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Kate Winslet’s ‘The Reader’: High Profiling the ‘Nazi’ Constituent
of Canadian Governance, the Fiefdom Treatise and the Isolation-Deprivation Issue and Servicing the
Canadian Lawyer’s International Persona
Watch trailer
The coalition has gone to great lengths to underscore the parallel between
the Nazis treatment of Jews in concentration camps for four years and the
Canadian lawyer being an enslaved and tortured human experimentation
victim non-stop for the Chinada High Command over a twenty-year period.
‘The Reader’ is another medium through which the partnership expresses
severe condemnation and the appropriateness of lethal military force and
capital punishment for this late 20th and early 21st century atrocity.
One of those “great lengths” was manufactured and then publicized for the
whole world to reflect upon the day after completing the first stage of
transcription and documentation of ‘The Reader’:
“Arbeit Macht Frie” sign stolen from Auschwitz
Jewish Telegraphic Agency
December 18, 2009 BERLIN – The "Arbeit Macht Frei" sign was stolen from the memorial at the
Auschwitz death camp.
Polish police reported Friday that the 16-foot long metal sign with the words meaning "Work will set you free" was gone. A hunt for the perpetrators is under way, and a reward of $1,700 has been offered for information leading to the sign's return.
A spokesperson for the Auschwitz-Birkenau Museum, Jaroslaw Mensfelt, told AFP that the sign must have been removed just before sunrise. He called the theft "a profanation of the place where more than a million people were murdered. It's shameful."
The sign was the original one that prisoners were forced to make, and it hung on hooks from the gate, according to Mensfelt. He said it was the first major theft at the memorial, which has watchmen posted round the clock.
On December 21st, the CBS News reported the ‘alleged perpetrators’ had
been caught. The lexicon was again embedded and with the assistance of
Polish authorities. It was stated that there were five thieves who cut the
sign into three sections; and footage was broadcast of one of them being
hauled out of a police vehicle attired in prison certainty and quantum.
It wasn’t just the documentation of the geo-politicized film ‘The Reader’ that
procured this cleverly arranged newsworthy event. The ‘theft’ sought to
underscore both the accuracy of the Fiefdom treatise research project’s
conclusions about the true nature of Canadian governance and the
significance of all coalition initiatives that’ve corroboratively drawn parallels
between the Nazi and the Chinada High Commands:
British Parliament: More Diplomatic Communiqués to Advance Coalition
Interests and Objectives, Including Drawing Parallels Between Canada and Nazi Germany and Describing Chinada as the “Enemy Within”
Tom Cruise’s ‘Valkyrie’: If You Want to Act Like a Nazi Then You’re Going to be Treated and Punished Like a Nazi
Taylor Swift: High Profiles the ‘Nazi’ Constituent of Fiefdom-Totalitarian
Commu-Nazi Genocidal Racism; and Chinada Principals are Willing to Take a Bullet to the Brain for Their Beliefs
Martin Lawrence, Ashton Kutcher & Debbie Messing: It’s ‘Open Season’ on the Chinada High Command: Part II; and High Profiling the ‘Nazi-‘ Constituent of Fiefdom-Totalitarian Commu-Nazi Genocidal Racism
Daniel Craig’s ‘Defiance’: High Profiling the ‘Nazi-‘ Constituent of Fiefdom-Totalitarian Commu-Nazi Genocidal Racism
The Reader is a 2008 drama film based on the 1995 German novel of the
same name by Bernhard Schlink. The film adaptation was written by David Hare and directed by Stephen Daldry. Ralph Fiennes and Kate Winslet star along with the young actor David Kross. Winslet received praise and won a Golden Globe Award for Best Supporting Actress, BAFTA Award for Best Actress, Screen Actors Guild Award for Outstanding Supporting Actress and the Academy Award for Best Actress at the 81st Academy Awards for her role in the film. The film was also nominated for several other major awards including the Academy Award for Best Picture.
