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Posted on 04/14/2003 7:28:02 PM PDT by RonDog
Our vigil honors the legendary actor Charlton Heston for his extraordinary contribution to the American culture. The primary mission of Liberate Oscar is to restore the finest traditions of Hollywood during times of war and its support of American freedoms and values through film-making. Literally, Hollywood stars would have a new opportunity to “weaponize” their talents and re-establish the freedom-first film genre.
Up until recently, Hollywood luminaries have tirelessly supported our men and women in uniform, especially when they were sent into harm's way. Look at Hollywood during World War II, the Korean War, and Vietnam. You'll see Bob Hope, Elvis Presley, Jimmy Stewart, John Wayne, and hundreds of other celebrities showing their support for America and our troops. Where are the Bob Hopes, the Elvis Presleys, the John Waynes, and the Jimmy Stewarts of today? It appears that today's Hollywood with all its film-making magic and deceptive visuals has itself become deceived and taken captive by ill-advised thinking. In effect, this ideological Jihad against America has made Oscar a politically correct P-O-W!
Despite the flaws in America, every Hollywood star should want to participate in the preservation of our nation's image, especially the one image that makes America the envy of the world…our freedom. The freedom to create uncensored movies is the centerpiece of Hollywood's film industry, and now is the time to restore Hollywood's appreciation of that fact. Protected by a powerful military, America has given Hollywood and all of us, the freedom and safety to prosper, invent and help the less fortunate through talents endowed by God.
The liberation of Oscar will begin with an invitation to the "Hollywood 100 Celebrities" who signed the petition against the war to liberate Iraq. Let these stars join us in supporting the reclamation of Oscar by denouncing the character assassination of Charlton Heston in Michael Moore's Oscar-winning documentary, "Bowling for Columbine." We will conduct this vigil in the hopes of setting the record straight about this wonderful artist who is a highly respected American Institution.
Our vigil is also open to Hollywood stars and rank-and-file who wish to restore the American film industry's high moral ground of accuracy in non-fiction film-making, to show support for our troops and veterans (especially Homeless veterans), and to march against terrorism and fear worldwide.
For America and Hollywood's sake, Oscar must be liberated.
If you wish to participate in the vigil, contact Ted Hayes: (213) 892-9065 / Email: thetedshow@aol.com.
For more FIT-AIM-ACT & Homeless Defense Fund information, go to: www.fitaimact.org.
Please note the NEW date:FRIDAY, April 18.
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Charlton Heston Collection
Charlton Heston
Charlton Heston (b. 1923) was born Charles Carter in Evanston, Illinois, and raised in Michigan and Illinois. At Northwestern University he majored in speech and drama. After serving in the Air Force during World War II, Heston acted in community theater, on Broadway, and on live television in Studio One in the late 1940s.
With The Greatest Show on Earth (Paramount, 1952), Heston's film career soared, and he starred in a succession of historical-epic pictures, including The Ten Commandments (Paramount, 1956), Ben-Hur (MGM, 1959), El Cid (Allied Artists, 1961), and The Greatest Story Ever Told (United Artists, 1965). Other memorable roles include Touch of Evil (Universal-International, 1958), The Big Country (United Artists, 1958), The Agony and the Ecstasy (20th Century-Fox, 1965), and Planet of the Apes (20th Century-Fox, 1968). Heston went on to direct and star in Antony and Cleopatra (Rank Film Distributors, 1972).
He has acted in several film and television projects written and/or directed by his son, Fraser Clarke Heston, including The Mountain Men (Columbia, 1980), Treasure Island (TNT, 1990), and Alaska (Columbia, 1996). Among Heston's television credits is a starring role on the series The Colbys. He has served six terms as president of the Screen Actors Guild and as chairman of the American Film Institute. Autobiographical writings include The Actor's Life: Journals 1956-1976 and In the Arena. Heston received an Academy Award for best actor for Ben-Hur and was presented the Academy's 1977 Jean Hersholt Humanitarian Award.The Charlton Heston Collection spans the years 1941-1992 and encompasses 19 linear feet. The collection contains production files, television files, stage files, general files, and scrapbooks. The production files contain script and production records for nearly fifty films, covering Heston's career from Peer Gynt (David Bradley, 1941) to Almost an Angel (Paramount, 1990). Films with the most production material include Antony and Cleopatra (Rank Film Distributors, 1972) and The War Lord (Universal, 1965). Titles represented by scripts and miscellaneous material include The Agony and the Ecstasy, Airport 1975 (Universal, 1974), Ben-Hur, The Big Country, 55 Days at Peking (Allied Artists, 1963), The Greatest Story Ever Told, Major Dundee (Columbia, 1965), The Naked Jungle (Paramount, 1953), The Omega Man (Warner Bros., 1971), Planet of the Apes, Soylent Green (MGM, 1973), The Ten Commandments, Touch of Evil, and Will Penny (Paramount, 1968).
