{"id":646462,"date":"2024-12-10T21:40:22","date_gmt":"2024-12-10T18:40:22","guid":{"rendered":"https:\/\/en.buradabiliyorum.com\/director-on-navigating-media-ethics-history\/"},"modified":"2024-12-10T21:40:22","modified_gmt":"2024-12-10T18:40:22","slug":"director-on-navigating-media-ethics-history","status":"publish","type":"post","link":"https:\/\/buradabiliyorum.com\/en\/director-on-navigating-media-ethics-history\/","title":{"rendered":"#Director on Navigating Media Ethics &#038; History"},"content":{"rendered":"<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_84 counter-hierarchy ez-toc-counter ez-toc-custom ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6a273942be62b\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #dd3333;color:#dd3333\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #dd3333;color:#dd3333\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6a273942be62b\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/buradabiliyorum.com\/en\/director-on-navigating-media-ethics-history\/#Media_Studies\" >Media Studies<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/buradabiliyorum.com\/en\/director-on-navigating-media-ethics-history\/#Staffing_the_Room\" >Staffing the Room<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/buradabiliyorum.com\/en\/director-on-navigating-media-ethics-history\/#The_Meaning_of_Munich\" >The Meaning of Munich<\/a><\/li><\/ul><\/nav><\/div>\n<div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThere are filmmakers who start big and get bigger, their project mushrooming ever larger as new ideas, characters and scenes enter their landscape.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThen there\u2019s Tim Fehlbaum.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThe Swiss writer-director \u2014 he previously made two indie sci-fi films \u2014 started really big. He was going to capture from every angle that fateful day of Sept. 5, 1972, when eight terrorists from the Palestinian militant group Black September infiltrated Munich\u2019s Olympic Village and attacked Israeli athletes, killing two and taking nine hostage. (All would end up dying.)<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tPolice officers, Olympians, journalists, civilians, government diplomats \u2014 Fehlbaum and his co-writers Moritz Binder and Alex David would cut between them all, creating a <em>Rashomon<\/em> for the Olympic era. The seismic event \u2014 a brazen act of evil on the world\u2019s biggest stage \u2014 demanded a big cinematic treatment. Fehlbaum would give it nothing less.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tBut then a little voice called financial reality piped up. \u201cWe had a <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/download-scripts-themes-apps\/\" data-internallinksmanager029f6b8e52c=\"9\" title=\"Download Scripts &amp; Themes &amp; Apps\" target=\"_blank\" rel=\"noopener\">script<\/a> and I think it was quite good,\u201d Fehlbaum says. \u201cBut I looked at Philipp [Trauer, his producer] and said, \u2018How are we going to do this?\u2019 There was simply no one who was going to trust me with the kind of budget we needed to make a movie like this.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tFilm is what happens when ambition runs into disappointment. And Fehlbaum had just suffered a head-on collision.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThe movie that would result instead \u2014 a 91-minute bullet train about <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/social-mediaa\/\" data-internallinksmanager029f6b8e52c=\"1\" title=\"Social Media\" target=\"_blank\" rel=\"noopener\">media<\/a> ethics titled <em>September 5<\/em> \u2014 created a buzz out of Telluride, prompting an acquisition frenzy and vaulting to the top of <em>THR\u2019<\/em>s Feinberg Forecast best picture list, where it continues to sit ahead of its limited release by Paramount on Dec. 13. But the road from there was filled with more speeding obstacles than the Autobahn.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1000px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((667\/1000)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/September-5_4200Rcr-EMBED-2024.jpg?w=1000\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"667\" width=\"1000\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">Tim Fehlbaum gives direction on the set. <\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">J\u00fcrgen Olczyk\/Paramount Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<h2 class=\"heading larva \/\/   lrv-a-font-accent-l   \"><span class=\"ez-toc-section\" id=\"Media_Studies\"><\/span>\n\t\tMedia Studies\t<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tWhen the full extent of the resources needed to shoot that 160-page script became clear, Fehlbaum, Binder and the producers slipped into a funk. Who would give them the money for a project that big? And there was no plausible way to make it smaller. It all seemed like the end, <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/game\/\" data-internallinksmanager029f6b8e52c=\"7\" title=\"Game\" target=\"_blank\" rel=\"noopener\">game<\/a>s over, medal unclaimed.