The Reader begins in 1995 Berlin, where Michael Berg (Ralph Fiennes) is preparing breakfast for a woman who has spent the night with him. After she leaves, Michael watches an S-Bahn pass by, flashing back to a tram in 1958 Neustadt. A teenage Michael (David Kross) gets off because he is feeling sick
and wanders around the streets afterwards, finally pausing in the entryway of a nearby apartment building where he vomits. Hanna Schmitz (Kate Winslet), the tram conductor, comes in and assists him in returning home.
Michael, diagnosed with scarlet fever, must rest at home for the next three months. After he recovers he visits Hanna. The 36 year old Hanna seduces
and begins an affair with the 15 year old boy. During their liaisons, at her apartment, he reads to her literary works he is studying, such as The Odyssey, The Lady with the Little Dog, Adventures of Huckleberry Finn, and Tintin. After a bicycling trip, Hanna learns she is being promoted to a clerical job at the tram company. She abruptly moves without leaving a trace.
After seeing the adult Michael, a lawyer, the audience sees him (played again by David Kross) at Heidelberg University law school in 1966. As part of a special seminar taught by Professor Rohl (Bruno Ganz), a camp survivor, he observes a trial (similar to the Frankfurt Auschwitz Trials) of several women who were accused of letting 300 Jewish women die in a burning church when they were SS guards on the death march following the 1944 evacuation of Auschwitz. Hanna is one of the defendants.
Stunned, Michael visits a former camp himself. The trial divides the seminar, with one student angrily saying there is nothing to be learned from it other than that evil acts occurred and that the older generation of Germans should kill themselves for their failure to act then.
The key evidence is the testimony of Ilana Mather (Alexandra Maria Lara), author of a memoir of how she and her mother, who also testifies in court, survived. Hanna, unlike her fellow defendants, admits that Auschwitz was an
extermination camp and that the ten women she chose during each month's Selektion were gassed. She denies authorship of a report on the church fire, despite pressure from the other defendants, but then admits it rather than complying with a demand to provide a handwriting sample.
Michael then realizes Hanna's secret: she is a functional illiterate, and has concealed it her whole life. The other female guards who claim that she wrote the report are lying in order to place the brunt of the responsibility on Hanna. Michael informs Rohl that he has information favorable to one of the defendants but is not sure what to do since she wants to avoid disclosing
this. Rohl tells him that if he has learned nothing from the past there is no point in having the seminar.
Hanna receives a life sentence for her admitted but untrue leadership role in the church deaths while the other defendants get shorter terms. Michael
meanwhile marries, has a daughter and divorces. Rediscovering his books and notes from the time of his affair, he begins reading them into a tape recorder. He sends the cassette tapes, a tape recorder, and the books to Hanna. Eventually she learns to read and write, and she writes back to him.
Michael does not write back or visit, but keeps sending tapes, and in 1988 a
prison official (Linda Bassett) telephones him to seek his help with Hanna's transition into society upon her upcoming release. He finds a place for her to live and a job, and finally visits. When they meet after 30 years, he remains somewhat distant and confronts her about what she has learnt from her past. Both end up being disappointed. The night before her release Hanna hangs herself and leaves a tea tin with cash in it and a note to Michael, asking him to give the cash from the tea tin and some money in a bank account to Ilana.
Michael travels to New York. He meets Ilana (Lena Olin) and confesses his past relationship with Hanna. He tells her about the suicide note, and that Hanna was illiterate for most of her life. Ilana tells Michael there is nothing to be learned from the camps. Michael suggests that he donate the money to an organization that combats adult illiteracy, preferably a Jewish one, and she
agrees. Ilana keeps the tea tin since it is similar to one stolen from her in Auschwitz.
The film ends with Michael getting back together with his daughter, Julia, at Hanna's grave and beginning to tell her the story.
Source: wikipedia.com
As per standard protocol, the lexicon is embedded at the very first
opportunity in the script. The very first scene is a close-up of the
protagonist preparing a hard-boiled egg for breakfast. Producers are
metaphorically referring to the saying “hard egg to crack”, being geo-
representative of how difficult it is to contain China’s Soviet-style
imperialism, given how, unlike the 20th century threat, the country is
economically interconnected throughout the world and has become the
world’s banker. They then run the camera across the sink after it has been
eaten, including a dishrag containing the colors of Chinada.
