Hollywood Scripting

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Re: Hollywood Scripting

Postby MinM » Thu Dec 18, 2014 10:55 pm

Who or what is really behind this Sony 'Interview' kerfuffle?

http://cannonfire.blogspot.com/2014/12/ ... do-it.html
MinM » Mon Aug 11, 2014 10:46 pm wrote:
RocketMan » Thu Jun 12, 2014 4:13 pm wrote:
MinM » Thu Jun 12, 2014 4:36 pm wrote:
@TimothyS: Stoners buy into assassination & racism -way to go, idiots."Rogen & Franco's new film on invading North Korea." huff.to/1loNSUz

Image
https://twitter.com/Variety/status/477154338125541376


You beat me to the punch, MinM. This just... nauseates me. Never liked Rogen much, but I had a soft spot in my heart for James Franco, oddly enough. American triumphalism dressed up as edgy satire just irritates the fuck out of me. How is it even satire if it regurgitates official American foreign policy? Jesus...

Hollywood help you if you're not on board the MIC Express ..
Image@RT_America: Hollywood execs may blacklist Cruz, Bardem for accusing Israel of 'genocide' http://on.rt.com/ibv548
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@MaxBlumenthal: Israeli arms makers expect to cash in after testing new weapons on besieged refugees of Gaza: http://www.haaretz.com/news/diplomacy-defense/1.609919
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https://twitter.com/globalnews/status/5 ... 4856880130

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Re: Hollywood Scripting

Postby Nordic » Thu Dec 18, 2014 11:53 pm

This might need its own thread. I can't believe the outrage I'm seeing across the board regarding Sony pulling this stupid movie. Like anally raping innocent people in a mass organized torture/rape program is just ho-hum business as usual.

Fucking bizarre.

But then there's this!!

http://antiwar.com/blog/2014/12/18/stat ... interview/

Emails Reveal US State Department Influenced Sony’s “The Interview” so as to Encourage Assassination and Regime Change in North Korea

Dec 18th, 2014 @ 10:21 am › Dan Sanchez

Sony’s decision yesterday to cancel its release of The Interview after being hacked and threatened by a group that may or may not be tied with the North Korean government has been the top story in the media ever since. Decidedly less-covered, and almost completely obscured by the cancellation, is another revelation made yesterday about the movie that is actually far more important.

The Daily Beast reported yesterday on leaked emails from the Sony hack which show that the United States government was involved at high levels with the content development of The Interview, especially its controversial ending depicting the assassination of North Korean ruler Kim Jong-Un. As the report’s headline states, “Sony Emails Say State Department Blessed Kim Jong-Un Assassination in ‘The Interview.’” The emails also reveal that a RAND corporation senior defense analyst who consulted on the film went beyond “blessing” and outright influenced the end of the film, encouraging the CEO of Sony Entertainment to leave the assassination scene as it was (in spite of misgivings at Sony) for the sake of encouraging North Koreans to actually assassinate Kim Jong-Un and depose his regime when the movie eventually leaks into that country. According to the Sony CEO, a senior US State Department official emphatically and personally seconded that advice and reasoning in a separate correspondence. The emails also reveal that the U.S. special envoy for North Korean human-rights issues also consulted with Sony on the film.

While a tiny nation state possibly being involved in scuppering a movie premiere by hacking and threatening a Hollywood studio by proxy may be more novel and sensational than yet another psyop by the US Regime Change Machine, the latter is far more important. The United States, as part of its “Asian Pivot,” made an explicit push for assassination and regime change in yet another foreign country under the cover of art and commerce, and the North Korean regime and its ally China are both now 100% aware of it. That has huge implications for politics in the region, for US relations with those countries, for the character and integrity of American art and media, and for the mischievous, generally havoc-wreaking way our government is secretly using our tax dollars.

Imagine how the U.S. and its CIA would respond if a major movie studio anywhere in the world were to make a film centered around the assassination of a sitting U.S. President: especially if a foreign government was involved, pushing for just such an assassination. That North Korea, or any state, might respond with speech-suppressing attacks and threats is not to be excused, but it should be no surprise either. Yet the US was more than happy to help foment a predictable crisis like this, thereby putting its own people at risk. And it did so by surreptitiously penetrating Hollywood to steer it toward using “artistic” existential threats to taunt a nation-state that is such a basket-case that it would only be dangerous to Americans if made desperate by such existential threats. That shows what little regard our “security force” has for our actual security, as compared to pursuing global power politics.

