In recent weeks, I have read a number of Big Hollywood articles concerning Hollywood’s and the media’s treatment of the September 11th attacks in the years since they occurred. In particular, there have been some interesting and provocative articles about the historical treatment of the attacks and the movies created so far. Prior to these articles, there was another questioning the quality of “conservative” films and why/if they should be supported by the conservative community, as though most artists on our side of the aisle shouldn’t be supported.

While I definitely respect all these points of view, I have to question why many of us are questioning Hollywood instead of questioning ourselves. And what we should be asking ourselves is why many of us complain so much about Hollywood’s output but at the same time fail to support the burgeoning artists, musicians, writers and filmmakers in our own community?

For full disclosure:  yes, I am a conservative, and yes, I am a filmmaker trying to get my art out to the greater world. For the life of me, I have never understood why we monetarily and spiritually support artists, studios and media companies while simultaneously berating them for what they offer us. If someone delivers crummy pizza that smells weird, tastes worse and gets me sick, would I still call the same pizza place every time? No. So, why do we do the same when making entertainment or artistic purchase choices? (more…)

The Washington Times is wrong. Hollywood wasn’t AWOL in the War on Terror. In fact, just the opposite is true. Hollywood summoned every ounce of financial and star power at their disposal to fight this war.

Unfortunately, they chose to fight for the other side.

If our history is written by honest brokers, this generation of Hollywoodists will be remembered as those who openly enabled evil and spent hundreds of millions of dollars making bombs for the enemy — box office bombs. Over a dozen of them, specifically engineered with equal parts lies and hate and propaganda to undermine morale at home and on the battlefield in the hopes that we would lose this war.

Never forget the crime committed in New York, Pennsylvania and at the Pentagon on that terrible day.  And never forget  how Hollywood turned on your country.

There were some exceptions, however, and chief among them was Joel Surnow, the co-creator of “24.” Each week, for eight seasons, he gave this country a hero who openly loved America, did what was necessary to protect her, and who was willing to pay a terrible price for it. ”24″ also delivered the goods. Cathartic, exciting and righteous without being self-righteous, the addictive adventures of Jack Bauer became an oasis in a cesspool of Hollywood product delivering the exact opposite message.

(more…)

Read part one of this series here.

In William Strauss and Neil Howe’s Generations, the babies born 1925-1942 are classified as members of the “Silent Generation.” These were the kids who grew up during the crises of the Great Depression and World War II, entered young adulthood at the postwar high of the 1950s, and hit middle age during the cultural chaos of the late 1960s and ’70s. This life sequence puts them in Howe and Strauss’ “Adaptive” archetype, a recessive generation less populous in numbers than the ones before (the GI Generation) and after (the Baby Boomers.)

When this generation started making movies they transformed Hollywood. Peter Biskind’s 1998 book Easy Riders, Raging Bulls: How the Sex-Drugs-and Rock ‘N Roll Generation Saved Hollywood lays out the popular narrative. The tail of the Silent Generation and the beginning of the Boomers (filmmakers born 1939-1946) put out major dramatic work that challenged the more bland conventions of mid ‘60s Hollywood cinema. The 1970s were the R-rated decade. Francis Ford Coppola made “The Godfather.” Martin Scorsese released “Mean Streets” and “Taxi Driver.” New serious actors like Jack Nicholson, Warren Beatty, Jon Voight, and Robert De Niro delivered legendary performances. This was a film generation inspired by the French New Wave to treat movies as serious art.

Oscar Nominated-screenwriter, award-winning mystery novelist, and now Pajamas Media CEO Roger L. Simon was a member of this clique. Born in 1943, Simon is like others born at the edges of generations, a blending of both appears in his re-titled memoir Turning Right at Hollywood and Vine, recently released in paperback with new material. (more…)

It’s hard to come out of Lt. Dan Band: For the Common Good without a healthy feeling of irony. You’ve just witnessed a prime example of man’s inhumanity and cruelty inspiring a display of man’s greatest virtues–honor, sacrifice, compassion, and unity.  It’s not just a concert film; it’s another illustration of the central thesis of Andrew Breitbart’s Righteous Indignation: that pop culture trumps politics without fail. In the midst of a hopelessly contentious and divisive foreign war, our politicians and pundits have nowhere near the profound effect on troop morale as a simple cover band led by a TV actor. The study of the relationship between civilian and soldier in wartime provides a compelling subject for this expansive documentary.