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tBut they hadn\u2019t counted on the man known as Mase.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tGeoffrey Mason, as he is more formally known, was not the kind of person who was going to make Swiss auteur dreams come true. Heck, he wasn\u2019t even the kind of person who knew any Swiss auteurs. Mason, now 83, spends his days working as a sports producer from his home in Naples, Florida. He had been a young television producer that 1972 day, just past his 30th birthday, manning the ABC Sports control room for what was supposed to be a competition-lite 24 hours. He liked yachting and finding the right angle for diving competitions. Global terrorism? That was less his world.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThen the attack happened. Mason found himself thrust to the center of the <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/news\/\" data-internallinksmanager029f6b8e52c=\"2\" title=\"News\" target=\"_blank\" rel=\"noopener\">news<\/a> stage; the world was literally watching every choice he made. In 22 hours, he and his ABC Sports boss Roone Arledge changed the way Americans thought about sports coverage, terrorism and a half-dozen other realms. \u201cI didn\u2019t know anything about Hollywood when Tim and Philipp called a few years ago,\u201d Mason says. \u201cBut they seemed like smart guys, so I told them what happened.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tAs he talked about the on-the-spot improvisations and charged decisions \u2014 this essentially was livestreaming long before cable news and YouTube \u2014 the filmmakers realized they had their golden ticket. \u201cIt was such a rush,\u201d says Binder. \u201cThey were inventing this as they went along, with all this adrenaline, and we all felt the same listening to Geoff.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tAdds Fehlbaum: \u201cThere was something very compelling about a decision made on the spot about what they would show.\u201d A new, reined-in approach seemed apt.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThe filmmakers knew about the many films concerning Munich, from Kevin Macdonald\u2019s Oscar-winning 1999 doc <em>One Day in September<\/em> to Steven Spielberg\u2019s 2005 globe-hopping <em>Munich<\/em>. \u201cBut the media angle,\u201d Trauer says, \u201cthat felt unique.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tFehlbaum also had watched <em>United 93<\/em> and loved the idea of a scripted drama told in the style of a v\u00e9rit\u00e9 documentary, as if the camera was just catching what was happening in the room. \u201cI find it interesting to make a film in a controlled space, where you have this narrow window to the outside, like the air traffic scenes in <em>United 93<\/em>,\u201d Fehlbaum says, citing submarine thrillers as a reference point too.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1000px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((422\/1000)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/A028_C006_0308M0-cc-EMBED-2024.jpg?w=1000\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"422\" width=\"1000\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">The scene in the ABC Sports control room at the Munich Olympics, as shown in Fehlbaum\u2019s documentary-style feature. <\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Courtesy of Paramount Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThe director also valorized Aaron Sorkin, the leading expositor of modern control-room intrigue with shows like <em>Sports Night<\/em> and <em>The Newsroom<\/em>.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tIn just a matter of weeks, they\u2019d dived into every aspect of the media coverage of that day. Hundreds of pages were unearthed from archives. Books were inhaled. Tapes were watched. Long hang sessions were scheduled with personalities like CBS Sports executive Sean McManus (he was at the Munich Games as a teenager with father Jim McKay). Fehlbaum \u2014 at 42, born a decade after the attack \u2014 also set about immersing himself in control rooms, particularly of CBS Sports, his way in paved by McManus. \u201cEven if it\u2019s just a regular-season Knicks game, when the game starts, it really doesn\u2019t matter what the stakes are \u2014 you feel the excitement,\u201d Fehlbaum says.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tLittle discoveries would beget bigger revelations that would become key moments in the script, a scavenger hunt of cinematic research. When, in Arledge\u2019s memoir, the filmmakers read about the charged exchanges he\u2019d had with McKay, they tracked down tape of those discussions; when they watched it, they realized that the satellite feed was temporarily lost during coverage. This became a pivotal moment in the film.