In preparation for this film I have been thinking about Bohm’s past, the Bohm before I knew him. Thinking about the Bohm I met via his taped memoirs, the letters he and Einstein exchanged and the memories he recounted to me. When Bohm moved to Princeton from California he took a room in the house next door to Einstein. The two men met and became very close. Einstein told Bohm’s fiancée at the time, Hanna Lowey, that he looked on the younger man as his “spiritual son.”
As a filmmaker I know that a documentary film can be described as a form of motion picture or a series of images and sounds which are intended to document some aspect or aspects of reality. However, the documentary genre, with its inherent drive to document reality, has to give consideration to how the recorded ‘reality’ is subject to the filmmakers’ interpretation. Essentially we have two distinct aspects which, in Bohmian speak are, the ever changing and evolving nature of reality itself and the objective-subjective interpretation of that reality through various means – be it through philosophy, literature, religion, science, the arts and through film-making. In a practical sense filmmaking and documentary are a mixture of objective illustrative images and sounds that represent the factual nature of the world in which we live in combination with the subjective interpretation of the filmmaker. So rather than just presenting a series of factual images and sounds, the most interesting documentaries are, in my view, made by film-makers who can illuminate the ever changing nature of the factual world around us and hopefully, through perceptive interpretation, can potentially create a momentum for meaningful change in society. And that is why David Bohm, as a subject for a filmmaker like myself, is hugely interesting.