to settle down for a Guardians of the Galaxy picture only to find you’re watching Field of Dreams with added asteroids.

Vol 2 gets by for an hour or so on some batty gags (Gamora misremembering the plot and star of Knight Rider is an especially juicy one) and on the energising power of Scott Chambliss’s glorious production design. The combination of the hi-tech and the trashy gives the film the appearance of a multimillion-dollar carnival taking place in a junkyard. Spectacular battles are shot through scuffed and scratched windscreens, and there are spacesuits cobbled together from tin pots and bubble-wrap. This is consistent with the kitschfests that inspired the Guardians aesthetic: 1980s science-fiction delights such as Flash Gordon, Spacehunter: Adventures in the Forbidden Zone and The Adventures of Buckaroo Banzai Across the 8th Dimension.

If only Vol 2 had mimicked their levity and brevity. Gunn ends his overlong movie with a bomb being attached to a giant brain, but this is wishful thinking on his part. He hasn’t blown our minds at all. It’s just a mild case of concussion. 

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

This article first appeared in the 27 April 2017 issue of the New Statesman, Cool Britannia 20 Years On

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