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  • Edward R. Murrow stars as Himself/Prologue Narrator in the 2004 video release of Aero kae bo.
  • For the 2002 movie 16f9, Edward R. Murrow plays Himself.
  • Edward R. Murrow is cast in the role of Himself in the 1957 movie Arte popular V.
  • For the 1968 production of The Banditos, Edward R. Murrow stars as Himself.
  • For the 2003 show Evil Cult, Edward R. Murrow's character is Himself - Host.
  • Himself (host) in the 1919 release of The Fighting Sheriff.
  • For the 2004 release Hand Job Hunnies 6, he is cast in the role of Himself.
  • In 1979, Edward R. Murrow's character is Himself in the show Isi.

  • GOING DOWN IN BLAME

    
    'THE Sensation of Sight," the first feature by director-writer-producer Aaron J. Wiederspahn, features a splendid performance by David Strathairn, who played legendary TV journalist Edward R. Murrow in "Good Night, and Good Luck." In "Sensation,"...
    on 2008-08-22 04:50:53

  • WNYC's Walker wins a Murrow

    
    Laura Walker, who has presided over the reshaping of public radio giant WNYC over the past 11 years, has won the 2008 Edward R. Murrow Award from the Corporation for Public Broadcasting.
    on 2008-07-24 04:48:46

  • Reliving The Legacy Of Edward R. Murrow

    
    On Edward R. Murrow's 100th birthday, the legendary newsman's career still evokes some of the most unforgettable moments in American journalism.
    on 2008-04-25 12:47:09
  • http://jam.canoe.ca/Movies/2006/01/05/1380146-ap.html 'Brokeback' leads SAG film noms By DAVID GERMAIN Screen Actors Guild award nominees LOS ANGELES (AP) - The cowboy love story Brokeback Mountain led nominees Thursday for film prizes from actors and directors unions, including performers Heath Ledger, Michelle Williams and Jake Gyllenhaal and filmmaker Ang Lee. Brokeback Mountain earned four Screen Actors Guild nominations: lead actor for Ledger and supporting actor for Gyllenhaal, who play old shepherding buddies concealing their homosexual affair from their families; supporting actress for Williams, who plays Ledger's wife; and best overall performance by its entire cast. Lee, whose films include Crouching Tiger Hidden Dragon and Hulk, was among best-filmmaker nominees by the Directors Guild of America. Other directing nominees were George Clooney for the Edward R. Murrow tale Good Night, and Good Luck; Paul Haggis for the ensemble drama Crash; Bennett Miller for the Truman Capote story Capote; and Steven Spielberg for Munich, a thriller centred on the massacre of Israeli athletes at the 1972 Olympics. Clooney also earned a supporting-actor nominee from SAG for his role as an undercover CIA agent in the oil-industry thriller Syriana. Along with Brokeback Mountain, SAG nominations for best film cast went to Capote, Crash, Good Night and Good Luck, and Hustle & Flow, the story of a pimp and drug dealer forging a career as a rap singer. Joining Ledger in the lead-actor category were Philip Seymour Hoffman as author Capote in Capote; Russell Crowe as Depression-era boxer Jim Braddock in Cinderella Man; Joaquin Phoenix as singer Johnny Cash in Walk the Line; and David Strathairn as newsman Murrow in Good Night and Good Luck. Lead-actress nominees were Judi Dench as a society dame who starts a nude stage revue in 1930s London in Mrs. Henderson Presents; Felicity Huffman in a gender-bending role as a man preparing for sex-change surgery in Transamerica; Charlize Theron as a woman leading a sexual-harassment lawsuit at a mining company in North Country; Reese Witherspoon as Cash's soulmate and eventual wife, June Carter, in Walk the Line; and Ziyi Zhang as a poor girl who becomes a belle of Japan in Memoirs of a Geisha. Huffman also was nominated for best actress in a TV comedy series for Desperate Housewives, a role that earned her an Emmy last year. Desperate Housewives co-stars Teri Hatcher, Marcia Cross and Eva Longoria, who along with Huffman took four of the five TV musical or comedy nominations at the upcoming Golden Globes, all were shut out for guild nominations. The show's entire cast was honoured with a nomination for comedy ensemble, along with Arrested Development, Boston Legal, Curb Your Enthusiasm, Everybody Loves Raymond and My Name Is Earl. Nominated for TV drama ensemble were The Closer, Grey's Anatomy, Lost, Six Feet Under and The West Wing. Policeman roles in Crash - Don Cheadle as a devoted detective, Matt Dillon as a racist beat cop - earned them supporting-actor nominations. Along with Gyllenhaal and Clooney, the other nominee was Paul Giamatti as boxer Braddock's manager in Cinderella Man. Joining Williams as supporting-actress nominees were Amy Adams as a southern waif in the comic drama Junebug; Catherine Keener as Capote pal Harper Lee, author of To Kill a Mockingbird, in Capote; Frances McDormand as an ailing miner in North Country; and Rachel Weisz as a slain humanitarian-aid worker in The Constant Gardener. SAG awards will be presented Jan. 29 in a ceremony televised on TNT and TBS. The Directors Guild will present its awards Jan. 30. - On the Net: Screen Actors Guild: http://www.sagawards.org Directors Guild of America: http://www.dga.org - Nominees for Screen Actors Guild Awards Nominees for the 12th annual Screen Actors Guild Awards: Movies: Actor: Russell Crowe, Cinderella Man; Philip Seymour Hoffman, Capote; Heath Ledger, Brokeback Mountain; Joaquin Phoenix, Walk the Line; David Strathairn, Good Night, and Good Luck. Actress: Judi Dench, Mrs. Henderson Presents; Felicity Huffman, Transamerica; Charlize Theron, North Country; Reese Witherspoon, Walk the Line; Ziyi Zhang, Memoirs of a Geisha. Supporting actor: Don Cheadle, Crash; George Clooney, Syriana; Matt Dillon, Crash; Paul Giamatti, Cinderella Man; Jake Gyllenhaal, Brokeback Mountain. Supporting actress: Amy Adams, Junebug; Catherine Keener, Capote; Frances McDormand, North Country; Rachel Weisz, The Constant Gardener; Michelle Williams, Brokeback Mountain. Ensemble cast: Brokeback Mountain, Capote, Crash, Good Night, and Good Luck, Hustle & Flow. - Television: Actor in a Television Movie or Miniseries: Kenneth Branagh, Warm Springs; Ted Danson, Knights of the South Bronx; Ed Harris, Empire Falls; Paul Newman, Empire Falls; Christopher Plummer, Our Fathers. Actress in a Television Movie or Miniseries: Tonantzin Carmelo, Into the West; S. Epatha Merkerson, Lackawanna Blues; Cynthia Nixon, Warm Springs; Joanne Woodward, Empire Falls; Robin Wright Penn, Empire Falls. Actor in a Drama Series: Alan Alda, The West Wing; Patrick Dempsey, Grey's Anatomy; Hugh Laurie, House; Ian McShane, Deadwood; Kiefer Sutherland, 24. Actress in a Drama Series: Patricia Arquette, Medium; Geena Davis, Commander in Chief; Mariska Hargitay, Law & Order: Special Victims Unit; Sandra Oh, Grey's Anatomy; Kyra Sedgwick, The Closer. Actor in a Comedy Series: Larry David, Curb Your Enthusiasm; Sean Hayes, Will & Grace; Jason Lee, My Name Is Earl; William Shatner, Boston Legal; James Spader, Boston Legal. Actress in a Comedy Series: Candice Bergen, Boston Legal; Patricia Heaton, Everybody Loves Raymond; Felicity Huffman, Desperate Housewives; Megan Mullally, Will & Grace; Mary-Louise Parker, Weeds. Drama ensemble: The Closer, Grey's Anatomy, Lost, Six Feet Under, The West Wing. Comedy ensemble: Arrested Development, Boston Legal, Curb Your Enthusiasm, Desperate Housewives, Everybody Loves Raymond, My Name Is Earl.