On a side note, this makes one wonder if the State Department also pushed for this other memorable dictator-detonating scene from Charlie Sheen’s 1991 comedy Hot Shots, depicting regime-enemy Saddam Hussein catching a bomb in his lap while sipping a cocktail in his poolside lounge chair.

Here are the key passages from the Daily Beast report (emphasis added):

“The Daily Beast has unearthed several emails that reveal at least two U.S. government officials screened a rough cut of the Kim Jong-Un assassination comedy The Interview in late June and gave the film—including a final scene that sees the dictator’s head explode—their blessing. (…)

A series of leaked emails reveal that Sony enlisted the services of Bruce Bennett, a senior defense analyst at the RAND Corporation who specializes in North Korea, to consult with them on The Interview. After he saw the film, including the gruesome ending where a giant missile hits Kim Jong-Un’s helicopter in slow-mo as Katy Perry’s “Firework” plays, and Kim’s head catches on fire and explodes, Bennett gave his assessment of it in a June 25 email to Lynton, just five days after North Korea’s initial threat.

“The North has never executed an artillery attack against the balloon launching areas. So it is very hard to tell what is pure bluster from North Korea, since they use the term ‘act of war’ so commonly,” wrote Bennett. “I also thought a bunch more about the ending. I have to admit that the only resolution I can see to the North Korean nuclear and other threats is for the North Korean regime to eventually go away.”

He added, “In fact, when I have briefed my book on ‘preparing for the possibility of a North Korean collapse’ [Sept 2013], I have been clear that the assassination of Kim Jong-Un is the most likely path to a collapse of the North Korean government. Thus while toning down the ending may reduce the North Korean response, I believe that a story that talks about the removal of the Kim family regime and the creation of a new government by the North Korean people (well, at least the elites) will start some real thinking in South Korea and, I believe, in the North once the DVD leaks into the North (which it almost certainly will). So from a personal perspective, I would personally prefer to leave the ending alone.”

That same day, Lynton responded saying that a U.S. government official completely backed Bennett’s assessment of the film.

“Bruce—Spoke to someone very senior in State (confidentially),” wrote Lynton. “He agreed with everything you have been saying. Everything. I will fill you in when we speak.”

The following day, June 26, an email from Bennett to Lynton—as well as several other forwarded emails—revealed that Robert King, U.S. special envoy for North Korean human-rights issues, was helping to consult on the film as well through Bennett and addressed the June 20 threat by North Korea.

"He who wounds the ecosphere literally wounds God" -- Philip K. Dick
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Re: Hollywood Scripting

Postby minime » Fri Dec 19, 2014 12:00 pm

Nothing to see here...

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Re: Hollywood Scripting

Postby Nordic » Thu Jan 01, 2015 6:18 pm

Anybody seen this piece of propaganda yet?

This review sums up my feelings about it even though I have' actually seen the movie.

Chris Kyle sounds like a complete asshole who claims to have mass-murdered 30 African Americans during Katrina. Great guy to make a movie about!

http://m.laweekly.com/2014-12-25/filmtv ... r-fantasy/

American Sniper Is a Rah-Rah War-on-Terror Fantasy
by Amy Nicholson @theamynicholson
December 22, 2014
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Kyle Gallner, left, and Bradley Cooper
- Photo courtesy of Warner Bros. Pictures
Kyle Gallner, left, and Bradley Cooper
In Clint Eastwood's American Sniper, Navy SEAL Chris Kyle (Bradley Cooper) — an astoundingly talented marksman credited with more than 160 confirmed kills in Iraq — runs into a fellow veteran at a mechanic's shop between deployments. The soldier shows Kyle an artificial leg and thanks him for saving his life. Cooper, all thick with new muscles, smiles tight and false. He's just trying to get his oil changed, man.

