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Nate Parker unapologetic in '60 Minutes' interview

In an interview with "60 Minutes," Nate Parker was unapologetic for a 17-year-old rape case that has surrounded his film, "The Birth of a Nation."

In excerpts from the interview to air Sunday shared exclusively with The Associated Press on Thursday, Parker said he was "falsely accused" and declined to make any apology. The woman who made the accusation killed herself in 2012.

"I was falsely accused.I went to court.I was vindicated," Parker says. "I feel terrible that this woman isn't here.her family had to deal with that, but as I sit here, an apology is — no."

In the interview, Anderson Cooper presses Parker on whether he did something morally wrong.

"As a Christian man . just being in that situation, yeah, sure," says Parker. "I am 36 years old right now . my faith is very important to me . so looking back through that lens . it's not the lens I had when I was 19 years old."

Parker, who stars in, directed, co-wrote and co-produced "The Birth of a Nation," instead argued that his film, about Nat Turner's slave rebellion, deserves more attention than himself and the rape accusation, made when he was a student at Penn State. Parker was acquitted in the case.

"I think that Nat Turner, as a hero, what he did in history, is bigger than me," said Parker. "I think it's bigger than all of us."

"The Birth of a Nation" first debuted in January at the Sundance Film Festival where it was hailed as an antidote to the then-raging "OscarsSoWhite" backlash. Parker's film immediately sparked widespread Oscar expectations and a bidding war among distributors. Fox Searchlight, an Academy Awards regular, landed it for a festival record $17.5 million, with the assurance of a nation-wide release. It's to open in theaters next Friday.

But the newfound attention on Parker put a spotlight on a rape case from when he was a sophomore and wrestler at Penn State University. Parker was acquitted, though his college roommate, Jean Celestin (who helped create "The Birth of a Nation") was initially found guilty of sexual assault. That conviction was later overturned when the accuser declined to testify for a retrial.

Parker and Celestin allegedly harassed the accuser on campus. The incident spawned a successful civil lawsuit by the woman against the college. But the accuser, after several previous attempts, committed suicide in 2012. Her brother, identified only as Johnny, told The Hollywood Reporter that the rape case "was obviously that point" at which she changed.

In recent weeks, Parker has sought to deflect attention away from himself. At a closely watched press conference at the Toronto International Film Festival earlier in September, Parker deflected questions about the case.

"I would encourage everyone to remember, personal life aside, I'm just one person," said Parker.

'Amanda Knox' pulls back the curtain on a media circus

Amanda Knox stares into the camera, coolly contemplating how she became a figure of global fascination.

"I think people love monsters. And so when they get the chance, they want to see them. It's people projecting their fears," Knox says. "They want the reassurance that they know who the bad people are, and it's not them. So maybe that's what it is: We're all afraid, and fear makes people crazy."

Such is the provocative opening of "Amanda Knox," a documentary premiering Friday on Netflix that gives the participants of one of the most sensational trials of the century a chance to tell their story, straightforwardly, directly to the camera. For a case that often seemed like a horror movie played out in the nightly news, "Amanda Knox" allows the drama's main characters to step out from their media-crafted roles.

"We thought that a new way of adding a fresh perspective to the story was to look at it from the inside out and to get to the people at the center of the story and have them tell us what it was like to be embroiled in this whole story," says Rod Blackhurst, who directed the film with Brian McGinn.

The British student Meredith Kercher was murdered Nov. 1, 2007, in Peruga, Italy. Knox, Kercher's roommate and an American student studying abroad, and her Italian boyfriend, Raffaele Sollecito, were arrested and convicted of the murder. Knox was sentenced to 26 years in prison, Sollecito to 25.

Three years after Rudy Guede was convicted for the murder and sexual assault of Kercher, the convictions of Knox and Sollecito were overturned in 2011, allowing Knox to return home to Seattle after spending four years in jail. But she and Sollecito were tried again in 2014, again found guilty, only to finally be exonerated by the Italian Supreme Court in 2015.

The case captivated the world with its grisly details (prosecutors claimed Kercher was killed in a bloody sex game), its attractive alleged murderer (dubbed "Foxy Noxy" by the tabloids) and its culture clash, which pitted a young American abroad against a quaint old Italian city.

"Amanda Knox," five years in the making, centers on interviews with Knox, Sollecito, the Italian prosecutor Giuliano Mignini and Nick Pisa, a freelance journalist for the Daily Mail.

The film soberly follows the case chronologically, eventually leading to the forensic evidence that helped lead to Knox's and Sollecito's exoneration. But in the years in between, prosecutors and tabloid press (with Pisa playing a significant role) formed radically different images of the pair.

"The power of narrative to embed these incredibly strong opinions no matter what side you're on is something we're seeing in every aspect of our daily lives now," says McGinn, pointing to the U.S. presidential election. "It's important to remember that all of these stories are much more tangled and complicated than we like to think of them."

The filmmakers, both in their 30s, first approached Knox in 2011 through a mutual friend shortly after her return to Seattle. It wasn't until two years later that Knox agreed to participate. Their appeal was based on giving Knox, Sollecito and Mignini a more unfiltered avenue in which to tell their stories, without sensational or headline-motivated interest. The film was viewed for each before it premiered earlier this month at the Toronto International Film Festival.

The filmmakers have watched as their documentary has ironically returned Knox to the media's spotlight. The Daily Mail, for example, published photographs — the kind usually reserved for jet-setting movie stars — of Knox and her current boyfriend, writer Christopher Robinson, with whom she lives in Seattle, arriving in Toronto. (Knox attended the premiere but didn't speak at it.)

"They all would like to move on from this," says Blackhurst. "Not only has it defined their lives for the better part of a decade, but it seems like they'll forever be trapped in this narrative that might have latched on to them for the rest of their lives."

Knox, in the film, considers the implications of her being turned into "a monster," and the implications it has for others.

"If I'm guilty, it means I am the ultimate figure to fear. On the other hand, if I'm innocent, it means everyone's vulnerable. And it's everyone's nightmare," Knox says. "Either I'm a psychopath in sheep's clothing or I am you,"


Follow AP Film Writer Jake Coyle on Twitter at:

Brad Pitt skips film premiere to focus on 'family situation'

A producer says "we all respect his privacy" as Brad Pitt skipped his first public appearance after last week's split with Angelina Jolie Pitt. He didn't attend the premiere of Terrence Malick's new documentary Wednesday night as scheduled.

Pitt, who narrates "Voyage of Time: The IMAX Experience," said in a statement Wednesday that he's grateful to have been part of the project, but is "currently focused on my family situation and don't want to distract attention away from this extraordinary film."

Producer Sophokles Tasioulis said outside the California Science Center IMAX Theatre that he understood Pitt's absence.

"Right now, he's in a very difficult situation personally. And we want people to come here for the movie, not for what is going on behind the scenes in Brad's personal life," Tasioulis said. "So I think it was a good decision by him. And we all respect his privacy."

Pitt is also credited as producer on the film. Malick directed him in the Oscar-nominated 2011 family drama "Tree of Life" and producer Sarah Green said the two are "great friends." Tasioulis said producers had not been in direct contact with Pitt for more than two weeks.

"We last spoke to him when he was still in France. Because the 90-minute (version of "Voyage of Time") premiered in Venice, so it was like a one hour hop over from the south of France to Venice. (We asked) whether he would like to come or not," Tasioulis said. "And he wanted to focus on his family. So he didn't come there as well."

Pitt has yet to file a response in the divorce case. Jolie Pitt cited irreconcilable differences in her Sept. 20 filing to end their two-year marriage, and she is seeking sole custody of the couple's six children.

The FBI says it's continuing to evaluate whether to investigate Pitt's reported involvement in a fight aboard a private jet carrying his family on Sept. 14. The incident led to allegations that Pitt was abusive to his 15-year-old son, and several media outlets have also reported the actor is under investigation by a child welfare agency.

The Los Angeles County Department of Children and Family Services will not say whether it is investigating the incident.

Jolie Pitt's divorce filing lists the day after the flight as when the couple separated. Her lawyer said the actress decided to divorce "for the health of the family."

Pitt's next film after "Voyage of Time" is Robert Zemeckis' World War II drama "Allied," set for release in November.


Entertainment writers Sandy Cohen and Anthony McCartney also contributed to this report.