  • http://jam.canoe.ca/Movies/Artists/C/Clooney_George/2005/11/22/1317177.html Clooney takes a serious turn Director/producer Clooney is making his political films while his name is hot By BRUCE KIRKLAND -- Toronto Sun George Clooney plays an aging and jaded CIA operative in the left-wing political thriller Syriana. NEW YORK -- George Clooney is a celebrated Hollywood bachelor and prankster hyped for his easy charm, smooth sensuality and playful wit. That is precisely why he could enable a liberal message movie like Stephen Gaghan's Syriana, which opens tomorrow. With Clooney on the marquee, Warner Bros. executives felt comfortable greenlighting this dazzlingly complex political thriller about corruption in the oil industry, moral bankrupcy in Washington, confusion in U.S. spy ranks, the rise of China as an economic juggernaut and the making of suicide bombers in the Middle East. But the celebrity joke is that Clooney is radically transformed. He plays an angry, depressed C.I.A. agent who is also repulsively fat and sweaty. Clooney larded on 30 pounds in 30 days. He shucked his vanity like an oyster. He stripped away charm with caustic acid. Sexy he ain't. The paradox is delicious, and Clooney, clever lad that he is, is fully aware and ready to exploit his advantage. "The truth is," the now re-slimmed Clooney says, "you only get a certain amount of time where you can go to Warner Bros. and say: 'Guys, we're going to make a film about oil corruption!' I'm in a position to do things I want to do and you're not going to be in that position for very long." It is the same reason, he says, that he got away with making his dream project as a filmmaker-actor, the acclaimed new period piece Good Night, And Good Luck. It is a provocative movie that dramatizes the confrontations between respected broadcaster Edward R. Murrow and the fanatic Commie-hunting Senator Joseph McCarthy. Clooney looks as if he is on a mission and is drawn to films with a social conscience. "Yes," he says, "but only because I've always been drawn to those movies. I grew up during the civil rights movement, during the women's rights movement, during the Vietnam War movement. I grew up in probably the greatest film time in the history of the world, which is '65 to '75 -- the protest films. I think they're really incredibly entertaining as well. "The important thing for both of these films (Syriana and Good Night) is that they are entertaining. They're not civics lessons. But yeah, I'm interested in them because they're socially asking questions. But I see nothing wrong with a big fat entertainment either." The timing of Syriana is intriguing because it plays like current affairs -- today's or even tomorrow's news. And it is being released just as the Bush regime is sagging. Of course, Clooney & Co. (including producing partner Steven Soderbergh) got this project on track more than two years ago when America was still in the throes of 9/11 nationalism and when Clooney was still being branded a "traitor" for speaking up against the Iraq war. "I think the fun part, the good part, of the film," says Clooney, "is that it seems to be hitting at exactly the right time where you're allowed to have these debates again. The same with Good Night, And Good Luck." Debate is the operative word. Clooney, while he has dismissed George W. Bush as "dim" and attacked the war-mongering, says that politically savvy films such as Syriana and Good Night do not lay out a simple agenda. Especially Syriana, which is constructed like a 16-lane superhighway in which parallel plots race like traffic towards a convergence that might turn into a car wreck. "At least in my opinion," says Clooney, "we're not there to provide answers. But we're there to ask some questions and then let the other guys figure it out." To ask those questions, he had to bury himself in his character, a fictional field agent and assassin named Bob Barnes (who is loosely based on real-life former C.I.A. agent Bob Baer, whose book See No Evil inspired the film). To bury himself, Clooney felt compelled to grow a bushy beard and gain those 30 pounds. "I couldn't have done the film (without the weight gain) because the character really needed to fit into the idea that he's not recognizable. He's somebody who slips into the back of the room. And I thought it helped a lot." Yet Clooney's health suffered, especially when he injured his spinal column in a torture scene. He toppled over accidentally while taped to a chair. "It's a slow process," Clooney says of healing. "It's a long battle. But it's getting better." The physical trauma added to an already fragile mental state before and during filming. A brother-in-law died of a heart attack. His father lost a Kentucky congressional election. His dog died of a rattlesnake bite. His weight made him sluggish and irritable. "There were a lot of things," Clooney says now. "It felt like we were having a bad year. But it felt like, creatively, I was having the best year." Another Clooney paradox.
