Interview: Daniel Ellsberg

Interview: Daniel Ellsberg

Posted on February 8, 2010 at 3:59 pm

The Most Dangerous Man in America: Daniel Ellsberg, a documentary just nominated for an Oscar, is the story of the man who gave secret government documents about the Vietnam war to newspapers for publication in 1971. The impact of his leak was seismic. And it continues to reverberate today as many of the same issues of military strategy and government accountability are debated by another generation.

Dr. Ellsberg, a one-time hawk on the war who had served as a Marine and worked in the Department of Defense, wrote his own book about his experiences and his views, Secrets: A Memoir of Vietnam and the Pentagon Papers. His dissertation, Risk, Ambiguity and Decision, is still considered a major contribution. I spoke to Dr. Ellsberg about the past, the present, war, peace, and the movie.

Are you the most dangerous man in America?

Not at the moment. Fom the point of view of the Obama administration it would be whoever leaked the secret cables of Ambassador Eikenberry, to the Times. I had not seen facsimile copies like that since the Pentagon papers. I am sure there is a tremendous search to find out who was responsible. It’s quite contrary to what Eikenberry testified to in Congress about being fully in accord to McChrystal’s recommendations for sending more troupes. The cables gave the lie to that, a warning against any such involvement.

Why were you considered so dangerous?

It wasn’t what has already been leaked that was the problem, it was their worry about what might be next. Kissinger feared I would put out material on Nixon, and that brought him down. It was that fear that led Nixon to get personally involved in illegal activity to try to stop me. And that led to his resignation and that led to the end of the war.

The movie doesn’t make really clear why I was regarded as the most dangerous man. Krogh referred to the fact that they thought I had documents on Nixon. That was why they went into my doctor’s office. That was the part that involved the president himself, in the case of the actions against me they had a number of witnesses that he ordered that himself. If it weren’t for that, he would not have had to cover up because the trail didn’t lead to him. The important thing was not to find out what I had as much as to keep me from putting it out.

They knew I had some material directly from Nixon’s office, because I had given it to Senator Matthias who wanted to be a Republican white knight. They had to worry about it without knowing exactly what it was, they had to take extreme measures including sending people to beat me up or possibly kill me.

The movie portrays you as a hero to many people. Who are your heroes?

Howard Zinn, one of the greatest human beings on earth. Noam Chomsky. People who have openly refused to go to war. Rosa Parks and Martin Luther King. I met met Rosa Parks on the way to my arraignment. I took a toothbrush and went off to a football field where they were meeting in New Orleans. If it weren’t for Rosa Parks and Martin Luther King I wouldn’t be where I am today. I was talking to her and said “You’re my hero,” and she said, “You’re my hero.” You can imagine what that meant to me.

Why this time? What made the difference? She said, “I had given up my seat to a white woman a number of times but had never been asked to give it up to a white man. I asked myself what I would do? I didn’t know what I would do.” When the moment came, she knew, and she said no. It is the way things happen.

You don’t know what you are doing or how you will respond until you get into it, but it helps to think about it beforehand. The situation has arisen before and people think about it and then they are cocked like a pistol and ready to do it. Now is the time.

You were a team player and then decided to play for a bigger team.

That’s well put! A much bigger team in numbers. The key thing there was meeting people who were on the larger team like Bob Eaton. We stood in a vigil line for him, he was going to prison for draft resistance. Stepping into that vigil line, standing in front of the post office on a hot day, when I had been writing something for Nixon, I could not do both. It was like the first date with Patricia, marching around the White House and worrying that a picture of me might appear in the Post.

I didn’t have a good excuse for getting out of going to the protest. I thought of saying I was sick that day but I was shamed into standing in that line. Once you’re in the line it was like stepping over the line at a recruiting station. I had stepped over a line and was recruited into the anti-war movement. Passing out leaflets instead of writing memos for the President, in my mind I had shifted sides from being an insider to being a citizen. Days later I had the experience of seeing Randy Keeler, but I don’t know if it would have had the same effect except for having been at that vigil.

