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+ "page_name": "All 10 Michael Moore Documentary Features Ranked, Including ...",
+ "page_url": "https://www.thewrap.com/fahrenheit-11-9-michael-moore-documentary-films-ranked-photos/",
+ "page_snippet": "From "Roger & Me" to "Bowling for Columbine" and beyondTheir stories are not just stunning but instantly relatable, and Moore taps into every angle of how insurance companies have screwed over sick people in need. And the film\u2019s closing stunt may be his best, taking a boat of 9/11 first responders to Guantanamo Bay and Cuba to get better healthcare than would be available to them at home. And the film\u2019s closing stunt may be his best, taking a boat of 9/11 first responders to Guantanamo Bay and Cuba to get better healthcare than would be available to them at home. ... For the last 15 years, we\u2019ve watched every late-night show and news program basically remake portions of Moore\u2019s \u201cBowling for Columbine.\u201d The film was scarily ahead of the curve on the gun debate, and the raw surveillance footage of the Columbine attacks blended with 9-1-1 calls is harrowing filmmaking that Moore does more effectively than anyone. Between his guerrilla-style filmmaking, ironic sense of humor and explosive rhetoric, Michael Moore has come to be either a folk hero or a political pariah, depending on where you sit. And yet hailing from Flint, Mich. has made him uniquely positioned to address a wide swath of America\u2019s woes. But far worse is how Moore positions himself as a rock star, editing in endless applause breaks of his fans or even multiple introductions by actual rock stars, like Eddie Vedder and Steve Earl. The only thing Moore did right with this film was release it for free online.",
+ "page_result": "\n\n\n\t\n\t\n\n\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\n\nAll 10 Michael Moore Documentary Features Ranked, Including 'Fahrenheit 11/9' (Photos) - TheWrap\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\t\t\n\t\t\t\n\t\t\t\t\t\n\t\n\t\t\t\n\t\t\n\t\t\n\n\n\n\n
Between his guerrilla-style filmmaking, ironic sense of humor and explosive rhetoric, Michael Moore has come to be either a folk hero or a political pariah, depending on where you sit. And yet hailing from Flint, Mich. has made him uniquely positioned to address a wide swath of America\u2019s woes. You may not agree with any of his politics, but it\u2019s hard to call Moore\u2019s movies un-entertaining, and no one does agitprop better. This ranking of his theatrical, feature documentaries, including his latest \u201cFahrenheit 11/9,\u201d may prove polarizing \u2014 just like his movies.
10. \u201cSlacker Uprising\u201d (2007):
\t\n\t
Merely a collection of footage from Michael Moore\u2019s stadium tour ahead of the 2004 Kerry-Bush election, \u201cSlacker Uprising\u201d lacks much of a focus or even a strong thesis. But far worse is how Moore positions himself as a rock star, editing in endless applause breaks of his fans or even multiple introductions by actual rock stars, like Eddie Vedder and Steve Earl. The only thing Moore did right with this film was release it for free online.
\t\n\t
Photo credit:
iTunes
9. \u201cMichael Moore in Trumpland\u201d (2016):
Less of a documentary and quite literally a taping of his one-man stage show in Ohio, \u201cTrumpland\u201d plays like Moore\u2019s half-hearted attempt at stand-up comedy. It\u2019s filled with lots of uneasy clapping and stern-looking white dudes crossing their arms as they silently boil with rage. The film is not without insight, and Moore makes a good case that Hillary Clinton is secretly more progressive than she ever let on to be. But Moore made this appeal to Trump country in the hopes they would wake up and recognize their buyers\u2019 remorse. How did that go?
Photo credit:
Overture Films/Paramount Vantage
8. \u201cCapitalism: A Love Story\u201d (2009):
\u201cCapitalism: A Love Story\u201d marries Moore\u2019s best ideas and worst impulses. He was tackling the housing crisis and calling out One Percenters before most caught wind, even talking with Elizabeth Warren and Bernie Sanders before they were cool. But in order to paint capitalism as the scourge of society, he blames it for a deadly plane crash, and he stops short at actually explaining derivatives. He also makes simplistic analogies comparing America to the Roman Empire, and he even briefly rehashes \u201cRoger & Me\u201d for a punch line. Fans of his films won\u2019t find much to disagree with, but Moore looks like a parody of himself here.
\t\n\t
Photo credit:
Miramax
7. \u201cThe Big One\u201d (1997):
\t\n\t
Here\u2019s another movie where Moore documents his own tour, this time to promote his book. But \u201cThe Big One\u201d is both insightful and a lot of frivolous fun. His scrappy, guerrilla style is very much on display, swooping in on strikes and plant closings and speaking with everyone from ex-cons to the then CEO of Nike. There are even some hilarious moments where Moore hangs out at Cheap Trick guitarist Rick Nielsen\u2019s house and uses Rick\u2019s advice to prank his media escort.
Photo credit:
Lions Gate Films
6. \u201cFahrenheit 9/11\u201d (2004):
Not only is \u201cFahrenheit 9/11\u201d the highest-grossing documentary ever made, it is also among the most debated. Now, in the Trump era, George W. Bush\u2019s actions look almost quaint. Moore himself sounds like a conspiracy theorist asking open-ended questions, drawing tenuous connections between Bush and the bin Laden family. It even lacks some of Moore\u2019s wit and visual intrigue. But \u201cFahrenheit 9/11\u201d eventually evolves into a sobering portrait of the American military. Moore shines a terrifying light on predatory recruitment agents, on soldiers taking glee from killing and on a patriotic mother who realizes she\u2019s lost her son in an unjust war. Moore didn\u2019t ultimately swing the election for Kerry, but the importance of the film, in its time, can\u2019t be oversold.
Photo credit:
Neon
5. \u201cWhere to Invade Next\u201d (2015):
\t\n\t
\u201cWhere to Invade Next\u201d opens with a red herring. Six years removed from his previous film, Moore makes it seem like he\u2019s now on a war path, saying America\u2019s generals and top officials have \u201cno idea what the f\u2014 we\u2019re doing,\u201d and only he can save the day. But the film is actually surprisingly optimistic for Moore, a world tour to see how the other half lives. American audiences will be genuinely surprised at what French kids have for school lunches, how Norway treats its most dangerous criminals and how Portugal handles its drug users \u2014 and is better for it. It\u2019s not meant to criticize America, but rather to champion and borrow the best ideas from abroad.
\t\n\t
Photo credit:
Lionsgate
4. \u201cSicko\u201d (2007):
Moore\u2019s films are always emotional, but rarely are they this heartwarming. Rather than tell the story of those without insurance, he tells the countless, baffling horror stories of all those in America who do. Their stories are not just stunning but instantly relatable, and Moore taps into every angle of how insurance companies have screwed over sick people in need. And the film\u2019s closing stunt may be his best, taking a boat of 9/11 first responders to Guantanamo Bay and Cuba to get better healthcare than would be available to them at home.
