American - Director | October 23, 1953 -
We live in a world where everyone thinks they do the right thing, so they are entitled to do the wrong thing. So ends can justify the means.
Alex Gibney
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I think of my films as not necessarily political but more moral. Between my father, my stepfather, and my mother - they all felt pretty passionately about the importance of standing up and doing the right thing, and none of them were suck-ups. What motivates me is usually abuse of power.
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Sports are the ultimate secular religion. Instead of being worried about whether your kids will be okay or how your job is going, you have your team, and you can focus all of your angst and your hopes and dreams on your team. I am in no way saying it always relieves any of this!
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The whole macho thing has to be reexamined. Because in my view, the Bush administration was weak, not strong. To engage in a policy of torture is a weak policy. Because ultimately, it encourages the terrorists. It undermines our own values. It corrupts our system. And it doesn't get good intelligence.
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It would be hard to go to your neighbor and say the things people say on the Internet without getting punched out or having your tires slashed.
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It's difficult for one filmmaker to criticize another. That's a job best left to critics.
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In the case of 'Zero Dark Thirty,' about the hunt for Osama bin Laden, an issue that is central to the film - torture - is so important that I feel I must say something. Mark Boal and Kathryn Bigelow have been irresponsible and inaccurate in the way they have treated this issue in their film.
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When we go to war, our politicians will be guided by our popular will. And if we believe that torture 'got' bin Laden, then we will be more prone to accept the view that a good 'end' can justify brutal 'means.'
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Every film is faced with the enemy of time. Only so much story can fit into the 90-150 minutes of time that moviegoers are willing to stay in their seats. Naturally, compression is necessary. So are the exclusion and amalgamation of characters so that the viewer does not become bewildered.
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When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.
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'Park Avenue: Money, Power and the American Dream' is an intentionally angry film. How could it not be when the chance of an infant dying is five times greater on the Bronx Park Avenue than on Manhattan's Park Avenue just across the Harlem River?
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The Bush administration will go down in history as the Torture Team.
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