  • http://jam.canoe.ca/Movies/Artists/L/Langella_Frank/2005/11/12/1304026.html Langella singing Clooney's praise Langella glad for chance to work with kind director By LOUIS B. HOBSON -- Calgary Sun Frank Langella isn't shy or tongue-tied: He just doesn't like doing interviews. But he didn't have to be asked twice to help promote Good Night, and Good Luck, George Clooney's docudrama that is now playing. "I'd do anything for George. He's one of the best and kindest people in this business," says Langella from his home in New York. Set in 1954, Good Night, and Good Luck is the fact-based story of how CBS-TV newsman Edward R. Murrow exposed the underhanded tactics of Sen. Joseph McCarthy, who made it his mission to expose communist sympathizers in the U.S. Langella, 65, plays then CBS president William Paley. "When we did the first reading of the , I looked around the table and commented that I was the only one in the room who wasn't in diapers when Murrow took McCarthy to task," Langella says. Though he was only a teenager at the time, he was glued to the family TV set like everyone else. "Everyone in our New Jersey neighborhood was talking about how brave Murrow was to challenge McCarthy. "We sat around the 7 *" RCA Victor TV we had in our living room. Mother would bring in food. It was an event in our household," says Langella. It was an event that would halt the witch hunt and series of character assassinations McCarthy had begun a year earlier. Langella says it's only natural Clooney would revere Murrow as one of his heroes. "George is very concerned about the obligations of the media in reporting the news," says Langella. Clooney plays Fred Friendly, Murrow's producer at CBS. Langella says Clooney is an actors' director. "You know, there are always problems on a movie set, but George keeps those things away from the actors. "He'll disappear with producers then come back smiling," says Langella, adding that Clooney was not beyond giving his actors a shoulder rub to get their confidence up. There was a time not too long ago Langella said that theatre, not movies, was his priority. "I've had a great run with film these past three years, and I'm enjoying the freedom it gives me," he says. "I'll get back to the theatre one day, But just not right now."
  • http://breakingnews.iol.ie/entertainment/story.asp?j=186123180&p=y86yz3995&n =186124066 Clooney to be honoured at Californian film festival 02/11/2005 - 14:38:44 US movie star George Clooney will receive the 2006 Modern Master Award during the upcoming Santa Barbara International Film Festival in California, the event's top official said. "The Modern Master Award is about somebody who has shown versatility - someone who has worn more than just one hat," Roger Durling, the festival's executive director, said. "He is definitely overqualified." Clooney directed, produced, co-wrote and co-stars in Good Night, and Good Luck, which opened earlier this month to glowing reviews. It is based on the battle between television journalist Edward R. Murrow and Senator Joseph McCarthy. Clooney, 44, burst onto the scene as Dr. Douglas Ross in the television drama ER. He has starred in such films as Three Kings, O Brother, Where Art Thou?, and the remake of Ocean's Eleven and its sequel, Ocean's Twelve. He made his directorial debut in 2002 with Confessions of a Dangerous Mind. The tribute to Clooney will take place on February 3 and will feature clips from his films and an onstage interview, Durling said. The 21st annual Santa Barbara Film Festival begins on February 2 and will run for 11 days.