Photo credit:
MGM
3. \u201cBowling for Columbine\u201d (2002):
For the last 15 years, we\u2019ve watched every late-night show and news program basically remake portions of Moore\u2019s \u201cBowling for Columbine.\u201d The film was scarily ahead of the curve on the gun debate, and the raw surveillance footage of the Columbine attacks blended with 9-1-1 calls is harrowing filmmaking that Moore does more effectively than anyone. But for Moore, it\u2019s not just the number of guns America has, he also questions the media, the NRA and our culture of violence. Between interviews with Marilyn Manson, Charlton Heston and friendly Canadians, Moore succeeds in making \u201cBowling for Columbine\u201d a movie not just about guns, but about the culture behind them.
Photo credit:
Briarcliff Entertainment
2. \u201cFahrenheit 11/9\u201d (2018):
There\u2019s only so much even Michael Moore could say about Trump that hasn\u2019t been endlessly repeated in the media since 2016. Amazingly, he doesn\u2019t, going a full hour without mentioning Trump\u2019s name. He returns to Flint to make a convincing argument that their water crisis is a preview for what Trump is capable of doing. He even points the finger at legacy Democrats and is critical of President Obama. Moore isn\u2019t hopeful that Robert Mueller will save the day or that things won\u2019t get much worse, painting a scary parallel between how the media reacted to the rise of Hitler. But he is optimistic. Moore spends time with Alexandria Ocasio-Cortez, the Parkland students and the West Virginia teacher\u2019s union to see how change is still possible, even if he wants you to leave with the idea that the American ideal never really existed.
Photo credit:
Warner Bros.
1. \u201cRoger & Me\u201d (1989):
Moore\u2019s first film is still his finest. No one had ever seen a guy, so calmly persistent with the camera, waltz into institutions of wealth and power. Those iconic shots have literally followed him his entire career, and his simple, sarcastic logic, devilish wit and nasally Midwestern accent helped make him an icon. The juxtaposition of a cheery Beach Boys tune set to a montage of abandoned homes and rats running through the town, and hearing a GM executive prioritize profits over people, remains heartbreaking. But somewhere between human statues at a Great Gatsby party and a woman skinning alive a rabbit for meat, \u201cRoger & Me\u201d still feels like a timeless portrait of the class divide and the gobsmacking lengths Americans go through to get by.
\n\n\n\n\n\n\n\n\n\n\n\n\n\n",
+ "page_last_modified": ""
+ },
+ {
+ "page_name": "Dennis Muren - Wikipedia",
+ "page_url": "https://en.wikipedia.org/wiki/Dennis_Muren",
+ "page_snippet": "It was "the shock of the new," ... and Michael Lantieri). Jurassic Park was the breakthrough that convinced Lucas that technology had advanced enough to make the Star Wars prequels. Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005). Muren is married to British documentary filmmaker and landscape ...It was \"the shock of the new,\" earning Muren an Oscar for Best Visual Effects (shared with Stan Winston, Phil Tippett, and Michael Lantieri). Jurassic Park was the breakthrough that convinced Lucas that technology had advanced enough to make the Star Wars prequels. Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005). Muren is married to British documentary filmmaker and landscape architect Zara Muren, who produced and directed Dream of The Sea Ranch and The Landscape Architecture of Roberto Burle Marx. Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005). Muren is married to British documentary filmmaker and landscape architect Zara Muren, who produced and directed Dream of The Sea Ranch and The Landscape Architecture of Roberto Burle Marx. They have two children and live in California. In June 1999, Muren was honored with a star on the Hollywood Walk of Fame, the first visual effects artist to be so recognized. Dennis Muren, A.S.C (born November 1, 1946) is an American film visual effects artist and supervisor. He has worked on the films of George Lucas, Steven Spielberg, and James Cameron, among others, and has won nine Oscars in total: eight for Best Visual Effects and a Technical Achievement Academy Award. It was used for Terminator 2: Judgment Day, then Death Becomes Her, and Jurassic Park, among other films. 1993: Directed the CGI dinosaurs to their photo-real conclusions for Jurassic Park. 1992-1995: Directed proof-of-concept CG tests for Death Becomes Her and Twister. 2001: Used a real-time, on-set rendering and compositing preview viewing with a 6-axis camera movement for A.I. Artificial Intelligence. 2003: Made a live on-set portable previz using the Unreal Tournament game engine on a laptop PC to display the film camera's live view under a live render of Hulk's 12-foot-tall shape, in real time, as a live on-set previz.",
+ "page_result": "\n\n\n\nDennis Muren - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
He has been identified as \"a pioneer in bringing a new wave of visual effects films to the public, opening the doors for screenwriters and directors to tell stories never before possible with a new realism through the use of his skills in cinematic arts and advanced technologies.\"[3]\n
According to Spielberg, Muren \"set the example at Industrial Light & Magic for visual effects excellence with effects that add strong, appropriate emotion to a shot and fit seamlessly into a movie.\"[4]\n
Muren was born in 1946 in Glendale, California, the son of Charline Louise (n\u00e9e Clayton) and Elmer Ernest Muren.[5] His interest in photography began at eight years old while shooting model spaceships and dinosaurs. Muren quickly deepened his interest in effects by studying the films of John Fulton, Ray Harryhausen, and Howard Lydecker. He was fascinated by what he observed around him, in appearance and purpose, which led him to study the artwork of John Singer Sargent and Frank Frazetta.[6] He never attended film school but was self-taught, and also learned through friendships with other young Los Angeles effects enthusiasts, including Jim Danforth and David Allen.[7]\n
In 1965, after graduating from John Muir High School in Pasadena, California,[8] and during a summer vacation at Pasadena City College as a business major, Muren raised $6,500 to make The Equinox, a 71-minute supernatural film incorporating the visual effects techniques he had grown up admiring. He sold it to producer Jack Harris who hired film editor Jack Woods to write and direct additional footage that added a demonic villain and made the film 82 minutes long. When Equinox was released in May 1970, Muren was credited as a producer despite having directed much of the film and created the special effects. Despite its mixed to weak reviews, the movie made enough money for Muren to recoup his investment, and in the years since, it has become a minor cult classic.[9]\n
After earning his associate's degree, Muren struggled for years to find steady work as a visual effects cameraman in Hollywood. In 1976, Muren was hired as 2nd cameraman at Industrial Light & Magic (ILM), then an upstart visual effects studio founded by George Lucas,[10] to work on Star Wars. The film was released in 1977 to wide critical and public acclaim and was for years the highest-grossing film of all time. With a weekend off, he immediately went to work on Spielberg\u2019s Close Encounters of the Third Kind, photographing the Mothership for Douglas Trumbull.[6]\n
After working a few months on a new television series, Battlestar Galactica, for John Dykstra, Muren moved to Marin County, California, to help build a new ILM. He was hired as effects director of photography with a focus on the techniques and photography of miniatures on Star Wars: The Empire Strikes Back. After that, Muren worked primarily as a Visual Effects Supervisor on all of his films.[11] Former ILM president Jim Morris said Muren \"could always find a way to look at a problem from a different angle and come up with a shot or scene that would be wondrous to watch\". Over the next seven years, he would win five Oscars.[12][13]\n