Films with miscellaneous material but no scripts include El Cid and The Greatest Show on Earth. Of interest are script drafts by Fraser Heston for The Mountain Men. The television files contain primarily scripts for nearly two dozen television projects ranging from Climax! to Charlton Heston Presents the Bible. There are voluminous scripts for The Colbys and the miniseries F.D.R. Among the other television-related titles represented are Chiefs, Dynasty, Hallmark Hall of Fame, Proud Men, Saturday Night Live, and Treasure Island (with a shooting script by Fraser Heston). The stage files contain play scripts, programs, and clippings for more than two dozen plays ranging from The American Way (1941) to Love Letters (1990).
There are a few radio scripts and scripts for various video projects narrated by Heston. The general files contain correspondence, clippings, and reviews regarding book publicity tours for The Actor's Life; a Beijing Diary manuscript; CH Chronicle (1969-1977) fanzines; an entire run of the Charlton Heston Newsletter (1956-1971), written by Heston; clippings on Heston; lists of Heston's film, television, and stage appearances; interview transcripts; text of addresses given by Heston as president of the Screen Actors Guild; figure sketches by Heston; and a variety of essays written and/or spoken by Heston. Numerous scrapbooks document Heston's career from 1939 to 1975; a few were compiled by fans in Germany, Japan, and Taiwan. Among the oversize material are set plans for Antony and Cleopatra; sketches Heston drew during the production of The Greatest Show on Earth; and a photocopy of the score for Mother Lode (Agamemnon Films, 1983) by Ken Wannberg. Gift of Charlton Heston, September 1992; February 17, 1993; May 26, 1998.
"...Moore also pays a visit to Chrarlton Heston, who grants him an interview in which the filmmaker shames the actor and National Rifle Association president for showing up at gun-rights rallies in Littleton and Flint immediately following the high-profile killings. Having been told that his interviewer is an NRA member (which he is), Heston is unprepared for the onslaught of hostile questions that Moore had no doubt been preparing for weeks.Deliberately catching the man off guard elicits some shocking quotes (Heston sites "mixed ethnicity" as one of the reasons the U.S. has so much violence), but it's anything but an evenhanded tactic that will win people over to his cause..."
'Bowling For Columbine' throws a gutter ball
WorldNetDaily.com ^ | October 18, 2002 | Michael Medved
Posted on 10/18/2002 2:14 PM PDT by arualAs a work of cinematic entertainment and political provocation, Michael Moore's widely acclaimed new documentary "Bowling for Columbine" qualifies as a substantial success. Despite its outrageously incoherent, even contradictory, ideological agenda, the movie offers an engaging surface that displays frisky originality, frequent wit, skillful editing, wildly ambitious scope and often impassioned advocacy.Moore goes beyond the role of mischievous, irreverent blue collar fatso that he popularized in his previous films (most notably "Roger & Me") and his short-lived television show ("TVNation"). This time, Moore promises nothing less than a penetrating exploration of "the fearful heart and soul of the United States," and in the course of guiding us on that journey he comes across as irresponsible, demagogic, shamelessly manipulative and, in the end, unspeakably cruel...
-- snip --
...Racial issues provide the movie with a grand finale that counts as one of the most despicable (and riveting) cinematic exercises ever featured in a major release. The filmmaker and on-camera star concludes his non-linear voyage by pursuing an interview at the home of Charlton Heston, Hollywood legend and president of the NRA.
The resulting confrontation is almost unbearably painful to watch, as Heston begins the interchange looking robust, masterful, confident and charming and then, under Moore's blatantly unfair and needling questioning, slowly crumbles to the sad status of a frail old man. At first, Moore demands explanations for Heston's appearance at NRA rallies in Colorado and Flint, Mich., shortly after the gun-related tragedies there. Then he moves on to try to force his prey into a corner over America's persistently high homicide rate (without acknowledging the dramatic declines of recent years).
