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Ray Pride

By Ray Pride Pride@moviecitynews.com

The road back from The Road to Guantánamo: rumors of freedom of speech unwarranted

The actors who starred in Michael Winterbottom’s award-winning The Road to Guantánamo were given a good talking-to under terror act on their return from the Berlin Film Festival, reports the Guardian’s Vikram Dodd: “Four actors who play al-Qaida suspects… were detained by the police at Luton airport as they returned… and questioned under anti-terror laws, alongside two of the former terrorism suspects they play on screen. They were returning last Thursday after the premiere… [The Road to Guantánam] depicts the life of three men from Tipton in the West Midlands, who go to Afghanistan and end up being held for two years by the US at its military base on Cuba before being released without charge… It depicts the alleged shackling, torture and other ill treatment the Tipton detainees claim they suffered at the hands of the Americans. The film’s producers say four actors from the film, who all play terrorism suspects, were detained at Luton airport after flying back from Germany on an easyJet flight. They included Rizwan Ahmed and Farhad Harun, who were stopped along with Shafiq Rasul and Rhuhel Ahmed, the former Guantánamo inmates they play on screen… Rizwan Ahmed said police swore at him and asked if he had become an actor to further the Islamic cause. winterguantanamo1.jpgHe said he was at first denied access to a lawyer and was questioned about his views on the Iraq war by a policewoman. “She asked me whether I intended to do more documentary films, specifically more political ones like The Road to Guantánamo. She asked ‘Did you become an actor mainly to do films like this, to publicise the struggles of Muslims?'” Mr Ahmed alleged that he had a telephone wrestled from his hand as he tried to contact a lawyer and was later abused. He claimed that one police officer had called him a “fucker”. A spokeswoman for Bedfordshire police was reassuring: none of the men had been arrested. “The police officers wanted to ask them some questions under the counter-terrorism act… All were released within the hour. Part of the counter-terrorism act allows us to stop and examine people if something happens that might be suspicious.” If only the UK would turn its security over to the United Arab Emirates, things like this would never happen.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon