Working Title Films of Oxford st..producing zionist 911 bull

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Working Title Films of Oxford st..producing zionist 911 propaganda bs! (ZION) Add Favourite

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maestro. - 28 May'06 - 08:53 View 'maestro.' profile edit


So why is the mainstream media suppressing essential evidence about 9/11?

Who controls the media, and who is responsible for creating the propaganda supporting the official version?



United 93 movie

The first movie about 9/11, United 93, has already been released. It was produced by Working Title Films of Oxford Street, London, a British-based subsidiary of Universal Pictures. The film, directed by Paul Greengrass, was produced by Liza Chazin, Lloyd Levin, Eric Fellner, Debra Hayward and Tim Bevan. [jewboys]
"As 2006 marks the passing of five years since the epochal events of 9/11, the time has come for contemporary cinema's leading filmmakers to dramatically investigate the events of that day, its causes and its consequences," the film's website says. United 93 "partially improvises the events," it says, because, in something of an understatement, "there is no perfect record of the hijacking's exact details."

Yet Greengrass, the writer and director of the film says his improvisation "tells the story of the day through a meticulous re-enactment of events surrounding United 93, the last of the four hijacked aircraft, in the belief that by examining this single event something much larger can be found – the shape of our world today."

"It was the most important event that occurred in our lifetime," Greengrass told Michael Elkin, entertainment editor of the Philadelphia-based Jewish Exponent. "It drives all our politics; it defines the nature of our world and our children's world."

In the 1980s, Greengrass worked for Cecil and Sidney Bernstein's left-leaning Granada Television and co-wrote the exposé SpyCatcher: The Candid Autobiography of a Senior Intelligence Officer with Peter Wright, the former assistant director of MI5, the British counter-intelligence and security agency.

"The ultimate question" raised by the film, Greengrass told the Jewish Exponent, is "How do we face up to the jihadist hijacking of Islam?"
Elkin told American Free Press that Greengrass came to Philadelphia for the Jewish Exponent interview shortly before the film's release in late April. AFP asked Jonathan Tobin, editor of Jewish Exponent if Greengrass was Jewish.

"I don't know," Tobin said, "but it's certainly a Jewish name."


World Trade Center movie

The second film to be released, coming out in August, will be the World Trade Center movie produced by Paramount Pictures of Hollywood and directed by Oliver Stone. Paramount Pictures is a subsidiary of Viacom, which is controlled by Sumner Murray Redstone.
The film's producers, Michael Shamberg and Stacey Sher, asked Andrea Berloff to write the screenplay. Berloff, a 32-year old writer, "believes in the Jewish tradition and culture," her sister Stacey said from the family home in Brookline, Mass.


Pentagon 9/11 documentary

A television documentary, Pentagon 9/11, is being produced by Admiralty Productions, Ltd. of Fairfax Station, Virginia. The Pentagon movie will be Admiralty's first work. Joel M. Ratner, president and founder of InterMedia Development Corp. is responsible for producing and directing the film. The co-producers at Admiralty Productions are Rear Admiral William Thompson (U.S. Navy - ret.), Edward A. Shackleford, a Virginia-based lawyer, and Michael A. Dickerson, a professor of communication specializing in military matters at George Mason University.
On his company's website, Ratner says his film will be "the definitive account of the 9/11 attack on the Pentagon as a television documentary and DVD product."

Dickerson told AFP that Ratner is in charge of the film. Dickerson said he had not seen the Pentagon building performance report or any of the other evidence which disproves the film's storyline that a Boeing 757 hit the Pentagon. Among other things, he was unaware of the presence of intact structural columns and undisturbed cable spools in the path of the alleged Boeing 757, which supposedly struck the Pentagon "at grade level."



Apart from supporting the official saga with emotional stories of suffering and heroism, these productions share one thing in common. Although it is difficult to obtain biographical information about the people behind these films, because of secrecy, name changes, and aliases, it is clear that the key players are British and American Jews, many with strong ties to Israel, a country from which more than 200 suspects were arrested in connection with 9/11.

For example, the person who controls Viacom, which owns Paramount Pictures, the studio producing the WTC film, is Sumner Redstone. Redstone is chairman of both Viacom and CBS Corp.

"Viacom is me," Redstone said. "I'm Viacom." Redstone's media empire includes Comedy Central, Showtime, CBS, MTV, Nickelodeon, and BET.

Sumner is the son of Max Rothstein, who became Michael Redstone. The elder Rothstein got started in show business when he bought the original Latin Quarter, a nightclub started by Lou Walters, father of television personality Barbara Walters. Lou Walters was a business partner with Elias M. Loew, the founder of the Loew empire of theaters and hotels.

Rothstein opened one of the first drive-in theatres in the United States, and built a chain of theatres in the 1940s. Rothstein was also a founder of Hebrew University in Jerusalem.


