The Director's Introduction

The moment I conceived UNCOVERED is still fresh and clear in my mind.

It was an early morning in late June, I was reading the paper, and in the middle of a long article about Iraq, one of the Bush Administration folks was quoted, speaking about "programs for weapons of mass destruction" and how sure he was that they would find “programs.” I got a knot in my stomach and a feeling of deep concern. We did not go to war for a program. A program can be a paper, a blueprint, some notes.

We went to war because we were told there were weapons…and that the threat was imminent and dangerous.

But the article did not in any way challenge this revisionist explanation of the "why." I imagined a headline - "Programs for WMD Found!" - and I feared that we would all just accept that.

The next day I began UNCOVERED, intending to juxtapose this new line of argument about “programs” versus the original images, words, and speeches about weapons of mass destruction. We all have short emotional memories, and I wanted to re-create the atmosphere in which the warnings were given, using the actual words and statements of the Bush Administration.

The following day I read about Ray McGovern and his amazing organization, Veteran Intelligence Professionals for Sanity, a group of former CIA employees who were questioning the reasons for the war. I called Ray and we talked at length. I was very impressed and affected by his clear-headed analysis.

Now the film, conceptually, came together. I would use the CIA experts, and other high-level professionals including Ambassador Joseph C. Wilson and weapons inspector David Albright. Operating from their expertise, they would analyze and explain, logically and practically, why the reasons we were given for going to war were not accurate. This would be contrasted with the Bush Administration's explanations and warnings.

As I continued to work on the film, I met more and more people who had intimate knowledge about Iraq, weapons, intelligence and inspections, and who were willing to come forward and talk, whatever their politics - Republicans, Democrats, independents, some in favor of the war, some against. All were united and passionate in their convictions that the reasons we were being given for war on Iraq were, at best, misleading.

As the scope of the project expanded, I ran out of resources and reached out to Wes Boyd at MoveOn.org and John Podesta at the Center for American Progress (CAP). They came through immediately with financial support, enabling me to finish the original hour-long documentary.

I have made over 50 films including theatrical, cable, and television, all utilizing the existing distribution system. In the case of UNCOVERED, I wanted it seen quickly. So I never considered the traditional gatekeepers. Rather, I looked at the strengths of the partners. CAP had wonderful contacts among the opinion makers and D.C. policy experts, while MoveOn.org had this phenomenal grassroots internet constituency. So we created an alternative distribution concept with CAP hosting screenings in Washington D.C., New York, L.A, and Boston, with MoveOn.org promoting nationwide house party screenings of the film to its members.

Philippe Diaz of Cinema Libre Studio was at an early screening and saw the amazing audience response and was visionary enough to encourage me to create a full-length film with lots of additional material. Cinema Libre Studio came on as a co-producer and worldwide distribution partner and now we have a full length 35mm feature film mm opening in theatres August 20th in New York, Boston and D.C., and have been invited to international film festivals including Munich, Locarno and Deauville.

The hunger for serious material that confronts the most important issues of the day is wide and deep. I am proud to be part of the important debate that is now going on in our country, about the direction of our country, our policies and who we are in the world. I hope that UNCOVERED can play a role in that debate, and can help inspire others to believe, as I do, that democracy is not a spectator sport.

Robert Greenwald
Los Angeles
July 2004

Back to Main