In 'American Honey,' finding family in a hopeless place

The face filmmaker Andrea Arnold makes at the thought of storyboarding her films is the kind of bitter, disgusted look most people reserve for a bath full of leeches.

Once her "Eww!" has receded, the British director leans forward and explains why she won't sketch her shots in advance. "I want to bring life into what I'm doing," she says. "I try to create that sort of atmosphere which involves not being too structured. If I start controlling it too much, I think the life goes."

Arnold pauses to consider and then concludes: "I quite like to get in there and see what's what."

Life rushes through Arnold's heartland odyssey "American Honey" with a freewheeling electricity that the Beats would have admired even if the tunes (Rihanna, Drake, Big Sean) were puzzlingly unfamiliar. An immersive and exuberantly sensory road movie, "American Honey" follows the cross-country road trip of aimless but colorful teenagers selling magazines door-to-door as a way to party across the Midwest.

"American Honey" has its own band of merry pranksters, too. Though the movie's actors include a few young stars (Shia LaBeouf, Riley Keough), Arnold mostly found her cast on her own research trips around the county, at spring break clubs on the Florida coast and county fairs in Appalachia.

"We were all real people, cast from the streets. All of the situations we were coming from were pretty bad," says Raymond "Ray Ray" Coalson. "We legitly became family because we were all misfits and this brought us together."

Just as the making of "American Honey" was unorthodox, so has its presence been on the festival circuit. In Cannes, where the film won the Jury Prize, the group danced down the red carpet to E-40's "Choice (Yup)." At the Toronto International Film Festival, they traversed the city in a party bus not unlike the van they ride in the film. Collectively, they are a dancing blur of tattoos, skateboards, hugs and tears.

Arnold, the 55-year-old director of "Fish Tank" and "Wuthering Heights," is the matriarch of their improvised family, shepherding her cast from nowhere and into one of the most acclaimed films of the year. Sasha Lane, then a Texas-native college student on spring break, now the film's breakout star, initially worried Arnold was casting for pornography. Then she watched her rescue passed out kids along Panama Beach.

"I witnessed her doing things like that," says Lane. "Her energy, for one, is very pure. And her telling me that I was beautiful the way I was, and seeing her help people on the street, you knew that she would have your back."

Arnold and Lane recently slid into a restaurant booth in Toronto, both still emotional from the ride they've been on the last year. Arnold may be in charge, but her pensive demeanor belies her eager playfulness. "The bus is the best," Arnold says before wondering if the loud music was disturbing Toronto citizens. "Quite rude with the Big Sean, actually," she says, referring to the hip-hop artist in their mobile mix.

Arnold came to the story of magazine-selling crews from a 2007 New York Times article . The itinerant journeys, from cheap motel to cheap motel, were filled with drugs, alcohol and sex. The world, and its surrogate families, appealed to Arnold.

"Here they are selling things on a minibus. It's kind of a little version of capitalism," Arnold says. "It's in a nutshell the biggest picture: selling and trying to find your place in this big country."

To write her script, Arnold traveled through West Virginia towns, emptied by mine closures, and through impoverished areas of the South and Midwest. The vision of America in "American Honey" is one of opiate addiction, highways and soda. In one memorable scene, the crew dances to Rihanna's "We Found Love" in a Walmart. (Arnold wrote the pop star a letter to get permission for the song.)

Arnold grants she witnessed a lot of poverty and hopelessness, but isn't inclined to make any pronouncement on the soul of America.

"Environment obviously affects us but we also have an impact on our lives too," says Arnold. "If you grow up in a certain situation but you don't believe in yourself, how do you get out of that? So it's complicated. I couldn't possibly say something simple about it."

During shooting, the cast and crew lived much like the magazine crews: piled into motel rooms, their destinations often chosen at the last minute. Michael Fassbender, who starred in Arnold's "Fish Tank," says her way of making a movie is uncommonly organic: "Andrea can create chaos and capture it so well," Fassbender says. "A lot of directors can create it and not capture it."

For movie novices like Lane, it was a strange baptism. "Every day I was reminded, 'This is not how normal movies are made, Sasha, by the way,'" says Lane.

Lane, who turns 21 Thursday, now has a budding movie career. Like her fellow cast members, her life has be forever altered by Arnold and "American Honey."