Pastor Martin Niemoller was testifying while I was at the vigil, and he had a big influence on me. I was at the same war resister’s conference. I am still not a total pacifist. He had been a U-Boat commander in WWI. He was imprisoned in 38 or 39 and spent the war in Dachau. The famous quote always puzzled me.

In Germany, they first came for the communists, and I didn’t speak up because I wasn’t a communist. Then they came for the Jews, and I didn’t speak up because I wasn’t a Jew. Then they came for the trade unionists, and I didn’t speak up because I wasn’t a trade unionist. Then they came for the Catholics and I didn’t speak up because I wasn’t a Catholic. Then they came for me — and by that time there was nobody left to speak up.

He did speak out, so what is he talking about? He is describing the attitude of the average German. He told me that he had not been a pacifist in the second World War. He thought Hitler should have been opposed. He didn’t become a pacifist until 1950 when Heisenberg informed him about the coming H-Bomb. And that made him a nuclear pacifist. I was having lunch with a couple of pacifists and arguing with them as I had often done, a strong argument against total pacifism is the Brits who fired at the bombers over London.

Why do you oppose our military strategy in Iraq and Afghanistan?

The last thing that you do is the thing that Al-Qaeda wants to you to do. Osama bin Laden wanted us to invade Afghanistan and Iraq, which was his enemy anyway. Even better would be to attack Iran, his enemy, to get the Muslim world against us. We fell right into Obama’s trap, born and bred in the brier patch; he wanted that oil. I have no doubt that he prefers us to be fighting in Afghanistan forever. I would have cooperated with the rest of the world including people we do not like, make it easy for them to cooperate with us and share their information about those who want to attack us. There are ways to respond without generating recruits for the terrorists. Getting the oil was more important than Al-Qaeda, so that is where Bush went.

But you said you are not a complete pacifist. So how do you decide when force is necessary?

I was giving Niemoller my example of the Brits, etc. You could not stop Hitler’s blitzkriegs with non-violence. Non-violence would not have saved the Jews. As in the old cartoons a light bulb appeared over my head — violence didn’t save the Jews, nothing saved the Jews. They all died. Here was the cruncher, the ace up the sleeve, partly because we didn’t use our violence to save the Jews. It made me remember something by Raoul Wallenberg. The Holocaust could not have been carried out except in wartime conditions. You need the secrecy. I went to Neimoller and said is it possible that the resistance that people put up to Hitler was at the expense of the Jews? I thought he would take time but he said right away, “It cost the Jews their lives.” I have always realized that. It doesn’t mean that people weren’t justified in resisting but far from saving them, it doomed the Jews.

I asked what else am I wrong about?

What do you want from the movie?

If more people see the movie we will have more leakers like the Eickenberry cables and that will be for the good.

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Behind the Scenes Interview

Extraordinary Measures: The Inspirational Quilt

Posted on January 16, 2010 at 3:35 pm

“Extraordinary Measures is the real story of a man who needed a miracle for his sick children and quit his job to work full time on raising money to support the medical research that might help keep them alive. The movie stars Brendan Fraser as the father and Harrison Ford as the doctor. But the real story continues, not only in the continuing fight to help children who struggle with the life-threatening genetic disease featured in the film but in the inspiration that the story has given to others struggling with what seem like insurmountable challenges.
The makers of the film are inviting people to tell their stories on an “inspirational quilt” made from videos. They are looking for “uplifting stories that include themes of triumph over tragedy, overcoming adversity, overcoming illness/disability/injury, acts of altruism, generosity and simple heroism. The Quilt is a community expressing the power of good in the human spirit, and a platform to share and connect stories of hope and inspiration.” If you have such a story, submit a video and you can win $10,000 for the charity you support. Or, visit the site to take a look at the videos uploaded by others and vote for the one you think is most deserving of the prize.
The movie may be good — I will let you know when I see it. But the videos are engrossing, touching, and, yes, inspiring. Take a look and vote for the one you want to support.

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Behind the Scenes The Real Story
The Real Story: the Crowleys of ‘Extraordinary Measures’

The Real Story: the Crowleys of ‘Extraordinary Measures’

Posted on January 13, 2010 at 3:55 pm

“Extraordinary Measures” stars Brendan Fraser as John Crowley, the real-life dad who quit his job to raise money for research that could help his two children, critically ill with an incurable genetic disorder called Pompe disease. Here is a featurette with the real John and Aileen Crowley and their children.