The real-life Kyle was murdered two years ago by another fellow veteran, Eddie Routh, a scrawny, 25-year-old Marine with PTSD. As Cooper plays him, Kyle wears his heroism like a heavy saddle — he's spurred to do more, fight more, kill more because he feels the weight of all the American soldiers he must save. Cooper and Eastwood's Kyle is a humble, literally straight-shooting patriot who squirms when people call him a legend. "That's a title you don't want," he grunts. If Kyle were alive, one wonders what he would have made of the film — especially when Eastwood shows him staring at a TV, rattled by flashbacks triggered by the very type of war movie he's starring in.

As in all biopics, American Sniper leaves audiences to parse the distinctions between Kyle the human and Kyle the character, with Eastwood, their conduit, blurring the difference. The real Chris Kyle complicated things further. Kyle claimed that he killed two men who attempted to carjack him in Texas and got only a pat on the head from police impressed with his service record. (Country sheriffs deny the shooting ever happened.) He claimed that he had been hired by Blackwater to snipe armed looters at the Superdome during Hurricane Katrina (a fellow SEAL said that "defies the imagination"). And he even claimed that he had gotten into a bar fight with Jesse Ventura, who won a $1.8 million defamation lawsuit against Kyle's estate. (The estate could afford it, as Kyle's talk-show-circuit j'accuse of the former governor caused sales of his autobiography to spike from 3,400 copies to No. 2 on the New York Times' nonfiction bestseller list.)

Eastwood doesn't buy into Kyle's boasts. None of his three incredible claims made it into the final cut of the film, though the IMDb credit for "Carjacker #2" suggests the director may have shot that scene, then reconsidered. Cautiously, Eastwood has chosen to omit Kyle's self-mythologizing altogether, which is itself a distortion of his character. The humble Kyle on screen is Kyle with his flaws written out. We're not watching a biopic. We're watching a drama about an idealized soldier, a patriot beyond reproach, which bolsters Kyle's legend while gutting the man.

Eastwood and screenwriter Jason Hall fill in the gaps with a subplot that explains Kyle's four tours of duty in Iraq as his personal pursuit of vengeance against the Iraqi insurgents' best sniper, Mustafa (Sammy Sheik), said to be a former Olympic sharpshooter, and the Butcher of Fallujah (Mido Hamada) — neither of whom Kyle concerns himself with in his book. Mustafa is given two sentences ("I never saw him," Kyle writes); the Butcher of Fallujah was captured in September 2009, one month after Kyle left the Navy.

Kyle's actual enemies were less defined. As seen here, any Iraqi man between 10 and 60 isn't middle-aged but "military-aged" — i.e., a threat. Kyle seemed to think that of every Muslim, writing in his book, "I don't shoot people with Korans. I'd like to, but I don't." (That, too, Eastwood deletes.)

Last year, Kyle's friend Marcus Luttrell was the lead character in the wildly lucrative Lone Survivor. This film also is likely to be a financial success. The popularity of these military-martyrdom movies proves that they speak to millions of Americans, many of whom served or loved people who did, and watch in search of an answer to a question that's hard to ask: Was the sacrifice worth it? The answer these audiences want to — need to — hear is yes. And these fictional versions of Chris Kyle and Marcus Luttrell assure us that it was. The directors grace the theater with the soldiers' bloody benediction.

That there are trickier follow-up questions our country must also ask doesn't diminish the angst over this one, especially for people who worried when a loved one went abroad, and were bereft when they didn't come home — or when, like Kyle, they came home different.

"There's a strange man in my bedroom," Kyle's wife, Taya (a strong Sienna Miller), says after the SEAL returns from his first tour. He can't and won't talk about what he's seen. Eastwood makes us understand how hard it is for a sniper to pull the trigger on a person who's a thousand yards away and unaware. Yet halfway through the film, Eastwood drops the sniping, too, and has Kyle put down his rifle for generic Jason Bourne–style, street-level asskickery. Why call his character Kyle at all?

It's clear in his book that Kyle had become numb to death. On killing two Iraqis on a moped with one bullet, he joked, "It was like a scene from Dumb and Dumber." (Naturally, Eastwood also omits that.) Eastwood can't carve a morally complicated movie when his main character — in life and on screen — defined people in black-and-white: There's bad guys and good guys and anyone else is a pussy.