"She saved my life in a way because I know that part of America," says Lane, beginning to cry. "We all had something that we were looking for. She gave me this hope that you can have another life besides the one you grew up with. I went from hopeless to: No, you can shine."


Follow AP Film Writer Jake Coyle on Twitter at:

Disney is making a live-action version of 'The Lion King'

Following in the footsteps of 2016's "The Jungle Book" and 2014's "Maleficent," Disney is preparing to make a live action version of its 1994 animated blockbuster, "The Lion King."

According to a news release from The Walt Disney Co., Jon Favreau, who directed Disney's live-action "The Jungle Book," this year, will take the helm on the film.

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"'The Lion King' builds on Disney’s success of reimagining its classics for a contemporary audience with films like 'Maleficent,' 'Cinderella' and 'The Jungle Book,'" The Walt Disney Company said in a news release Wednesday. "The upcoming 'Beauty and the Beast,' starring Emma Watson as Belle, is already one of the most anticipated movies of 2017."

Favreau hinted at his next project in a tweet on Wednesday.

There is no release date set for the reimagined "Lion King." Favreau and Disney are also working on a sequel to the live-action "Jungle Book."

Disney to make live-action 'Lion King,' Favreau directing

The animated classic "The Lion King" will be the latest Disney film to get a live-action remake.

Disney announced Wednesday that Jon Favreau, who helmed the box-office hit "Jungle Book" remake, will direct the new "Lion King." He's also at work on a "Jungle Book" sequel.

The circle of life now inevitably leads to live-action remakes for Disney classics. The new "Lion King" follows in the wake of similar remakes for "The Jungle Book," ''Cinderella," ''Pete's Dragon" and the upcoming "Beauty and the Beast."

The original 1994 "Lion King" grossed $968.8 million and won two Oscars, including one for the Elton John song "Can You Feel the Love Tonight." The Grammy-winning soundtrack sold more than 14 million copies. And the hit Broadway musical has been running for 19 years.

The top 10 movies on the iTunes Store

iTunes Movies US Charts:

1. Neighbors 2: Sorority Rising

2. The Legend of Tarzan (2016)

3. Captain America: Civil War

4. 13 Hours: The Secret Soldiers of Benghazi

5. I.T.

6. Free State of Jones

7. Teenage Mutant Ninja Turtles: Out of the Shadows

8. Mike and Dave Need Wedding Dates

9. The Jungle Book (2016)

10. Me Before You

iTunes Movies US Charts - Independent:

1. I.T.

2. Dirty 30

3. Goat

4. Hunt for the Wilderpeople

5. The Phenom

6. My Blind Brother

7. Swiss Army Man

8. Citizenfour

9. The Lobster

10. Transpecos


(copyright) 2016 Apple Inc.

Review: A Holocaust denier is brought to justice in 'Denial'

Based on Deborah Lipstadt's book "History on Trial: My Day in Court With a Holocaust Denier," the film depicts when the unapologetically anti-Semitic historian David Irving brought a libel suit against Lipstadt for calling him a Holocaust denier in one of her books.

Because of the nature of libel cases in the United Kingdom (where Irving filed the suit), the burden of proof is on the defender, not the plaintiff. Hovering constantly throughout the trial — which ran eight weeks — is the question: Is it worthwhile to expend so much energy on such a loathsome liar?

It's a salient question with obvious relevance to a time where willful disregard for the truth increasingly runs rampant in national politics and social media streams, alike. Should trolls be taken to task or ignored?

"Denial" argues forcefully and convincingly for the vital necessity of confronting the perpetuation of dangerous falsehoods. It rises impressively to the wise and perhaps unpopular judgment that "not all opinions are equal." This is an honorable cause if not a particularly dramatic movie.

Just as the legal team behind Lipstadt's case brought a full array of firepower to the proceedings, so has Jackson in his film. The cast is littered with an impervious collection of British talent, in front of and behind the camera.

Rachel Weisz stars as the Queens-born Lipstadt. Her star-studded attorneys are barrister Richard Rampton (played by Tom Wilkinson) and solicitor Anthony Julius (Andrew Scott), famed for securing Princess Diana's divorce. Irving is played with snarling perfection by Timothy Spall. And the script is by playwright David Hare ("The Reader," ''The Hours").

