Most anyone who knows me knows that I despise Michael Moore, which is especially difficult since I actually agree with his politics... but by the very nature of what he does to his audiences, how he excites them, turns them into an angry ohm, you barely get out the words "I hate him but...." before people are caling you a dirty fascist and asking you to send your dirst born off to iraq......
As someone who places the utmost importance on the importance of film, its capability of social change and, perhaps most importantly, the RESPONSIBILITY of the filmmaker to follow his representations with his own actions, I have to say, I wanted to actually walk up and knock the stupid baseball cap off the smug bastards head when i saw him, literally, hob-knobbing, at the 2006 TIFF.... He doesn't ever lie, or misrepresent the truth, but the fact is, the truth is NEVER as interesting or entertaining as Moore makes it out to be....
That's why no one goes to see documentaries.... the truth is boring.... Moore's flash-fest changes, alters, massages and selectively sees the truth in order to get the attention of rapt audiences.... it's the propaganda of the left....
Apparently a few people agree with me.
All the following are excerpts from an article about Michael Moore that was written by hiw biographer, Roger Rapaport, for the UK Daily, the Independent:
"[Michael Moore's] new dream appears to be turning out Frank-Capra-style features that deliver a high moral message along the lines of Mr Smith Goes to Washington.
"Are his films documentaries, or are they fictional comedies?" Since Moore gets the credit for making documentaries as popular as dramatic films, let's turn to the first cameraman Michael that ever hired, Kevin Rafferty, for the answer. This famed cinéma-vérité film-maker, who is also George W Bush's first cousin, gave Moore his film debut in Blood in the Face, an exposé of the "racialist right". The then Flint journalist Moore scored a major coup when he helped Rafferty's team film a Michigan Ku Klux Klan rally where two lovebirds said their marital vows in a ceremony illuminated by the glow of a burning cross.
Rafferty says that he was stunned when he arrived in Flint and Moore handed him a terrific shot-list for Roger & Me. This was simply not the way cinema verité documentaries were made: a director would create the storyline after shooting was finished. Two-and-a-half years later, Rafferty was even more astonished when he saw that the shot-list had become the movie. Instead of shooting first and editing afterwards, in the traditional manner of documentaries, Michael had scripted Roger & Me like a dramatic feature.
Even some of Moore's fans worry that he partially stages scenes, undercutting the value of his own work. I spoke about this recently with the cameraman Bruce Schermer, who was paid $5,000 for shooting about 60 per cent of Roger & Me (which was sold to Warner Brothers for $3m). He points out that, during the shooting of the film's famous Christmas Eve eviction of impoverished Flint tenants, Moore was apparently not getting what he wanted. Off camera, he discussed the problem with an unemotional mother. When Schermer turned his camera back on, this evictee amped-up the scene by screaming. Ironically, adds the cameraman, some of the auxiliary lighting power required to shoot this scene came from the evictee's electricity outlet.
Throughout his career, Moore has been the master of constructive failure"
................Michael Moore... I hate you
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