Another egg is set on the table for his girlfriend. She appears first nude and
then in a bathrobe, asking him what his plans are for the day. He indicates
he’s going to see his daughter. She’s choreographed to effect an Oprah-
Taylor Maneuver to her reply “You’ve kept very quiet about her” – another in
a string of communiqués about the need for coalition confidentiality.
The isolation-deprivation theme is then introduced – a subject that’s integral
to the geo-purpose of the film. As she departs he executes a double-handed
British Parliamentary Maneuver. Producers then immediately cut to a clip of
the bedroom where they’d made love the night before. The bed is in the
foreground.
His flashback then commences – beginning with him being very sick as a
teenage boy and riding a tram. This is where the first direct reference to the
Canadian lawyer is introduced; by way of identifying the year of his birth:
1958.
He’s got the flu and he momentarily finds refuge from the rain in an
apartment entranceway, where he is met by and consoled by a stranger.
She sees he’s in trouble and walks him home to ensure he gets the attention
he needs.
The prison certainty theme is introduced at the dinner table. His father,
attired in the lexiconically significant pattern, remarks “the boy’s saying he
doesn’t need a doctor” – referring to Canada’s pubescent psychopaths who
are convinced they aren’t suffering from any mental deficiency. The
coalition has an immense amount of proof they are, and it’s worsening.
The doctor arrives and indicates the teenager is going to be bedridden for
several months. One of the protagonist’s hobbies is stamp collecting, which
he enjoys while recovering. Producers insert one close-up of his collection –
two 10 cent stamps, an enslaving human experimentation reference, and
immediately followed by stamps with the swastika – linking what Chinada
principal’s institutionalized and militarized.
When Michael fully recovers he seeks out the woman who helped him.
Hanna invites him in and during the scene changes in front of him. He
observes this and being a virgin is shaken. Contemporaneous with his first
experience seeing a woman’s pubic hairs gets flustered, producers insert
another prison certainty reference. This time it’s the chain link fence
pattern. Its purpose is to condemn intimacy deprivation the Canadian
lawyer suffered to advance the experimentation program. His shyness takes
him over and he bolts from the apartment.
Over the coming days he becomes enthralled with her and returns. She, in
her thirties, is amused at his teenage infatuation and decides to begin an
affair with him. Producers fill her home with the lexiconic colors and pattern
of Canadian prison certainty.
As her new companion she asks him to read to her; as it would be
discovered later in the film she’s illiterate. While in the bath together and he
is fulfilling his major purpose in this respect, Hanna executes a double-
handed Clooney Maneuver to “you should be ashamed”, publicly referring to
the book he borrowed from a classmate she finds offensive; and geo-
politically is another instance of the ‘embarrassment’ constituent of the
coalition’s formula engagement with the China-Canada alliance. At the same
time he’s choreographed to effect a Clooney Maneuver. He props the book
on his nose.
An Execution Maneuver and Chinada prison certainty is added a bit later
when he’s reading a comic book to her. Dramatically he recites the author’s
dialogue and stops to ask her what her interpretation is: “What did you
expect it to be?” – which is the producers way of rhetorically asking the
malfeasant what punishments do they think is forthcoming from
institutionalizing and militarizing human experimentation in the same fashion
the Nazis did during the Second World War.
They decide to take a country bicycle trip together; and along the way stop
at an old church. She is drawn to it because, as it’s discovered later in the
film, it was in such a building that many died during the war for which she
was in part responsible. Producers draw a parallel with the brutality and
barbarity of the Nazis with that of the Chinada High Command when they
morph into full-blown evil-embracing psychopaths who and run amok
throughout the world causing pain, suffering, injury, loss and death to
satisfy their schadenfreude addiction. Michael is choreographed to walk into
the church and while observing Hanna in the throws of emotion leans
against the doorway. Juxtaposed with his teenage innocence are the colors
of Canada and next to it an iron rod gate – Canadian prison certainty. The
child protection theme is implicitly embedded in this scene, because coalition
partners know that if the global threat isn’t addressed it will be the next
generation that will face a Nazi-like menace.
The isolation-deprivation theme is again introduced, this time when Michael
is attending the first days of the school year. He’s in the classroom and next
to him is an attractive female student, Sophie, who later becomes his
girlfriend, and thereafter wife and mother of his child. The scene begins
with a combination prison certainty and ‘gun to the temple’ Richie-Santelli
Maneuver to underscore how outraged the coalition is that the Canadian
lawyer was denied normal interaction that would lead to romance, marriage
and family.
Michael isn’t at all interested in Sophie because he’s fallen in love with the
older and sexually generous Hanna. During a scene he brings his girlfriend a
new book. It was only an incident of the original manuscript that producers
got to introduce the ‘Dogville’ theme – lethal military force and capital
punishment – in the form of the title: The Lady with the Little Dog. They
did so by juxtaposing his reading it with the colors of China prison certainty.
This lexiconic choice has other geo-political attributes. The title not only
describes the relative size of the Chinada alliance with the coalition:
Comparing and Contrasting the Size of the Coalition and Chinada, but also
links Chinada with the imperialistic Soviet Union through the fact the author
was from there.
As he’s beginning to read it to her, producers cut to a scene involving her
workplace: the headquarters for the tram station. They embed lexiconic
constituents: a quantum ratifier – posted on a support beam and a coalition
identifying coalition identifier. This is where producers draw attention to the
size difference between the two opposing forces.
The flashback chronology leads to him in law school, which producers use to
high profile the mistreatment the Canadian suffered at the hands of the
Canadian legal profession. Law societies in Alberta and British Columbia
both conspired in the 1990s to advance the Chinada agenda by shutting him
out of practicing; and for that he’s entitled to damages. The class comprises
five students.
One of their assignments is to attend a trial of Nazi concentration camp
guards. Michael is wardrobed in prison certainty in this and all the other
scenes in the courtroom.
When the proceeding begins he hears a familiar voice. It’s Hanna, who’s
charged with crimes against humanity; in particular hoarding dozens of Jews
into a church to avoid a storm and when it caught on fire, preventing them
from exiting, which caused their deaths. Many lexiconic gestures are added
throughout to keep the link between Nazi atrocities and trials that continued
through the rest of the 20th century with the ‘Iron Fist’ tribunal the
coalition’s going to establish to prosecute the Chinada malfeasant.
[Execution M.s]
As Michael is struggling with his past and present, producers add geo-
political issues. For example, when students are discussing the trial with
their professor in the classroom, producers choreograph one of them to
execute a Zeta-Jones Maneuver to the lecturer’s remark: “Eight thousand
people worked at Auschwitz; precisely [Z-J M.] 19 have been convicted”.
Producers make more geo-use of the courtroom scene; by placing number
identifying cards in front of the accused. The number five is observed when
the judge states “So far each of you defendants have specifically denied
being part”; which is to geo-politically say that the Chinada malfeasant have
confessed, admitted and bragged about being involved in enslavement,
experimentation and torture and thus have liability exposure to the
Canadian.
The panel of judges and gallery are shocked when Hanna tries to argue she
is not culpable, asking “what would you have done?”. Producers
choreograph the professor to execute an Anderson Maneuver and then
immediately follow it with a close-up of Michael’s prison certainty – which
red flags how those who learned of the Canadian lawyer’s predicament, like
members of his profession, the judiciary, parliamentarians and police should
have immediately effected their public interest responsibilities. Not doing so
makes them liable to Criminal Code sanction and in many instances
incarceration for their abdications.
Immediately behind him is an extra attired in quantum – which articulates
that they are to pay him damages for their conscious transgressions.
After a break in the proceedings, a prison certainty attired Michael enters
the courtroom and producers generate a coalition identifier.
It’s timing it to the judge stating about Hanna’s records “In your book you
describe the process of selection” is a reference to the Fiefdom treatise and
the research project which identifies those who ought to face life or lengthy
terms of imprisonment for their crimes.