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tFehlbaum later even brought control room staff from German news media onto the set, casting them as extras so they\u2019d be there for actor reference. If the film feels uncommonly lived-in and authentic, these informal consultants are part of the reason why.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tWhen Fehlbaum, Trauer and the writers finished their research, the team (other producers include Thomas Wobke and Sean Penn) hadn\u2019t just reconstructed one of the 20th century\u2019s most fascinating media enterprises \u2014 they had conducted one of their own. \u201cIt was really like a whole documentary operation,\u201d says Binder.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1000px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((636\/1000)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/GettyImages-1051839268-EMBED-2024.jpg?w=1000\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"636\" width=\"1000\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">The scene in ABC\u2019s actual control room in 1972.<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Disney <a href=\"https:\/\/buradabiliyorum.com\/en\/category\/general\/\" data-internallinksmanager029f6b8e52c=\"3\" title=\"General\" target=\"_blank\" rel=\"noopener\">General<\/a> Entertainment Content\/Getty Images<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<h2 class=\"heading larva \/\/   lrv-a-font-accent-l   \"><span class=\"ez-toc-section\" id=\"Staffing_the_Room\"><\/span>\n\t\tStaffing the Room \t<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tCasting was its own challenge. Filmmakers needed actors who resonated with modern audiences but also brought an air of \u201970s grit. Peter Sarsgaard, a quiet voice of journalistic authority in <em>Shattered Glass<\/em>, would play Arledge. \u201cActors like to act and show off, but the piece did not call for that,\u201d Sarsgaard says. \u201cThere is a more potent form of authority \u2014 where you just know you have the power and don\u2019t have to demonstrate it.\u201d<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1000px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((563\/1000)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/September-5_301_K-EMBED-2024.jpg?w=1000\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"563\" width=\"1000\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">Peter Sarsgaard stars as ABC Sports titan Roone Arledge in the film.<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">J\u00fcrgen Olczyk\/Paramount Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tBritish actor Ben Chaplin fit the bill as Marvin Bader, a real-life Olympics operations maven who as the son of Holocaust survivors carried some baggage into the control room; he says he identified with the tension of shouldering another\u2019s pain as you also try to shed it. The film skates thrillingly not just through every logistical hurdle but every moral and character wrinkle, and Bader proved a fitting vessel.<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1000px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((417\/1000)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/Sept5_Still_3-EMBED-2024.jpg?w=1000\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"417\" width=\"1000\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">British actor Ben Chaplin as the haunted Marvin Bader, a real-life ABC Sports staffer.<br \/>\n<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">Courtesy of Paramount Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tGerman actress Leonie Benesch would be cast as Marianne \u2014 a young, dedicated production assistant who would not just serve as the linguistic link between the U.S. team and German locals but as a thematic fulcrum as well, representing a new fresh-faced Germany that in its futility to stop the attack is suddenly showing its wrinkles. She is a composite character, but Benesch notes that \u201cthe feeling that Marianne had of not being able to show that Germany was in a new place was very real.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tAnd then there was Mason. John Magaro was not an obvious choice \u2014 a workaday actor known for the violent-but-sensitive Vince Muccio in <em>Orange Is the New Black<\/em> and indie roles like <em>Past Lives<\/em> and <em>First Cow<\/em>. Then again, the real-life Mason was not an obvious choice either \u2014 a workaday type himself thrust into the spotlight. The match took, and the production had its Mason.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThe real-life Mason was trying to make tough moral choices on the fly while also attempting to seize the moment, and Magaro latched on to the tension. \u201cGeoff was trying to make his way in the business, and one way to do that is to lean into the sensational, while the other is to be a journalist in a pure form like Marvin Bader,\u201d he says. \u201cThis gray area was a rich thing to play.