The film hints, whisper-soft, that perhaps Kyle was afraid to think too hard about the life-and-death decisions his country asked him to make — a fear Kyle himself would have phooeyed. He was a hero doing and saying the things a hero should, and Eastwood is too tongue-tied to prevent this unexamined jingoism from echoing through the multiplex. Instead, Eastwood simply steps back and allows American Sniper to play like heartland bingo, in its opening minutes paying homage to guns, football, hunting, Bibles, Lone Star beer and rodeo cowboys. Here are things worth defending, Eastwood says. Then he crosses his fingers and hopes he's said enough.

AMERICAN SNIPER | Directed by Clint Eastwood | Written by Jason Hall | Warner Bros. | Cinerama Dome


"He who wounds the ecosphere literally wounds God" -- Philip K. Dick
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Re: Hollywood Scripting

Postby coffin_dodger » Thu Jan 01, 2015 9:28 pm

^^ I hope I'm not the only one thinking that in any situation other than war, Kyle would be perceived as a mass serial killer.

It surprised me that the reviewer found the 'hiring by Blackwater to shoot 30 looters in New Orleans' as a tad too incredible to believe of a man that has taken the decision, mentally - to end the lives of 160 people by his own hand that he knows nothing about other than what someone else has told him. In fact, that's being generous - he probably knew four words about each of them - "they. are. the. enemy".
Frankly, I'd have thought (given the ever-growing propensity of the US law enforcement agencies to shoot the heirs of the ex-slave population, ad hoc) that Blackwater would have greeted him with open arms and a golden handshake to join their ranks. Sounds feasible to me. Just the sort of chap they want - follows orders with zeal, kills lots of people with gay abandon, but can be sober and reflective when required.

Another movie bought to you by MIC Promo Movies Inc.

I hate war.
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Re: Hollywood Scripting

Postby semper occultus » Tue Jun 09, 2015 7:32 am

Image

http://www.royalandderngate.co.uk/Produ ... 39/TheHook

“All right then show me already whose fault it is! They skinnin’ us alive here, so whose fault is it already?!”

Amidst the political tensions of 1950s America, Arthur Miller’s The Hook (The Crucible, All My Sons) was suppressed by the FBI for fear that it could cause unrest in New York’s dockyards.

To mark the centenary of the Pulitzer Prize ‑ winning playwright’s birth, Royal & Derngate and Liverpool Everyman & Playhouse will co-produce the world premiere of Miller’s ‘play for the screen’ adapted for the stage by Emmy Award-winning Ron Hutchinson.

Sixty years on, the dockyards of Brooklyn’s epic waterfront will come alive on the Royal stage for the extraordinary story of Marty Ferrara, a longshoreman who challenges the mobsters and gangs of ’50s New York and takes a stand against the corruption he witnesses from the authorities who control the docks.

The story of a close-knit community grappling with a world of crime and punishment, of changing industry and immigration from abroad, The Hook is a study in integrity and betrayal, charting one man’s struggle for meaningful change.

This world premiere from one of America’s most revered writers is directed by Artistic Director James Dacre.


A forgotten play by Arthur Miller officially opens at Northampton's Royal and Derngate this evening. The Hook was written as a screenplay by Arthur Miller in the 1950s, but Hollywood studios attempted to censor the script to make the left-wing characters less sympathetic, and it was never made. The original text has now been pieced together and turned into a stage play. Ron Hutchinson adapted “The Hook” for the stage. Christopher Bigsby is Arthur Miller’s biographer.

http://www.bbc.co.uk/programmes/b05xdc9x

...it was studio boss Harry Cohn who tried to get Miller to make the Mafia hoods communists as a condition of making the film, Miller told him to get stuffed...
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Who killed Christopher Lee?

Postby MinM » Thu Jun 11, 2015 10:45 pm

Is this why Christopher Lee was killed?
MinM » Tue May 19, 2015 2:40 pm wrote:It probably won't be the artistic or box office success that was The Reflecting Pool but it does have Chistopher frickin Lee ..

Image The Guardian @guardian · Christopher Lee and Uma Thurman attached to 9/11 drama set in Denmark http://trib.al/I1Oh5Iq

Just kidding .. the guy was 93. Here's an interesting tidbit about Mr Lee ..