There is abundant evidence that the Israeli military intelligence agency Mossad had prior knowledge of the WTC attacks on the day of the attacks but did not warn the government of New York City, which could have saved thousands of lives.

Ignoring the evidence of Israeli involvement, a network of committed Zionists, exercising undue influence over the media and government, is manipulating the historic events of 9/11 to suit their agenda.



(Christopher Bollyn is a journalist who writes for American Free Press of Washington, D.C.)

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Producers give backbone to industry

The Bafta award for outstanding contribution to British film has been given to two of the most important figures in the British movie industry - the founders of Working Title films.

Fellner and Bevan formed their company in 1992
Tim Bevan and Eric Fellner have been described as the "Brit flick's twin towers of power", Britain's "movie moguls" and "gamblers with excellent taste and instincts".

But whatever tag you want to apply to the two producers and founders of Working Title films, one thing is certain: the British film industry would be poorer without them.

They have been listed as the most powerful figures in the British industry and in 2002 Premiere magazine put them at 41st in the world-wide movie power list.

A roll call of their films is a virtual name check of all of the biggest British films of the last 10 years.

Working Title hits
Four Weddings
Bean
Notting Hill
Bridget Jones's Diary

Their films have grossed more than $1.8 billion (£1.12 billion) in the last 12 years, and that is a conservative estimate.

The Financial Times reported that the pair are worth at least £20m each.

"They are energetic, not naive, not arty-farty, or up their own arses," said actor Hugh Grant, who has worked with the pair on four films.

They have not just contributed financially to the industry. Working Title films have also backed critically-acclaimed films and American independent successes.

Critical successes
Dead Man Walking
Elizabeth
Fargo
The Man Who Wasn't There
O Brother Where Art Thou?
Strangely, for such successful film figures, the two maintain a very low profile at odds with the industry in which they work.

New Zealand-born Bevan started his career as a production runner on soap opera, Close to Home, before serving his apprenticeship at the National Film Unit.

In the early 1980s he moved to Britain and started working at Video Arts, John Cleese's successful corporate training production house.

Launch

In 1983 he started a music video production company, Aldabra, which was to become Working Title films a year later.

Its first feature, My Beautiful Laundrette, helped launch the careers of director Stephen Frears and Daniel Day-Lewis.


When you talk to one, you always feel you are talking to the other one as well

Stephen Daldry
Fellner too started in music videos, making promos for bands such as Duran Duran and Fleetwood Mac.

He moved into British films, producing The Rachel Papers and Sid and Nancy, among others at Initial Pictures.

He left Initial to join Bevan in 1992.

The early films were a mixture of left-of-centre independent films, such as Sammy and Rosie Get Laid, and support for American indie productions, such as Tim Robbins' Bob Roberts.

Working Title's breakthrough hit was 1994's Four Weddings and a Funeral, a romantic comedy which made the term British blockbuster seem less of an oxymoron.


Grant has been a regular performer for Working Title
After a long dry period with few international hits, the production company proved that the British could once again fashion films with global appeal.

International successes followed: among them, French Kiss, Dead Man Walking, Fargo, Bean and Elizabeth, mixing critical with commercial successes.

In 1999 Working Title signed a reported $600m deal with film giant Universal. While the overall deal is probably exaggerated, it gave the pair the power to commission films with a budget up to $35m without even consulting their pay masters.

Epicentre

"I think anyone in Hollywood would want to do business with these guys," said the former Universal Studios boss Edgar Bronfman Jr, now a chief executive with USA Interactive.

They have fashioned success despite being thousands of miles away from the epicentre of the industry.

But their relationship with Hollywood has always been strong.


Bridget Jones was an international hit
Director Alex Cox has spoken of how Fellner, in a bid to keep the film Straight to Hell on track, flew to Los Angeles and returned with a suitcase of money.

But not all of their films have been unqualified successes - as one would expect in the movie industry.

Flops include Captain Corelli's Mandolin. It was their most expensive film and, ironically, the one that seemed most likely to succeed.

Adapted from the widly popular book of the same name, with an all-star cast, it still managed to disappoint with the critics and at the box office.

Despite their low profile, Bevan is seen as the "flashier" of the two, with more commercial instincts.

Although this probably stems from a "celebrity marriage" to Joely Richardson, which ended in divorce, and once being listed by Tatler magazine as one of the most "dateable boys".

Fellner, predictably, is seen as the more arty of the partnership.

"They cover each other and complement each other," Stacey Snider, chairman of Universal Pictures has said.

She added: "Tim has incredible drive and focus, while Eric can smooth ruffled feathers anytime. And they're both material driven, which is rare."

Their most recent success is the launch of WT2, an offshoot designed to produce smaller budget films.

Its first film, Billy Elliot, was a huge success.

Director Stephen Daldry said: "The joy of them is that they strangely never contradict each other, and despite the fact that they have different personalities, they are in agreement.

When you talk to one, you always feel you are talking to the other one as well."