When Lucas started the Lucasfilm Computer Graphic Group in 1979, Muren hoped to use their technology to make better, original movie images.[14] In a collaboration, he directed the group in the making of the CGI stained glass swordsman for Young Sherlock Holmes, earning an Oscar nomination.[15]\n
The Graphics Group was sold in 1986, and Lucas started the ILM Computer Graphics Division with Muren helping voice ILM's needs for the digital image to mimic film qualities from lenses to film stocks, with user-friendly tools to mirror what humans see.[14][16] He has said that his years spent observing and building an understanding of the physical world were invaluable to making virtual realities.[6]\n
In their first big project, Muren directed the Division in creating shape-shifting animals using in-house custom software for \"morphing\" (blending) footage of animatronic models in Willow (1988).[17]The Abyss (1989), Terminator 2: Judgment Day (1991), and Jurassic Park (1993) followed.[13]Steven Spielberg had intended to use go-motion for the Jurassic Park dinosaurs, but a CG test of a walking skeleton T-Rex made by ILM's Steve Williams and Mark Dippe (with Marin County as the backdrop) convinced Universal to fund a proof-of-concept, photo-real, no-excuse shot.[4] In three months, following Muren's cinematic goals, the ILM CG department broke new ground, adding organically moving flesh and muscle to the creature's skeleton, covering it with animal-like skin texture and exterior sun and bounce lighting to make a photorealistic walking T-Rex.[18][19] \"It's going to be amazing. People are really going to believe that dinosaurs are walking this earth today,\" said Steven Spielberg.[20] It was \"the shock of the new,\"[21] earning Muren an Oscar for Best Visual Effects (shared with Stan Winston, Phil Tippett, and Michael Lantieri).[22]\n
Jurassic Park was the breakthrough that convinced Lucas that technology had advanced enough to make the Star Wars prequels.[23] Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005).\n
Muren is married to British documentary filmmaker and landscape architect Zara Muren, who produced and directed Dream of The Sea Ranch and The Landscape Architecture of Roberto Burle Marx.[24][25] They have two children and live in California.\n
In June 1999, Muren was honored with a star on the Hollywood Walk of Fame, the first visual effects artist to be so recognized.[11] He is also a recipient of nine Oscars for Best Visual Effects and a Technical Achievement Academy Award, the most of any living person.\n
He has a small, non-speaking role in Raiders of the Lost Ark; he appears as a trench-coat-wearing Nazi spy who boards the Pan Am Flying Boat just before Indiana Jones (Harrison Ford) does, sits to the rear of the aircraft and peers over the edge of a magazine at Jones. Due to their similarity in facial appearance (despite great variation in height), this character is often mistaken for Major Toht (Ronald Lacey), the film's primary antagonist, but it has been confirmed that they are not the same. Muren also had a cameo in the theme-park attraction Star Tours.\n
1980-1983: Used an animation camera stand as a 4-axis optical printer to make dozens of dramatic shots in The Empire Strikes Back and Return of the Jedi. They referred to it as \u201cpin blocking.\"[26]
\n
1983: In three days, Muren pre-visualized more than 100 shots for the Return of the Jedi speeder bike chase by hand-holding the first tiny video camera and taping a Barbie and Ken doll as well as cardboard tubes on a shag carpet.[27]
1985: Directed the Lucasfilm Graphics Group to make the first photo-real CGI character, the \"Stained Glass Knight\" for Young Sherlock Holmes, and the first theatrical-quality digital film composite.[15]
\n
1987: With ILM\u2019s new CGI department, Muren pre-visualized the original Star Tours ride-film for Disneyland in early CGI to work out the story, moves, and timings for a four-minute continuous view out the shuttle\u2019s front window.
\n
1988: Directed the first digital 2D morphing effect for Ron Howard's Willow.[29]
\n
1990: After The Abyss, Muren took a one-year sabbatical to study CGI software and hardware theory, to which he credits much of the success of the Terminator 2: Judgment Day digital effects.[30]
\n
1991: During his sabbatical, he assembled the first robust film scanning, manipulating, recording system for flawless, photo-real 2D and 3D image manipulation. It was used for Terminator 2: Judgment Day, then Death Becomes Her, and Jurassic Park, among other films.[30]
\n
1993: Directed the CGI dinosaurs to their photo-real conclusions for Jurassic Park.[4]
\n
1992-1995: Directed proof-of-concept CG tests for Death Becomes Her and Twister.[31]
\n
2001: Used a real-time, on-set rendering and compositing preview viewing with a 6-axis camera movement for A.I. Artificial Intelligence.[31]
\n
2003: Made a live on-set portable previz using the Unreal Tournament game engine on a laptop PC to display the film camera's live view under a live render of Hulk's 12-foot-tall shape, in real time, as a live on-set previz.
\n\n\n\n",
+ "page_last_modified": " Mon, 18 Mar 2024 19:25:16 GMT"
+ },
+ {
+ "page_name": "Dennis Muren - Wikipedia",
+ "page_url": "https://en.wikipedia.org/wiki/Dennis_Muren",
+ "page_snippet": "It was "the shock of the new," ... and Michael Lantieri). Jurassic Park was the breakthrough that convinced Lucas that technology had advanced enough to make the Star Wars prequels. Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005). Muren is married to British documentary filmmaker and landscape ...It was \"the shock of the new,\" earning Muren an Oscar for Best Visual Effects (shared with Stan Winston, Phil Tippett, and Michael Lantieri). Jurassic Park was the breakthrough that convinced Lucas that technology had advanced enough to make the Star Wars prequels. Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005). Muren is married to British documentary filmmaker and landscape architect Zara Muren, who produced and directed Dream of The Sea Ranch and The Landscape Architecture of Roberto Burle Marx. Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005). Muren is married to British documentary filmmaker and landscape architect Zara Muren, who produced and directed Dream of The Sea Ranch and The Landscape Architecture of Roberto Burle Marx. They have two children and live in California. In June 1999, Muren was honored with a star on the Hollywood Walk of Fame, the first visual effects artist to be so recognized. Dennis Muren, A.S.C (born November 1, 1946) is an American film visual effects artist and supervisor. He has worked on the films of George Lucas, Steven Spielberg, and James Cameron, among others, and has won nine Oscars in total: eight for Best Visual Effects and a Technical Achievement Academy Award. It was used for Terminator 2: Judgment Day, then Death Becomes Her, and Jurassic Park, among other films. 1993: Directed the CGI dinosaurs to their photo-real conclusions for Jurassic Park. 1992-1995: Directed proof-of-concept CG tests for Death Becomes Her and Twister. 2001: Used a real-time, on-set rendering and compositing preview viewing with a 6-axis camera movement for A.I. Artificial Intelligence. 2003: Made a live on-set portable previz using the Unreal Tournament game engine on a laptop PC to display the film camera's live view under a live render of Hulk's 12-foot-tall shape, in real time, as a live on-set previz.",
+ "page_result": "\n\n\n\nDennis Muren - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
He has been identified as \"a pioneer in bringing a new wave of visual effects films to the public, opening the doors for screenwriters and directors to tell stories never before possible with a new realism through the use of his skills in cinematic arts and advanced technologies.\"[3]\n