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tMagaro also spent months in control rooms, which Mason helped set up. \u201cI just made a few calls because I wanted him to see what it was like,\u201d Mason says.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tMason picked up the phone for a different purpose. The crucial moments in the film when McKay talks about how all the hostages have been killed \u2014 \u201cThey\u2019re all gone,\u201d he says eerily \u2014 couldn\u2019t convincingly be re-created and required rights to the original clips. But ABC wouldn\u2019t part with such footage easily. Fortunately, Mason had an old pal with a little bit of sway at Disney: Bob Iger. Mason called his old colleague, and the production had the footage.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tIt was only the start of big-time people paying attention.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tThe finished movie, edited with whiplash precision by Hansj\u00f6rg Wei\u00dfbrich, began drawing buzz at Venice and continued to crackle at a Telluride screening. Republic Pictures, Paramount\u2019s global acquisitions label, had rights to the film internationally, but U.S. distribution was up for grabs. That\u2019s when a handful of studios flipped for it, including Warner Bros. Seeming to realize what it had, Paramount stepped up and acquired the movie for U.S. release, making <em>September 5<\/em> a centerpiece of its 2024-25 Oscar plan.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t\u201cIt\u2019s basically a German movie that just happens to have American actors,\u201d Trauer says. \u201cWe never would have expected\u00a0this.\u201d<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1000px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((563\/1000)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/September-5_4043_b_K2-EMBED-2024.jpg?w=1000\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"563\" width=\"1000\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">Leonie Benesch as Marianne, an ABC production assistant serving as a go-between with the German authorities.<br \/>\n<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">J\u00fcrgen Olczyk\/Paramount Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<h2 class=\"heading larva \/\/   lrv-a-font-accent-l   \"><span class=\"ez-toc-section\" id=\"The_Meaning_of_Munich\"><\/span>\n\t\tThe Meaning of Munich \t<span class=\"ez-toc-section-end\"><\/span><\/h2>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tAs in-the-moment urgent as the film is, the real work on the part of viewers, the filmmakers hoped, would come later \u00ad\u00ad\u2014 in processing whether ABC made the right choices while staying live on the hostage situation.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tMason says the decisions flew by so fast, it was only later in the hotel that he, Arledge and others could reflect on what they did. Binder says he wants audiences to have the same experience, undergoing the film in a vertiginous rush but spending the next few days in Mason\u2019s conflicted shoes.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tChief among these dilemmas is the portrayal of violence. Media instincts might demand keeping the camera rolling, but the film balances this with the question of what is gained by watching people held hostage or killed in real time, especially considering the families were watching, too. There is one reading of the film as a glorious tale of intrepid truth tellers, especially considering some of the MacGyver solutions they come up with to keep the story live. But Fehlbaum subtly balances this with a darker possibility, in which decisions made that day are a villainous origin story for our voyeuristic infotainment era.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t\u201cNow everyone has a camera in their pocket,\u201d says the director. \u201cShould we show everything or does it have an irritant effect? I don\u2019t know the answer.\u201d<\/p>\n<div class=\"post-content-image \/\/  \">\n<figure class=\"o-figure   size-large alignnone lrv-u-max-width-100p\" style=\"width:1000px\">\n<div class=\"c-lazy-image  \">\n<div class=\"lrv-a-crop-16x9\" style=\"padding-bottom:calc((750\/1000)*100%);\">\n<p>\t\t\t\t\t\t<img loading=\"lazy\" class=\"c-lazy-image__img lrv-u-background-color-grey-lightest lrv-u-width-100p lrv-u-display-block lrv-u-height-auto\" src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/themes\/vip\/pmc-hollywoodreporter-2021\/assets\/public\/lazyload-fallback.gif\" data-lazy-src=\"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/S5_JP_104_PhotoByJohnIraPalmer-EMBED-2024.jpg?w=1000\" alt=\"\" data-lazy-srcset=\"\" data-lazy-sizes=\"\" height=\"750\" width=\"1000\" decoding=\"async\"\/><\/p><\/div>\n<\/p><\/div><figcaption class=\"c-figcaption  lrv-u-padding-tb-025\">\n<p>\t\t\t\t\t<span class=\"a-font-secondary-s lrv-u-margin-r-025\">Filmmakers on the set of September 5 calibrating a scene as they stand among the period cars used in the historical drama.