For more information, read The Cure: How a Father Raised $100 Million–And Bucked the Medical Establishment–In a Quest to Save His Children and Chasing Miracles: The Crowley Family Journey of Stength, Hope, and Joy.

 

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Behind the Scenes The Real Story

Interview: Scott Cooper of ‘Crazy Heart’

Posted on January 11, 2010 at 3:57 pm

I spoke to writer/director Scott Cooper, whose first film, Crazy Heart has been acclaimed for its authenticity, its captivating music, and a performance by Jeff Bridges that many people believe will bring him his long-deserved Oscar.

You must be thrilled with the reaction your film is getting.

Oh, Nell, for a first time writer/director who has never been to film school or directed a commercial or a rock video — I am over the moon. Not just the critical response, but the reaction from my colleagues who have sought me out and who really loved the film. It just means the world to me.

And it must be a special joy to see the response to the performance of Jeff Bridges as the lead character, country singer “Bad” Blake.

I wrote the role for Jeff, and once I finished the film and sent the script to Robert Duvall, I told him that there are two people I need to make this film happen. One is Jeff Bridges and the other is T. Bone Burnett. In my estimation, both Jeff and Duvall are America’s two finest screen actors and I was able fortunately to get those guys. But I don’t want to overlook Maggie fine work and Colin Farrell.

I’m glad you mentioned Farrell, because I thought he was extraordinary as Tommy Sweet, the big country star Bridges’ character had mentored on the way up.

When I cast the movie, Colin Farrell is not the obvious choice. He looks like a movie star but he is really a character actor. He is a very humble guy. I felt like he’s the kind of guy who would support Jeff Bridges and Robert Duvall. And in such a short time on screen he gives such a nuanced, masterful performance, and he has a beautiful singing voice. It just was inspired all the way around. I wanted to design it so that you were set up to dislike his character and then he is humble and gracious and owes everything to this elder statesman and it all comes through.

One thing I respected about the film is what you left out — a lot of people would have put in a rehab montage and the usual scenes to make us feel we see all the details but you suggested them and then left it alone.

I think it is important that we realize this man is on a road to redemption. We all see redemption. We all are flawed individuals. The themes of hope and regret and loss, all of those course through this movie and course through our daily lives and course through the great country songs. So all humans who see this and suffer through the human condition will understand this.

So you’re a fan of country music?

Oh, I am! I literally cut my teeth in the Blue Ridge mountains of Virginia going to really great blue grass festivals in Virginia with my parents and then I segued to my father’s LP collection — Waylon and Cash and Haggard and Kristofferson. I loved that these guys wrote about their life experiences. So I was very well steeped in these songs and it was very personal to me. I hope that country music listeners will enjoy the picture and find a little bit of themselves in these characters and relate to it.

I wanted the pacing of the film, the look of the film, everything to have the feeling of an old George Jones song, “He Stopped Loving Her Today.” You have to really listen closely and let the song develop. It has a third less cuts than most films, a more languid pace.

So if you didn’t go to film school, did you watch a lot of movies and study them on your own?

I watched a lot of films from the 1970’s, my favorite decade of American film, and I would watch with the sound off, so I could see how they would move the camera, how they would tell the story through performance and lens selection. I would watch the greats like Terrence Malick, with “Days of Heaven” or “Badlands” or Robert Altman, Peter Bogdanovich, Coppola, all those guys. And film-makers of today, Sean Penn, Robert Duvall, Ed Harris, Billy Bob Thornton, guys who are complete film-makers, actors and writers and directors.

You said you could not do the movie without T. Bone Burnett. What does he bring to the movie?

He really is peerless in his Americana roots genre. He understands behavior, he understands characterization, he understands the un-obvious and he understood the alternate universe I wanted to create, one part Willie, one part Waylon and Kris, some Merele and Townes Van Zandt, Billy Joe Shaver. He could do that and bring it into this fictional character. He’s just a master at what he does. I told him we have to have a narrative thread through the course of this movie that him write a song over the course of this movie that helps him rediscover his artistry and helps him rediscover who he is as a person. Then we had Ryan Bingham, a young man who in my opinion is the heir apparent to Hank Williams, and he came in with “The Weary Kind” because that’s who Bad Blake is, he is a weary individual. It captures all the themes that I wanted and it’s a stunning, stunning song. It’s a part of the fabric of the film.

