Seymour Hersh walked through the streets of Georgetown, Washington D.C., in search of a newspaper. The reporter spent 30 minutes covering six blocks without spotting a single sign of life or newsstands selling papers. Finally, he found a drugstore with two copies of the New York Times; one for himself and none for anyone else.
Hersh was born in Chicago in 1937, amidst significant global events. He has written extensively on Vietnam, Watergate, Gaza, and Ukraine, earning him the title of an American journalist with a wealth of experience covering critical issues over six decades.
However, Hersh is troubled by the current state of investigative journalism. "I don't think I could do what I did 30, 40, or 50 years ago," he says, highlighting declining outlets and dwindling financial support for journalists. "The outlets aren't there, the money's not there, so we're in a tough spot."
To address this issue, director Laura Poitras created Cover-Up, a documentary featuring Hersh's life and work. The film delves into his influential exposés on the My Lai massacre and Abu Ghraib prison torture scandal, while acknowledging the sometimes contentious reliance on unnamed sources.
Initially, Hersh was hesitant to participate in the project but ultimately joined after being chased by Poitras for years. Despite this, he grew frustrated with the film's production process due to his concerns over camera presence around his office and guarding of contacts.
Hersh is a strong advocate for self-publishing platforms like Substack, which allows him to maintain independence from editorial interference. He describes the experience as "self-publishing," stating that it has enabled him to cover topics he wants without compromise.
The documentary reveals Hersh's perspective on journalism, emphasizing its importance in exposing truth and driving social change. He believes in the vital role journalists play in holding those in power accountable.
At a recent film festival premiere of Cover-Up, Hersh experienced overwhelming applause but reported that his reaction was different from the crowd's expectations. "I know they like to measure the length of the applause at these festivals, but come on, enough," he says, revealing his discomfort with extended applause.
Hersh was born in Chicago in 1937, amidst significant global events. He has written extensively on Vietnam, Watergate, Gaza, and Ukraine, earning him the title of an American journalist with a wealth of experience covering critical issues over six decades.
However, Hersh is troubled by the current state of investigative journalism. "I don't think I could do what I did 30, 40, or 50 years ago," he says, highlighting declining outlets and dwindling financial support for journalists. "The outlets aren't there, the money's not there, so we're in a tough spot."
To address this issue, director Laura Poitras created Cover-Up, a documentary featuring Hersh's life and work. The film delves into his influential exposés on the My Lai massacre and Abu Ghraib prison torture scandal, while acknowledging the sometimes contentious reliance on unnamed sources.
Initially, Hersh was hesitant to participate in the project but ultimately joined after being chased by Poitras for years. Despite this, he grew frustrated with the film's production process due to his concerns over camera presence around his office and guarding of contacts.
Hersh is a strong advocate for self-publishing platforms like Substack, which allows him to maintain independence from editorial interference. He describes the experience as "self-publishing," stating that it has enabled him to cover topics he wants without compromise.
The documentary reveals Hersh's perspective on journalism, emphasizing its importance in exposing truth and driving social change. He believes in the vital role journalists play in holding those in power accountable.
At a recent film festival premiere of Cover-Up, Hersh experienced overwhelming applause but reported that his reaction was different from the crowd's expectations. "I know they like to measure the length of the applause at these festivals, but come on, enough," he says, revealing his discomfort with extended applause.