According to Spielberg, Muren \"set the example at Industrial Light & Magic for visual effects excellence with effects that add strong, appropriate emotion to a shot and fit seamlessly into a movie.\"[4]\n
Muren was born in 1946 in Glendale, California, the son of Charline Louise (n\u00e9e Clayton) and Elmer Ernest Muren.[5] His interest in photography began at eight years old while shooting model spaceships and dinosaurs. Muren quickly deepened his interest in effects by studying the films of John Fulton, Ray Harryhausen, and Howard Lydecker. He was fascinated by what he observed around him, in appearance and purpose, which led him to study the artwork of John Singer Sargent and Frank Frazetta.[6] He never attended film school but was self-taught, and also learned through friendships with other young Los Angeles effects enthusiasts, including Jim Danforth and David Allen.[7]\n
In 1965, after graduating from John Muir High School in Pasadena, California,[8] and during a summer vacation at Pasadena City College as a business major, Muren raised $6,500 to make The Equinox, a 71-minute supernatural film incorporating the visual effects techniques he had grown up admiring. He sold it to producer Jack Harris who hired film editor Jack Woods to write and direct additional footage that added a demonic villain and made the film 82 minutes long. When Equinox was released in May 1970, Muren was credited as a producer despite having directed much of the film and created the special effects. Despite its mixed to weak reviews, the movie made enough money for Muren to recoup his investment, and in the years since, it has become a minor cult classic.[9]\n
After earning his associate's degree, Muren struggled for years to find steady work as a visual effects cameraman in Hollywood. In 1976, Muren was hired as 2nd cameraman at Industrial Light & Magic (ILM), then an upstart visual effects studio founded by George Lucas,[10] to work on Star Wars. The film was released in 1977 to wide critical and public acclaim and was for years the highest-grossing film of all time. With a weekend off, he immediately went to work on Spielberg\u2019s Close Encounters of the Third Kind, photographing the Mothership for Douglas Trumbull.[6]\n
After working a few months on a new television series, Battlestar Galactica, for John Dykstra, Muren moved to Marin County, California, to help build a new ILM. He was hired as effects director of photography with a focus on the techniques and photography of miniatures on Star Wars: The Empire Strikes Back. After that, Muren worked primarily as a Visual Effects Supervisor on all of his films.[11] Former ILM president Jim Morris said Muren \"could always find a way to look at a problem from a different angle and come up with a shot or scene that would be wondrous to watch\". Over the next seven years, he would win five Oscars.[12][13]\n
When Lucas started the Lucasfilm Computer Graphic Group in 1979, Muren hoped to use their technology to make better, original movie images.[14] In a collaboration, he directed the group in the making of the CGI stained glass swordsman for Young Sherlock Holmes, earning an Oscar nomination.[15]\n
The Graphics Group was sold in 1986, and Lucas started the ILM Computer Graphics Division with Muren helping voice ILM's needs for the digital image to mimic film qualities from lenses to film stocks, with user-friendly tools to mirror what humans see.[14][16] He has said that his years spent observing and building an understanding of the physical world were invaluable to making virtual realities.[6]\n
In their first big project, Muren directed the Division in creating shape-shifting animals using in-house custom software for \"morphing\" (blending) footage of animatronic models in Willow (1988).[17]The Abyss (1989), Terminator 2: Judgment Day (1991), and Jurassic Park (1993) followed.[13]Steven Spielberg had intended to use go-motion for the Jurassic Park dinosaurs, but a CG test of a walking skeleton T-Rex made by ILM's Steve Williams and Mark Dippe (with Marin County as the backdrop) convinced Universal to fund a proof-of-concept, photo-real, no-excuse shot.[4] In three months, following Muren's cinematic goals, the ILM CG department broke new ground, adding organically moving flesh and muscle to the creature's skeleton, covering it with animal-like skin texture and exterior sun and bounce lighting to make a photorealistic walking T-Rex.[18][19] \"It's going to be amazing. People are really going to believe that dinosaurs are walking this earth today,\" said Steven Spielberg.[20] It was \"the shock of the new,\"[21] earning Muren an Oscar for Best Visual Effects (shared with Stan Winston, Phil Tippett, and Michael Lantieri).[22]\n
Jurassic Park was the breakthrough that convinced Lucas that technology had advanced enough to make the Star Wars prequels.[23] Director Peter Jackson was similarly inspired by the technical breakthrough in Jurassic Park to begin planning the Lord of the Rings trilogy (2001-2003) and King Kong (2005).\n
Muren is married to British documentary filmmaker and landscape architect Zara Muren, who produced and directed Dream of The Sea Ranch and The Landscape Architecture of Roberto Burle Marx.[24][25] They have two children and live in California.\n
In June 1999, Muren was honored with a star on the Hollywood Walk of Fame, the first visual effects artist to be so recognized.[11] He is also a recipient of nine Oscars for Best Visual Effects and a Technical Achievement Academy Award, the most of any living person.\n
He has a small, non-speaking role in Raiders of the Lost Ark; he appears as a trench-coat-wearing Nazi spy who boards the Pan Am Flying Boat just before Indiana Jones (Harrison Ford) does, sits to the rear of the aircraft and peers over the edge of a magazine at Jones. Due to their similarity in facial appearance (despite great variation in height), this character is often mistaken for Major Toht (Ronald Lacey), the film's primary antagonist, but it has been confirmed that they are not the same. Muren also had a cameo in the theme-park attraction Star Tours.\n
1980-1983: Used an animation camera stand as a 4-axis optical printer to make dozens of dramatic shots in The Empire Strikes Back and Return of the Jedi. They referred to it as \u201cpin blocking.\"[26]
\n
1983: In three days, Muren pre-visualized more than 100 shots for the Return of the Jedi speeder bike chase by hand-holding the first tiny video camera and taping a Barbie and Ken doll as well as cardboard tubes on a shag carpet.[27]
1985: Directed the Lucasfilm Graphics Group to make the first photo-real CGI character, the \"Stained Glass Knight\" for Young Sherlock Holmes, and the first theatrical-quality digital film composite.[15]
\n
1987: With ILM\u2019s new CGI department, Muren pre-visualized the original Star Tours ride-film for Disneyland in early CGI to work out the story, moves, and timings for a four-minute continuous view out the shuttle\u2019s front window.
\n
1988: Directed the first digital 2D morphing effect for Ron Howard's Willow.[29]
\n
1990: After The Abyss, Muren took a one-year sabbatical to study CGI software and hardware theory, to which he credits much of the success of the Terminator 2: Judgment Day digital effects.[30]
\n
1991: During his sabbatical, he assembled the first robust film scanning, manipulating, recording system for flawless, photo-real 2D and 3D image manipulation. It was used for Terminator 2: Judgment Day, then Death Becomes Her, and Jurassic Park, among other films.[30]
\n
1993: Directed the CGI dinosaurs to their photo-real conclusions for Jurassic Park.[4]
\n
1992-1995: Directed proof-of-concept CG tests for Death Becomes Her and Twister.[31]
\n
2001: Used a real-time, on-set rendering and compositing preview viewing with a 6-axis camera movement for A.I. Artificial Intelligence.[31]
\n
2003: Made a live on-set portable previz using the Unreal Tournament game engine on a laptop PC to display the film camera's live view under a live render of Hulk's 12-foot-tall shape, in real time, as a live on-set previz.
