I like fonts just fine. I would rate my caring as about 50% - midway between people who love using Comic Sans, and people who think people who love using Comic Sans should be lined up and shot.
The documentary reminded me how much I love listening to articulate people talk about a subject they love. In particular, it was a joy to hear Tobias Frere-Jones and Jonathan Hoefler talk about their design process: they use emotive or memory-inflected phrases when describing to each other what they're trying to achieve with a font, rather than talking about ascenders and descenders and chamfered edges.
For example, from their description of the creation of 'Tungsten':
A few years ago, we started wondering if there was a way to make a typeface in this genre that was disarming instead of brutish, one that employed confidence and subtlety instead of just raw testosterone. It was an unusual design brief for ourselves, completely without visual cues and trading in cultural associations instead: “more Steve McQueen than Steven Seagal,” reads one note; “whiskey highball, not a martini” suggests another.
Tungsten is a steel-grey metal with an extremely high melting point (second only to carbon), making it ideal for use in things like filaments in electric lightbulbs. I've recently re-read Oliver Sack's memoir of his chemical-mad childhood, Uncle Tungsten, so I was feeling ready to like the H & F-J font as soon as I saw the name. Then this morning I happened across New Zealand typographer Kris Sowersby's Karbon - which made me wonder if anyone has laid out typefaces into a periodic table-like display.
And of course someone has. Design and science geeks rejoice.