A concentration camp survivor testifies and is instructed by the judge to
point out those defendants who were part of the concentration camp work
detail selection process. As she does so, producers edit-in a clip of one of
the accused who’s sitting next to Hanna effecting a Colbert Maneuver; which
has as its geo-purpose to graphically depict how the treatise identified with
specificity who ought to face international justice. Upon completing this,
producers add another clip of the professor and an Anderson Maneuver,
which seeks to drive home how tenaciously resolved the coalition is to
rounding up the malfeasant and prosecuting them for their crimes.
Another camp survivor, then a young child, testifies, and as she’s describing
the horrors she experienced, the first witness is choreographed to execute a
Clooney Maneuver to the word “death” – more coercive diplomacy and the
threat of executing the most serious offenders within the Chinada High
Command.
To “there was a bombing raid in the middle of the night; the church was hit”,
an extra in the foreground is choreographed to execute an Erin Maneuver –
a communiqué about when the military strike against Chinada targets in
Canada might be launched.
Back in the classroom, one of the students loudly voices his opinion. To
“They were the evil ones, they were the guilty ones”, Michael is
choreographed to execute Rooney Maneuvers to high profile the
malfeasants’ exposure to international justice.
He goes on with “Do you know how many camps there were in Europe?”, to
which Sophie is observed executing a S-h-h Maneuver – the gesture relevant
to coalition confidentiality. Producers put on the diplomatic record on behalf
of coalition partners the need for secrecy so the malfeasant can be
renditioned out of mainstream society and placed where they won’t be a
threat anymore. Juxtaposed with this is a student in prison certainty and
quantum.
To “Thousands, thousands of camps – everyone knew”, a wide pan of the
classroom is added revealing the five member class. That is a geo-
affirmation of the size of the information loop about the atrocities committed
in Canada and the “limited transparency” environment of knowledge about
black hole rendition and the Canadian’s historic damages.
Hanna is convicted and sentenced to life in prison. While incarcerated,
Michael’s marriage to Sophie deteriorates and he wants to revisit the past
and re-connection with the fulfilling love he once had. So he begins to write
to her and included in his correspondence are tapes of him reading books to
her. One of them is The Lady With the Little Dog.
When Hanna finally learns to write well enough she sends him a letter.
Producers design the envelope to include a quantum ratifier. The numbers
add up to 16, a quantum ratifier.
Even after his attempt to establish a relationship with her and going to great
lengths to address her literacy deficiency, and on the eve of her release,
Hanna chooses to commit suicide, being racked with guilt over what she’d
done during the war. She bequeaths the money she’s earned in prison to
second victim who testified at the trial. Michael is asked in her makeshift
will to deliver it to her. The scene begins with him pulling up to her
apartment in the United States in a taxi.
It’s call numbers contains all three prime lexiconic numbers: “1D49” – 4-
1=three; 4+1=five; 9-1=eight. The “D” is the acronym for death,
referring to those who have persisted in violating domestic and international
law.
Producers also turn the set that is her living-room into a big Chinada red
flag. The colors of red, yellow and white figure prominently behind him as
he describes events, circumstances and the purpose of his visit.
The interaction between them is further geo-politicized with the use of the
gesture constituent of the lexicon:
Ilana: So, you must tell me exactly [SNL M.] what brings you to the United States? [q-Cl.M.]
Michael: I was [dbl-h Rumsfled M.] here already. [SNL M.] I was at a conference in Boston. [Soledad M.]
Ilana: You’re a lawyer?
Michael: Yes.
Ilana: I was intrigued by your letter. [Staul M.] But I can’t say I
wholly understood it. You attended the trial?
Michael: Yes, almost twenty years ago. I was a law student. I remember you. I remember your mother very clearly.
Ilana: [60 MM] My mother died [JLo M, Alicia M.] a good many years ago.
[…]
Did Hanna Schmidt acknowledge the effect she had on your life?
Michael: She had done much worse to other people.
[sirens; Ilana: Natasha M.s]
[Sarkozy M.] I’ve never told anyone.
Ilana: [Natasha-Rooney M.s] People ask all the time what I learned in the camps. The camps weren’t therapy. What do you think these places were, universities? We didn’t go
there to learn. One becomes very clear about these things.
The final scene involves Michael taking his daughter to the cemetery where
Hanna is buried to explain his past to her. Producers wardrobe him in
Canadian prison and punishment certainty to end the film in a manner that
underscores its geo-relevance and to use their last opportunity in the script
to remind the malfeasant they are not going to escape being held fully
accountable for their crimes.
The DVD Bonus Features are to date the most geo-politicized of any that
have been turned into platforms of condemnation and communiqué
generation. It’s in these additions one finds evidence just how much
producers intended the film to be a contribution to coalition diplomacy.
Literally the moment ‘Adapting a Timeless Masterpiece: Making the Reader’
begins, the lexicon is employed. Director Stephen Daldry’s attired in
Presidential quantum. The cumulative effect of this throughout all the Bonus
Features with what is an extraordinarily large amount of lexiconic gesturing,
demonstrates how much the film is geo-politicized to draw parallels with
what the Nazis did during the war and what the Chinada High Command has
been doing in Canada for twenty plus years and what it will do if left
unchecked.
As he’s first describing his encounter with the book that inspires the movie
he adds a clip that begins with a close-up containing a coalition identifier and
prison certainty; and then pans out to include a second instance of the
latter, plus a choreographed Clooney Maneuver by a member of the
production crew. They are timed to him stating:
I read the book in one sitting. […] It was very intelligent and very thought provoking and goes to the heart of the issue. [Cl.M.] I had a visceral, emotional reaction.
This is both is a reference to him reading the Fiefdom treatise and
articulating how law and morality was ignored and systemic corruption,
criminality and human rights abuses were embraced by Nazi and Chinada
principal alike and for which incarceration is the natural remedy.
During Kate’s interview she executes a Clooney Maneuver to “it’s an extra
dimension to my job that I’ve never experienced before” – drawing attention
to how this was her first foray into a major coalition initiative.
She then compliments the lead actor, and adds a Branson Maneuver to “he
so brilliant, so immersed actually – really immersed in the character” to
service the Canadian’s international persona; the one created and then kept
at supra-celebrity levels by the coalition for years.
And during her promo rounds an interview was similarly geo-politicized. Here
she’s referring to the forced divorce between Canada’s authoritarian elite
and its Chinese partners.
Cut to eight years later, the [0:35: Z- J. M.] the relationship is dissolved a long time since.
View video
The actor who plays the young Michael, David Kross, not only announces his
coalition membership in the Bonus Features in which he appears, he is also
observed having been heavily coached by the director and other coalition
partners involved in production so as to corroborate the film being a
significant geo-platform.
The very first words spoken during the introductory clip of his interview
begins with a Brooke Maneuver and timed to “Actually it was the first movie
where I really learned about preparation…” – referring to being exposed to
the Fiefdom treatise and the existence and purpose of the global coalition.
Behind him are the colors of Chinada punishment certainty.
Producers insert a short clip where they link the Canadian lawyer through his
first name initial with two China identifiers. The scene chosen for this is the
law school classroom to underscore his legal training – critical in his treatise
research – and professional status that became a fatal anchor to his career
and personal life due to extreme nepotism-patronage exclusion.
When the director is filmed working closely with the actor who played the
law professor, his George W. Maneuver is timed in the editing room to his
voiceover – “a living legend in his own country and indeed everywhere” –
which constitutes another instance of servicing the Canadian’s international
persona.
The actor executes five Harry Maneuvers as corroboration of the point being
made. This description of the Canadian is of the same caliber as many made
over the years.
To demonstrate that two members of the executive team, including the
iconic and now deceased Sydney Pollack, were integral to the geo-
politicization of the film, a photo of them is added which contains the colors
of China.
