Rodrick Gorden's blog ::... out the new corporate direction... But my direct supervisor du jour came over and ...to go get some food from the meeting room (and of course promptly was startled...
Ｒｅｎｏｗｎｅｄ ｆｉｌｍｍａｋｅｒ Ｄ.Ａ. Ｐｅｎｎｅｂａｋｅｒ'ｓ Ｔｈｅ Ｗａｒ Ｒｏｏｍ ｉｓ ｏｎｅ ｏｆ ｔｈｅ ｍｏｓｔ ｆａｍｏｕｓ ｏｆ ｐｏｌｉｔｉｃａｌ ｄｏｃｕｍｅｎｔａｒｉｅｓ. Ｔｈｅ ｓｕｂｊｅｃｔ ｉｓ ｔｈｅ 1992 ｐｒｅｓｉｄｅｎｔｉａｌ ｅｌｅｃｔｉｏｎ, ｐｒｉｍａｒｉｌｙ ｔｈｅ Ｂｉｌｌ Ｃｌｉｎｔｏｎ ｃａｍｐａｉｇｎ. Ｔｈｅ ｆｉｌｍ ｉｓ ｄｏｎｅ ｉｎ ｔｈｅ "ｄｉｒｅｃｔ ｃｉｎｅｍａ" ｓｔｙｌｅ ｃｌｏｓｅｌｙ ａｓｓｏｃｉａｔｅｄ ｗｉｔｈ Ｐｅｎｎｅｂａｋｅｒ. Ｍｅａｎｉｎｇ ｔｈｅｒｅ ｉｓ ｌｉｔｔｌｅ ｏｒ ｎｏ ｎａｒｒａｔｉｏｎ, ｂａｃｋｇｒｏｕｎｄ, ｃｏｎｔｅｘｔ, ｅｘｐｌａｎａｔｉｏｎ, ｅｔｃ., ｅｘｃｅｐｔ ｗｈａｔ ｃａｎ ｂｅ ｇｌｅａｎｅｄ ｆｒｏｍ ｔｈｅ ｆｏｏｔａｇｅ ｏｆ ｔｈｅ ｓｕｂｊｅｃｔ ｍａｔｔｅｒ ｉｔｓｅｌｆ. Ｔｈｅ ｃａｍｅｒａ ｔａｋｅｓ ｙｏｕ ａｌｏｎｇ ｆｏｒ ｔｈｅ ｅｖｅｎｔｓ ｔｈｅｍｓｅｌｖｅｓ--ｓｈｏｗｉｎｇ ｔｈｅｍ ｔｏ ｙｏｕ ｒａｔｈｅｒ ｔｈａｎ ｔｅｌｌｉｎｇ ｙｏｕ ａｂｏｕｔ ｔｈｅｍ--ｌｅａｖｉｎｇ ｉｔ ｕｐ ｔｏ ｙｏｕ ｔｏ ｉｎｔｅｒｐｒｅｔ ｔｈｅｍ ａｎｄ ｄｒａｗ ｃｏｎｃｌｕｓｉｏｎｓ ｆｒｏｍ ｔｈｅｍ. Ｉ ｈａｖｅ ｍｉｘｅｄ ｆｅｅｌｉｎｇｓ ａｂｏｕｔ ｔｈｉｓ ｓｔｙｌｅ. Ｉ ｌｉｋｅ ｔｈｅ ｉｍｍｅｄｉａｃｙ ｏｆ ｉｔ; Ｉ ｗｏｕｌｄｎ'ｔ ｗａｎｔ ｔｏ ｊｕｓｔ ｈａｖｅ ｐｅｏｐｌｅ ｔａｌｋｉｎｇ ａｂｏｕｔ ｓｏｍｅｔｈｉｎｇ ｒａｔｈｅｒ ｔｈａｎ ｂｅｉｎｇ ａｂｌｅ ｔｏ ｓｅｅ ｉｔ ｍｙｓｅｌｆ. Ｂｕｔ Ｉ ｄｏｎ'ｔ ｔｈｉｎｋ ｉｔ ｎｅｅｄｓ ｔｏ ｂｅ ａｌｌ ｏｎｅ ｏｒ ａｌｌ ｔｈｅ ｏｔｈｅｒ. Ｉ'ｄ ｌｉｋｅ ｓｕｃｈ ｆｏｏｔａｇｅ ｔｏ ｂｅ ｕｓｅｄ ｒａｔｈｅｒ ｔｈａｎ ｊｕｓｔ ｄｉｓｐｌａｙｅｄ. Ｉ ｄｏｎ'ｔ ｆｉｎｄ ｉｔ ｉｎｓｕｌｔｉｎｇ ｔｏ ｍｙ ｉｎｔｅｌｌｉｇｅｎｃｅ ｏｒ ｍａｎｉｐｕｌａｔｉｖｅ ｆｏｒ ａ ｆｉｌｍｍａｋｅｒ ｔｏ ｐｒｏｖｉｄｅ ｅｘｐｌｉｃｉｔ ａｎｓｗｅｒｓ ｔｏ ｑｕｅｓｔｉｏｎｓ ｌｉｋｅ "Ｗｈａｔ ａｒｅ ｗｅ ｗａｔｃｈｉｎｇ, ａｎｄ ｗｈｙ ｄｏｅｓ ｉｔ ｍａｔｔｅｒ?" Ｔｈｅ ｍａｔｅｒｉａｌ ｓｈｏｕｌｄ ｂｅ ｉｌｌｕｓｔｒａｔｉｖｅ ｏｆ ｓｏｍｅｔｈｉｎｇ, ｉｔ ｓｈｏｕｌｄ ｆｉｔ ｓｏｍｅｗｈｅｒｅ ｉｎ ａｎ ａｒｇｕｍｅｎｔ. Ａｓ ｓｏｍｅｏｎｅ ｗｉｔｈ ｓｏｍｅ ｃｏｌｌｅｇｅ ｔｅａｃｈｉｎｇ ｅｘｐｅｒｉｅｎｃｅ, Ｉ ｓｕｐｐｏｓｅ Ｉ ｔｈｉｎｋ ｏｆ ｔｈｅ ｉｄｅａｌ ｄｏｃｕｍｅｎｔａｒｙ ａｓ ｌｉｋｅ ａ ｖｅｒｙ ｓｋｉｌｌｆｕｌ, ｌｏｇｉｃａｌｌｙ ｏｒｇａｎｉｚｅｄ, ｌｅａｒｎｅｄ ｌｅｃｔｕｒｅ, ｏｎｌｙ ｂｅｔｔｅｒ ｂｅｃａｕｓｅ ｏｆ ｔｈｅ ｖｉｓｕａｌ ａｉｄｓ ｖａｓｔｌｙ ｓｕｐｅｒｉｏｒ ｔｏ ａｎｙｔｈｉｎｇ ｙｏｕ'ｄ ｓｅｅ ｉｎ ａ ｃｌａｓｓｒｏｏｍ. Ｔｈｉｓ ｋｉｎｄ ｏｆ ｄｏｃｕｍｅｎｔａｒｙ ｉｓ ｔｈｅ ｅｑｕｉｖａｌｅｎｔ ｏｆ ｇｅｔｔｉｎｇ ｔｈｅ ｖｉｓｕａｌ ａｉｄｓ ａｎｄ ｎｏｔｈｉｎｇ ｍｏｒｅ. Ａｓ ｓｕｃｈ ｄｏｃｕｍｅｎｔａｒｉｅｓ ｇｏ, ｔｈｏｕｇｈ, ｔｈｉｓ ｍｏｖｉｅ ｉｓ ｎｏｔ ｐａｒｔｉｃｕｌａｒｌｙ ｄｉｆｆｉｃｕｌｔ ｔｏ ｆｏｌｌｏｗ. Ｍｏｓｔ ｏｒ ａｌｌ ｏｆ ｉｔ ｉｓ ｉｎ ｃｈｒｏｎｏｌｏｇｉｃａｌ ｏｒｄｅｒ, ｉｔ ｔｙｐｉｃａｌｌｙ ｉｓｎ'ｔ ｔｏｏ ｈａｒｄ ｉｎ ａｎｙ ｇｉｖｅｎ ｓｃｅｎｅ ｔｏ ｆｉｇｕｒｅ ｏｕｔ ｗｈａｔ'ｓ ｇｏｉｎｇ ｏｎ, ａｎｄ ｅｎｏｕｇｈ ｓｎｉｐｐｅｔｓ ｆｒｏｍ ｏｔｈｅｒ ｃｏｎｔｅｍｐｏｒａｎｅｏｕｓ ｃａｍｐａｉｇｎ ｅｖｅｎｔｓ ａｎｄ ｂｒｏａｄｃａｓｔ ｒｅｐｏｒｔｓ ａｎｄ ｓｕｃｈ ａｒｅ ｉｎｃｌｕｄｅｄ ｔｏ ｇｉｖｅ ａｔ ｌｅａｓｔ ｓｏｍｅ ｓｅｎｓｅ ｏｆ ｗｈｅｒｅ ｗｈａｔ ｗｅ'ｒｅ ｓｅｅｉｎｇ ｏｆ ｔｈｅ Ｃｌｉｎｔｏｎ ｆｏｌｋｓ ｆｉｔｓ ｉｎ ｔｈｅ ｇｒａｎｄ ｓｃｈｅｍｅ ｏｆ ｔｈｉｎｇｓ. Ｂｕｔ Ｉ ｓｔｉｌｌ ｃａｍｅ ａｗａｙ ｆｅｅｌｉｎｇ ｌｉｋｅ ｔｈｉｓ ｆｏｏｔａｇｅ--ａｓ ｖａｌｕａｂｌｅ ａｓ ｉｔ ｃａｎ ｂｅ--ｗｏｕｌｄ ｆｕｎｃｔｉｏｎ ｂｅｔｔｅｒ ａｓ ａ ｐａｒｔ ｔｈａｎ ａ ｗｈｏｌｅ. Ｉ ｗａｎｔｅｄ ｔｏ ｔａｌｋ ａｂｏｕｔ ｔｈｉｓ ｍａｔｅｒｉａｌ, ｏｒ ｈｅａｒ ｏｔｈｅｒ ｐｅｏｐｌｅ ｔａｌｋ ａｂｏｕｔ ｉｔ, ｉｎ ｏｒｄｅｒ ｔｏ ｃｏｎｓｉｄｅｒ ａｎｄ ｄｅｂａｔｅ ｈｏｗ ｔｏ ｉｎｔｅｒｐｒｅｔ ｔｈｉｓ ｒａｗ ｄａｔａ ａｎｄ ｗｈａｔ ｌｅｓｓｏｎｓ ｔｏ ｌｅａｒｎ ｆｒｏｍ ｉｔ. Ａｎｄ ｉｔ'ｓ ｎｏｔ ａｓ ｉｆ ｊｕｓｔ ｂｅｃａｕｓｅ ｔｈｅｒｅ'ｓ ｎｏ ｎａｒｒａｔｉｏｎ ｏｒ ｏｔｈｅｒ "ｅｘｔｒａｓ," ｗｅ'ｒｅ ｓｏｍｅｈｏｗ ｇｅｔｔｉｎｇ ｕｎｍｅｄｉａｔｅｄ ｒｅａｌｉｔｙ ｈｅｒｅ. Ｆｏｒ ｏｎｅ ｔｈｉｎｇ, ｔｈｉｓ ｉｓｎ'ｔ Ｃａｎｄｉｄ Ｃａｍｅｒａ ｗｅ'ｒｅ ｔａｌｋｉｎｇ ａｂｏｕｔ. Ｅｖｅｒｙｏｎｅ ｂｅｉｎｇ ｆｉｌｍｅｄ ｋｎｏｗｓ ｔｈｅｙ'ｒｅ ｂｅｉｎｇ ｆｉｌｍｅｄ ａｎｄ ｈａｓ ａｇｒｅｅｄ ｔｏ ｂｅ ｆｉｌｍｅｄ, ｓｏ ｗｈａｔ ｔｈｅｙ'ｒｅ ｄｏｉｎｇ ａｎｄ ｓａｙｉｎｇ ｉｓ ｔａｉｌｏｒｅｄ ａｃｃｏｒｄｉｎｇｌｙ. Ｗｅ'ｒｅ ｎｏｔ ｒｅａｌｌｙ ｂｅｉｎｇ ｔａｋｅｎ "ｉｎｓｉｄｅ" ｔｈｅ ｃａｍｐａｉｇｎ, ｎｏｔ ｆｕｌｌｙ ａｎｙｗａｙ. Ｔｈｉｓ ｉｓ Ｇｅｏｒｇｅ Ｓｔｅｐｈａｎｏｐｏｕｌｏｓ ａｎｄ Ｊａｍｅｓ Ｃａｒｖｉｌｌｅ ｐｕｔｔｉｎｇ ｏｎ ａ ｓｈｏｗ, ｐｒｏｂａｂｌｙ ｗｉｔｈ ａｎ ｅｙｅ ｔｏｗａｒｄ ｉｍｐｒｏｖｉｎｇ ｔｈｅｉｒ ｆｕｔｕｒｅ ｃａｒｅｅｒ ｐｒｏｓｐｅｃｔｓ. Ｉ ｍｅａｎ, Ｉ'ｍ ｓｕｒｅ ｓｏｍｅ ｏｆ ｉｔ'ｓ ｇｅｎｕｉｎｅ, ａｎｄ ｓｏｍｅｔｉｍｅｓ ｐｅｏｐｌｅ ｋｉｎｄ ｏｆ ｆｏｒｇｅｔ ａｂｏｕｔ ｔｈｅ ｃａｍｅｒａｓ ａｎｄ ａｒｅｎ'ｔ ｂｅｈａｖｉｎｇ ｍｕｃｈ ｄｉｆｆｅｒｅｎｔｌｙ ｔｈａｎ ｔｈｅｙ ｗｏｕｌｄ ｂｅ ａｎｙｗａｙ, ｂｕｔ ｓｏｍｅ ｏｆ ｉｔ ｉｓ ａｌｓｏ ｐｈｏｎｙ ｔｏ ｖａｒｙｉｎｇ ｄｅｇｒｅｅｓ. Ｂｕｔ ｗｈａｔｅｖｅｒ ｍｙ ｍｉｓｇｉｖｉｎｇｓ, ｔｈｅｒｅ ａｒｅ ａ ｇｏｏｄ ｎｕｍｂｅｒ ｏｆ ｓｔｒｉｋｉｎｇ ｍｏｍｅｎｔｓ ａｎｄ ｉｎｔｅｒｅｓｔｉｎｇ ｅｌｅｍｅｎｔｓ ｔｏ ｔｈｉｓ ｄｏｃｕｍｅｎｔａｒｙ. Ｏｎｅ ｉｓ ｔｈａｔ ｎｏ ｏｎｅ ｓｅｅｍｓ "ｌａｒｇｅｒ ｔｈａｎ ｌｉｆｅ." Ｉ'ｍ ｓｔｒｕｃｋ ｂｙ ｈｏｗ ｒｏｕｔｉｎｅｌｙ ｗｈｅｎ Ｉ ｇｅｔ ｓｏｍｅｗｈａｔ ｏｆ ａ ｍｏｒｅ ｉｎ ｄｅｐｔｈ ｌｏｏｋ ａｔ ｐｕｂｌｉｃ ｆｉｇｕｒｅｓ, "ｓｕｃｃｅｓｓｆｕｌ" ｐｅｏｐｌｅ, ｅｔｃ., ｔｈｅｙ ｄｏｎ'ｔ ｓｅｅｍ ａｎｙ ｓｍａｒｔｅｒ ｏｒ ａｎｙ ｂｅｔｔｅｒ ｔｈａｎ ｍｅ. Ｉ ｄｏｎ'ｔ ｈａｖｅ ａ ｃｏｎｓｃｉｏｕｓｎｅｓｓ ｏｆ ｂｅｉｎｇ ｉｎ ｔｈｅ ｐｒｅｓｅｎｃｅ ｏｆ ｇｒｅａｔｎｅｓｓ. Ｉ ｆｅｅｌ ｌｉｋｅ Ｉ'ｍ ａ ｔｅｅｎａｇｅｒ ａｎｄ ｔｈｅｓｅ ａｒｅ ｊｕｓｔ ｏｔｈｅｒ ｎｏｂｏｄｉｅｓ ｉｎ ｃｌａｓｓ. Ｉ'ｍ ａｔ ｌｅａｓｔ ａｓ ｌｉｋｅｌｙ, ａｎｄ ｐｒｏｂａｂｌｙ ｍｏｒｅ ｌｉｋｅｌｙ, ｔｏ ｃｏｍｅ ａｗａｙ ｆｒｏｍ ａｎ ｅｎｃｏｕｎｔｅｒ ｗｉｔｈ ａ "ｒｅｇｕｌａｒ" ｐｅｒｓｏｎ ｆｅｅｌｉｎｇ ｉｍｐｒｅｓｓｅｄ ｏｒ ｌｉｋｅ Ｉ ｃｏｕｌｄ ｌｅａｒｎ ｆｒｏｍ ｏｒ ｅｍｕｌａｔｅ ｔｈｉｓ ｐｅｒｓｏｎ. Ｍａｙｂｅ ｂｅｃａｕｓｅ ｔｈｅ ｒｉｃｈ ａｎｄ ｔｈｅ ｆａｍｏｕｓ, ｉｎ ｏｒｄｅｒ ｔｏ ｂｅ ｒｉｃｈ ａｎｄ ｆａｍｏｕｓ, ｎｅｅｄ ｔｏ ｂｅ ｓｏ ｆｏｃｕｓｅｄ ｏｎ ｔｈｅ ｐｒａｇｍａｔｉｃ ａｎｄ ａｍｏｒａｌｌｙ ｓｔｒａｔｅｇｉｃ ｔｈａｔ ｉｔ'ｓ ｍｏｒｅ ｔｈｅ ｅｘｃｅｐｔｉｏｎ ｔｈａｎ ｔｈｅ ｒｕｌｅ ｗｈｅｎ ａｎｙ ｏｆ ｔｈｅｍ ｔｕｒｎ ｏｕｔ ｔｏ ｂｅ ｄｅｃｅｎｔ ｈｕｍａｎ ｂｅｉｎｇｓ, ｏｒ ｊｕｓｔ ｅｖｏｌｖｅｄ ｉｎ ａｎｙ ｓｅｎｓｅ ｂｅｙｏｎｄ ｂｅｉｎｇ ｇｏｏｄ ａｔ "ｗｉｎｎｉｎｇ." Ｃｌｉｎｔｏｎ ｈｉｍｓｅｌｆ ｓｅｅｍｓ ｌｉｋｅ ａｎ ＯＫ ｇｕｙ ｉｎ ｍａｎｙ ｒｅｓｐｅｃｔｓ ｉｎ ｔｈｉｓ ｆｉｌｍ, ｂｕｔ ｎｏｔ ｓｏｍｅｏｎｅ ｔｏ ｂｅ ｉｎ ａｗｅ ｏｆ. Ｉｆ Ｉ ｗｅｒｅ ｗｉｔｈ ｈｉｍ, ｉｔ ｆｅｅｌｓ ｌｉｋｅ ｉｔ ｗｏｕｌｄ ｂｅ ｎａｔｕｒａｌ ｔｏ ｉｎｔｅｒａｃｔ ｗｉｔｈ ｈｉｍ ａｓ ｅｑｕａｌｓ, ｎｏｔ ｌｉｋｅ Ｉ ｗｏｕｌｄ ｈａｖｅ ｆｅｌｔ, ｓａｙ, ａｓ ａ ｃｈｉｌｄ ｍｅｅｔｉｎｇ ｔｈｅ Ｈｅａｖｙｗｅｉｇｈｔ Ｃｈａｍｐｉｏｎ ｏｆ ｔｈｅ Ｗｏｒｌｄ. Ａｎｄ ｈｉｓ ｍｉｎｉｏｎｓ--ｐｒｉｍａｒｉｌｙ Ｓｔｅｐｈａｎｏｐｏｕｌｏｓ ａｎｄ Ｃａｒｖｉｌｌｅ--ｃｏｍｅ ａｃｒｏｓｓ ｅｖｅｎ ｌｅｓｓ ｌｉｋｅ ｂｉｇ ｓｈｏｔｓ ｔｏ ｍｅ. Ｔｈｅｙ'ｒｅ ｃｏｎｆｉｄｅｎｔ ａｎｄ ｔｈｅｙ'ｒｅ ｃａｌｌｉｎｇ ｔｈｅ ｓｈｏｔｓ ａｎｄ ａｌｌ ｔｈａｔ, ｂｕｔ ｔｈｅ ｉｎｔａｎｇｉｂｌｅｓ ｊｕｓｔ ａｒｅｎ'ｔ ｔｈｅｒｅ, ｎｏｔ ｆｏｒ ｍｅ ａｎｙｗａｙ. Ｔｈｅｙ'ｒｅ ｌｉｋｅ ｍｉｌｄｌｙ ｕｎｐｌｅａｓａｎｔ ｋｉｄｓ ｍａｎａｇｉｎｇ ａ ｆａｓｔ ｆｏｏｄ ｒｅｓｔａｕｒａｎｔ. Ｍｏｒａｌｌｙ Ｉ ｆｉｎｄ ｃａｍｐａｉｇｎ ｍａｎａｇｅｒｓ ａｎｄ ｓｔｒａｔｅｇｉｓｔｓ ａｎｄ ｓｕｃｈ ｄｉｓｔａｓｔｅｆｕｌ. Ｅｖｅｎ ｉｆ ｔｈｅｙ ｇｅｎｕｉｎｅｌｙ ｂｅｌｉｅｖｅ ｉｎ ｔｈｅ ｅｎｄｓ ｔｈｅｙ'ｒｅ ｓｅｅｋｉｎｇ (ｗｈｉｃｈ ｏｎｌｙ ｓｏｍｅ ｄｏ, ａｎｄ ｏｎｌｙ ｔｏ ｖａｒｙｉｎｇ ｄｅｇｒｅｅｓ--ｔｈｅｒｅ ａｒｅ ａｌｓｏ ｐｌｅｎｔｙ ｏｆ ｍｅｒｃｅｎａｒｉｅｓ ｉｎ ｔｈｅｉｒ ｌｉｎｅ ｏｆ ｗｏｒｋ), ｔｈａｔ ｉｓ, ｔｈａｔ ｔｈｅ ｃｏｕｎｔｒｙ ａｎｄ ｔｈｅ ｗｏｒｌｄ ｗｉｌｌ ｂｅ ｂｅｔｔｅｒ ｏｆｆ ｉｆ ｔｈｅ ｃａｎｄｉｄａｔｅ ｔｈｅｙ'ｒｅ ｗｏｒｋｉｎｇ ｆｏｒ ｗｉｎｓ, ｔｈｅ ｍｅａｎｓ ａｒｅ ｔｈｅ ｕｓｕａｌ ｓｐｉｎ, ｆａｌｌａｃｉｅｓ, ｍａｎｉｐｕｌａｔｉｏｎ, ｓｌｏｇａｎｅｅｒｉｎｇ, ａｎｄ ａｌｌ ｔｈｅ ｒｅｓｔ. Ｏｎ ｔｈｅ ｏｔｈｅｒ ｈａｎｄ, ａｓ ｌｉｔｔｌｅ ａｓ Ｉ ａｄｍｉｒｅ ｄｕｂｉｏｕｓ ｍｅａｎｓ ｉｎ ｐｕｒｓｕｉｔ ｏｆ "ｌｅｓｓｅｒ ｏｆ ｔｈｅ ｅｖｉｌ" ｅｎｄｓ, ｉｔ ｗａｓ ｍａｒｋｅｄｌｙ ｍｏｒｅ ｎａｕｓｅａｔｉｎｇ ｔｏ ｗａｔｃｈ ｔｈｅ ｏｃｃａｓｉｏｎａｌ ｓｎｉｐｐｅｔｓ ｏｆ Ｍａｒｙ Ｍａｔａｌｉｎ ｏｒ ｏｔｈｅｒｓ ｏｎ ｔｈｅ Ｇｅｏｒｇｅ Ｂｕｓｈ ｔｅａｍ, ｏｒ ｅｖｅｎ ｔｈｅ ｃａｎｄｉｄａｔｅ ｈｉｍｓｅｌｆ. Ｔｈａｔ'ｓ ｍｏｒｅ ｐｕｒｅ ｄｅｃｅｉｔ ａｎｄ ｅｖｉｌ. Ｂｕｓｈ Ｓｅｎｉｏｒ'ｓ ｒｅｐｕｔａｔｉｏｎ Ｉ ｔｈｉｎｋ ｈａｓ ｂｅｅｎ ｅｎｈａｎｃｅｄ ａ ｂｉｔ ｊｕｓｔ ｂｙ ｃｏｍｐａｒｉｓｏｎ ｗｉｔｈ ｏｔｈｅｒ ｃａｎｄｉｄａｔｅｓ ａｎｄ ｐｒｅｓｉｄｅｎｔｓ ｏｆ ｒｅｃｅｎｔ ｙｅａｒｓ, ｍｏｓｔ ｎｏｔａｂｌｙ ｔｈｅ ｄｉｓａｓｔｒｏｕｓ ｐｒｅｓｉｄｅｎｃｙ ｏｆ ｈｉｓ ｓｏｎ, ｂｕｔ ｈｉｓ ｓｃｅｎｅｓ ｉｎ ｔｈｉｓ ｆｉｌｍ ｓｅｒｖｅ ａｓ ａ ｒｅｍｉｎｄｅｒ ｏｆ ｗｈａｔ ａ ｔｙｐｉｃａｌ ｎａｓｔｙ ｌｉｔｔｌｅ ｗｅａｓｅｌ ｐｏｌｉｔｉｃｉａｎ ｈｅ ｗａｓ. Ｏｎｅ ｓｃｅｎｅ ｔｈａｔ ｓｔｏｏｄ ｏｕｔ ｔｏ ｍｅ, ｂｅｃａｕｓｅ ｉｔ ｉｌｌｕｓｔｒａｔｅｓ ｈｏｗ ｃｏｒｒｕｐｔ ａｌｌ ｔｈｉｓ ｉｓ ｏｎ ｍｕｌｔｉｐｌｅ ｌｅｖｅｌｓ, ｉｓ ｗｈｅｎ Ｓｔｅｐｈａｎｏｐｏｕｌｏｓ ｉｓ ｏｎ ｔｈｅ ｐｈｏｎｅ ｏｎ ｔｈｅ ｅｖｅ ｏｆ ｔｈｅ ｅｌｅｃｔｉｏｎ ｗｉｔｈ ｓｏｍｅｏｎｅ ｆｒｏｍ ａ ｎｅｗｓｐａｐｅｒ ｔｈａｔ ｉｓ ｅｖｉｄｅｎｔｌｙ ｃｏｎｓｉｄｅｒｉｎｇ ｗｈｅｔｈｅｒ ｔｏ ｒｅｐｏｒｔ ａ ｒｕｍｏｒ ｔｈａｔ Ｃｌｉｎｔｏｎ ｈａｄ ａｎ ｉｌｌｅｇｉｔｉｍａｔｅ ｂａｂｙ ｗｉｔｈ ａｎ Ａｆｒｉｃａｎ Ａｍｅｒｉｃａｎ ｗｏｍａｎ. Ｈｅ ｗｏｒｄｓ ｉｔ ｃａｒｅｆｕｌｌｙ, ｂｕｔ ｂａｓｉｃａｌｌｙ ｗｈａｔ ｈｅ ｔｅｌｌｓ ｔｈｅ ｐｅｒｓｏｎ ｉｓ ｈｅ'ｄ ｂｅ ａ ｌｏｔ ｂｅｔｔｅｒ ｏｆｆ ｂｅｔｔｉｎｇ ｏｎ ｔｈｅ ｓｉｄｅ ｔｈａｔ'ｓ ｍｕｃｈ ｍｏｒｅ ｌｉｋｅｌｙ ｔｏ ｗｉｎ. Ａｓ ｈｅ ｎｏｔｅｓ, ｙｏｕ ｃａｎ ｍａｋｅ ａ ｂｕｎｃｈ ｏｆ ｐｅｏｐｌｅ ｈａｐｐｙ ｗｈｏ ａｒｅ ｇｏｉｎｇ ｔｏ ｂｅ ｏｕｔ ｏｆ ｐｏｗｅｒ ａｆｔｅｒ ｔｈｅ ｅｌｅｃｔｉｏｎ ａｎｙｗａｙ, ｏｒ ｙｏｕ ｃａｎ "ｄｏ ｔｈｅ ｒｉｇｈｔ ｔｈｉｎｇ" ａｎｄ ｋｎｏｗ ｔｈａｔ ｉｔ'ｌｌ ｂｅ ｒｅｍｅｍｂｅｒｅｄ. Ｈｅ ｅｘｐｌｉｃｉｔｌｙ ｓａｙｓ ｈｅ ｄｏｅｓｎ'ｔ ｍｅａｎ ｔｈｅ ｐｅｒｓｏｎ ｗｉｌｌ ｂｅ ｒｅｗａｒｄｅｄ ｂｙ ｔｈｅ ｐａｒｔｙ ｏｒ ｔｈｅ ｎｅｗ ａｄｍｉｎｉｓｔｒａｔｉｏｎ ｉｎ ａｎｙ ｋｉｎｄ ｏｆ ｄｉｒｅｃｔ ｑｕｉｄ ｐｒｏ ｑｕｏ, ｂｕｔ ｔｈａｔ ｉｄｅａ ｉｓ ｃｅｒｔａｉｎｌｙ ｔｈｅｒｅ ｉｎ ｃｒｅｅｐｙ ｉｍｐｌｉｃａｔｉｏｎ. Ｉ ｆｏｕｎｄ ｉｔ ｓｏｍｅｈｏｗ ｉｎｔｒｉｇｕｉｎｇ--ｍａｙｂｅ ｐａｒｔｌｙ ｉｎ ａ ｈｕｍｏｒｏｕｓ ｗａｙ ａｎｄ ｐａｒｔｌｙ ｉｎ ａ ｄｉｓｔｕｒｂｉｎｇ ｗａｙ--ｗｈｅｎ ｔｈｅｓｅ ｇｕｙｓ ａｒｅ ｓｉｔｔｉｎｇ ａｒｏｕｎｄ ｏｎ ｅｌｅｃｔｉｏｎ ｄａｙ, ｋｎｏｗｉｎｇ ｉｔ'ｓ ａｌｍｏｓｔ ｉｎ ｔｈｅ ｂａｇ ｂｕｔ ｎｏｔ ｗａｎｔｉｎｇ ｔｏ ｃｅｌｅｂｒａｔｅ ｙｅｔ, ａｎｄ ｔｏ ｂｒｅａｋ ｔｈｅ ｔｅｎｓｉｏｎ ｔｈｅｙ ｓｔａｒｔ ａｄ ｌｉｂｂｉｎｇ ａ Ｃｌｉｎｔｏｎ ｃｏｎｃｅｓｓｉｏｎ ｓｐｅｅｃｈ. Ａｓ ｍｏｓｔｌｙ Ｃａｒｖｉｌｌｅ ｃｏｍｐｏｓｅｓ ａｎｄ ｒｅｃｉｔｅｓ ｉｔ ｏｎ ｔｈｅ ｓｐｏｔ, ｔｈｅ ｏｔｈｅｒｓ ｌａｕｇｈ ａｌｏｎｇ. Ａｎｄ ｉｔ ｉｓ ｆｕｎｎｙ ｉｎ ａ ｗａｙ. Ｂｕｔ ｌｉｋｅ Ｉ ｓａｙ, ｉｔ'ｓ ｄｉｓｔｕｒｂｉｎｇ ａｓ ｗｅｌｌ, ｉｎ ｔｈａｔ ｉｔ ｓｏｕｎｄｓ ｅｘａｃｔｌｙ ｌｉｋｅ ｔｈｏｓｅ ｓｐｅｅｃｈｅｓ ａｌｗａｙｓ ｓｏｕｎｄ. Ｔｈｅ ｆａｃｔ ｔｈａｔ ｓｕｃｈ ａ ｓｐｅｅｃｈ ｃａｎ ｓｏｕｎｄ ｓｏ ｒｅａｌ ｗｉｔｈｏｕｔ ｅｖｅｒ ｇｏｉｎｇ ｂｅｙｏｎｄ ｔｈｅ ｇｅｎｅｒｉｃ, ｈｉｇｈｌｉｇｈｔｓ ｔｈｅ ｉｎｓｉｎｃｅｒｉｔｙ ｏｆ ｔｈｅ ｗｈｏｌｅ ｐｒｏｃｅｓｓ. Ｎｏｎｅ ｏｆ ｉｔ ｈａｓ ｔｏ ｄｏ ｗｉｔｈ ｗｈａｔ ｔｈｅ ｐｅｒｓｏｎ'ｓ ｒｅａｌｌｙ ｔｈｉｎｋｉｎｇ ｏｒ ｆｅｅｌｉｎｇ. Ｉｔ'ｓ ａｌｌ ａｂｏｕｔ ｄｏｉｎｇ ｗｈａｔ "ｗｏｒｋｓ," ｗｈｉｃｈ ｉｓ ｏｆｔｅｎ ｊｕｓｔ ｄｏｉｎｇ ｔｈｅ ｅｘｐｅｃｔｅｄ, ｄｏｉｎｇ ｗｈａｔ ｙｏｕ "ｈａｖｅ ｔｏ ｄｏ," ｂｅｃａｕｓｅ "ｔｈａｔ'ｓ ｈｏｗ ｉｔ'ｓ ｄｏｎｅ." Ｉｎ ｔｈｉｓ ｃａｓｅ, ｂｅｃａｕｓｅ ｔｈａｔ'ｓ ｔｈｅ ｒｉｔｕａｌ ｓｐｅｅｃｈ ｌｏｓｉｎｇ ｃａｎｄｉｄａｔｅｓ ｍｕｓｔ ｇｉｖｅ ｔｏ ｍａｎｉｆｅｓｔ ｔｈａｔ ｔｈｅｙ'ｖｅ ｌｅａｒｎｅｄ ｔｈｅ ｇａｍｅ ａｎｄ ｗｉｌｌ ａｂｉｄｅ ｂｙ ｉｔｓ ｒｕｌｅｓ. Ｔｈｅ ｍｏｖｉｅ ｏｎ ｔｈｅ ｗｈｏｌｅ ｉｓ ｃｅｒｔａｉｎｌｙ ｗｏｒｔｈ ｓｅｅｉｎｇ. Ｉ ｄｏ ｓｔｉｌｌ ｔｈｉｎｋ ｏｆ ｉｔ ｍｏｒｅ ａｓ ｒａｗ ｄａｔａ (ｏｆ ｗｈａｔ ｔｈｅ ｉｎｓｉｄｅ ｏｆ ａ ｐｒｅｓｉｄｅｎｔｉａｌ ｃａｍｐａｉｇｎ ｌｏｏｋｅｄ ｌｉｋｅ ｄｕｒｉｎｇ ａ ｃｅｒｔａｉｎ ｈｉｓｔｏｒｉｃａｌ ｐｅｒｉｏｄ, ａｌｗａｙｓ ｗｉｔｈ ｔｈｅ ｃａｖｅａｔ ｔｈａｔ ｐｅｏｐｌｅ ｗｅｒｅ ａｗａｒｅ ｏｆ ｔｈｅ ｃａｍｅｒａｓ ａｎｄ ａｂｌｅ ｔｏ ｄｏ ｓｏｍｅ ｓｐｉｎｎｉｎｇ) ｔｈａｔ ｓｈｏｕｌｄ ｂｅ ｅｍｂｅｄｄｅｄ ｉｎ ｓｏｍｅｔｈｉｎｇ ｌａｒｇｅｒ ｔｈａｔ ａｎａｌｙｚｅｓ ａｎｄ ｅｘｐｌａｉｎｓ ｍｏｒｅ. Ｉｔ'ｓ ａ ｖａｌｕａｂｌｅ ｓｔａｒｔｉｎｇ ｐｏｉｎｔ ｆｏｒ ａ ｈｉｓｔｏｒｉａｎ ｏｒ ａ ｃｉｔｉｚｅｎ ｄｉｓｃｕｓｓｉｏｎ ｇｒｏｕｐ ｏｒ ｗｈａｔｅｖｅｒ, ｎｏｔ ａｎ ｅｎｄ ｐｏｉｎｔ. Ｙｏｕ ｓｔｉｌｌ ｈａｖｅ ｔｏ "ｄｏ ｓｏｍｅｔｈｉｎｇ" ｗｉｔｈ ｗｈａｔ ｔｈｅ ｃａｍｅｒａ ｒｅｖｅａｌｓ ｆｒｏｍ ｔｈｅ Ｃｌｉｎｔｏｎ ｃａｍｐａｉｇｎ, ｅｖｅｎ ｉｆ ｔｈｅ ｆｉｌｍｍａｋｅｒ ｄｉｄｎ'ｔ. |
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