jueves, 21 de octubre de 2010

MACHETE

¡¡MÉXICO Y ESTADOS UNIDOS DE NORTEAMÉRICA EN GUERRA!!
THE U.S. & MEXICO AT WAR!!

Esta película es maravillosa porque:
This movie is wonderful because:

1) Evidencia un gran conflicto político.

El Senado estadounidense MCLAUGHLIN (representado por ROBERT DE NIRO) lo indica con toda claridad: México y los Estados Unidos de Norteamérica están en guerra. Esta afirmación tan valiente es una película estadounidense nos hace comprender un hecho que usualmente se evita mencionar: Estados Unidos de Norteamérica está en guerra contra el mundo.

Un ejemplo ilustrativo de su estructura de guerra mundial podría ser el COMANDO SUR:}


"About Us

The United States Southern Command (SOUTHCOM), located in Miami, Florida, is one of ten unified Combatant Commands (COCOMs) in the Department of Defense. It is responsible for providing contingency planning, operations, and security cooperation for Central and South America, the Caribbean (except U.S. commonwealths, territories, and possessions), Cuba; as well as for the force protection of U.S. military resources at these locations. SOUTHCOM is also responsible for ensuring the defense of the Panama Canal and canal area.

Under the leadership of a four-star commander, SOUTHCOM staff is organized into directorates, component commands and military groups that represent SOUTHCOM in the region of Central America, South America & the Caribbean.

SOUTHCOM is a joint command comprised of more than 1,200 military and civilian personnel representing the Army, Navy, Air Force, Marine Corps, Coast Guard, and several other federal agencies. The services provide SOUTHCOM with component commands which, along with our Joint Special Operations component, two Joint Task Forces, one Joint Interagency Task Force, and Security Assistance Offices, perform SOUTHCOM missions and security cooperation activities. SOUTHCOM exercises its COCOM authority through the commanders of its components, Joint Task Forces/Joint Interagency Task Force, and Security Assistance Organizations."


2) Muestra quiénes trafican con narcóticos ilegales.

El filme muestra cómo instituciones que supuestamente luchan contra las drogas ilegales en realidad apoyan esa actividad.

Jesse Ventura, ex campeón de lucha libre que se convirtiera, como independiente, en gobernador de Minnesota en 1998 declara al respecto en el siguiente artículo:

Denuncian en EE. UU.: Bases de USA servirán para traficar droga, no para erradicarla

Simón Rodríguez


DEA & CIA Una cofradía de narcotraficantes
Por: Moliere
Fecha de publicación: 20/02/08

I Volunteer to Kidnap Oliver North
by
Michael Levine

The C.I.A.
&
Drugs
Narco-colonialism in the 20th Century

LA CIA de los Estados Unidos, PRINCIPAL NARCOTRAFICANTE DEL MUNDO.


3) Es un homenaje al gran cineasta peruano LEÓNIDAS ZEGARRA UCEDA.

¡Así es amigos! Quienes tienen ojos para ver puede reconocer fácilmente que el ROBERT RODRÍGUEZ homenajea a los cineastas que mantienen la ilusión por su actividad y entre ellos, naturalmente, se encuentra el director de "MARÍA Y LOS NIÑOS POBRES". Por este motivo otorgamos a este filme una posición entre LOS MEJORES ESTRENOS 2010 EN EL PERÚ (BEST MOVIES 2010 IN PERU).


miércoles, 20 de octubre de 2010

DÍAS DE IRA / EL VENGADOR /(LAW ABIDING CITIZEN)


¡NUEVA INVASIÓN ESTADOUNIDENSE A PANAMÁ!
NEW AMERICAN INVASION TO PANAMA!
Esta película es maravillosa porque:
This movie is wonderful because:
1) Promueve una nueva invasión estadounidense a Panamá.
El personaje de JAMIE FOXX (el casi-héroe de la película) solicita información por teléfono e indica que hay que obtenerla¨"aunque tengamos que volver a invadir Panamá".
Por tanto, este filme crea una situación mental favorable para que los Estados Unidos de Norteamérica continúen con su actividad imperialista en Latinoamérica.
2) Uno de los personajes es un SUPERVISOR DEL DEPARTAMENTO DE SEGURIDAD TERRITORIAL ESTADOUNIDENSE (HOMELAND SECURITY SUPERVISOR).
Como ya indicamos en AGENTE SALT (SALT) [2010], la comunidad de inteligencia estadounidense tiene que asustar a la población de su país para justificar el poder político del complejo-militar industrial. KURT WIMMER, redacta previamente a AGENTE SALT (SALT) otro guión adecuado a tal fin (DÍAS DE IRA / LAW ABIDING CITIZEN) y este filme se estrena el año 2009 en los EE.UU. Curiosamente los temas de los filmes en los que participa KURT WIMMER son propios de los operativos psicológicos cotidianos.
THE DEPARTMENT OF HOMELAND SECURITY (DEPARTAMENTO DE SECURIDAD TERRITORIAL ESTADOUNIDENSE), desde su creación ha tratado de colaborar con la industria del entretenimiento estadounidense (o sea, guiar la guerra política propagandística).
Department of Homeland Security
Management Directive System
MD Number: 2231
Issue Date> 02/28/2995
Participation of the Department of Homeland Security with Film and Television Productions

Department of Homeland Security
Management Directive System MD Number: 2231
Issue Date:02/28/2005
PARTICIPATION OF THE DEPARTMENT OF HOMELAND SECURITY WITH FILM AND TELEVISION PRODUCTIONS
I. Purpose

