Book: 'Michael Moore Is A Big Fat Stupid White Man'

And, your avatar should be the see- no- evil chimp.

Clarke HIMSELF admitted he made the call about the Bin Ladens. CNN reiterates it. Moore KNOWS it, but isn't one to let the truth interrupt his storytelling. Its in Clarke's book, if you will take it out of the shadowbox frame, from over your mantle... He said the decision to allow Saudi's to leave did not go above him. Why does Moore continue to ignore this admission from Clarke, and intentionally lie, blaming Bush?

You're the sheep, blindly following the loudest, wrongest schlockumentalist in Hollywood...or whichever million dollar property he's in today. You don't care what he says, or if its a lie, as long as it sounds anti-Bush, you're buying.

PS-- Moore puts on make-up before doing his many TV plugs for his movie, just like Bush, Powell, Cheney and everybody else.

Moore's untruths are being listed on the news. If you'll stop throwing your hands over your ears when it comes on, you can see for yourself.

Joe--

Wouldn't you think that because all the suspects were Saudis, that's why SA requested a flight--and no one else saw the need? I'm not saying that's my final thought--but it makes sense to me.

Was the nationality of the terrorists known publicly by the time the request was made?

What untruths -- enumerate them and find at least coberated references to back them up and not those amateur sites which spiel out their own pack of lies (like Bradbury using the word "asshole" when referring to Moore). Moore has stated his opinion may be right and may be wrong. The visuals and words are straight from the horses mouth and Bush neighs a lot. The nationalities of the terrorists were know by the time they were released. Your barking up a tree that's part of the forest you can't see. The time of the Saudi government's request is very interesting indeed -- how did they know what nationality the terrorist were? Hmmm? If they didn't know, why would be a need to get their people out because of vigilantism?

This is classic irony -- Disney's "Around the World in 80 Days" got creamed at the box office. Wonder if the stockholders are happy about their turning down distribution of F9/11?


TOP STORY from Variety
Moore burns docu record
'Fahrenheit's' opening bests non-concert doc cume

By Gabriel Snyder

"Fahrenheit 9/11" shattered all expectations, as well as box office records for documentaries, with an opening-weekend gross of $21.8 million.
"It became part of the national conversation this weekend," said filmmaker Michael Moore in a conference call Sunday morning. "These are mindblowing numbers."

Pic played just 868 theaters, minuscule compared to normal Hollywood release patterns. But the $25,115 average per location reflected sellouts throughout the country, as people flocked to see the movie that has dominated headlines for weeks.

In a strong second-place finish, Revolution/Sony's "White Chicks" brought in $19.6 million for the three-day span from 2,726 theaters.

Since "Chicks" opened Wednesday, its cume stands at $27.1 million.

"We knew we had a really funny movie, and opening on Wednesday gave it a good start by building word of mouth," said Sony distrib prexy Rory Bruer.

Bruer said exit! s showed the aud was evenly split between male and female and 65% of the aud was under age 25. Ethnically, the aud was 35% African-American.

The weekend's other openers include New Line's "The Notebook," which brought in a better-than-expected $13 million from 2,303 theaters. Pic drew an aud that was 75% female. "There really isn't another movie like this in the marketplace," said New Line distrib prexy David Tuckerman.

Universal entered tiger tale "Two Brothers" into the crowded family-film contest this weekend. Playing at 2,175 locations, pic grossed $6.2 million.

Showing strong legs, 20th Century Fox's "DodgeBall" took in $18.5 million from 3,020 locations, an expansion of 326 from its opening weekend. Figure marked a decline of just 38%, especially small considering its genre and the summer trend of stiff sophomore slumps. Cume stands at $67.2 million.

Looking at the pics that have opened since May, Fox exec VP Rick Myerson said, "The average second week has bee! n off by 53%. If you take 'Shrek 2' out of that, it would be over 60%. "

Last week's other opener, DreamWorks' "The Terminal," kept even more of its debut take. Pic declined just 27% to $13.9 million, bringing cume to $41.8 million.

Weekend results are encouraging for the pic, helmed by Steven Spielberg and stars Tom Hanks, after its soft opening. Like past summer pics that aim to snare adults, DreamWorks' needs "Terminal" to play strongly over time.

Faring more poorly was "Around the World in 80 Days," which was financed by Walden Media and distribbed by the Walt Disney Co. Pic dropped 48% in its second week to gross $4.3 million. Pic, produced on a budget of more than $100 million, now has a cume of $18.3 million.

Sofia wrote:


Where does he say this? I just spent the better half of an hour looking for the reference in "Against all Enemies".... please, what page?

Sofia is still in delusion that Clarke was made the ultimate delusion, contradicted recently by Clarke and posted here in this forum in three places.

He said he did. Did he lie?

I did Google some Clarke stuff, and it appears he DID lie.

First, I find that he said he refused to make the call and passed it on to the FBI. (I think this is what appeared in his book. I am relying on press releases. I'm not going to spend money on that thing--though, since I have picked up the press release charges, I guess I could thumb through it at the B&N. Guess I owe joe that, at least.)

Next, I see he recanted this statement he made before the Commission, in a newspaper article and said the decision to let the Saudi's fly didn't go above him... Wonder what else he lied about.

Why didn't they get him for perjury?

Sigh... That's disturbing.

Suzy--

I respect the fact that you accepted this at face value, and didn't attempt to deflect.

A big heartfelt kudo to you.

Thanks, don't think I won't embrace something that might disprove it! The thought of Clarke's lying about this really pisses me off, though. I resent being played, no matter who is doing it.

We all get it in the rear on a regular basis.

So you haven't read his book, you just rely on what some liberal media reporter tells you is in it.....

