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Click Here: <A HREF="aol://5863:126/alt.conspiracy:602687">MOVIE REVIEW:
"Tailing the Millennium"</A>
Subject: MOVIE REVIEW: "Tailing the Millennium"
From: Tin Foil Hat <A HREF="mailto:[EMAIL PROTECTED]">tinfoilhat@my-deja.
Date: Tue, Mar 14, 2000 4:11 PM
Message-id: <8amkg6$i81$[EMAIL PROTECTED]>

"THE LAND OF THE LOST STORY" by Marian Hollenbeck
Copyright 2000
(In "Tailing the Millennium", government cover-ups get
by with a little help from friends in the media.)
The director and narrator of "Tailing the Millennium:
A Grassroots View of America in 1999" recounts at the
beginning of her film the start of her love affair with
conspiracy theories. As a child listening to the radio
with her father, she would hear a particularly intriguing
news item. "Sometimes we'd even hear it twice. And we'd
sit and we'd wait and we'd wait for an expanded update but
usually we would never, ever hear it again. It would just
disappear so completely as to make me question whether or
not I'd even really heard it the first time."

After a well-rounded liberal education from her
Canadian university ("I learned pretty quickly in
University that your sole purpose as a student is
to regurgitate back what the professor told you in
order to get a good mark," she remarked), and having
lived the high life for several years, Anna Zetchus
decided to move to New York and actually put her acting
talents to the test - which meant struggling and
waitressing. It was there she met and married Benjamin
Raetz, and not too long afterwards, the couple moved to
Los Angeles, where their son Hamlet was born. Now a
housewife, Anna was content to spend her spare time (what
there was of it) surfing the Internet - "and there," she
reveals, "I found the Land of the Lost Story."

Her re-established relationship with the journalistic
Bermuda Triangle was heightened in early 1999 upon
viewing "Waco: The Rules of Engagement". The Davidians
desired to be filmed by the press so that the American
public could see them for who they really were - a tapestry
of colors and backgrounds, a collected, peaceful group with
men, women and children living in harmony. The FBI didn't
allow the media inside, but gave the group a video camera.
"The media had promised the Davidians they would show it,
but then they stated they would not show the video in that
they believed that the video would 'elicit a sympathetic
response' from the American people," Anna asserted in our
discussion. "That idea haunted me for a really long period
of time because it embodied everything about how I was
beginning to see that the powers that be do not want critical
thinkers. They want happy consumers. I believe the American
people were robbed in making their own decision or understanding
truly the situation, or just seeing these people as fellow
human beings, fellow Americans."

So the Los Angeles housewife, with financial support from
friends and well-wishers and the company of her loyal and
patient husband, her son, and a photojournalist friend,
armed herself with a Canon XL-1 camera, loaded up a Jeep
Cherokee, and hit the road - about 8,500 miles worth in six
and a half weeks - to pose questions about such topics as Y2K,
Area 51, gun control, Waco, and the New World Order to those
willing to answer in a provocative exercise of what Anna terms
"guerrilla journalism" in her attempt to compare and contrast
the information disseminated by the pro-government media versus
what the experts - and the American public - truly know and
believe about the controversial subjects touched upon in the film.

Among the interviewees in "Tailing the Millennium" are
students of Littleton, Colorado (which Anna compared to
the "Cone of Silence" in the inability of the internal
factors of that town to comprehend or discuss last year's
Columbine High School massacre), people on the street in
New York City, leading Biblical prophecy and governmental
experts, an astrophysicist from Jet Propulsion Laboratories,
a master practitioner of the occultic arts, members of the
military current and past, maverick Internet journalists,
the unofficial tour guide of the Branch Davidian site in Waco,
Texas (a place Anna describes as "desolate, abandoned by God"),
and the man whom Rush Limbaugh stated, according to a Clinton
Administration memo, is the "most dangerous radio host in
America". All of the subjects seemed willing and eager to talk
about their pet causes save this last subject, underground radio
host William Cooper, who had stringent stipulations on how
his segment would be edited (not at all) and who would be
permitted on his property to film him (Anna and the camera -

Needless to say, it wasn't an easy project for the crew
whose driving force was "a wing and a prayer". The average
temperature on the road was 104 degrees. Disagreements
among the crew heightened the level of tension as the journey
went on. Several times the project was in danger of being
scrapped due to dwindling finances. (After all was said and
done, after having their fat pulled out of the fire on numerous
occasions, the Raetz family returned home with a whopping
three dollars remaining to their name.)