\n\n\n\n",
+ "page_last_modified": " Mon, 18 Mar 2024 19:25:16 GMT"
+ },
+ {
+ "page_name": "Michael Moore - Wikipedia",
+ "page_url": "https://en.wikipedia.org/wiki/Michael_Moore",
+ "page_snippet": "Michael Francis Moore (born April 23, 1954) is an American film director, producer, screenwriter and author. Moore's work frequently addresses various social, political, and economic topics. He first became publicly known for his award-winning debut documentary Roger & Me, a scathing look at ...It was the first documentary film to win the prize since 1956's The Silent World. Moore later announced that Fahrenheit 9/11 would not be in consideration for the 2005 Academy Award for Documentary Feature, but instead for the Academy Award for Best Picture. He stated he wanted the movie to be seen by a few million more people via television broadcasting prior to Election Day. Moore has written and co-written eight non-fiction books, mostly on similar subject matter to his documentaries. Stupid White Men (2001) is ostensibly a critique of American domestic and foreign policy but, by Moore's own admission, is also \"a book of political humor\". Dude, Where's My Country? (2003), is an examination of the Bush family's relationships with Saudi royalty, the Bin Laden family, and the energy industry, and a call-to-action for liberals in the 2004 election. He appeared as an off-camera interviewer in Blood in the Face, a 1991 documentary about white supremacy groups. At the center of the film is a neo-Nazi gathering in Michigan. Moore appeared in the 2001 documovie The Party's Over discussing Democrats and Republicans. He appeared in The Yes Men, a 2003 documentary about two men who pose as the World Trade Organization. He appeared in The Drugging of Our Children, a 2005 documentary about over-prescription of psychiatric medication to children and teenagers, directed by Gary Null, a proponent of alternative medicine. In the film Moore agrees with Gary Null that Ritalin and other similar drugs are over-prescribed, saying that they are seen as a \"pacifier\". He was executive producer of Planet of the Humans (2019), a documentary about the environmental movement. Moore's works criticize topics such as globalization, big business, assault weapon ownership, Presidents Bill Clinton, George W. Bush, and Donald Trump, the Iraq War, the American health care system, and capitalism overall. In 2005, Time named Moore one of the world's 100 most influential people.",
+ "page_result": "\n\n\n\nMichael Moore - Wikipedia\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nJump to content\n
Michael Francis Moore (born April 23, 1954) is an American film director, producer, screenwriter and author. Moore's work frequently addresses various social, political, and economic topics. He first became publicly known for his award-winning debut documentary Roger & Me, a scathing look at the downfall of the automotive industry in 1980s Flint and Detroit.\n
Moore was born outside Flint, Michigan, and raised in Davison by parents Helene Veronica (n\u00e9e Wall) (1921\u20132002),[7] a secretary, and Francis Richard \"Frank\" Moore, (1921\u20132014) an automotive assembly-line worker.[8][9][10] At that time, the city of Flint was home to many General Motors factories, where his parents and grandfather worked. His uncle LaVerne was one of the founders of the United Automobile Workers labor union and participated in the Flint sit-down strike.[11]\n
Moore was brought up in a traditional Catholic home,[12] and has Irish, and smaller amounts of Scottish and English, ancestry.[13][14] Some of his ancestors were Quakers.[14][15]\n
At the age of 18, he was elected to the Davison school board.[8][22] At the time he was the youngest person elected to office in the U.S., as the minimum age to hold public office had just been lowered to 18.[23] Moore studied Journalism at the University of Michigan\u2013Flint, where he wrote for the student newspaper The Michigan Times.\n
At age 22, Moore founded[24] the alternative newspaper Free to Be...,[25] later renamed The Flint Voice (Burton, Michigan 1977\u20131982[26]), later renamed to The Michigan Voice (Burton, Michigan 1983\u20131986[27]) as it expanded to cover the entire state.[28][29][30][31]\n
Singer-songwriter Harry Chapin is credited with being the primary benefactor in bringing about the bi-weekly newspaper's launch, by performing benefit concerts and donating the money to Moore. Moore crept backstage after a concert to Chapin's dressing room and convinced him to do a benefit concert. Chapin subsequently did a concert in Flint every year.[32]\n
In April 1986, The Michigan Voice published its final issue as Moore moved to San Francisco. [33]\n
After four months at Mother Jones in 1986, Moore was fired in early September. Matt Labash of The Weekly Standard reported this was for refusing to print an article by Paul Berman that was critical of the Sandinista human rights record in Nicaragua.[34][35] Moore refused to run the article because he believed it was inaccurate \nand would be used by the Reagan Administration against the Sandinistas.[35] Speaking on the matter, Moore stated, \"The article was flatly wrong and the worst kind of patronizing bullshit. You would scarcely know from it that the United States had been at war with Nicaragua for the last five years.\"[36] Chairman of the Foundation for National Progress (which owns Mother Jones) Adam Hochschild said that Moore was fired due to performing poorly at his job.[35] According to The New York Times, senior staff members felt that Moore was \"rigidly ideological\".[35]\n
Moore has contended that Mother Jones fired him because of the publisher's refusal to allow him to cover a story on the GM plant closings in his hometown of Flint, Michigan. Moore responded by putting laid-off GM worker Ben Hamper, who also wrote for the same magazine at the time, on the magazine's cover. This act led to his termination. Moore sued for wrongful dismissal, and settled out of court for $58,000, providing him with some of the seed money,[37] with other fund raising efforts, including bingo games,[38] for his first film, Roger & Me.[39] Moore worked for Ralph Nader as the editor of a newsletter after being fired by Mother Jones, which provided further financial support during this period.[40]\n
The 1989 film Roger & Me was Moore's first documentary about what happened to Flint, Michigan, after General Motors closed its factories and opened new ones in Mexico where the workers were paid lower wages than their American counterparts. The \"Roger\" referred to in the title is Roger B. Smith, then CEO and President of General Motors.\n
Harlan Jacobson, editor of Film Comment magazine, said that Moore muddled the chronology in Roger & Me to make it seem that events that took place before G.M.'s layoffs were a consequence of them.[41] Critic Roger Ebert defended Moore's handling of the timeline as an artistic and stylistic choice that had less to do with his credibility as a filmmaker and more to do with the flexibility of film as a medium to express a satiric viewpoint.[42]\n
Moore made a follow-up 23-minute documentary film, Pets or Meat: The Return to Flint, that aired on PBS in 1992. It is based on Roger & Me. The film's title refers to Rhonda Britton, a Flint, Michigan resident featured in both the 1989 and 1992 films, who sells rabbits as either pets or meat.[43]\n
Moore's 1995 satirical film Canadian Bacon features a fictional U.S. president (played by Alan Alda) engineering a fake war with Canada in order to boost his popularity.[44] The film is also one of the last featuring Canadian actor John Candy.[44] Some commentators in the media felt the film was influenced by the Stanley Kubrick film Dr. Strangelove.[44]\n
Shortly after winning the Academy Award for Best Documentary Feature for Bowling for Columbine, Moore spoke out against U.S. President George W. Bush and the Iraq War, which had just started three days prior. He further criticized the president by stating, \"We live in a time where we have fictitious election results that elects a fictitious president. We live in a time where we have a man sending us to war for fictitious reasons.\"[51] The speech was received with a cacophony of boos, applause, and standing ovations from the audience at the theater.[52] Moments after the speech concluded, in order to lighten the mood, host Martin joked, \"The Teamsters are helping Michael Moore into the trunk of his limo.\"[53]\n
Moore later announced that Fahrenheit 9/11 would not be in consideration for the 2005 Academy Award for Documentary Feature, but instead for the Academy Award for Best Picture. He stated he wanted the movie to be seen by a few million more people via television broadcasting prior to Election Day. According to Moore, \"Academy rules forbid the airing of a documentary on television within nine months of its theatrical release\", and since the November 2 election was fewer than nine months after the film's release, Fahrenheit 9/11 would have been disqualified for the Documentary Oscar.[55] Regardless, it did not receive an Oscar nomination for Best Picture.\n