Finally, with Moore flaunting his favorite example of "safe, peaceful" Canada, and pushing relentlessly for some basis for America's more numerous murders, he forces a reluctant, uncertain suggestion from Heston. "I don't know," the great actor begins, and then tentatively mentions the greater racial diversity in the United States.
Mr. Moore pounces on this statement, and virtually accuses Heston of racism – never acknowledging (or telling his audience) that the current president of the NRA enjoyed a personal friendship with Dr. Martin Luther King and participated more prominently in the civil-rights movement and its marches than any other major Hollywood star. Unwilling (or unable) to make this point himself, Mr. Heston merely disconnects his microphone, gets up out of his chair and walks away from Moore and his camera – a wounded refugee seeking shelter in another wing of his own home.
Even without Charlton Heston's courageous announcement of his own battle with Alzheimer's symptoms (an announcement which Moore, of course, never references), this appalling interview would represent a new low in a manipulative filmmaker's checkered career. While posing as a rebel, a loner and crusader for common sense, Mr. Moore remains a totally conventional and thoroughly predictable leftist, particularly in his ill-concealed distaste for America and ordinary Americans. He never bothers to challenge politically correct assumptions, and typically dispenses with any untrendy or unpopular idea – such as Heston's connection of high murder rates to the nation's racial composition – as if it remained so obviously idiotic that it required no rebuttal.
As a matter of fact, the suspicion voiced by Mr. Heston that our homicide rate relates directly to our unusually diverse racial makeup proves more right than wrong. The most recent Department Of Justice statistics indicate that African-Americans commit murder at a rate more than eight times higher than white people, and now represent the majority of U.S. homicide arrests (while only 12 percent of the total population). In other words, if you isolate the murder rate among white people only, on both sides of the border, the difference between the U.S. and Canada almost entirely disappears.
That fact may produce discomfort, and certainly demands serious explanation (with reference, in part, to this nation's persistent history of racism) but it deserves acknowledgment before Moore's movie succeeds in trashing the exalted reputation of one of the most decent and respected actors and activists in Hollywood history. Charlton Heston has enjoyed nearly 60 years of stable, loving marriage (a rarity anywhere, but especially in Tinseltown) and earned the respect and affection even of colleagues who disagree with him on every political proposition.
The French may embrace Michael Moore's America bashing screed (they unanimously awarded it the "55th Anniversary Prize" at the Cannes Film Festival), but citizens of this country will remember Heston's work in movies and in politics long after this sly but ultimately nasty little film has been forgotten. In the end, the wandering, discursive and intermittently brilliant "Bowling for Columbine" amounts to a cinematic gutter ball...
CLICK HERE for the rest of the thread
No mercy for stricken Heston
Page Six - New York Post ^ | 10/21/02 | RICHARD JOHNSON with PAULA FROELICH and CHRIS WILSON
Posted on 10/21/2002 12:21 AM PDT by kattracksSHOCK-documentary director Michael Moore shoots himself in the foot by bullying Charlton Heston in his latest, "Bowling for Columbine."The film, a crusade against the gun lobby, features an interview with Heston during which Moore clearly attempts to embarrass the National Rifle Association president who starred in such classic films as "Ben-Hur," "The Ten Commandments" and "El Cid."
"It comes across as picking on a nice guy," says an industry expert. "Don't forget that Heston invites Moore into his house to do the interview. Then, in essence, Moore pushes him against a wall and pounds him with so many questions - questions about death caused by weapon owners - that anyone's head would reel. It doesn't take a genius to make someone look bad if that's on the agenda."
The segment comes over as even more mean-spirited since Heston announced in August he is suffering from Alzheimer's disease.
Heston explained in a statement, "I wanted to prepare a few words for you now, because when the time comes, I may not be able to . . . For an actor there's no greater loss than the loss of his audience. I can part the Red Sea, but I can't part with you, which is why I won't exclude you from this stage in my life.
"If you see a little less spring in my step, if your name fails to leap to my lips, you'll know why. And if I tell you a story for the second time, please laugh anyway."
Recently, even Heston's detractors have been criticizing the heavy-handed tactics of Moore, the "Roger & Me" director who has made a career out of skewering corporate America, powerful Republicans and other perceived enemies of the working man.
Among those who think Moore hits below the belt with "Bowling for Columbine" is "South Park" co-creator Matt Stone.