Yet despite the hardships and debts, they came back to Los
Angeles with 65 hours worth of footage. Then the real work
and expense began.

"People have a passion for filmmaking, and the best way to
quench it is to make a movie," was Anna's wry commentary on
her foray into guerrilla journalism. "For anyone who's
making a movie - whatever it's going to cost you to make it,
that is the exact same amount it is going to cost in post-production."
At this writing, Anna still must rely on a financial miracle
to complete the necessary editing and clean-up to bring her
project up to her professional expectations.

Not even to mention the herculean task of whittling 65 hours
of film down to two hours and four minutes. Anna was at this
point forced to determine how to put together (or rather, take
apart) her leviathan, and decided that the editing process
depended upon six captions and the appropriate topics that
would fit within these captions.

The results, in a word, are startling. The quality of the film,
while redolent of a high-grade home movie, is surprisingly
effective considering the spartan amount of equipment and the
tiny production team, and the slightly muddy sound, rather than
detracting from the caliber, actually sets a realistic mood
throughout, even enhancing the more poignant aspects of the Waco
segment and the increasingly ominous subject matter brought forth
in the latter half of the film. The credit for the music belongs
to Benjamin Raetz, whose results in setting the pace and tone of
the film are stylish without lofty or unnecessary interference.

"Tailing the Millennium" is liberally peppered with eminently
quotable interviewees and speakers. The vigilant editing shines
forth especially in a duel of religious opinions between Christian
astrophysicist Hugh Ross and George Hiram Derby, a pagan former
policeman now employed by Panpipes Magickal Marketplace in

A healthy portion of this film incorporates footage of
Washington, D.C.'s "Rally Against Treason" where Christopher
Hitchens, a socialist writer for "Vanity Fair" magazine, and
Alan Keyes, the most conservative of the Republican candidates
for President, actually break bread together in their denunciation
of a mendacious, arrogant government and its supportive toadies
in the media, and the willingness of both to lie to the American
people for the sake of hiding the government's insidious actions
and its intent to deny the precepts of the Constitution, and as
a result, facilitate a path towards increasing government tyranny.
For this, both Hitchens and Keyes agree that the government and
media must be held accountable for their complicity to rob
Americans of their rights and freedoms.

This was the main goal of "Tailing the Millennium", Anna admitted.
"The American people have been successfully sedated. I wanted
to provoke people to ask questions, to let them know they have to
wake up to this no-accountability society." And although Anna
confesses that even for herself her movie raises more questions
than answers, surely "Tailing the Millennium" can be added to
the woefully short list of films that aggressively demands answers
from those powers in high places.

("Tailing the Millennium: A Grassroots View of America in 1999".
Crosswalk Entertainment/Benanna Productions, 1999. Director: Anna
Zetchus Raetz. Producer: Benjamin Raetz. Executive Producers: Viki
Brooks, Michael Brysch, Benjamin Raetz. Director of Photography:
Robert Stolarik. Editor: Derek Vaughn. Production Assistants:
Cynthia Coldren, David Crisler. Featuring interviews with William
Cooper, George Hiram Derby, Joseph Farah, Dr. Kent Hovind, Texe
Marrs, Chuck Missler, Jeffrey R. Nyquist, and Dr. Hugh Ross.
Running time: 124 min. For more information on the interview
subjects and their sites, visit www.crosswalkentertainment.com)

Sent via Deja.com <A HREF="http://www.deja.com/">http://www.deja.com/</A>
Before you buy.

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