It is Department of Homeland Security policy to use the broad authority granted in the Homeland Security Act of 2002, to further the Department’s missions, particularly with respect to disseminating the Department’s homeland security message. This directive sets Departmental policy for interaction between the Department and non-government, entertainment-oriented motion picture, television, advertising, video and multimedia productions/enterprises.
II. Scope
This directive applies to all DHS Organizational Elements to the extent it is consistent with operational requirements and statutory responsibilities, and to DHS contractors and concessionaires to the extent specified in their contracts.
III. Authorities
This directive is governed by numerous Public Laws, regulations and national policy, such as:
A. The Homeland Security Act of 2002, codified in Title 6, U.S. Code, as amended.
B. 18 U.S.C. § 701, protecting against misuse of official badges, identification cards and other official government insignia.
C. 28 U.S.C. § 1733(b), establishing the official status of government documents.
D. 31 U.S.C. § 9701, permitting user fees for use of government goods and resources.
E. Title 5, Code of Federal Regulations, Section 2635.801 – 2635.809, governing outside employment by government employees.
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F. DHS Management Directive 0030, Use of U.S. Department of Homeland Security Seal.
G. DHS Management Directive 0040, Flag of the U.S. Department of Homeland Security.
H. DHS MD 0480.1, DHS Standards of Conduct.
I. DHS Management Directive 2230, Public Affairs Management Structure.
J. DHS Management Directive 0010.1, Management Directives System and DHS Announcements.
IV. Definitions
A. DHS Multimedia Agreement: The memorandum of agreement setting forth the specific terms and conditions of the relationship between the producer, studio, network or production company and DHS.
B. DHS Organizational Elements: As used in this Directive, the term DHS Organizational Element shall have the meaning given to it in DHS MD 0010.1, "Management Directives System and DHS Announcements" and generally includes all DHS bureaus, components, services and other operating entities.
V. Responsibilities
A. The Assistant Secretary for Public Affairs or designee shall be responsible for the implementation of this directive.
B. The General Counsel shall provide legal review of all memoranda of agreement and memoranda of understanding, including but not limited to all DHS Multimedia Agreements, to ensure compliance with applicable laws, rules, and regulations.
C. All DHS personnel are responsible for ensuring that requests from entertainment-oriented motion picture, television, advertising, video, and multimedia productions/enterprises are forwarded promptly to the Director, Multimedia Liaison Office, within the Office of the Assistant Secretary for Public Affairs.
VI. Policy & Procedures
A. Policy.
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1. Consistent with applicable statutes, policies, and regulations, DHS will provide unique goods and resources to assist entertainment-oriented motion picture, documentary, television, and similar entertainment-oriented video and multimedia productions where such assistance is in the best interest of DHS and the U.S. Government. Such assistance will not interfere with DHS’s core missions and will be provided pursuant to the following guidelines and provisions.
a. The requested assistance can be provided without interfering with other Department activities.
b. The requested assistance is in the best interest of DHS and/or the U.S. Government, and is consistent with applicable statutes, policies, and regulations.
2. Requests from news-oriented productions must be coordinated with the Office of Public Affairs, consistent with established management directives.
3. It is DHS policy when working with television and film productions that DHS does not officially approve the use of any footage or images unless DHS is part of the story line or project and reviews the script, treatment, story or outline.
4. It is DHS policy that the Director, Multimedia Liaison Office, serves as the Department’s central point of contact for any entertainment-oriented motion picture, television, advertising, video, and multimedia productions/enterprises.
a. It is the Department’s policy that a DHS Multimedia Agreement will be signed by the studio, network or production company prior to receiving the Department’s participation.
b. The Director, Multimedia Liaison Office will coordinate with Organizational Elements to determine if an agreement for goods and resources (reimbursable agreement) is necessary.
B. Procedures.
1. Initiating Requests. Those seeking DHS’s assistance with entertainment related media productions must do so through a written proposal provided to the Director, Multimedia Liaison Office.
a. The written proposal must establish that the project will comply with the general principles and specific provisions of this Management Directive.
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b. The proposal must establish that the submitter has an acceptable distribution agreement with a recognized distributor, such as a studio or network. DHS is generally unable to commit resources on "spec" projects, (i.e., a project which is merely a creative idea with no commitment from a recognized studio, production company or other distributor). This requirement is intended to prevent individuals from attempting to use a relationship with DHS or its employees to sell a project.
c. The written proposal must contain at minimum the following:
(1) A completed DHS Questionnaire for Film and Television Support. (See Attachment #1)
(2) A script, treatment, story, proposal, or outline of the project in sufficient detail to allow the Department to evaluate the project’s objectives and how DHS is necessary for the project. The Department’s agreement to provide assistance to the project is not necessarily agreement to provide all support requested.
(3) A statement acknowledging that the submitter has read and understands the requirements of this Management Directive.