Stone, who grew up in Littleton, Colo., and attended Columbine HS, tells Foxnews.com's Roger Friedman: "It's hard to make Heston look sympathetic, but Moore did it. You can't help but think this is an 80-year-old man with Alzheimer's. He looked so frail."
But Moore doesn't quit while he's behind. In the current Entertainment Weekly he spouts that Heston "doesn't have Alzheimer's. He says he has Alzheimer's-like symptoms. He's not resigning as head of the NRA. He's going out and campaigning for Republican candidates this fall. He's in preproduction on his next movie. I hope he doesn't have it, and I don't want him to get it, but he was sharp as a tack during the interview."
CLICK HERE for the rest of the thread
Can people just show up, or is it necessary to call ahead?Not sure.
This is Ted's event, co-sponsored by FIT-AIM-ACT, so I do not know for certain, but I am fairly confident that ANYONE is welcome, with or WITHOUT a call to Ted.
...HESTON is EL-CID...
As much as I believe a man should never hit a women, if anyone one ever has the displeasure to meet Michell More tell her theres one proud patriot down here in South Florida that will make an exception in her case.
A site guaranteed to give Michael Moore an ulcer and the Academy a headache!
See the original FR post here...
FYI: New TODAY - www.revoketheoscar.comLOLOLOL!!!
From www.revoketheoscar.com:
Home Tips Sample Form The Problem
The 75th Academy Awards handed the Oscar® for "Best Documentary" to Michael Moore for Bowling for Columbine. Bowling is a nasty bit of anti-American propaganda. Viewers are taught that:America was founded on violence and fear, as quarrelsome pilgrims fled to the new world, where their paranoia led them to massacre the Indians, then the British, and then each other;(No need to go farther, you get the drift. No wonder it got a standing ovation at France's Cannes Film Festival.)
The Columbine murderers' violence might have its roots in the fact that one had a father in our military (American soldiers are presumably murderers, and it must rub off on their kids) or that there was a defense contractor in the area;
Charlton Heston (one of Hollywood's few upstanding men) is a callous fool;
The terrorist attack on 9/11 is related to past American foreign policy -- in short, America's own fault;
What you can do
It's time we take back the stage. Bowling for Columbine violated the Academy's own rules. These limit the documentary competition to nonfiction films. Bowling isn't nonfiction. Whenever it was necessary to his theme, Moore invented facts, fabricated events, staged scenes, or doctored the depiction of what actually happened. When Heston, for example, gave a mild and concilliatory speech, Moore simply edited the footage (and inserted footage from a different speech a year later) to make it sound arrogant.
If you aren't already familiar with what he did, check:http://www.opinionjournal.com/forms/printThis.html?id=110003233The Academy can reward propaganda, if it pleases. It can reward anti-Americanism, if it pleases. But its own rules establish that it cannot reward fiction as "best documentary." We call upon the Academy to enforce its own rule.
http://www.hardylaw.net/Truth_About_Bowling.html
http://www.spinsanity.org/columns/20021119.html
http://www.nationalreview.com/kopel/kopel040403.asp
Can we win out? Certainly. Public outrage over Bowling has peaked since Michael Moore's self-infatuated lecture during his Oscar® acceptance. The media has begun to cover the issue. Just two websites devoted to critcizing Moore and his film have experienced 250,000 unique visitors since his award. 250,000 voices is a lot of voices.
Here's how you join in the campaign
First, add your voice, using the email and addresses below (best of all, send email and a fax);
Then pass word about this page to your friends, to usenet groups, to the media, wherever you can let people know.
We have a sample letter, which you can use as the basis of your own. If you'd like to edit it up (which is the best approach, so it doesn't read like a form letter), here are some tips. (General rules: don't go into his politics, or his being one-sided. Stick to the fact that he lies. A documentary can be political or one-sided, but under the rules, it cannot be fictionalized.) We strongly urge everyone who plans to write a letter to read the tips page!
The letter can be sent to the address given in it , or faxed to: 310-859-9351 or 310-859-9619.
Email can be sent to ampas@oscars.org. Letters and faxes usually have more impact than email, so if you do email, try to send a hard copy as well. To get started on an email, you can use our web-based form here.
Mail hard copies to:
Academy of Motion Picture Arts and Sciences
Academy Foundation
8949 Wilshire Boulevard
Beverly Hills, CA 90211-1972
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From my cold, dead hands!...... |
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Bump.
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