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New documentary film suggests 9/11 was a staged Neo-conservative psychological attack against the American people

The Canadian | February 25, 2007
Susan Lee

It began as a tiny internet film attacking the 'lies' surrounding 9/11. Now, millions of people have heard its message. Like it or loathe it, you can't ignore Loose Change, says Ed Pilkington in the British Guardian Newspaper.

Dylan Avery is the director and creator of Loose Change, the most successful movie to emerge from what followers call the 9/11 Truth Movement. The film alleges with presented evidence that the attacks in New York and Washington on September 11, 2001, were not the work of Osama bin Laden, but of neo-conservative elements, who are pursuing a "New World Order" . They reject the term "conspiracy theorists", arguing that if you accept the official line on 9/11 you have in any case signed up to a theory about a official "conspiracy" anyways, that has been falsely attributed to "al-Qaida masterminds".

The movement of 9/11 sceptics has had an astonishing success in sowing doubt across the US. Recent polls suggest more than a third of Americans believe that either the official version of events never happened, or that U,S officials knew the attacks were imminent, but did nothing to stop them.

That's an impressive statistic in itself. Now look at the success Loose Change has had. Google Video acts as a portal for the movie, where you can also see the running tally of the number of times it has been viewed since last August. It stands more than four million.

On top of that, the movie was shown on television to up to 50 million people in 12 countries on September 11 last year; 100,000 DVDs have been sold and 50,000 more given away free.

Then there are many more who have watched the film but are never counted, as a result of the active encouragement the film-makers give their supporters to burn the movie and distribute it to their friends. Avery says 100 million people - "easy" - have seen it. That may be an exaggeration, but it's fair to say that the documentary has become very popular, like as a result of many people across the United States and internationally, being fed-up of 9/11 propaganda in spread by various elite owners of the mass-media.

The Loose Change story begins in May 2002 on the opening night of a Mediterranean restaurant in Oneonta where Avery, then aged 19, is working as a dishwasher. A friend of the owner, James Gandolfini (aka Tony Soprano), is a guest at the party and Avery gets chatting with him. "We started talking about movies and shit," Avery recalls. "Gandolfini told me, if you want to do something that matters, you have to talk to the entire world. You have to have something to say."

The first edition of Loose Change, running at 30 minutes and produced on a battered Compaq Presario laptop (price $1,500), was finished in April that year. The second, longer, edition - the one currently available on the internet - came out in September 2005 with the help of a third partner and fellow Oneonta resident, Jason Bermas, aged 27.

And so to the message: The Twin Towers in New York didn't fall as a direct result of the planes hitting them and the fire that ensued; they were brought them down in a series of controlled explosions. The British Guardian reports that "George Bush's brother, Marvin, sat on the board of a company that insured the towers."

"I think what happened to the World Trade Centre was simple enough," Avery says in the film. "It was brought down in a carefully planned controlled demolition. It was a psychological attack on the American people and it was pulled off with military precision."

Flight 77, which supposedly flew into the Pentagon, could not have flown at that speed without going into a tailspin. There is no sign of any parts of an aeroplane in footage of the crash site, and the building looked as though it had been hit by a missile. Meanwhile, Donald Rumsfeld was safe on the other side of the Pentagon.

Flight 93, said to have come down in a field near Shanksville, Pennsylvania, never did crash there. Instead it landed in Cleveland airport shortly after the airport had been evacuated. The emotive phone calls by the so-called passengers to their relatives before they "died" were staged.

"You can't stop this, you can't hold us back," Jason says. "Many outlets have tried to ignore us, but in the end they are all forced to listen to us because their viewers are demanding it." He is right. The exponential growth of Loose Change is gradually forcing the film on the mainstream media. Though it began as an internet phenomenon, its biggest spikes have come, significantly, after the film gained airplay on old media platforms such as Air America and Pacifica radio stations, local Fox TV outlets and on stations around the world, including state outlets in Belgium, Ireland and Portugal. So far though, no British channel has been rash -- or as the film-makers would see it, brave -- enough to bite.

"This is unlike anything I have worked on," says Tim Sparke of Mercury Media, which handles international distribution for the film. "It has forced millions of people to question whether they can trust big media, and by bypassing the broadcasters through internet distribution it has altered the media power balance profoundly. With a little money and passion, anyone can make an important film."

The final test for Avery and co is yet to come. They are putting together Loose Change: the Final Cut using an upgraded Power Mac G5 (price $US 5,000). They have filmed original interviews with Washington players, employed lawyers to iron out copyright issues with borrowed footage, commissioned 3D graphics from Germany, and recruited a theology professor to act as fact-checker and consultant. The end result, they hope, will be seen at Cannes and have a cinema release in America and across the world on the sixth anniversary of 9/11.

If that happens, they will have squared the circle. The underground film-makers will have come up for air, exposing millions more people to their argument -- and themselves to intense scrutiny. Stand back and enjoy the fireworks.

 
 

 

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