The title of the film alludes to the classic book Fahrenheit 451 by Ray Bradbury, about a future totalitarian state in which books are banned, and any books found are burned by firemen. According to the novel, paper begins to burn at 451 \u00b0F (233 \u00b0C). The pre-release subtitle of Moore's film continues the allusion: \"The temperature at which freedom burns.\"[citation needed]\n
As of August 2012, Fahrenheit 9/11 is the highest-grossing documentary of all time, taking in over US$200 million worldwide, including United States box office revenue of almost US$120 million.[1] In February 2011, Moore sued producers Bob and Harvey Weinstein for US$2.7 million in unpaid profits from the film, claiming they used \"Hollywood accounting tricks\" to avoid paying him the money.[56] In February 2012, Moore and the Weinsteins informed the court that they had settled their dispute.[57]\n
Fahrenheit 9/11 drew criticism and controversy following its release just prior to the 2004 United States presidential election. Journalist and literary critic Christopher Hitchens alleged that the film contained distortions and untruths.[58] This contention drew multiple rebuttals, including an eFilmCritic article and an editorial in the Columbus Free Press.[59]\n
Moore directed the 2007 film Sicko, about the American health care system, focusing particularly on the managed-care and pharmaceutical industries. At least four major pharmaceutical companies\u2014Pfizer, Eli Lilly, AstraZeneca, and GlaxoSmithKline\u2014ordered their employees not to grant any interviews or assist Moore.[60][61][62] According to Moore in a letter on his website, \"roads that often surprise us and lead us to new ideas\u2014and challenge us to reconsider the ones we began with have caused some minor delays.\" The film premiered at the Cannes Film Festival on May 19, 2007, receiving a lengthy standing ovation, and was released in the U.S. and Canada on June 29, 2007.[63] The film is currently ranked the twelfth highest grossing documentary of all time[1] and received an Academy Award nomination for Best Documentary Feature.[64]\n
\n
Captain Mike Across America and Slacker Uprising[edit]
\n
Moore takes a look at the politics of college students in what he calls \"Bush Administration America\" with Captain Mike Across America, which was shot during Moore's 62-city college campus tour in the months leading up to the 2004 presidential election.[65][66] The film debuted at the Toronto International Film Festival on September 7, 2007.[67] It was later re-edited by Moore into Slacker Uprising and released for free on the internet on September 23, 2008.[68]\n
Released on September 23, 2009, Capitalism: A Love Story looks at the financial crisis of 2007\u20132008 and the U.S. economy during the transition between the outgoing Bush Administration and the incoming Obama Administration. Addressing a press conference at its release, Moore said, \"Democracy is not a spectator sport, it's a participatory event. If we don't participate in it, it ceases to be a democracy. So Obama will rise or fall based not so much on what he does but on what we do to support him.\"[69]\n
Where to Invade Next examines the benefits of progressive social policies in various countries. The film had its premiere at the 2015 Toronto International Film Festival.[70]Godfrey Cheshire, writing for Roger Ebert.com, wrote that \"Moore's surprising and extraordinarily winning Where to Invade Next will almost surely cast his detractors at Fox News and similar sinkholes into consternation\".[71]\n
In May 2017, it was announced that Moore had reunited with Harvey Weinstein to direct his new film about Donald Trump, titled Fahrenheit 11/9, which was released in approximately 1,500 theaters in the United States and Canada on September 21, 2018.[75][76][77] Sexual assault allegations against Weinstein prompted Moore to revoke the plan to work with The Weinstein Company, which stalled production.[78][79]\n
The title refers to the day when Donald Trump officially became President-elect of the United States. In a column for Variety responding to the film's low opening weekend, \"How Michael Moore Lost His Audience,\" sympathetic film critic Owen Gleiberman wrote \"He's like an aging rock star putting out albums that simply don't mean as much to those who were, and are, his core fans\".[80][81] According to Glenn Greenwald, \"what he\u2019s trying is of unparalleled importance, not to take the cheap route of exclusively denouncing Trump, but to take the more complicated, challenging, and productive route of understanding who and what created the climate in which Trump could thrive.\"[82]\n
Michael Moore was executive producer of the documentary Planet of the Humans, which was directed by Jeff Gibbs and released on July 31, 2019. The film makes the argument that, since the first Earth Day, the condition of the planet has worsened, and questions whether mainstream approaches adopted by industry to mitigate climate change, entail environmental impacts whose costs are comparable to or even possibly outweigh the benefits. The film received criticism from a number of climate change experts and activists who disputed its claims, and the accuracy of figures cited in the film, and suggested that the film could play into the hands of the fossil fuel industry.[83]\n
Michael Moore, Jeff Gibbs, and co-producer Ozzie Zehner responded to the critics on an episode of Rising.[84][85]\n
\nMoore at Royce Hall, UCLA to promote his memoir Here Comes Trouble, September 2011\n
Moore has written and co-written eight non-fiction books, mostly on similar subject matter to his documentaries. Stupid White Men (2001) is ostensibly a critique of American domestic and foreign policy but, by Moore's own admission, is also \"a book of political humor\".[86]Dude, Where's My Country? (2003), is an examination of the Bush family's relationships with Saudi royalty, the Bin Laden family, and the energy industry, and a call-to-action for liberals in the 2004 election.[citation needed] Several of his works have made bestseller lists.[87]\n
Moore has dabbled in acting, following a supporting role in Lucky Numbers (2000) playing the cousin of Lisa Kudrow's character, who agrees to be part of the scheme concocted by John Travolta's character. He also had a cameo in his Canadian Bacon as an anti-Canada activist. In 1999, he did a cameo in EDtv as one of the panel members. In 2004, he did a cameo, as a news journalist, in The Fever, starring Vanessa Redgrave in the lead.[88]\n
Between 1994 and 1995, Moore directed and hosted the BBC television series TV Nation, which followed the format of news magazine shows but covered topics they avoid. The series aired on BBC2 in the UK. The series was also aired in the US on NBC in 1994 for 9 episodes and again for 8 episodes on Fox in 1995.[citation needed]\n
His other major series was The Awful Truth, which satirized actions by big corporations and politicians. It aired on the UK's Channel 4, and the Bravo network in the US, in 1999 and 2000. Moore won the Hugh M. Hefner First Amendment Award in Arts and Entertainment for being the executive producer and host of The Awful Truth, where he was also described as \"muckraker, author and documentary filmmaker\".[89]\n
Another 1999 series, Michael Moore Live, was aired in the UK only on Channel 4, though it was broadcast from New York. This show had a similar format to The Awful Truth, but also incorporated phone-ins and a live stunt each week.[citation needed]\n
In 2017, Moore planned to return to prime time network television on Turner/TNT in late 2017 or early 2018 with a program called \"Michael Moore Live from the Apocalypse\".[90][91][77] In February 2019, however, the network announced the show would not be produced.[92][93]\n
Moore has directed several music videos, including two for Rage Against the Machine for songs from The Battle of Los Angeles: \"Sleep Now in the Fire\" and \"Testify\". He was threatened with arrest during the shooting of \"Sleep Now in the Fire\", which was filmed on Wall Street; and subsequently the city of New York City denied the band permission to play there, even though the band and Moore had secured a federal permit to perform.[94]\n
He appeared in The Drugging of Our Children, a 2005 documentary about over-prescription of psychiatric medication to children and teenagers, directed by Gary Null, a proponent of alternative medicine. In the film Moore agrees with Gary Null that Ritalin and other similar drugs are over-prescribed, saying that they are seen as a \"pacifier\".