  • "Rick in Oz" wrote in news:7vA3f.307$lC.11344@nnrp1.ozemail.com.au: > http://www.chron.com/cs/CDA/ssistory.mpl/features/3395175 > By ERIC HARRISON > Copyright 2005 Houston Chronicle > we associate with television newscasters today. They may not even be > qualities we want in television newscasters today. But long before > Anderson Cooper's twitchy stutter, Bill O'Reilly's bombastic bullying > or Keith Olbermann's wisecracks, Edward R. Murrow epitomized the ideal > of the TV journalist. > Clooney's tight-focus, chiaroscuric rendering of a defining moment in > Murrow's career and for America - the newsman's face-off with the > red-baiting Sen. Joseph McCarthy. > his CBS program, See It Now, in which he took on McCarthy. But he was > able to fight off pressure from panicky sponsors and network bosses > because his radio reports from Europe during World War II had made him > a popular national figure. > combat missions with U.S. forces, including a famous Dec. 3, 1943 > broadcast, "Night Raid on Berlin." > hard-hitting news program, Murrow became a harsh critic of the > encroachment of entertainment values on news programs. > broadcast journalism. > crack newsmen he recruited to work on his programs, are thinning out. > United States Information Agency (he died in 1965 of cancer), newsmen > who worked with him, such as Eric Sevareid, Daniel Schorr, Howard K. > Smith, Marvin Kalb, Bob Pierpoint and others, carried on his tradition > of serious reporting and commentary. > The 89-year-old NPR news analyst says Murrow still inspires and guides > him. > told MSNBC this month, "the question I ask myself is, what would > Murrow have done? What would Murrow say?" > 1953 and March 1954, long after the Cold War fear of Soviet > infiltration had been matched in many quarters by the fear of being > unfairly branded a Communist sympathizer. > employees to sign loyalty oaths. Workers in the entertainment industry > were blacklisted. People were brought before McCarthy's congressional > committee and compelled to name associates they suspected of holding > or having held radicals views. > Still, no one dared speak out. > the State Department who, it turned out, actually had been a Soviet > spy - Murrow and his longtime producer, Fred Friendly, exposed the > case of an Air Force Reserve meteorologist who was dismissed from the > reserves because his father and sister were deemed to be left-wing > sympathizers. The public outcry caused the Air Force to reverse its > decision, but the program made Murrow a McCarthy target. > threatened to smear the newsman with a false allegation that he'd once > been on the Soviet payroll. > largely of clips of McCarthy browbeating witnesses and speechifying. > closing commentary. "We will not be driven by fear into an age of > unreason if we dig deep in our history and doctrine and remember that > we are not descended from fearful men, not from men who feared to > write, to speak, to associate and to defend causes which were for the > moment unpopular. We can deny our heritage and our history, but we > cannot escape responsibility for the result. There is no way for a > citizen of the Republic to abdicate his responsibility." > December of that year the senator was censured. He lost his committee > chairmanship, but Murrow's rift with CBS also grew, and eventually See > It Now was canceled. > Murrow built. His successors consciously tried to follow his example, > but cutbacks, terminations and bureau closings in the 1980s left the > news organization a shadow of what it once was. > values Murrow abhorred have affected all television news. > comment about today. It's hard to watch it without wondering how much > of Murrow's spirit is left. > younger people today. An exception is Don Hewitt. Played by Grant > Heslov, Hewitt went on to create 60 Minutes in 1968 and guided it > until he retired as executive producer last year. TV news magazines > had proliferated by then, but few were cut from the same mold. > Minutes producer from its creation to 1988. > Murrow Boys. Cronkite, who like Murrow served in Europe during World > War II, turned down Murrow's offer to join his team. He went to work > at the network later, in 1950, becoming anchor in 1962. > throughout his career, joined CBS news in 1962, one year after Murrow > resigned. With Rather's departure earlier this year - under intense > criticism because of a report based on flawed documentation - it's > fair to ask where television news is headed. > news to the Internet, it's hard to imagine single broadcasts having > the same effect today as Murrow's programs on McCarthyism did. > willing to stand up to power the way CBS, under Murrow's influence, > did in the 1950s. > O'Reilly is the modern day McCarthy, his lies are backed up by an entire network of hate.
