Oren Moverman (born July 4, 1966) is an Israeli-American film director, screenwriter, producer, and former journalist based in New York City.
So the only problem that you have is actually switch things in the department, changing things, controlling things, putting it maybe under federal supervision, and if you fix the department, you'll fix the problems - with police corruption, with brutality, with evidence tampering, all those things.
It's not a big secret that what's lacking and what's wrong in our society starts with education. It starts with the way people are brought up, and what is put into their heads and put into their minds as engaged citizens.
I'm looking into a different actor's eyes every couple days, and I'm learning so much just to see the different processes people go through, and how their acting works for them.
It's not a big secret that what's lacking and what's wrong in our society starts with education.
There's no solutions to prevent corruption because it's the same thing as putting soldiers in an occupation in a foreign territory - there's too much that's gonna go wrong. There's too much human behavior that's going to get in the way. So you're gonna have to start thinking about it in a different direction, and the different direction is: what is wrong with society?
And with the Occupy Movement, it's really ironic how the police come as representatives and enforcers of the powers that be, even though the people in the Occupy Movement are really on their side - not in terms of their behavior, but in terms of their economic status, in terms of who the police are in society and how much they're paid, and if you boil it down to the economics of it, the police should be out there marching with the Occupy Movement.
That's really the big inspiration of this movie. It's really looking at a man who's really showing all the traits and all the characteristics of the classic patriarchal country, where he's of military power, he's the king of the hill at home, as well as in the streets. He has the liberty to live where he wants.
I think the most emotional part in making the movie and discovering the movie - because it was a process of discovering - is all the scenes with the family.
Another option, which I think is the thing that makes more sense, is this fact that the police are a reflection of the occupation of certain neighborhoods and certain parts of cities that are designed, basically, to keep the bottom down and basically maintain the status quo, but out of sight, so that the other side - the people in power, the people with money, the people with comfort, the people that are living in the "safer" areas - are sure that they can sleep safely in their bed while bad thing are happening to people and it's not their problem.
If you look at it that way, then you start thinking about the basic things, which are jobs not jails, and education not incarceration.
It's tough to be an actor and it's tough to portray a real person, and it's tough to play two people adding up to one person.
I think that's an incredibly overwhelming reality that is really at the basis of how we're going to deal with this. Looking at the film, people will say, "Oh yeah, you're criticizing the police. " I say, "No. "
I enjoy the process of writing collaboration so there's some stuff that already that may happen and then some stuff that I'm initiating that I may write on my own.
I have no idea what the next project will be and if there's a next project. I don't even know if we're all going to be here tomorrow, but I'm pretty optimistic.
But the reality is that the police serve a certain function, to maintain a certain status quo, and that's one of the things that the movie is about, because it basically gives you three options for looking at the police, as symbolized by Dave Brown.
Being in the moment with these guys was just a profound experience every day, and when we shoot a movie it's actually a very short process, especially an independent movie like this. It was only thirty five days of shooting.
I really feel that actors should really know who they are as characters; they should really study their lines; they should be prepared; but once they come to set, for me the most exciting way to shoot a scene is to really find it, really kind of grind your way through it, until you feel like you have something that you can put together.
First of all, we occupied Afghanistan and Iraq and I'm not even talking about the past occupation of them, I'm just talking about currently. And we all know that occupations, in military terms, comes down basically to policing, so you have an army basically functioning as a police force in these foreign territories as part of foreign policy. I'm not knocking that down, I'm just observing.