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Talk:An Inconvenient Truth/Archive 21

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Archive 15←Archive 19Archive 20Archive 21

References to use

Please add to the list references that can be used for the film article.
  • Minster, Mark (2010). "Ecocinema As and For Activism: The Rhetoric of Ascent in An Inconvenient Truth and Everything's Cool". In Willoquet-Maricondi, Paula (ed.). Framing the World: Explorations in Ecocriticism and Film. Under the Sign of Nature. University of Virginia Press. ISBN 0813930057.
  • Murray, Robin L.; Heumann, Joseph K. (2009). "Al Gore's An Inconvenient Truth and its Skeptics: A Case of Environmental Nostalgia". Ecology and Popular Film: Cinema on the Edge. Horizons of Cinema. State University of New York Press. pp. 195–206. ISBN 0791476774.

Lack of clarity

TL;DR -- the article should explain the meaning of the 'inconvenient' part of the title.

I'm probably missing something but it appears the article does not explain the 'inconvenient' part of the title. What's inconvenient about the truth? Does the film or book (or words that people have written in reliable sources about the film or book) say that the truth may be inconvenient in the sense that it has a cost? Does the truth require the listener/ viewer/ reader of the film and book to pay a price, or feel some type of pain the listener may be unable or unwilling to pay? If so, what, exactly, is that price or pain point? Is it requiring the viewer to make some e.g. personal sacrifice, for example to reduce his or her consumption level, or comfort level, or personal-convenience level, or all of the above, or none of the above, etc? What does the film/ book and reliable sources say about this? Ijon Tichy (talk) 22:53, 1 April 2017 (UTC)

@IjonTichyIjonTichy:It appears the title was discussed extensively by the movie's producers, it would be great if we can work in these details from Grist's 10 year oral history of the film into the article:


ABOUT THAT TITLE...

AL GORE: I thought that was a bad idea, too. We had of course batted around a number of possible titles. It’s sort of like picking a URL. Once you start, it’s a cul-de-sac that you can’t escape from. So we’d bat them around for a while and call it quits and go back and do something productive.

LESLEY CHILCOTT: Davis and Al and I had many, many debates about it.

DAVIS GUGGENHEIM: We had a lot of really bad titles. One was The Rising. I remember Al talking about whether he should give Bruce Springsteen a call, because he had an album out called The Rising. It had a great triple-entendre, because it was like the sea-level rising and the idea of people rising. So we got excited about that for a while.

LESLEY CHILCOTT: On an intellectual level, it makes sense: The Rising! The temperature is rising, everything is rising — everything in the movie, all the graphs, go from the lower left to the upper right. And we’re like, “Technically it makes sense, but it does sound like a horror movie.”

DAVIS GUGGENHEIM: There were also some really bad ones like Too Hot to Handle. Maybe that’s not right, but it was something with “hot,” ya know? We had a lot of hot puns.

Then I was interviewing Al at his home. I think we had at least 12 interviews, and he would tell you that they were excruciating for him. I kept pushing him and pushing him and pushing him in the way that I do.

AL GORE: Boy, did he ever. I was not fully prepared for what a skillful interviewer Davis was. You don’t hear his voice in the movie at all, but he did a series of taped interviews just with audio tape, not with the camera on, and plumbed the depths of what was going on in my mind and heart when I dealt with this issue. I’m telling you, at times, he would kind of remind you of an exchange you would have with a child, where you give what you think is a pretty good answer, and then the next question is, “Yes, but why?” Then you peel back a layer, and you come up with something that’s a little deeper and more introspective. And then the response is, “Yeah, but why?” He kept on going, and pretty soon I was saying stuff that I understood myself for the first time.

DAVIS GUGGENHEIM: I generally don’t like people’s first answers to things. And especially someone as polished as him, someone who is crafting his message so carefully. Sometimes a well-crafted answer is not good for a film. It wants to be raw and in the moment, and you want to feel like it’s found as you’re making it, like he thinks of it at the time he’s saying it. So I ask, “Why is this so hard for people? I get the logic of the argument for climate change, but why is it so hard for people to grasp?” And he goes, “Because it’s an inconvenient truth, ya know?” I had never heard him say that. I don’t know if he had before. And he said it in a string of a long answer, but in the back of my head, I go, that’s the title of our movie.

I gotta tell you, it was not a popular title in our discussions. For a while, I was defending it vigorously against other titles, and people thought it was hard to say, people thought it wasn’t fun, it wasn’t sexy. Days before we went to Sundance and had to decide, there was a large group of people who did not like the title.

AL GORE: My immediate reaction was, “Nah, I don’t think so.” And again, I was flat wrong. That’s become a common phrase in popular culture, and you see it over and over in different contexts.

MELISSA ETHERIDGE: He was happy that I worked “an inconvenient truth” into the song. I didn’t know how I would do it — it’s not the most singable lyric — but I was able to do it.

--- Gore also uses the phrase in the movie as well: "I've seen scientists who were persecuted, ridiculed, deprived of jobs, income, simply because the facts they discovered led them to an inconvenient truth."The lorax (talk) 00:27, 2 April 2017 (UTC)

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