d. Authenticity often requires technical expertise only available from DHS. For that reason, the Department can assist producers, writers, and directors in their efforts to develop a script that might ultimately qualify for DHS assistance. The Director, Multimedia Liaison Office is the contact point for those seeking early technical help for scripts. Requestors acknowledge that for productions to be deemed "in the best interest of DHS or the U.S. Government," the productions should be authentic in their portrayal of actual persons, places, DHS operations, and significant historical events.
e. If fictional, the portrayal must depict a feasible, or otherwise appropriate, interpretation of DHS programs, operations, and policies. The Director, Multimedia Liaison Office, in consultation with senior management in the Office of Public Affairs, will decide whether the script, treatment, outline, or story describes a production that is likely to qualify for Departmental assistance. The Director, Multimedia Liaison Office will coordinate within the Department and Organizational Elements for resources, such as access to technical experts or tours of DHS facilities, and to determine the extent of appropriate script support and whether
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reimbursement is required.
(1) In the case of an early script consultation or final script review, DHS may suggest changes that might resolve issues preventing DHS assistance. However, the decision to accept or reject any suggestions remains within the purview of the authors/producers, and the final creative content of any script or production remains the responsibility of the project’s originator. Any general assistance shall in no way be construed as official DHS approval or support of the project.
(2) DHS will only agree to provide production assistance on the basis of a final script version that clearly identifies the Departmental support requested.
2. DHS Consideration
a. To ensure professional, consistent, and even-handed treatment of requests for DHS assistance, the Director, Multimedia Liaison Office, will serve as the official point of contact for entertainment-oriented motion picture, theatrical, television, video, and multimedia productions seeking DHS assistance. The Director, Multimedia Liaison Office may:
(1) Provide technical assistance to writers, producers, or directors seeking to develop scripts for submission to DHS, on either a reimbursable or non-reimbursable basis;
(2) Receive and review written proposals submitted to the Department;
(3) With appropriate review by DHS Office of General Counsel, draft, negotiate, amend, and maintain Department of Homeland Security Multimedia Agreements that provide for assistance to approved projects; coordinate with DHS Organizational Elements for any support specified in the Department of Homeland Security Multimedia Agreement;
(4) Provide "on set" assistance, including technical scouting trips, pre-production, production, post-production, project screenings, rehearsals, and filming of scenes pertinent to DHS, plus other technical support agreed to under a Department of Homeland Security Multimedia Agreement. When specialized regulation/technical expertise is required, identify available DHS experts whose mission
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duties allow them to support the producer under the Department of Homeland Security Multimedia Agreement.
(5) Ensure that the production adheres to the approved script; approve, in writing, additional revisions to the approved script; and, where necessary after the films’ principal photography starts, provide verbal approval for changes. All verbal approvals are to be reduced to writing by the producer/writer as soon as possible.
(6) Review and approve appropriate wording for end title credits, trailers, publicity photos, and promotional materials to the extent this material relates to the U.S. Government, DHS, or the assistance DHS provided.
(7) All DHS Organizational Elements will, where appropriate, negotiate DHS sub-agreements for goods and resources at DHS requested sites.
b. In evaluating whether assistance to an entertainment-oriented production is in the best interest of DHS and/or the U.S. Government, the following should be considered:
(1) The production is authentic in its portrayal of actual persons, places, DHS operations, and significant historical events. If fictional, the portrayal depicts a feasible, or otherwise appropriate, interpretation of DHS programs, operations, and policies.
(2) The production is of informational value and enhances public understanding of DHS, or of homeland security, or U.S. Government activities.
(3) Other factors which may be unique to a particular production:
(a) An agreement by DHS to provide assistance under this directive does not waive the individual privacy rights of DHS civil service personnel, other Government employees, military personnel, or contractor employee(s) performing work for the Department.
(b) DHS will not warrant or represent that it is granting any exclusive rights to a specific production company, studio, network, or its affiliates, to create a
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production or project based upon DHS activities.
(c) DHS personnel in an off-duty, non-official status may be hired by approved production companies to perform as actors, extras, etc., provided there is no conflict with the DHS Standards of Conduct (MD 0480.1). DHS personnel must comply with 5 C.F.R. Sections 2635.801 - 2635.809 for any outside employment, including employment by a production company, in their personal (off-duty, nonofficial) capacity, using approved leave. The production company is responsible for resolving any dispute with unions governing the hiring and payment of DHS personnel. Nothing in this Management Directive relieves employees from seeking review and approval of any outside employment consistent with DHS ethics and outside employment rules.
(d) Before beginning any activity on a DHS facility that involves DHS personnel, property, or services, the production company must provide legal proof of adequate liability insurance which names the U.S. Government as an "Additional Insured." The agreement for goods and resources shall also provide for indemnification and hold harmless agreements under which the production company agrees to insure that DHS will not be liable for any damages to property or injury to persons as a result of assistance offered under this policy.
(e) Approval of assistance and permission under this Directive does not relieve the production company from its responsibility for compliance with the other applicable laws, regulations and DHS directives, including those governing the use of the DHS seal, flag, insignias or other identifiers.