Director Jonathan Flora frames the film around Gary Sinise, an actor and director with a long, intimate history with soldiers and veterans, though he himself has never served. From his brother-in-law, who was killed in Vietnam, to current bandmate Kimo Williams,  a ‘Nam veteran who started jamming with Sinise after they met on a production of A Streetcar Named Desire in the mid-90s, his career has always seemed to providentially intertwine with the military. Following the jihadist attacks of 9/11, Sinise felt compelled to help those directly affected by the Twin Towers’ destruction, volunteering in campaigns to benefit the FDNY. This spirit of volunteerism, in concert with his ever more frequent band practices with Williams,  materialized into a USO tour in 2003. Despite his diverse résumé, Sinise was universally associated with his Oscar-nominated performance as “Lieutenant Dan” from Forrest Gump, so as the group expanded, Sinise named it the “Lieutenant Dan Band,” and the rest is history. (more…)

On Thursday June 23rd celebrities from Hollywood, radio, and TV will gather at the Nixon Library for a one of a kind event with a special purpose: to support our troops on the front lines in the war on terror and honor their service and sacrifice for our nation.

Troopathon 2011, as it is called, has the focused goal of sending as many care packages as it can get sponsored during an eight hour event. It its first year (2008) Troopathon brought in over $1.5 million for care packages for our troops in Iraq and Afghanistan. A $25 donation buys and delivers one care package.

One of the scheduled speakers is war hero and marine Nick Popaditch. Nick (a frequent guest on FOX’s “Red Eye”) was the tank commander and platoon sergeant in Baghdad during the historic fall of the statue of Saddam.

Recently Nick and his wife April joined me to talk about Troopathon and the significance it has for our troops serving in the Middle East. The YouTube video of the interview is below:

Troopathon Facts:

What: Troopathon 2011, the largest care package drive in America in support of our troops.

When: Thursday June 23rd, 4pm-midnight EDT / 1pm-9pm PDT

How You Can Watch: Right here at the Bigs!

How To Donate: Donation page.

Hosts: Andrew Breitbart and Melanie Morgan

Who Will Be Participating?: Several famous celebrities including actors Jon Voight, Gary Sinise and Robert Davi, media personalities Rush Limbaugh, Mark Levin, SE Cupp, and many others including yours truly. (more…)

This is the most recent installment of exclusive interviews with Dr. Paul Kengor, professor of political science at Grove City College, on his book revealing how communists, from Moscow to New York to Chicago, have long manipulated America’s liberals/progressives. Dupes: How America’s Adversaries Have Manipulated Progressives for a Century is based on an unprecedented volume of declassified materials from Soviet archives, FBI files, and more.

Big Peace: Professor Kengor, Hollywood is celebrating its Academy Awards, a look back at great actors and actresses and films.

Kengor: For me, it’s a moment to look back at Hollywood’s worst communists, communist sympathizers, Stalinists, and duped liberals and progressives—as well as the good guys (and gals) that fit none of those categories.

Big Peace: Fair enough. This should be fun. Let’s start with communists.

Charlie Chaplin comment, “Thank God for
communism!” will make you see (him) red.

Kengor: How about the Hollywood screenwriters who liberals still insist were innocent lambs? Dalton Trumbo, Communist Party code “Dalt T;” Albert Maltz, party no. 47196; Alvah Bessie, no. 46836; John Howard Lawson, no. 47275. Or, if you turn to page 191 of my book—if you don’t have a copy yet, shame on you—you can view Arthur Miller’s party application. Miller wrote The Crucible, about how Joe McCarthy pursued “liberals” unfairly suspected of being communists—“liberals” like Miller, Trumbo, Maltz, Bessie, Lawson.

Big Peace: As you say in Dupes, Hollywood produced “quite a cast.” Let’s narrow the focus to the Academy Awards. (more…)

“I wanted to be a war hero, man, I wanted to go out and kill for my country. And now, I’m here to tell you that I have killed for my country or whatever. And I don’t feel good about it. Because there’s not enough reason, man, to feel a person die in your hands or to see your best buddy get blown away. I’m here to tell you, it’s a lousy thing, man. I don’t see any reason for it. And there’s a lot of shit that I did over there that I find fucking hard to live with.” 