<\/span><\/p>\n<p>\t\t\t\t\t\t\t\t\t<cite class=\"a-font-accent-uppercase-xs lrv-u-color-grey-dark\">John Ira Palmer\/Paramount Pictures<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tMagaro says he infused that uncertainty into the performance and emerged questioning his media habits. \u201cHopefully audiences will come away from this thinking about how they consume news as I did,\u201d he says.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tMiddle East politics brought its own resonance. The film was in postproduction when Hamas attacked Israel on Oct. 7, 2023, kicking off a brutal war. Though <em>September 5 <\/em>focuses on a Palestinian-led act of violence, Fehlbaum says the filmmakers tried to keep away from root causes and hew to the facts and assumptions of U.S. media in\u00a01972.<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tBut Sarsgaard says he feels the film by definition grapples with the conflict. \u201cWho is getting to tell the story is something worth thinking about,\u201d he says. \u201cA live camera pointed at the window [where the hostages are held] tells you one thing about the conflict, and a live camera pointed somewhere else tells you another. All stories are created.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\tFinally, there is the German question, as a country that had hoped to move past the propaganda of Hitler\u2019s 1936 Berlin Olympics suddenly finding itself back in a place where it can\u2019t keep Jews safe. In the end, the film is not only about how media views a country but how a country sees itself. What is the nature of national self-identity and collective guilt? \u201cIt was very clear to us as a German production this topic had to be omnipresent,\u201d Fehlbaum says. \u201cIt\u2019s another question I hope audiences come away asking.\u201d<\/p>\n<p class=\"paragraph larva \/\/  a-font-body-m     \">\n\t<em>This story first appeared in a December stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, <a rel=\"nofollow\" target=\"_blank\" href=\"https:\/\/subscribe.hollywoodreporter.com\/sub\/?p=THR&amp;f=saleb&amp;s=IH1402HR20\" target=\"_blank\" rel=\"noopener\">click here to subscribe<\/a>.<\/em><\/p>\n<\/p><\/div>\n<blockquote><p><strong><span style=\"color: #ff6600;\">If you liked the article, do not forget to share it with your friends. Follow us on\u00a0<span style=\"color: #ff0000;\"><a style=\"color: #ff0000;\" href=\"https:\/\/news.google.com\/publications\/CAAqBwgKMN63nwsw68G3Aw\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Google News<\/a><\/span>\u00a0too, click on the star and choose us from your favorites.<\/span><\/strong><\/p><\/blockquote>\n<blockquote>\n<p style=\"text-align: center;\"><strong>If you want to read more Like this articles, you can visit our <span style=\"color: #ff9900;\"><a style=\"color: #ff9900;\" href=\"https:\/\/en.buradabiliyorum.com\/category\/social-mediaa\/\" target=\"_blank\" >Social Media category.<\/a><\/span><\/strong><\/p>\n<\/blockquote>\n<p><span style=\"color: black;\"><a style=\"color: #ff9900;\" href=\"https:\/\/www.hollywoodreporter.com\/movies\/movie-features\/making-of-september-5-media-ethics-history-1236081839\/\" target=\"_blank\" >Source<\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>There are filmmakers who start big and get bigger, their project mushrooming ever larger as new ideas, characters and scenes enter their landscape. Then there\u2019s Tim Fehlbaum. The Swiss writer-director \u2014 he previously made two indie sci-fi films \u2014 started really big. He was going to capture from every angle that fateful day of Sept&#8230;.<\/p>\n","protected":false},"author":1,"featured_media":646463,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.hollywoodreporter.com\/wp-content\/uploads\/2024\/12\/September-5_3883KR2-H-2024.jpg?w=1296&h=730&crop=1","fifu_image_alt":"","footnotes":""},"categories":[17],"tags":[138120,5519,145694,153116],"class_list":["post-646462","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-social-mediaa","tag-anatomy-of-a-contender","tag-awards","tag-peter-saragaard","tag-september-5"],"_links":{"self":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/646462","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/comments?post=646462"}],"version-history":[{"count":0,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/posts\/646462\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media\/646463"}],"wp:attachment":[{"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/media?parent=646462"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/categories?post=646462"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/buradabiliyorum.com\/en\/wp-json\/wp\/v2\/tags?post=646462"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}