A clip of the young Michael walking through the death showers at Auschwitz
becomes a powerful image to accentuate the need for imprisonment of the
Chinada High Command. It's timed to the director using one half of the
Fiefdom treatise created phrase “prison certainty” as follows: “What happens
when you get to a certain age and you realize that there is no moral
certainty”.
He is referring to how there must be consequences commensurate with
impropriety to ensure that humanity plays more than lip service to the
dictates of morality.
Lena Olin, who plays the second witness, and who Michael visits at the end
of the film, adds a ‘gun to the temple’ Richie-Santelli Maneuver to:
[R-S M.] What’s so impossible to understand is that it was regular people that did this. It was thousands and thousands of people, some sick monsters, obviously. But it was regular people committing these
crimes that you and I could never imagine.
In other words, 'What part of ‘you’re going to face serious consequences’
don’t you get?'.
Immediately preceding this graphic and coercive gesture is the lead actor
stating “[Hanna] was doing her job, wasn’t she?; it throws back at us this
question of individual choice and how we judge people”.
The next gesture is another Richie-Santelli Maneuver, this one by the
director when talking about the dynamics between the author and
screenwriters.
It’s timed to “It is my experience in the theatre where writers tend to be co-
collaborators”. He’s recommending what many coalition partners think
ought to be the case, namely that the Chinada High Command and everyone
in the lower ranks who were principal operatives ought to face lethal military
force if they resist with armed force and capital punishment.
Producers add a clip of Hanna and Michael in the bathtub that wasn’t used in
the film. It contains not only the Canadian prison certainty communiqué and
another instance of the isolation-deprivation theme, but also a coalition
identifier to underscore how committed the partnership is to right this
wrong.
Plus Kate’s line is “you’re good at it aren’t you” – referring to his reading
abilities and geo-highlighting the coalition’s competence in rendition,
prosecution and indefinite incarceration.
And the lead actor’s voiceover is timed to a Federer Maneuver: “The mark of
a good screenplay is often that it seems simple [F.M.] but actually they
contain huge things” – referring to how the script was about the threat
Chinada poses to a civilized and civilizing world.
Throughout ‘A Conversation with David Kross and Stephen Daldry’ the
lexicon is employed; and so often it becomes even more undeniable the film
is geo-politicized.
In the first clip of the sit-down with the actor and director, the former
employs Kernan Execution and Eva Maneuvers to “rehearse a lot, prepare a
lot”; which producers use to draw attention to how much has gone into what
will be a transition in Canada from authoritarianism to democracy and
successfully challenging China’s imperialism.
His Sarkozy Maneuver is timed to “We did a lot of reading” – expressly
referring to the Fiefdom treatise and implicitly how voluminous it is; and how
much time was dedicated to extracting from its diplomacy archive the
lexicon so it could be embedded in the film.
A combination Erin-CBS Maneuver is added to “We went to a Jewish
holocaust museum” – giving historical meaning to what happened in the
concentration camps and in a Churchillian fashion what Chinada represents.
To “He bought me a lot of books which I had to read”, he adds an Erin
Maneuver – another reference to the Fiefdom treatise.
Producers then edit-in a clip that’s filmed during the movie shoot that is
heavily choreographed. Kate’s executing a Beckinsale-Clinton Maneuver, a
member of the production staff a scratching Zeta-Jones Maneuver and the
teenage actor, the third, a Cowell Maneuver to his voiceover “It was the
first movie where I really learned about preparation and realized how less I
really know about the Third Reich”.
This articulates how much producers, cast and crew didn’t know about and
discovered what’s really going on north of the 49th Parallel and in one region
of Asia.
To one of Kate’s interview voiceovers, a clip of the director on set is added of
him executing a Colbert Maneuver to “He really likes to be given that
guidance” – referring to the utility of the Fiefdom treatise on so many levels,
including its peripheral vision about threats that are secretly manifesting and
if not caught in time would be unstoppable.