If you are going to flip through it at Barnes and Noble, you will find no mention of the flights, that fits - Clarke says he didn't consider them any big deal- but do yourself a favor, start reading at page 247 and read what he thinks ought to been the agenda of this present administration.

You'll find in the next few pages the words, not of a recalcitrant former employee as the rightwing would like to portray him, but those of a patriot who cares deeply about the problem of terrorism and the future of his country.

His last statement matches the statement made under oath -- who cares about mis-statements to a reporter? Who knows if the question was framed exactly as stated. I don't trust journalist especially without any oversight.

And what did the Bin Ladens have to fear, anyhow? As guests in the USA they would have the same protection of the law as any citizen, wouldn't they? It wasn't like a group of US citizens might kidnap them and behead them or anything? None of that pull-you-out-of-your-car-and-hang-you-up-on-a-bridge-stuff happens in the USA, only in the Middle East.


Or was it to make damn sure that the rather embarassing closeness of the Saudi State and the Bush/Cheney administration didn't quite need to be under the spotlight at that moment. We gotta plan, it's Kabul then straight on to Baghdad - we got that bastard Saddam now!!!

Stillwater:

That reminds me, my Aunt's friend is gonna give me a Book on CD of "House Of Bush--House Of Saud".

Read that yet?

On the other hand, being Bin Ladens, they were at a much higher risk of being lynched than the average American citizen was in during the days following September 11. We know today that no lynchings took place, but the Saudi embassy didn't know it at the time, and the US government didn't know it either. Given that, flying the Bin Ladens out of the country strikes me as a reasonable idea. There are many examples of Bush cronyism wreaking havoc with national security, but I don't think this is one of them.

It's true that it can be characterized in several ways otrher than Moore's. Again, it's not the parts, it's the sum of all the parts that makes the film powerful.

If I understand them correctly, the conservatives in this thread aren't denying that the film is powerful. They are denying that it ought to be, because they think it is based on flawed arguments. Assuming they are right about the parts -- meaning Moore's arguments -- how can a dozen crappy arguments add up to one big good one?

'Fahrenheit 9/11' Ignites Box Office Passion
by Brandon Gray (www.boxofficemojo.com)
June 28, 2004



HOLLYWOOD (Box Office Mojo) - Over three million people elected Fahrenheit 9/11 to be the No. 1 movie of America.

Incensing as many as it's entrancing, writer-director Michael Moore's Bush bash celebrated over the weekend with $23.9 million at 868 theaters, beating co-distributor Lions Gate's $21.8 million estimate on Sunday by 9%. Lions Gate released the picture along with IFC Films and Fellowship Adventure Group -- the latter quickly formed by Miramax chiefs Bob and Harvey Weinstein to release the $6 million picture after buying it back from corporate parent Disney. Around $10 million was spent on prints and advertising, less than a third of the average Hollywood release.

The estimate for Fahrenheit 9/11 was trounced thanks to a much stronger than expected Sunday. Breaking the weekend down, the picture attracted nearly $8.6 million on Friday, fell 5% on Saturday to about $8.1 million, but then eased just 12% to around $7.2 million on Sunday. By comparison, the other wide releases in the marketplace experienced Sunday drops ranging from 22% to 35%.

With $24.1 million in the till since its record-breaking debut in New York City on Wednesday, Fahrenheit 9/11 is already the highest grossing documentary of all time -- excluding large format, concert and other non-"apples-to-apples" sub-genres - surpassing Moore's own Bowling for Columbine's $21.6 million lifetime gross.

Fahrenheit is also the first documentary to land in the weekend top five, let alone be No. 1. Its opening topped Quentin Tarantino's Pulp Fiction's $9.3 million as the best ever for a Cannes Film Festival Palme d'Or winner, and it was Tarantino's jury that handed Moore the prize this year.

Fahrenheit's $27,558 per theater average ranks as the second highest all time for a wide release (adjusting for ticket price inflation knocks it down to No. 11) and the best of 2004, ahead of The Passion of the Christ's $27,554 and Shrek 2's $25,951. However, they were super-saturation releases playing at 3,043 and 4,163 theaters respectively -- the lower the theater count, the easier it is to have a high average as the release isn't diluted by less populous locations with lower ticket prices.

Fahrenheit's performance harkens back to the days when big movies wouldn't play in every nook and cranny of the country, but would bow at around 700 or 1,000 theaters to sell out crowds. Perhaps the greatest example of this, Return of the Jedi debuted to $23 million at 1,002 theaters in 1983, which would adjust to $45 million by today's ticket prices. In terms of raw dollars, Fahrenheit is actually the biggest opening ever for a movie playing at less than 1,000 theaters, topping Rocky III's $12.4 million at 939 venues.

Controversy is proving to be bigger business than ever. Prior to this year, it was seen as a way to raise awareness and help bolster a picture to modest returns (Dogma, Last Temptation of Christ). Chatter about its global warming themes didn't hurt The Day After Tomorrow either, which opened beyond expectations and is a solid blockbuster with $175.6 million to date. But it was Moore and Mel Gibson with The Passion of the Christ who have taken it to the next level: Controversy as saturation marketing campaign.

Though The Passion is perceived as the opposite of Fahrenheit in terms of whom it appeals to, both Moore and Gibson enlisted today's mass media to work for them, knowing that everyone from 24-hour news channels to talk radio would eat up the grand hot topic issues of their movies with the littlest of stoking. Gibson took the more strategic approach with his surgical strike appearances and screenings, but he had months to wage his campaign. Fahrenheit didn't have a release date, let alone a distributor, until a few weeks ago, so Moore and company used the shotgun approach, showing up everywhere and heralding every single development of the movie's progress.