"We're looking into it right now as a potential copyright violation," Rubin said."
SWEET! Thank you for posting.
A lady called Laura Ingram this morning. She said that her husband is a military photographer, and found out that some of his film was included. He was mad.
The quote was "He compared it to finding out that your daughter has become a whore".
MM needs to be sued under the copyright law and some of the profits taken away.
In a related story from the 1940's Grandpa Stroik was quoted as saying of Adolf Hitler, "He's doing what he believes in. "You can't fault a guy for that."
Two words: Joseph Stalin.
Hey, Hitler and Nero were doing what they believed in, too. Guess we can't fault them for that!
No you can't, Mrs. Stroik....but you can sure as hell fault him for the despicable way he goes about it.
I believe in setting up sprawling death camps for liberals, death camps that run night and day.
You can't fault me for that.
Sue the fat bastard!
The lie continues.
This movie is being used as water cooler fodder at the workplace. People are being quizzed as to their opinions on the film and then judged as to whether that opinion fits in with the ruling clique at their workplace...and repercussions will follow.
Tomorrow the Fat Bastard can say goodbye to his abomination of a movie. Spiderman-2 opens and it got great reviews! SAY HELLO TO OBLIVION MOORE-ON
Ka-ching!
Lipscomb, right, join the cheer of the crowd for Harvey Weinstein, co-founder of Miramax Films to join them, as they arrive for the preview of his documentary, "Fahrenheit 9/11," in the nation's capital Wednesday night, June 23, 2004. Lipscomb lost her son in Iraq.
Michael Moore, left, with his wife Kathleen Glynn, center, and Lila Lipscomb, right, is greeted by Democratic National Committee chairman Terry McAulife.
Lila Lipscomb used to hate antiwar protesters.
This summer, though, she is likely to be embraced by them, thanks to the key roles she and her late son -- who died serving in with the Army in Iraq -- play in Michael Moore's new movie.
Lipscomb, 49, is the latest ordinary person from Michigan plucked by Moore to star in one of his films. His documentary "Farenheit 9/11" is a scathing attack on President George W. Bush and the war against terrorism....
Lipscomb is onscreen for 20 minutes of the 110-minute film. She recounts the death of her 26-year-old son, Sgt. Michael Pedersen, a crew chief on a Black Hawk helicopter that crashed in Iraq on April 2, 2003. She talks about her grief, her evolving views on war and her disdain for Bush.
In the movie, she stands in front of the White House, declaring, "I finally have a place to put all my pain and anger."
She also reads her son's last letter, in which he describes his own rage at Bush and his questions about U.S. policy.
"He got us out here for nothing whatsoever. I am so furious right now, Mama," the letter says.
Moore focuses on Lipscomb's reaction to the death of her son, Army Sgt. Michael Pedersen, 26, who was killed while fighting in Iraq on April 2, 2003.
Lipscomb, 50, is shown putting up her American flag, crying as she reads the last letter her son sent home to the family and visiting the White House lawn, where she pours out her angst and sorrow over her son's death.
And she wants to watch this over and over?
All this is established in two initial interviews. Then the unimaginable happens: one of Lila’s sons, Sergeant Michael Pedersen, dies in the Iraq war. And, as we find out in a letter from Pedersen that Lila reads to her family, he died without knowing what in the world he was doing in the desert. At which point, Lila gives way to unappeasable grief. Dazed and untethered, she makes a pilgrimage to the White House. In a way, she becomes a more authentic version of Michael Moore, who is always seeking to confront power. In Washington, Moore and his crew follow her around; we can guess that he urged her along, and, sure enough, some skeptical woman—a stranger—rushes into the frame and says, “This is all staged.” Lila’s response to the intruder is devastating; it goes beyond eloquence. And at last, in the street, she loses her strength, unable to move. Why my son? As everyone who’s been through the experience says, nothing can console a parent for the death of a child. And when death is robbed of meaning, and tinged with betrayal, the pain flows over the lip of ordinary grief and engulfs us all.
“Fahrenheit 9/11” has a kind of necessary shock value: it reveals the underside of the war, the bloody messes not shown on news broadcasts. Moore makes use of footage given to him by American and foreign cameramen—scenes of Americans who were blown apart near Baghdad, or of maimed and nerve-shattered men trying to put their lives back together in a Washington hospital or at their home base. One soldier achieves a memorable clarity as he says, fighting pain and incapacity, that he’s disgusted by the lying way the Republican Party conducts its business. However embroiled the movie becomes in the upcoming election, no attack can lessen the impact of these scenes or diminish the anger they create in the audience; Moore, for once, offers experience rather than attitudes, sharp immediate suffering rather than his usual exasperated nostalgia for, say, the good old days, when the unions were strong and the workingman was king.
He stated that his bood was not political and felt that Moore's political use of the title was not in keeping with his book's meaning.
When's the last time you saw an article about a film - let alone even a review - include show times?