Acting the love scenes got the young German actor flustered a bit, since he
was a teenager at the time of filming and was working with a famous, and at
times naked, Hollywood superstar. He adds an Eva Maneuver to “It’s really
weird to do these scenes – it’s very scary” – underscoring the goings on in
Canada and the trepidation caused by the malfeasant when they not only
didn’t stand down their global hegemony seeking posture, but also in the
face of the world of movers, shakers and diplomats pushing the hypnosis
experimentation envelop and assassinating an innocent American on the first
full day of the Olympics These events proved the threat has been morphing
into what radical Islamist fundamentalism represents.
The director adds a red-flagging Colbert Maneuver to “We shot them at the
very end”, publicly referring to the planning of filming sequences involving
love scenes and geo-politically to what may happen to those who are
convicted by the ‘Iron Fist’ tribunal of the most egregious violations of law.
The link between that possibility and what happened after the Nuremberg
Trials is acute.
Another sit-down interview, this one during the press junket, is included in
this segment. It begins with the director gesturing with an Eva Maneuver to
“Here we are in Berlin”.
The young actor adds a Prince Harry Maneuver. To the question about what
his mother’s response to the film was, the teenager replies with her having
watched it on DVD and that “she had no one stopping her, like you stopped
me [Preston M.]” – which was the young actor’s impression of what the
coalition is in the process of doing viz. Chinese global hegemony motivated
imperialism and Canada’s out-of-control governance. To the director’s “I’m
dying to talk to her about it”, he adds an Eva Maneuver to again underscore
his and his colleagues’ opinion that the death penalty is warranted.
To the question “what did [your mom] say about you; was she nice to you?”,
referring to his acting, he cracks a joke with “Ah, crap”, and adds an
affirmative answer using a Pfeiffer Maneuver to highlight the treatment the
Canadian lawyer got from his government and the Chinese invaders.
To “Are you worried about your family seeing you naked and those
lovemaking scenes?”. “Yes” he answers, adding “But I’m more worried
[Federer M.] about my grandparents”, which is another articulation of the
trepidation coalition partners have for leaving the Chinada threat to
insidiously evolve.
To a reference of a cut scene in which he reads Hamlet to Hanna, he effects
several gestures: Zeta-Jones, Brooke, Pitt and Eva Maneuvers. The
Shakespearian play involves the protagonist coming home and finding his
father murdered. This is more coercive diplomacy involving deadly
consequences with the added feature of revenge, which in this instance is a
reference to lethal military force employed in the residences of select
members of the Chinada High Command that in part helps the Canadian
lawyer effect payback for what was enthusiastically done to him over a two
decade plus period of time.
More geo- red-flagging gestures are added to the question “What were the
hardest things you had to do?”. Pitt and Eva Maneuvers red flagged his
answer. When asking whether the director was hard on him, the answer is
in the affirmative. The director effects a Colbert Maneuver to underscore
how tough and unforgiving the coalition is going to be on those who brazenly
violated domestic and international law after being exposed and put on
notice that justice would be effected.
The other Bonus Feature to be geo-politicized is “Coming to Grips with the
Past: Production Designer Brigitte Broch”. She also demonstrates she’s been
schooled in the ways of the confidential language. To “I immediately felt we
could grasp this project, emotional depth wise she employs a Colbert
Maneuver, referring to how the production could be successfully geo-
politicized to advance the coalition’s agenda.
Being of German descent, she found her grappling with the subject-matter
of the film difficult; made more so by being privy to what the Fiefdom
treatise said about atrocities having been committed in Canada over a two
decade period.
I was also very fearful to look at it myself. And [Execution M.] through the book I had to do research, of course, about the holocaust, and see pictures and see videos. And it’s actually the first time that I dared to really, personally confront myself with it and say ‘Okay [Bl.M.] enough with fear; enough with guilt. I have to face it [Cl.M.]’.
When talking about the multi-decade span of the film and what else had to
be considered, she adds a ‘gun under the chin] Spielberg Maneuver to:
… with also going into the psychology always [S.M.] of people were -- what was the spirit at the end of the ‘50s; what were we going to try to represent at the beginning of this film; and that was Germany still not yet reconstructed; German still suffering from the effects of the post-war.