  • http://www.chron.com/cs/CDA/ssistory.mpl/features/3395175 Murrow stood against McCarthy, set tone for nation By ERIC HARRISON Copyright 2005 Houston Chronicle He was principled, cerebral and eloquent - not necessarily qualities we associate with television newscasters today. They may not even be qualities we want in television newscasters today. But long before Anderson Cooper's twitchy stutter, Bill O'Reilly's bombastic bullying or Keith Olbermann's wisecracks, Edward R. Murrow epitomized the ideal of the TV journalist. Murrow is brought to vivid life in Good Night, and Good Luck, George Clooney's tight-focus, chiaroscuric rendering of a defining moment in Murrow's career and for America - the newsman's face-off with the red-baiting Sen. Joseph McCarthy. Murrow is most remembered today for the March 9, 1954, broadcast of his CBS program, See It Now, in which he took on McCarthy. But he was able to fight off pressure from panicky sponsors and network bosses because his radio reports from Europe during World War II had made him a popular national figure. He reported from London during the Nazi blitzkrieg and flew 25 air combat missions with U.S. forces, including a famous Dec. 3, 1943 broadcast, "Night Raid on Berlin." Forced to host a celebrity interview show in addition to his hard-hitting news program, Murrow became a harsh critic of the encroachment of entertainment values on news programs. It is for all these reasons that his is the most revered name in broadcast journalism. We hear it invoked less these days. The ranks of "Murrow's Boys," the crack newsmen he recruited to work on his programs, are thinning out. Times have changed, but long after he left CBS in 1961 to direct the United States Information Agency (he died in 1965 of cancer), newsmen who worked with him, such as Eric Sevareid, Daniel Schorr, Howard K. Smith, Marvin Kalb, Bob Pierpoint and others, carried on his tradition of serious reporting and commentary. Schorr is said to be the last of Murrow's Boys still active in news. The 89-year-old NPR news analyst says Murrow still inspires and guides him. "Whenever I'm not sure about something, the ethics of something," he told MSNBC this month, "the question I ask myself is, what would Murrow have done? What would Murrow say?" Good Night, and Good Luck focuses on the tense period between October 1953 and March 1954, long after the Cold War fear of Soviet infiltration had been matched in many quarters by the fear of being unfairly branded a Communist sympathizer. American companies and institutions, including CBS News, forced employees to sign loyalty oaths. Workers in the entertainment industry were blacklisted. People were brought before McCarthy's congressional committee and compelled to name associates they suspected of holding or having held radicals views. A backlash was growing against McCarthy's methods and overzealousness. Still, no one dared speak out. In 1953 - perhaps partly motivated by the suicide of an old friend in the State Department who, it turned out, actually had been a Soviet spy - Murrow and his longtime producer, Fred Friendly, exposed the case of an Air Force Reserve meteorologist who was dismissed from the reserves because his father and sister were deemed to be left-wing sympathizers. The public outcry caused the Air Force to reverse its decision, but the program made Murrow a McCarthy target. In a scene dramatized in the movie, McCarthy's investigators threatened to smear the newsman with a false allegation that he'd once been on the Soviet payroll. Murrow and Friendly fired back in March 1954 with a program composed largely of clips of McCarthy browbeating witnesses and speechifying. "We will not walk in fear, one of another," Murrow intoned in his closing commentary. "We will not be driven by fear into an age of unreason if we dig deep in our history and doctrine and remember that we are not descended from fearful men, not from men who feared to write, to speak, to associate and to defend causes which were for the moment unpopular. We can deny our heritage and our history, but we cannot escape responsibility for the result. There is no way for a citizen of the Republic to abdicate his responsibility." It was the first public criticism of McCarthy. The chorus grew, and in December of that year the senator was censured. He lost his committee chairmanship, but Murrow's rift with CBS also grew, and eventually See It Now was canceled. For decades after the newsman's death, CBS was known as the house that Murrow built. His successors consciously tried to follow his example, but cutbacks, terminations and bureau closings in the 1980s left the news organization a shadow of what it once was. Cutbacks, increased competition and the rise of the entertainment values Murrow abhorred have affected all television news. Clooney, the son of a TV journalist, clearly intended his film as a comment about today. It's hard to watch it without wondering how much of Murrow's spirit is left. Few of his associates depicted in the movie would be familiar to younger people today. An exception is Don Hewitt. Played by Grant Heslov, Hewitt went on to create 60 Minutes in 1968 and guided it until he retired as executive producer last year. TV news magazines had proliferated by then, but few were cut from the same mold. Joseph Wershba, played by Robert Downey Jr. in the film, was a 60 Minutes producer from its creation to 1988. Former CBS news anchors Walter Cronkite and Dan Rather were never Murrow Boys. Cronkite, who like Murrow served in Europe during World War II, turned down Murrow's offer to join his team. He went to work at the network later, in 1950, becoming anchor in 1962. Rather, who seemed self-consciously to evoke Murrow's spirit throughout his career, joined CBS news in 1962, one year after Murrow resigned. With Rather's departure earlier this year - under intense criticism because of a report based on flawed documentation - it's fair to ask where television news is headed. Rather signed off with a message: "Courage." With the viewing audience fractured by so many outlets, from cable news to the Internet, it's hard to imagine single broadcasts having the same effect today as Murrow's programs on McCarthyism did. But it also is becoming increasingly difficult to imagine a network willing to stand up to power the way CBS, under Murrow's influence, did in the 1950s. "Courage," indeed.
