Cat vs Mouse: A Game of Lies (An Updated Version)

In The Unknown Known, Director Errol Morris interviewed former politician Donald Rumsfeld about his time in office and the positions Rumsfeld held during the time before the invasion of Iraq and its aftermath. In Morris’ interview with Rumsfeld, Rumsfeld analyzes the differences between unknown knowns, known knowns, and unknown unknowns throughout recent history. Morris discusses many topics in the recent history of the United States with Donald Rumsfeld, including the aftermath of 9/11, the invasion of Iraq, and when we officially defined and applied the word ‘terrorism’. In The Unknown Known, Errol Morris aims to catch Donald Rumsfeld in the act of lying by utilizing logical arguments, tactical interview techniques, and drawing on the emotions of the audience.

Errol Morris focuses on using primary sources, such as memos and live interviews, to create a logical argument for the audience and Donald Rumsfeld to focus on.  Morris reads directly from memos, emails, and transcripts of live interviews, that Rumsfeld produced. Specifically, Morris reads Rumsfeld’s memos on the authorization of specific GTMO torture techniques. Rumsfeld attempts to deny his involvement in the so-called “torture memos” that approved of torture methods in GTMO. However, Morris points out a note Rumsfeld himself wrote on a memo that states, “However, I stand for 8-10 hours a day. Why is ‘stand’, limited to 4 hours? -DR”. While Rumsfeld claimed he did not receive or read any of the “torture memos” he approved of specific torture methods for use in GTMO. In addition, Morris asks if anyone claimed Saddam Hussain had connections to Al-Qaeda, and Rumsfeld claimed that to his knowledge no one did. So, Morris shows an interview of Rumsfeld himself explaining that Saddam Hussein is a liar and that Hussein had a direct connection to Al-Qaeda and the attack on 9/11. Morris points out that Donald Rumsfeld blatantly lied about his involvement in the approval of torture methods in GTMO and him calling out Saddam Hussein’s involvement with Al-Qaeda and the attacks on 9/11. Morris uses Donald Rumsfeld’s memos and live interviews to logically disprove Rumsfeld’s statements and create an environment that catches Rumsfeld in the act of knowingly withholding the truth.

In The Unknown Known, Morris also utilizes enhanced interview techniques, such as the positioning of the camera and background information to debunk Rumsfeld’s interview answers. Errol Morris uses an interviewing process that allows the viewer to look directly into Rumsfeld’s eyes when he is talking. By utilizing this technique Rumsfeld is forced to look into “the eyes” of the audience while he is telling his story. Through this technique, Errol Morris forces Rumsfeld to look at the audience when he is telling a lie. By doing this, Rumsfeld not only has to face Morris while lying, but also the public that is watching. Morris can analyze Rumsfeld’s innate facial reactions to questions, which reveal his attempts to deceive the audience. When Morris questions Rumsfeld’s involvement in the authorization of torture techniques he would not look directly at the camera but laughed off the claim. The indirect eye contact and the attempt to move around the question allowed Morris to analyze Rumsfeld’s reaction and disprove Rumsfeld accordingly. When moving to a new topic, Morris allowed Rumsfeld to describe the story in his own words, mostly underexaggerating his involvement and exaggerating other people’s involvement. Morris took this chance to bring up interview clips and pictures of memos to show that audience the truth of Rumsfeld’s involvement in combination with Morris’ logical arguments that contradict Rumsfeld’s statements. Through using tactical interview techniques, Errol Morris was able to analyze Donald Rumsfeld’s reactions to statements and questions presented to him and Morris disproved Rumsfeld accordingly. 

Director Errol Morris draws on the emotional weight of the audience through visuals of tragedies and military operations, and the choice of music throughout the documentary. Morris uses pictures, videos, and sound clips, to immerse the audience into the interview. For example, when talking about 9/11 Morris plays the audio of the control tower trying to communicate with the first plane before it hits the first tower. By using this great American tragedy, Morris can set up the reaction of the United States Government, and the actions Donald Rumsfeld took when pursuing the terrorists behind it all. Morris uses the visuals and recordings to connect the audience to the actions taken after. This allows for a greater impact on the audience when Morris later refutes Rumsfeld’s account on his actions taken. By giving the audience a connection to 9/11, the true actions taken by Donald Rumsfeld and the US government have a greater impact. In combination with the visuals and voice recording, Morris uses dramatic music with the aftermath to invoke a feeling of overwhelming sadness, which makes the audience feel Rumsfeld has more to pay. Morris uses these strategies to force the audience to connect with the interview and to understand the impact of it all, while he refutes Donald Rumsfeld’s statements on his actions during the aftermath of 9/11. Director Errol Morris utilizes logical arguments, tactical interview techniques, and the emotional weight of the audience, to better refute former Secretary of Defense Donald Rumsfeld’s false claims in The Unknown Known. Morris uses these techniques to force the audience to connect and understand the impact of Donald Rumsfeld’s true actions in the aftermath of 9/11. By utilizing a logical argument and backing his claims up with primary sources such as interviews, memos, newsreels in combination with enhanced use of emotional sound clips and pictures from 9/11 and soldiers, Errol Morris traps Rumsfeld in a box of Rumsfeld’s own lies. In this cat and mouse chase throughout the documentary, Errol Morris analyzes Rumsfeld’s responses and his reactions to questions to further disprove Donald Rumsfeld’s false claims and present the audience with the truth.