He appeared as an off-camera interviewer in Blood in the Face, a 1991 documentary about white supremacy groups. At the center of the film is a neo-Nazi gathering in Michigan.[97]
\n
Moore appeared in the 2001 documovie The Party's Over discussing Democrats and Republicans.[98]
\n
He appeared in The Yes Men, a 2003 documentary about two men who pose as the World Trade Organization. He appears during a segment concerning working conditions in Mexico and Latin America.[citation needed]
\n
Moore was interviewed for the 2004 documentary, The Corporation. One of his highlighted quotes was: \"The problem is the profit motive: for corporations, there's no such thing as enough.\"[99]
Moore's Broadway debut, The Terms of My Surrender, an anti-Trump dramatic monologue, premiered on August 10, 2017, at the Belasco Theatre.[101] Donald Trump tweeted his dislike for the show and falsely claimed that it closed early.[102] In the first week the production earned $456,195 in sales and $367,634 in the final week, altogether grossing $4.2 million, falling short of its potential gross.[103] It lasted 13 weeks with 96 performances until October 2017, grossing 49% of its potential.[104] Fox News gave it a negative review, in line with Trump's comments.[105] The show was unenthusiastically praised by The Guardian, which said he only wanted to \"preach to the choir\".[106] A spokesman for \"The Terms of My Surrender\" suggested that the production might have a in San Francisco in early 2018, which didn't materialize.[107]\n
Although Moore has been known for his political activism,[111] he rejects the label as redundant in a democracy: \"I and you and everyone else has to be a political activist. If we're not politically active, it ceases to be a democracy.\"[112] According to John Flesher of the Associated Press, Moore is known for his \"fiery left-wing populism\",[113] and publications such as the Socialist Worker Online have hailed him as the \"new Tom Paine\".[114] In a speech, he said that socialism is democracy and Christianity. However, he later said that economic philosophies from the past were not apt enough to describe today's realities.[115]\n
During September and October 2004, Moore spoke at universities and colleges in swing states during his \"Slacker Uprising Tour\". The tour gave away ramen and underwear to students who promised to vote.[117][118] One stop during the tour was Utah Valley State College. A fight for his right to speak resulted in massive public debates and a media blitz, eventually resulting in a lawsuit against the college and the resignation of at least one member of the college's student government.[119][120] The Utah event was chronicled in the documentary film This Divided State.[120]\n
Moore urged Ralph Nader not to run in 2004 so as not to split the left vote. On Real Time with Bill Maher, Moore and Bill Maher knelt before Nader to plead with him to stay out of the race.[121]\n
Moore drew attention in 2004 when he used the term \"deserter\" to describe then president George W. Bush while introducing Retired Army Gen. Wesley K. Clark at a Democratic presidential debate in New Hampshire. Noting that Clark had been a champion debater at West Point, Moore told a laughing crowd, \"I know what you're thinking. I want to see that debate\" between Clark and Bush \u2013 \"the general versus the deserter\". Moore said he was referring to published reports in several media outlets including The Boston Globe which had reported that \"there is strong evidence that Bush performed no military service as required when he moved from Houston to Alabama to work on a U.S. Senate campaign from May to November 1972.\"[122][123][124]\n
In 2007, Moore became a contributing journalist at OpEdNews, and by May 2014, had authored over 70 articles published on their website.[125] Moore was an active supporter of the Occupy Wall Street protest in New York City and spoke with the OWS protesters on September 26, 2011.[126] On October 29, 2011, he spoke at the Occupy Oakland protest site to express his support.[127]\n
Moore praised Django Unchained, tweeting that the movie \"is one of the best film satires ever. A rare American movie on slavery and the origins of our sick racist history.\"[128]\n
\nMoore at the anti-Trump rally in New York City, November 12, 2016\n
Moore's 2011 claims that \"Four hundred obscenely wealthy individuals, 400 little Mubaraks \u2013 most of whom benefited in some way from the multi-trillion-dollar taxpayer bailout of 2008 \u2013 now have more cash, stock and property than the assets of 155 million Americans combined\" and that these 400 Americans \"have more wealth than half of all Americans combined\" was found to be true by PolitiFact and others.[129][130][131][132]\n
After Venezuelan President Hugo Ch\u00e1vez died in March 2013, Moore praised him for \"eliminating 75 percent of extreme poverty\" while \"[providing] free health and education for all\".[133]\n
Moore supported Ralph Nader in the 2000 presidential election.[134] Moore was critical of Al Gore and George W. Bush. Moore criticizes Gore for the loss of thousands of jobs during his time as vice president, voting to confirm Antonin Scalia, proposing more funding for the Pentagon, and proposing to expand the War on Drugs.[135] Moore reportedly told Bush \"Your possible victory on Tuesday is a threat to our national security\". Moore also called Bush \"a banal, despicable, and corrupt human being\".[135]\n
Criticism of Obamacare and support for a single-payer model[edit]
\n
In an op-ed piece for The New York Times published on December 31, 2013, Moore assessed the Affordable Care Act, calling it \"awful\" and adding that \"Obamacare's rocky start ... is a result of one fatal flaw: The Affordable Care Act is a pro-insurance-industry plan implemented by a president who knew in his heart that a single-payer, Medicare-for-all model was the true way to go.\" Despite his strong critique, however, Moore wrote that he still considers the plan a \"godsend\" because it provides a start \"to get what we deserve: universal quality health care.\"[139][140]\n
In December 2015, Moore announced his support for VermontSenatorBernie Sanders in the 2016 United States presidential election.[141] Moore called Sanders a \"force to contend with\".[142] In January 2016, he officially endorsed Bernie Sanders for president.[143] He also described democratic socialism as \"a true democracy where everyone has a seat at the table, everyone has a voice, not just the rich\".[144] After Sanders lost the 2016 primaries, Moore urged Americans to vote for Clinton[145][146] while also correctly predicting that Trump would win the election because the post-industrial Midwestern states would vote for Trump.[147] After Trump was elected, Moore called Trump a \"Russian traitor\",[148] saying his presidency had \"no legitimacy\".[149]\n
In October 2016, Moore criticized Julian Assange and WikiLeaks for publishing leaks from the DNC's emails, saying: \"I think WikiLeaks and I think Assange, they're essentially anarchists and they know, just like a lot of people voting for Trump know, that he's their human Molotov cocktail and they want to blow up the system. It's an anarchic move.\"[150]\n
In March 2018, Moore criticized the \"corporate media\", saying \"You turn on the TV, and it's 'Russia, Russia, Russia!' These are all shiny keys to distract us. We should know about the West Virginia strike. What an inspiration that would be. But they don't show this\".[158]\n
In April 2018, Moore taunted Trump by ironically asking him why he had not already fired Robert Mueller.[159] After the Russia\u2013United States summit of July 2018, Moore called for Trump's impeachment, saying \"Congress needs no more proof than Trump's admission yesterday that he sides with Putin to impeach and remove him.\"[160]\n