What inspires you?

My two beautiful girls inspire me every day. Great art. Music, gospel, classical, jazz. It’s part of my life. Mostly by people who aren’t afraid to take risks intheir lives, who live their lives as if every day was their last. People who have strong convictions.

What did you learn from your first film?

The most important lesson I learned was to always trust your instincts, never stop learning — and steal from the best, because I surely did.

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Micro-Budget Rip-Offs Find an Audience

Micro-Budget Rip-Offs Find an Audience

Posted on January 10, 2010 at 8:00 am

Wired has a great article about “Cheap-and-Schlocky Blockbuster Ripoffs” of big-budget movies, made for less money than the cost of crew t-shirts of the multi-billion dollar Hollywood movies they flatter with imitation.
While “Sherlock Holmes” with Robert Downey, Jr. is getting its final touches, another “Sherlock Holmes” is being filmed in Wales. It may not have Robert Downey, Jr., Jude Law, or Guy Ritchie. But on the other hand, it does have a homicidal robot, a dinosaur, and a giant squid.

The gonzo Sherlock, which you’ll be able to find at major rental chains like Blockbuster and Hollywood Video, is the creation of the Asylum, a low-budget studio specializing in shamelessly derivative knockoffs that are not-so-affectionately dubbed “mockbusters.” B-movie producers have been cribbing from Hollywood for decades, but none have done so as brazenly or efficiently as the Asylum, which for the past six years has churned out titles like “Snakes on a Train,” “Transmorphers,” “The Terminators,” “The Day the Earth Stopped,” and, of course, last summer’s “Transmorphers: Fall of Man.” These are uniformly dreadful films, notable mainly for their stilted dialogue, flimsy-looking sets (which are frequently recycled), and turns by faded stars such as Judd Nelson and C. Thomas Howell — actors whose careers crumbled around the same time as the Berlin Wall….

And the studio is growing. It recently signed a series of deals to air more than 20 films — both “vintage” mockbusters and new titles — on the Syfy network and other NBC Universal cable channels, and it moved to a new production facility in Burbank, California.

The Asylum has even had a hit of sorts: “Mega Shark vs. Giant Octopus,” a tongue-in-cheek, non-mockbuster monster-mash starring Lorenzo Lamas and former teen pop star Deborah Gibson. Released last spring, the Mega Shark trailer — which ends with a shark devouring an airplane — went viral, garnering nearly 2 million views on YouTube.

This reminds me of the self-billed most successful producer in movie history, Roger Corman, whose biography is titled How I Made A Hundred Movies In Hollywood And Never Lost A Dime. He has never lost money on a movie. Some of his films became cult classics like the original “Little Shop of Horrors,” which went on to become a musical play and movie with much bigger budgets and much bigger box office than the original film. Some of Corman’s films have even achieved some critical and scholarly acclaim. But outside of his investors, it is likely that his most significant contribution to the art form of making movies was giving talented young film-makers a chance when no one else would — people like Francis Ford Coppola, Martin Scorsese, Ron Howard, Peter Bogdanovich, Jonathan Demme, Gale Anne Hurd, Joe Dante, James Cameron, John Sayles, Nicholas Roeg, and Curtis Hanson. “Avatar” director James Cameron has said, “I trained at the Roger Corman Film School.” Actors who appeared in Corman films include Jack Nicholson, Peter Fonda, Bruce Dern, Michael McDonald, Dennis Hopper, Talia Shire, David Caradine, and Robert De Niro.
I am not expecting the Asylum’s films to be picked up for big-budget remakes with song and dance numbers, and it does not sound like their directors or actors are on the road to stardom. But the Wired article notes that they are expanding, including opening a California production facility. So who knows? Maybe 20 years from now there will be some scrappy start-up making shlocky rip-offs of their films.

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