  • "Thanatos" wrote in message news:atropos-5602CE.21455318032008@news.giganews.com... > In article > , > TranslucentAmoebae wrote: possession"http://www.tmz.com/2008/03/11/mary-ann-busted-with-mary-jane/ responsibility"http://www.tmz.com/2008/03/12/it-wasnt-mary-anns-mary-jane/ > difference? He can't tell you...too drunk.
  • http://www.nydailynews.com/entertainment/story/351289p-299600c.html By NANCY RAMSEY George Clooney spent a year researching the for his second directoral feature film. "Good Night, and Good Luck," which opens Friday, starts with the camera weaving discreetly about a large room of elegantly dressed men and women. The sequence - like the rest of the movie - is in black and white; the time is October 1958; the scene is the Radio-Television News Directors' Association's annual dinner. Men take centerstage at tables, no doubt reminiscing about glorious moments in their careers. Women throw their heads back and laugh, glasses tinkle, cigarette smoke curls upward, the strains of the era's moody jazz fills the air. In a few minutes, David Strathairn as Edward R. Murrow - the newsman who set the gold standard for journalists by taking on Sen. Joseph McCarthy at the height of his red-baiting reign of terror - will deliver an impassioned speech on the importance of using television to enlighten the citizenry. He will decry the idea of entertainment trumping news, rail against the increasing influence of corporate and stockholder concerns on broadcasting. Until then, the camera alights on one person, then another, then a third, before beginning its rounds again. But wait. That dark-haired man glimpsed quickly, sort of to the right of and behind someone else, the one with the large glasses - the light dancing off them in such a way that it's hard to make out his features - seems familiar. Isn't it George Clooney? The 44-year-old star, who co-wrote and directed the film, plays Fred Friendly, the CBS news producer who worked with Murrow. He wears thick glasses, a white shirt, a tie clasp that rests unfashionably high on his chest. Being a star is clearly not part of Clooney's agenda here. Clooney admits he briefly considered playing the lead. But "with Murrow, you always had the impression that he had the weight of the world on his shoulders," he said last week over a hearty late breakfast of bacon, scrambled eggs and potatoes. He was in town for the New York Film Festival, which "Good Night, and Good Luck" opened. Pausing a few seconds to scarf down a bite, he looked up and, with a mischievous smile, added, "No one thinks that of me." It's true that Clooney's a prankster with his friends and can play the clown on movie sets. But make no mistake: He is as dead-on serious about his new film and the issues it raises in today's political climate as he is drop-dead handsome. In fact, he put up his $8 million Los Angeles home as collateral when insurance company executives worried that the back surgery he'd had would prevent him from completing the film. His father, Nick Clooney, worked as a news anchor in Kentucky, Ohio and Los Angeles. "My dad would recite the 'box of lights and wires speech' to us as kids," he said, referring to Murrow's 1958 speech (in which he said that television can "teach, it can illuminate. ... But it can do so only to the extent that humans are determined to use it to those ends. Otherwise, it is merely wires and lights in a box"). "That and 'Julius Caesar': 'Friends, Romans, countrymen,'" Clooney added, smiling fondly at the memory. HIGH-WATER MARK Clooney and co-writer Grant Heslov, a close friend since 1982, spent a year researching the "Good Night" . "For me the hardest part was making sure we were always careful with the facts," Clooney said. "You have the Ann Coulters of the world and the Page Sixes." One false step, and "we could be marginalized. "I talked to my father a lot," he continued. "We double-sourced everything. Every scene happened, then we wrote dialogue. We said to Joe and Shirley" - meaning the Wershbas, who worked on Murrow's "See It Now" and are played by Robert Downey Jr. and Patricia Clarkson - "tell us when we're getting it wrong." "I didn't want to do a biopic," Clooney said of his approach to Murrow. Instead, the film captures the episode in late 1953 and early 1954 when Murrow confronted McCarthy. All the action takes place indoors - mostly in the newsroom or a jazz bar where the journalists retreat for their end-of-the-day Scotches. "That [confrontation] was a high-water mark for my father. Dad would always talk about it," Clooney said. The film "is a tip of my hat to what my old man has been fighting for his whole life." In conversation with Clooney, an off-the-cuff remark about Halliburton contracts or about conservative pundit Coulter will lead to a full-on civics lesson