Why it’s a left-wing film

“Coming Home” was the first film produced under Jane Fonda’s terribly important-sounding production shingle, IPC Films or, Indochina Peace Campaign. She was inspired in part by her friend Ron Kovic, a Vietnam Veteran turned anti-war activist who would later be the subject of his own biopic, Oliver Stone’s “Born on the 4th of July.” Set in 1968 and focusing primarily on three veterans and their personal and emotional struggles after returning home from the war, this well-produced, well-directed and brilliantly acted drama nonetheless aids and abets the left’s monstrous view of the American fighting man and does its part in cementing the unfair stereotype of the Vietnam Vet as victim, dupe, war criminal, crazy and any or all of the above.  

Director Hal Ashby immediately sets his theme in place during the opening scene where a half dozen or so wounded vets sit around a pool table in a Veteran’s hospital drinking beer and debating the war. Quite deliberately, the lone man defending America’s decision to defend our South Vietnamese allies from brutal communist aggressors in the North, is thoroughly drowned out by the “moral authority” of the others (as Jon Voight’s Luke silently listens on). In the end, all voices are quieted by the Veteran who speaks film’s real message, how Vietnam Vets must learn to live with what they did over there.

Luke is a Marine who returned from the war a paraplegic and a bitterly angry one at that. Like Ron Kovic, he went to war for God and country and came back disillusioned and haunted by what he saw and did. Eventually he’s able to reenter the world thanks mainly to a tender love affair he engages in with Sally (Fonda), a conservative  militarywife married to the chauvinistic Bob (Bruce Dern), a Marine officer who’s just left for his own tour in Vietnam. Luke’s anger over his war experience soon turns into activism. He vows to stop as many young men as he can from making the same mistake he did, going so far as to chain himself to the front gate of a Marine base. (more…)

There are certain things that make you a man.  It’s not a matter of mere plumbing or chromosomes.  A man is more than that.  A true man defeats his enemies.  A true man can make it happen with the ladies.  A true man can repeat, verbatim, all of the classic dialogue from Heat.

Heat (1995) is more than just a heist film – it’s an epic, a shambling three-hour monster of a movie that soars and frustrates, leaves your jaw hanging in awe and you scratching your head wondering what the hell is going on.  The star power it unleashes is literally unparalleled, the direction by Michal Mann is superb, the music is incredible (go buy the soundtrack now), and the cinematography creates a vision of Los Angeles that is more real than the reality.

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I will not insult your manhood by recapping the plot.  Actually, it’s so dense and convoluted it would take forever anyway.  Plus, there are the tangents that I still don’t fully get – what the hell is that whole Natalie Portman subplot doing in there anyway?  And some parts you just have to see for yourself – think Waingro’s plot line.  Bottom line: if you have never seen Heat, go buy it immediately.  Until you do, if you are biologically male, you are not entitled to stand while urinating.

For many of us, Heat has a personal connection that comes from both its time and place.  I saw Heat in Houston the day it came out (December 15, 1995), having been waiting for it for months thanks to the remarkable trailer.  I was there for a buddy’s wedding the next day; at that wedding, I would meet my hot wife for the first time.  About a month after, the giant law firm I was then slaving away for moved into the 444 South Flower building.  You probably know it best as the bank De Niro’s crew robs.  Before I quit (I had more business than many of the partners but they offered me the same crappy $500 bonus they gave to the guy caught sleeping under his desk, so I counter-offered that I’d keep everything), I must have walked past the spot where Val Kilmer first opens up with his CAR-15 a hundred times thinking, “Dude, I know where you’re coming from.” (more…)

Last week, Heartland Truly Moving Pictures President and CEO, Jeffrey L. Sparks, announced that the feature film documentary, Lt. Dan Band: For the Common Good, featuring actor Gary Sinise and his “Lt. Dan Band” is a Crystal Heart Award winner and will be screened during the 2010 Heartland Film Festival, which will take place through October 23rd in Indianapolis.

The film, directed by Jonathan Flora, follows Sinise and his band as they support the troops and first responders around the world including Kuwait and Iraq.  The Lt. Dan Band began playing shows in 2003 and has played close to 200 concerts for America’s heroes and their families.
Films that receive the Crystal Heart are being honored for best meeting Heartland’s mission of “exploring the human journey by artistically expressing hope and respect for the positive values of life.”  Having seen this uplifting and inspiring film, I can assure you that it does just that. 