Image
Image

BTW one more recent development on 9/11 movies ..
@THRmovies: Robert Redford Drops Out of Directing 9/11 Thriller 'Against All Enemies' (Exclusive) http://thr.cm/XCmISO
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Re: Hollywood Scripting

Postby Luther Blissett » Tue Jul 14, 2015 2:18 pm

Iron Man and Transformers censored by US military for getting too close to the truth
23:14, 11 JULY 2015
BY JANINE YAQOOB

Pentagon censors have forced movie bosses to turn villains into heroes, add army rescues, cut central characters and change sensitive settings

Military chiefs at the Pentagon are gagging Hollywood when its science ­fiction blockbusters get uncomfortably close to the bone.

Directors are being forced to re-write scripts by the United States Department of Defense if the content is deemed ­inappropriate – and the big screen hits affected include Iron Man, Terminator Salvation, Transformers, King Kong and Superman: Man of Steel.

Last year, President Barack Obama appeared to be joking when he said the US military was working on its own Iron Man suit for troops.

But the first prototypes of a super-strong exoskeleton being developed for chiefs by ­universities and technology players were delivered last June.

The kit – called a Tactical Assault Light Operator Suit (TALOS) – will not fly or bristle with ­missiles like the one worn by Robert Downey Jr’s Tony Stark ­character in the Iron Man film ­series but will boast impressive features.

TALOS, set for a roll-out in 2018, is ­likely to have gun and shock protection, and be fire-resistant.

Experts say it will also have integrated ­communications, body and external sensors, and a head-up display to give battle information graphics in real time along with night vision.

To keep Pentagon chiefs happy, some Hollywood producers have also turned villains into heroes, cut central characters, changed politically sensitive settings – or added military rescue scenes to movies.

Having altered scripts to accommodate Pentagon requests, many have in ­exchange gained inexpensive access to military locations, vehicles and gear they need to make their films.

A 1,400-page military document seen by the Sunday People exposes Pentagon involvement in ­hundreds of films and TV shows – changes to which pre-2002 are not classified.

One switch involved re-working a ­character in 2001 war film Black Hawk Down, who was a known paedophile, to remove the stain from his character.

The US military has also a keen ­interest in the science behind the Transformers series. And the papers reveal the military has even had input on TV programmes ­including American Idol, Hawaii Five-0 and Cupcake Wars.

Simon Fuller’s American Idol was one of hundreds of shows since 2010 that sought military approval as it ­featured a contestant from the armed forces.


Gordon Ramsay’s MasterChef also had to get permission to feature an army cook for a welcome home meal for troops.

Even British shows have been affected. Channel 5’s Extraordinary Dogs needed Pentagon consent to feature dogs from the US army parachuting.

The files were released by the Hollywood-based Department of Defense Entertainment Liaison Office following a Freedom of Information request by Bath University’s Dr Matthew Alford.

Before 2002, the Pentagon’s input on films and TV shows was made public – but documents are now held in a private ­library collection.

Dr Alford said: “It is shocking that the Pentagon is poking its nose into a mind-boggling range of TV shows. Many have nothing to do with the military.

“It is alarming that the Pentagon keeps secret the changes it makes, leaving it open to accusations that it’s waging a pernicious PR campaign to recruit TV-addict kids and rewrite history.”

The US military has previously been accused of grounding plans for a sequel to Top Gun – because they feared the 1986 Tom Cruise hit had fostered a ­culture of sexual abuse in the US Navy.
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Re: Hollywood Scripting

Postby RocketMan » Wed Jul 22, 2015 11:26 am

Okay, this just straight-up bothers me. I keep seeing and hearing aMeriKan ULTRA.

Image

A stoner - who is in fact a government agent - is marked as a liability and targeted for extermination. But he's too well-trained and too high for them to handle.


-I don't like hoodlums.
-That's just a word, Marlowe. We have that kind of world. Two wars gave it to us and we are going to keep it.
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Re: Hollywood Scripting

Postby zangtang » Wed Jul 22, 2015 11:58 am

simply no question must be some of that keyword-innoculation i used to hear so much about !

does look pretty funny tho....lessn of course they screwed up every scene they didnt squeeze into the trailer !
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Re: Hollywood Scripting

Postby Luther Blissett » Wed Jul 22, 2015 2:19 pm

It's definitely about MK Ultra. I wonder if it will lead to a little more societal understanding of what actually happened under the program? It's an opportunity for those already in the know to open discussions and write editorials.
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Re: Hollywood Scripting

Postby conniption » Mon Jul 17, 2017 7:13 pm

https://medium.com/insurge-intelligence ... 433107c307

EXCLUSIVE: Documents expose how Hollywood promotes war on behalf of the Pentagon, CIA and NSA

US military intelligence agencies have influenced over 1,800 movies and TV shows

By Tom Secker and Matthew Alford
July 4, 2017


Image
Plato’s Cave reimagined for the Hollywood era — copyright Derek Swansonn

Published by INSURGE INTELLIGENCE, a crowdfunded investigative journalism project for people and planet. Support INSURGE to keep digging where others fear to tread.

Tom Secker and Matthew Alford report on their astonishing findings from trawling through thousands of new US military and intelligence documents obtained under the Freedom of Information Act.
The documents reveal for the first time the vast scale of US government control in Hollywood, including the ability to manipulate scripts or even prevent films too critical of the Pentagon from being made — not to mention influencing some of the most popular film franchises in recent years.
This raises new questions not only about the way censorship works in the modern entertainment industry, but also about Hollywood’s little known role as a propaganda machine for the US national security apparatus.

https://medium.com/insurge-intelligence ... 433107c307
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Re: Hollywood Scripting

Postby KUAN » Mon Jul 17, 2017 9:06 pm

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Re: Hollywood Scripting

Postby KUAN » Mon Jul 17, 2017 9:11 pm

Sorry conniption, more graphic images are out there but this is Hollywood
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Re: Hollywood Scripting

Postby conniption » Wed Jul 19, 2017 6:25 am

Why are the older threads nearly impossible to read?

viewtopic.php?f=8&t=8852&p=85319&hilit=hollywood+cia#p85319

Idiocracy - The Movie Hollywood Doesn't Want You To See

Postby yesferatu » Sat Sep 30, 2006 8:15 am
<!--EZCODE AUTOLINK START--><a href="http://www.slate.com/id/2150627/">www.slate.com/id/2150627/</a><!--EZCODE AUTOLINK END--><br><br><<Idiocracy, the feel-bad comedy of the year.<br>By Reihan Salam<br>Posted Friday, Sept. 29, 2006, at 2:28 PM ET <br>Mike Judge<br>Mike Judge could have gone the easy route. His last movie, Office Space, became a smash hit on DVD because the frat boy douchebags he mercilessly mocked became its biggest fans. But rather than make another feel-good comedy, he's made the extremely bizarre Idiocracy, which you might call a feel-bad comedy about the silent killer of American civilization, namely our collective stupidity.

continues...

viewtopic.php?f=8&t=8852&p=85319&hilit=hollywood+cia#p85319



Another example:

dugoboy » Sat Sep 30, 2006 12:54 pm wrote:as Yoda said:<br><br>'there is only do or do not. there is no try.'<br><br><!--EZCODE AUTOLINK START--><a href="http://en.wikipedia.org/wiki/Idiocracy">en.wikipedia.org/wiki/Idiocracy</a><!--EZCODE AUTOLINK END--><br><br><!--EZCODE QUOTE START--><blockquote><strong><em>Quote:</em></strong><hr>According to the Austin American-Statesman, [2] 20th Century Fox, the film's distributor, has done nothing to promote the movie -- no trailers, posters, television spots or even press kits for media outlets are being provided. <!--EZCODE BOLD START--><strong>This has led to speculation in some quarters that 20th Century Fox may be actively trying to keep the film from being seen by a large audience, while fulfilling a contractual obligation to release the film in theaters before releasing it on DVD</strong><!--EZCODE BOLD END-->.<hr></blockquote><!--EZCODE QUOTE END--> <p></p><i>Edited by: <A HREF=http://p216.ezboard.com/brigorousintuition.showUserPublicProfile?gid=dugoboy@rigorousintuition>dugoboy</A> <IMG HEIGHT=10 WIDTH=10 SRC="http://www.geocities.com/orcthrasher/files/images/Qn38113.gif" BORDER=0> at: 9/30/06 2:03 pm<br></i>
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