that takes in the Patriot Act, the rights of prisoners in Guantanamo Bay, the importance of following the Constitution, and how, as Murrow said, "We cannot defend freedom abroad by deserting it at home." It's a citizen's duty, not simply a right, Clooney noted, to "question authority. We all know that authority, unchecked and unchallenged, always corrupts. "Two years ago," Clooney continued, when he and Heslov began working on the film, "we thought this would be an interesting time to talk about issues such as the dangers of letting fear erode civil liberties, the danger of broadcast news not asking all of the toughest questions." But, he added, quick to defend his dad's profession, there's "no reporter out there who wouldn't want to break a big story. But if you ask [a tough question] of this administration, you lose access, you're at the back of the room." The movie takes its title from Murrow's signoff line from his "See It Now" broadcasts. "I heard that came from the bombings in London," said Strathairn, referring to Murrow's World War II broadcasts. As people took shelter during the blitz, "that's what they'd say as they [went underground], 'Good night, and good luck.'" Strathairn's performance has won praise from critics and those who knew Murrow. "It's not mimicry. The timbre of the voice is not the same, but that fades," Shirley Wershba said. "The cadence and the meaning of the words is pure Murrow." And there's the "baleful look of the eyes, the tilt of the head - it's the real Murrow." Clooney cast Strathairn, 56, without an audition. "David has a sadness that you can't act," Clooney said. "You can only cast it." During shooting, "I can remember two or three times when George would say, 'Just do it a little bit faster,'" Strathairn said. "It was this invisible direction, the kind that tells you what you're doing is okay and, if not, he knows what he wants. You knew he was whittling and honing and crafting the scene as we were in it. Like Fred Friendly, he was managing the room." Walter Cronkite, who worked with both Murrow and Friendly, finds Friendly "very well represented" by Clooney, adding that what was "brushed over" were "Friendly's techniques and tactics. Friendly knew what he wanted to get in a piece and went to no ends to get what he believed to be right. Sometimes that involved stepping on other people's toes. It was probably unavoidable for a person who was so convinced of the rectitude of what he was trying to do." Clooney recognizes that his Fred Friendly is only part of who the man was. "Fred was tough," Clooney said. "Most Americans aren't going to know Fred's personality, and I thought I would do a disservice to the film" by making him a stronger character. "This is a clash of titans, and I'm there to service the story." Clooney said the film's style was influenced by the techniques of the documentarian D.A. Pennebaker: "The camera's not always quite in the right place. I wanted the camera to feel like a voyeur, and to focus on words," often "letting silence be the score." McCarthy meanwhile appears as himself in actual news footage. "From the beginning, we wanted to use McCarthy in his own words," Clooney said. "If you had an actor play him, you wouldn't believe it." The film is "relentless in its pace," Strathairn said. "You don't want to let [audiences] off the hook, where they can relax. You don't want to leave that room. It's not necessary to investigate who Murrow was, his life outside. It's who he was, who they all were, on the ice, in the mix, on the front lines, at that moment." "George always wanted to do work that was taken seriously," Heslov said. "He was a star on 'ER,' and then started getting movie offers. He played Batman, he did 'The Peacemaker.' I think he had an epiphany: 'What is my legacy going to be? This is my five minutes of fame. I don't want to squander it. Let's strike while the iron is hot.'" QUESTIONS OF GOVERNMENT "When you're a struggling actor and you suddenly start getting jobs," Clooney said, "once you're the person that greenlights a film, a George Clooney film - and believe me, I was thrilled to get 'Batman and Robin' - that's a turning point. If I held responsibility for the film, I wanted to pick better, [so] I did 'Out of Sight,' 'Three Kings,' 'Solaris,' [and directed] 'Confessions of a Dangerous Mind.'" He said he wants "questions of government" to be part of his own films, as it was in those he feels passionately about, including "All the President's Men," "Coming Home," "Dr. Strangelove" and "The Parallax View." The trick, of course, will be to make them commercial enough. He paused for a moment, finishing up breakfast, smiled, and said of "Good night, and Good Luck," "We may actually get people to see this one."
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