“Having long known the high reputation of the Heartland Film Festival and the quality of films it showcases, it is a true honor to be recognized and I tip my hat to Jeffrey Sparks and his staff for all they do,” said Flora, who hails from Ohio, served with the 82nd Airborne and also produced the film along with his wife, Deborah Flora.  “As a veteran and filmmaker working in Hollywood, it is a privilege to be able to support our troops and first responders through our medium.  The spirit of service and commitment to the greater good has always served as an example to me.  At its core, this movie is about remembering those who are willing to lay down their lives for others and those who are left behind.  Gary Sinise is a man who has chosen to remember and to honor.  Gary truly is the Bob Hope of this generation.”  (more…)

Deadline Hollywood Daily’s Editor-In-Chief Nikki Finke has declared a Red State Alert over the news that documentary filmmaker and Oscar-winner Michael Moore has just been elected to the Academy of Motion Picture Arts and Sciences’ Board of Governors. She writes, Hollywood-hating conservatives are going to have a field day with this[.] (And predictably the L.A. Times’ Patrick Goldstein knee-jerks with this: You could hear the outcry in conservative quarters from a million miles away[.])

If for no other reason than she saves me from having to spend money on a “Variety” subscription, I love Nikki, but this conservative has no problem whatsoever with Michael Moore being elected to the Academy’s prestigious Board of Governors, because this conservative believes Michael Moore has earned it.

Yes, Michael Moore is a liar, a shameless propagandist and an anti-American leftist of the highest order. But he’s also one helluva talented filmmaker and it would be wildly hypocritical for me to believe or argue that anyone should be blacklisted from AMPAS due to their political beliefs. And that’s the only reason I could possibly use to argue against this appointment. (more…)

Tomorrow, July 1st, I have the honor of co-hosting Move America Forward’s 3rd Annual Troopathon to raise money for care packages for our troops. The eight-hour broadcast, which will air live across the World Wide Web, will stream here at Big Hollywood, Big Government, Big Journalism, and Breitbart.TV from 4 p.m. to midnight, EDT. Please join us to show your support for our brave men and women fighting in Iraq, Afghanistan and elsewhere for our safety and for the freedom of people around the world. Here are the details from MAF:

The concept behind Troopathon is not a new idea, put on a Jerry Lewis style telethon to benefit a worthy cause, but a Troopathon is groundbreaking and innovative in that we bring together famous celebrities from radio, television, movie stars, musicians, journalists, and more to create a one-of-a-kind event with one purpose – to support our troops on the front lines in the war on terror and honor their service and sacrifice for our nation. (more…)

President Barack Obama meets with Palestinian National Authority President Mahmoud Abbas

Jon Voight in today’s Washington Times:

You will be the first American president that lied to the Jewish people, and the American people as well, when you said that you would defend Israel, the only Democratic state in the Middle East, against all their enemies. You have done just the opposite. You have propagandized Israel, until they look like they are everyone’s enemy – and it has resonated throughout the world. You are putting Israel in harm’s way, and you have promoted anti-Semitism throughout the world.

(more…)

“He will be a one-term president, but the tracks he lays will be devastating to our country for years to come.”

I am calling to all of you freedom-loving Americans to come once again to Washington D.C. to gather on the Capitol steps on Saturday, at 12 o’clock noon.

We must come by the thousands.

Speaker Pelosi will stop at nothing to fulfill her corrupt conquests. She will bring all of the corrupt ACORN liars to try to bully all the Democrats that may be having pangs of guilt knowing quite surely what their votes can and will do. If they’re bullied into saying “yes,” it will destroy America.

Join me and Rep. Michele Bachmann in Washington DC at 12 noon EST so we can give all the Democrats who know what the end result will be the courage to say: “No, do not pass this destructive bill.” (more…)

It always impresses me when an aged actor manages a comeback that is authentic, one based on more than mere nostalgia, one appealing to an entirely new generation of moviegoers. Jackie Gleason spent most of the 1970s appearing in pale television retreads of his 1950s heyday, and for most of that time he was absent from the big screen entirely. A revered comedic master, yes — but nevertheless his career as an innovator and taste-maker seemed long over. Then came Smokey and the Bandit, a fitting capstone to a long career of memorable portrayals and endless belly-laughs.