Moore compared Trump to Nazi Germany's dictator Adolf Hitler.[161] On August 10, 2019, Moore tweeted: \"I guess they think a country dumb enough to elect Trump is stupid enough to believe Jeffrey Epstein committed suicide.\"[162][163]\n
Moore met Kathleen Glynn[166] at the Flint Voice, and they married on October 19, 1991.[167] He filed for divorce on June 17, 2013.[168] On July 22, 2014, the divorce was finalized.[169]\n
Moore was raised a Catholic, but has differed with some of the traditional church teaching on subjects such as abortion[170] and same-sex marriage.[171] In an interview with The A.V. Club, when asked if there was a God, he stated, \"Yes, there is. I don't know how you define that, but yeah.\"[172]\n
Following the Columbine High School massacre, Moore acquired a lifetime membership to the National Rifle Association of America (NRA).[173] Moore said that he initially intended to become the NRA's president to dismantle the organization, but he soon dismissed the plan as too difficult.[174][175] Gun rights supporters such as Dave Kopel said there was no chance of that happening;[176] David T. Hardy and Jason Clarke wrote that Moore failed to discover that the NRA selects a president not by membership vote but by a vote of the board of directors.[177]\n
Christopher Hitchens described the film Fahrenheit 9/11 as \"utterly propagandistic\".[180][181] In an article titled \"The lies of Michael Moore\" Hitchens rebuked Moore and his film for its contradictions and promotion of falsehoods. He also criticized Moore for his belief that Osama bin Laden should be considered innocent until proven guilty despite having taken credit for the September 11 attacks.[182] Former Democratic mayor of New York City Ed Koch, who had endorsed President Bush for re-election, wrote an op-ed in which he described Moore's film as propaganda. Koch further maintained that Fahrenheit 9/11 was replete with \"blatant lies\".[183]\n
In 2009, Moore faced criticism for using non-union workers to produce his film Capitalism: A Love Story.[184] After his 2014 divorce, Moore was reported to have nine homes and a net worth of $50 million. Aaron Foley, writing in Jalopnik, accused Moore of hypocrisy due to his anti-capitalist views.[185]\n
In a review of Fahrenheit 11/9, a film critiquing Donald Trump, John Anderson wrote \"Almost the entire movie is lifted from other sources, and then edited in a way that makes his enemies (do they know they\u2019re his enemies?) look as foolish as possible. ... Mr. Moore can\u2019t help himself, he uses footage of Adolf Hitler lip-syncing a Trump speech. Much has been made of Mr. Trump\u2019s questionable maturity. He has a kindred spirit in Michael Moore\".[186]\n
Conservative author Douglas Murray criticized Moore for saying that \u201cEvery problem in the world, look at it and behind it you\u2019ve got white men\u201d. In response to his comments Murray said \"Michael Moore is one of those who doesn\u2019t realize that other people have agency and can muck up the world and their own countries in their own ways, and he\u2019s obviously never heard of numerous countries, including North Korea\".[187]\n
^Fonger, Ron (February 28, 2019). \"Michael Moore's ancestor was a Scottish slave killed by American Indians\". MLive. Archived from the original on April 10, 2020. Retrieved April 10, 2020. \"On Moore\u2019s late mother\u2019s side of the family, Gates showed records indicating Moore\u2019s third great grandparents were Quakers, living in North Carolina. His third great grandfather was brought before a court martial in 1812 after refusing to serve in a militia.\n\u201cThat is amazing and such a good feeling too,\u201d Moore said. \"Quakers are pacifists ... among the kindest and most loving people you will ever meet.\u201d\n
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^\"Alumni News - St. John's Elementary School\". davisonschools.org. Archived from the original on July 3, 2023. Retrieved July 3, 2023. The Class of 1968 is planning a 55-year reunion for September 30, 2023, at St. John's Parish Hall, Davison.\n
^Green Left Weekly:Archived March 5, 2017, at the Wayback Machine Rage against Wall Street. Michael Moore, via MichaelMoore.com, date unspecified. URL accessed July 9, 2006.\n
^\"'I am the balance', says Moore\". Minneapolis Star Tribune. South Florida Sun-Sentinel. July 4, 2007. Archived from the original on January 13, 2012. Retrieved July 6, 2007. Moore rejects the label \"political activist\"; as a citizen of a democracy, Moore insists, such a description is redundant.\n
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^Flesher, John (June 16, 2007). \"Hollywood meets Bellaire as Moore gives sneak peek of \"Sicko\"\". Associated Press. But the filmmaker, known for his fiery left-wing populism and polemical films such as \"Fahrenheit 9/11\" and Oscar-winning \"Bowling for Columbine\", told the audience \"Sicko\" would appeal across the political spectrum.\n
^Michael Moore (October 18, 2019). \"Michael Moore on Twitter\". Twitter.com. Archived from the original on October 18, 2019. Retrieved October 19, 2019.\n
^Collins, Andrew (November 11, 2002). \"Guardian/NFT interview: Michael Moore\". The Guardian. London. Archived from the original on August 26, 2013. Retrieved August 22, 2011. ...I became a lifetime member after the Columbine massacre because my first thought after Columbine was to run against Charlton Heston for the presidency of the NRA. You have to be a lifetime member to be able to do that, so I had to pay $750 to join. My plan was to get 5 m Americans to join for the lowest basic membership and vote for me so that I'd win and dismantle the organization. Unfortunately, I figured that's just too much work for me so instead I made this movie.\n
Benson, Thomas W., and Snee, Brian J. (eds.): Michael Moore and the Rhetoric of Documentary. Carbondale: Southern Illinois University Press, 2015. ISBN978-0-8093-3407-0.
Little, John Arthur (2007). The Power and Potential of Performative Documentary Film(PDF). Montana State University--Bozeman. A thesis essay submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Science and Natural History Filmmaking
\n\n\n\n",
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+ {
+ "page_name": "Films directed by Michael Bay",
+ "page_url": "https://letterboxd.com/director/michael-bay/",
+ "page_snippet": "Forgotten username or password \u00b7 Upgrade to a Letterboxd Pro account to add your favorite services to this list\u2014including any service and country pair listed on JustWatch\u2014and to enable one-click filtering by all your favoritesLetterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account\u2014for less than a couple bucks a month, you\u2019ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads! Films directed by Michael Bay",
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Upgrade to a Letterboxd Pro account to add your favorite services to this list\u2014including any service and country pair listed on JustWatch\u2014and to enable one-click filtering by all your favorites.
Letterboxd is an independent service created by a small team, and we rely mostly on the support of our members to maintain our site and apps. Please consider upgrading to a Pro account\u2014for less than a couple bucks a month, you\u2019ll get cool additional features like all-time and annual stats pages (example), the ability to select (and filter by) your favorite streaming services, and no ads!
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