(f) Assistance or permission approved under this Management Directive shall not be construed as official DHS approval, endorsement, or support of the project. Statements concerning the project shall be coordinated with the Assistant Secretary for Public Affairs and the Director, Multimedia Liaison Office, Office of Public Affairs.
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(g) Any photographs, film, video, images, or sound taken or recorded on or at DHS facilities for advertising and/or commercial purposes, including for a motion picture or television production, may be obtained only with the written permission of the responsible DHS official. Commercial services, product, or merchandise advertisements may not be filmed or photographed on DHS property.
3. Once a production has been approved for DHS assistance, the Department and the producer/studio will sign a Department of Homeland Security Multimedia Agreement setting out the terms and conditions of the requested assistance, including schedules, liabilities, points of contact, script development, other pertinent information, and any required reimbursements. No assistance shall be provided until both parties sign a required DHS Multimedia Agreement.
4. Prior to commencement of principal photography, the production must submit any requests for use of the DHS name or the name and/or initials of any Organizational Element, its insignia, emblems, or any related marks and logos on any set, costumes, promotional materials, layouts, or similar uses. The Director, Multimedia Liaison Office, must approve all uses in writing.
5. Episodic television series will include a number of unique scripts, all of which may not be available at the initiation of production. However, proposals for episodic series must include objectives, the format of the series, the story treatment of the overall series content, and any scripts that were used to sell the series. If DHS assistance is approved, the Department of Homeland Security Multimedia Agreement will contain a specific plan to expedite the review of scripts and requests for assistance for each production in the series.
6. The company acknowledges that all DHS properties are active Government facilities conducting their assigned responsibilities and, from time to time, unforeseen security conditions or high priority operations may interrupt, postpone, or prohibit access to a facility or certain areas of a facility. When filming on a DHS location the following will apply:
a. All activities taking place on DHS facilities shall comply with applicable requirements including, without limitation: safety, environmental, aircraft, building, vessel, and security standards. The company agrees to abide by all Federal and State laws and all DHS security regulations. Access to any DHS facility is contingent upon compliance with the following DHS Security Program conditions. These include, but are not limited to:
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(1) The possession of proper individual identification documents (e.g., driver's license, passport with appropriate visas).
(2) The inspection of all equipment and vehicles.
(3) Film crew escort by security officers throughout the production activity.
(4) Film crew cooperation and compliance with the directions of security and/or escort officials concerning security and safety issues.
(5) All costs associated with security program support to production activity will be borne by the company.
b. Consistent with applicable law, the production company must reimburse DHS for all costs incurred. An agreement for goods and resources (reimbursable agreement) must be executed, and advance payment must be received before any assistance is rendered. All agreements for goods and resources should be approved by appropriate contracting authorities prior to their submission to the Director, Multimedia Liaison Office.
c. DHS operations cannot be unreasonably impaired. Diversion of equipment, personnel, and materials must be kept to a minimum. Activities of DHS personnel assisting the production should be consistent with their official duties.
d. The names of all individuals given to DHS facilities to receive credentials must either be on the production crew or performing a specific job on behalf of the specific production company. No visitors, including family members or other guests, shall be permitted on DHS controlled facilities unless specifically authorized by the Director, Multimedia Liaison Office or his/her designee. The production company will ensure that Department safety and facility dress codes are met by all parties for whom the specific production company requests credentials.
e. While on DHS property, all film production cast and crew, including producers and directors must contact the Director, Multimedia Liaison Office or his/her designee for any and all requests, approvals, queries, questions, comments, or other forms of official communication or permission.
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f. DHS reserves the right to collect official Government documentation of the production including cast and crew on DHS controlled property. This could include Government video, accompanying audio, and still photography. This film will not be used in any commercial manner.
g. Ordinarily, DHS will not compete with private sector sources in the provision of goods and resources. DHS facilities and resources may be made available under this policy only when comparable assets are not available from the private sector.
VII. Questions or Concerns Regarding the Process.
Any questions or concerns regarding this directive should be addressed to the Assistant Secretary for Public Affairs or the Director, Multimedia Liaison Office, Office of Public Affairs.
Attachment 1: DHS Questionnaire for Film and Television Requests.
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Hay que recordar que el empleado encargado de tal posición ganaba 130,000 dólares al año (el primer encargado fue una mujer). Rememoremos que se realizó un piloto para televisión que llevaba por título HOMELAND SECURITY. Luego se realizaría otra seria de nombre similar HOMELAND SECURITY U.S. .
3) Al permitirnos reflexionar sobre la función propagandística del cine merece una posición entre LOS MEJORES ESTRENOS 2010 EN EL PERÚ (BEST MOVIES 2010 IN PERU).

domingo, 3 de octubre de 2010

AGENTE SALT (SALT)


ESTADOS UNIDOS DE NORTEAMÉRICA: PAÍS IMPERIALISTA
UNITED STATES OF AMERICA: IMPERIALIST COUNTRY


Este filme es maravilloso porque:
This movie is wonderful because:

1) Reconoce que los Estados Unidos de Norteamérica es un país imperialista.

En una escena inicial muy notable por su contenido político, la narración muestra a soldados de Corea del Norte que acusan a una "mujer de negocios estadounidense" de AGENTE DEL IMPERIALISMO YANQUI.

Como muestra el filme, EVERLYN SALT (ANGELINA JOLIE), LA "MUJER DE NEGOCIOS ESTADOUNIDENSE" es realmente una agente de la AGENCIA CENTRAL DE INTELIGENCIA ESTADOUNIDENSE (CENTRAL INTELLIGENCE AGENCY).
Obviamente, una declaración política tan contundente respecto de las "operaciones encubiertas" (cover action) como parte de la política exterior estadonidense nos hace admirar esta película. Hay que recordar que entre las operaciones encubiertas contra el Perú por parte de la CIA se ha sustentado la creación del grupo terrorista SENDERO LUMINOSO (SHINING PATH):
CIA-SENDERO LUMINOSO: GUERRA POLÍTICA
Autor: Andreo Matías.
2) Genera la mentalidad paranoica requerida por la Comunidad de Inteligencia Estadounidense (INTELLIGENCE COMMUNITY).
Para que la burguesía estadounidense pueda controlar a la población estadounidense, se requieren operaciones de información (las operaciones psicológicas son parte de las operaciones de información). El complejo militar-industrial se apoya en la "comunidad de inteligencia estadounidense" para imponer su orden político (según Lenin, la política es economía concentrada). Es requisito aumentar el temor de la población estadounidense para justificar el control fascista sobre su existencia.
"AGENTE SALT" (SALT) propone que un gran número de agentes rusos ocupan posiciones importantes en la vida política y económica estadounidense. Esta historia del guionista KURT WIMMER es ideal para justificar las operaciones de la "comunidad de inteligencia estadounidense". Naturalmente, esta misma "comunidad" colabora con la "industria del entretenimiento estadounidense" de modo activo, para asegurarse de que los intereses que la dirigen queden plasmados en las mentes de quienes observan estas armas de guerra política (propaganda).
Un miembro de dicha comunidad es el FEDERAL BUREAU OF INVESTIGATION (FBI) (OFICINA FEDERAL DE INVESTIGACIÓN), que mantiene una oficina de colaboración con la industria estadounidense del entretenimiento desde la década de 1930, como puede observarse en su página electrónica:

Working with the FBI: A Guide for Writers, Authors, and Producers
We can help: if you are a writer, author, or producer who wants to feature the FBI, we may be able to work with you to create an accurate portrayal of the Bureau.
We’ve been doing it since the 1930s. Most recently, we have assisted the motion pictures “The Kingdom,” “Shooter,” and “Breach”; television programs like “Without A Trace,” “CSI,” “Numb3rs,” “Criminal Minds,” and “The Closer”; and books like Big City, Bad Blood; Lone Wolf-Eric Rudolph: Murder, Myth and the Pursuit of an American Outlaw; and Lightning Out of Lebanon: Hezbollah Terrorists on American Soil.
Specifically, the Investigative Publicity and Public Affairs Unit (IPPAU) in our Office of Public Affairs is a small staff that spends a portion of its time working with domestic and international screenwriters, producers, authors, and other industry personnel associated with TV programs, documentaries, made-for-TV movies, books, and motion pictures. In addition, the unit is the same one that manages national and international publicity for wanted fugitives (including the “Ten Most Wanted Fugitives”), Most Wanted Terrorists, and missing children, and it also coordinates other proactive initiatives.
What we need from you:
Your name, any pertinent company name, point of contact, address, e-mail, and phone number;
Acknowledgement whether the project is “sold,” “green lit,” commissioned, or speculative;
A description how the FBI fits into the project and its relative importance;
An explanation of FBI characters and actions (what they will be doing);
Film script, plot, or treatment;
Project status/timeline/production schedule (if known);
Specificity regarding cases, procedures, or information needed; and
A list of FBI personnel desired (if known) for interviews or backgrounders (note: please allow ample time for the approval process.)
What we can provide you:
Guidance on content regarding FBI investigations, procedures, structure, and history;
Information on costumes, props, scenery, and weapons;
Fact checks;
Liaison and coordination with local FBI field offices;
Coordination of location shots; and
Access to FBI facilities for filming scenes, interviews, or b-roll footage.
Contact information:
Call FBI Headquarters at (202) 324-3000 and ask for the Investigative Publicity and Public Affairs Unit.
Or write to: FBI Headquarters, Investigative Publicity and Public Affairs Unit, Room 7790B, 935 Pennsylvania Avenue N.W., Washington, D.C. 20535.
Or send your complete request via e-mail to
public.affairs@ic.fbi.gov.
Please note: IPPAU considers project assistance on a case-by-case basis. We have limited resources and cannot ensure cooperation or offer reviews or critiques.
Esta colaboración puede ser sumamente especializada y activa:
From Fact to Fiction
Giving Writers an Inside Look at the FBI
10/06/08
Imagine you’re a writer working on a film or television script about the FBI, but you really know very little about us beyond what you’ve seen in other movies or TV shows.
What do you do? For decades, you’ve been picking up the phone and calling us. Every year, in fact, we get calls from hundreds of writers, directors, and producers seeking our advice and guidance.
We are happy to help, because we understand that the entertainment industry plays a key role in educating the public about our mission to keep the nation safe from terrorists and criminals. And we know that the more educated people are about the Bureau, the more likely they will help us solve—and prevent—crimes and terror attacks.
Any writer or producer can ask about our procedures, our history, and our cases in the public domain. They are not required to consult with us, though, and we don’t edit or approve their work. As a result, some story lines about the FBI are relatively accurate, while others, well, not so much.
For example, the popular TV series Without a Trace—which we provide assistance to and which helps us by publicizing some of our cases—features an FBI New York missing persons squad. But even though we do help search for those who have gone missing, we don’t actually have a missing persons squad, in New York or elsewhere.
We understand dramatic license, but writers who take the time to discover the real Bureau, said Assistant Director of Public Affairs John Miller, may come to understand that “the reality of the FBI is much better than its fiction.”
Miller recently spoke to about 25 members of the Writers Guild of America East and the Producers Guild of America East in New York City as part of an “FBI 101” program. This day-long seminar periodically brings together members of the book, film, and television industries to streamline the process of providing information about the Bureau—to make it easier and more efficient for everyone involved.
“The world is a dangerous place,” Miller said, “and the FBI seems to have a piece of every one of those dangers.”
On any given day, he explained, agents are engaging in undercover operations to get the goods on organized crime figures, tracking suspected terrorists, investigating corrupt politicians, and using technology to stop child predators. Somewhere within our worldwide field of operations, a hostage negotiator may be helping to resolve a life-threatening situation, and a SWAT team is ready to breach a door to make an arrest.
“And that is not some special day,” Miller said. “That is an average day at the FBI.”
The veteran writers participating in the workshop heard from agents who specialize in evidence collection, organized crime, counterterrorism, cyber crimes, and SWAT. The writers followed up with questions on everything from the Russian mob and online pornographers to wiretaps and knockoff Prada handbags.
Afterward, one writer noted, “The seminar could have been twice as long, and it still would have been terrific.”
Twice as long would not have been a problem for the SWAT team leader. After regaling his audience with tales of foreign deployments, hijacking cases, and the arduous training required of team members, he concluded by saying, “I haven’t even used up half my stories.”
Resources:
How writers can work with the FBI
3) Como denuncia el imperialismo comunista yanqui le proporcionamos un lugar entre LOS MEJORES ESTRENOS 2010 EN EL PERÚ (BEST MOVIES 2010 IN PERU).