Born in 1916 in Brooklyn, Gleason was no stranger to tragedy. His sickly brother died when he was three, and his mother died when he was nineteen. But it was his father vanishing that gouged the biggest hole in his soul. “I was about nine when one day my pop didn’t come home,” Gleason said in later years. “A few days before, my mom and he had a violent argument and he took every picture out of the house that had him in it. That should have been the tip-off, but I was too young to know.” (more…)

In a publicity event for the new History Channel film “The People Speak” held at UCLA last week, actor/producer Josh Brolin was charming, self-effacing, funny, and down-right likeable.  And, that was the whole reason he was there.  We live in a culture obsessed with celebrity and in full adoration of movie stars in particular.  In short, we are a nation of Star-F%*#ers.  And people like Howard Zinn know it.

Part of the discussion at Friday’s Q & A event centered on the appearance of hypocrisy by the filmmakers for using big-name stars in their film, considering the overall thesis of Zinn’s world view is that REAL history is made by the individual struggling against the elite in power.  Producers Chris Moore and Brolin agreed with the criticism but lamented that the only way to get the History Channel to air this movie would be if stars were connected to it.  Understandable.  But, the inclusion of big name, likable Hollywood stars like Matt Damon, Don Cheadle, Morgan Freeman, Marisa Tomei and Brolin serve a greater purpose than just aiding the pitch meeting at the network. (more…)

Today’s Variety:

“Shortly after Jon Voight addressed health care protesters on Capitol Hill last week, White House spokesman Robert Gibbs dismissed the event by saying rather glibly, ‘I’m sure there’s a Jon Voight joke in here somewhere, given he was one of the featured speakers.’

“Over the weekend, when a clip of Voight was played on ‘The Week with George Stephanopoulos,’ where the actor asked of Obama, ‘Could it be he has had 20 years of subconscious programming by Reverend Wright to damn America?’ Cokie Roberts called it a ‘cringemaking’ moment. …

“When I asked about the criticism of his speech, Voight said, ‘Listen, there’s no telling what people will say.’

“What concerned him, he says, was the notion that the protesters on Capitol Hill were being dismissed by some lawmakers. ‘It is unfortunate that people will not take seriously the response of informed citizens.’ (more…)

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The Mighty Jon Voight took no prisoners on the steps of the Capitol today, hitting Obama with ACORN, “corrupt” White House Czars, ObamaCare, Afghanistan and this memorable chestnut:

“Could it be he has had 20 years of subconscious programming by Rev. Wright to damn America?”  

(more…)

Count me as one of the proud, independent and struggling painters who will not be a shill for the current administration. Let me make it clear — the NEA and artists who take orders from Obama’s henchmen are nothing more than shills for one of the most corrupt administrations this great nation has ever seen. It’s one thing when artists make political art out of personal conviction, however misguided or ignorant we may be, but to be put into the service of the White House propaganda machine in return for grants and/or other considerations at the expense of already over-taxed Americans is despicable and dangerous.

When did artists in this country decide it was a good idea to take marching orders from the government? Did I just wake up in some third-world country from a long sleep or am I having a nightmare where I go back in time to Mao’s China, Stalin’s Russian or Hitler’s Germany? No such luck — this is actually happening here and now and some of you artists are too stupid to figure out you’re being had. Wake the $%@# up! Always question the powers that be! The only “change” that has taken place are the faces in high places. Politicians have an agenda-first, last and always — but make no mistake — these guys are worse, much worse! (more…)

Yesterday, our own Chris Yogerst weighed in on Greg Gutfeld’s criticism of Hollywood — specifically Greg’s criticism of “G.I. Joe,” Stallone’s new Rambo film and “Inglourious Basterds” — for choosing politically correct villains over the real ones we face today. Chris is correct that turning Nazis into Jihadists is not something a filmmaker like Quentin Tarantino would do. If he has any, Tarantino’s politics have remained hidden in his work. Up on that screen the only thing he advocates for is overlooked 70’s B-movies and audacious entertainment. However, that doesn’t make the director’s decision to use Nazis any less politically correct or Hollywood’s moral cowardice in this area any more defensible.

Where my colleague Chris and I most disagree is with the assertion that Hollywood chooses “politically correct” or “safe” villains because Hollywood is all about the money and therefore wants to appeal to audiences who care what the villain looks like:

The film industry, like any other business, generally wants to appeal to the largest audience possible.  Picking “safe” enemies is one way to do that. 

Two of the most profitable films released this past year were “Gran Torino,” where our hero confronts black and Asian street gangs, and “Taken,” where the henchmen are Muslims and the arch-villain Middle Eastern. (more…)