Irving sets things in motion when he turns up a speaking engagement of Lipstadt's to heckle her from the audience. When he brings the lawsuit against her publisher, Penguin Books, the assembled legal team begins hashing out a strategy of how to argue history in a courtroom, how to prove the Holocaust.

What's partly on trial, though, is the notoriously byzantine British court system, itself. "Dickensian not Kafkaesque" is what Lipstadt says she's hoping for in her passage through its elaborate procedures.

Often, Lipstadt's experience is a frustrating one as she — more emotional than her lawyers — clashes with the stringently logical Rampton. They together visit Auschwitz where he reacts bitterly to the lack of an extensive forensics record. Despite Lipstadt's protests, the attorneys want neither her nor Holocaust survivors to take the stand to subject themselves to Irving's questions. (Irving represented himself in the trial.)

These strategic debates aren't much to hang a movie on, but the case doesn't supply much else in terms of suspense. "Denial" is carried less by the normal theatrics of courtroom dramas than a staunch sense of duty to protect the truth. It's an argument for the patient, methodical dismantling of fools.

"Denial," a Bleecker Street release, is rated PG-13 by the Motion Picture Association of America for "mild action and some thematic elements." Running time: 110 minutes. Two and a half stars out of four.


Follow AP Film Writer Jake Coyle on Twitter at:

In 'Deepwater Horizon,' an ecological disaster's human toll

The name Deepwater Horizon is synonymous to most with environmental catastrophe and corporate negligence. For Mike Williams, who survived the April 2010 oil-rig explosion by plunging into the Gulf of Mexico from several stories up, it was about something else.

"My 11 brothers that got killed were immediately forgotten," Williams said, speaking from his Sulphur Springs, Texas, home. "We understand the oil. It's bad, yes. The birds are dying and the shrimp and the crabs and all that stuff. But those aren't brothers, sisters, uncles, aunts, sons, daughters. Shrimp can come back. People, you can't bring those guys back."

Peter Berg's "Deepwater Horizon," which opens in theaters Friday, puts the spotlight of a big-budget disaster movie on the human toll of a real-life tragedy. Mark Wahlberg stars as Williams, a central figure in an earlier "60 Minutes" segment that focused on the Deepwater Horizon workers.

"There are probably several different ways you could tell this story or any story, but I liked this approach," says Berg ("Friday Night Lights," ''Battleship"). "I was very moved by the fact that 11 men lost their lives and I didn't even know that before the '60 Minutes' piece."

Made for over $100 million by Lionsgate, "Deepwater Horizon" gives the true story the kind of action-film treatment usually reserved for caped crusaders. A mock oil rig, 85 percent to scale, was built at an old Six Flags in Louisiana out of more than 3 million pounds of steel — one of the largest film sets ever erected. The film, based on a New York Times article that detailed the events surrounding the explosion, burrows into the details and politics of life on the rig leading up to the chaos-inducing blowout.

"It's great that the studio would take the risk to make a movie that has no sequel potential," says Wahlberg. "At a time when we get bombarded with superhero movies and other stuff that's pretty mind-numbing, it's nice to have a really smart, adult movie that has action."

Though director J.C. Chandor ("A Most Violent Year") originally helmed the project, Berg ("Friday Night Lights," ''Battleship") came aboard to lend the film a more movie star-based approach. "This film works on many levels and I think one of them is just a big-ass action film in the best possible way," Berg says.

Berg's last film, "Lone Survivor," similarly sought to pay tribute to a hardened community (the Navy SEALS) with kinetic verisimilitude. Many of the rig workers have small roles in the film or served as consultants, including Williams.

"Once the family members and loved ones heard that they were making a movie, they were all completely against it because they assumed that Hollywood was going to make a movie about the environmental disaster and their loved ones would be overlooked again," says Wahlberg. "Once we were able to communicate to them what our intentions were, what the movie was going to be, then they all came onboard. We wanted to honor those people."

Some may take issue that one of the largest environmental disasters in history has been reduced to a fiery action movie. "Deepwater Horizon" spends little time on the millions of barrels of oil that leaked into the Gulf of Mexico for 87 days after the explosion. Nor is there much scrutiny of BP, which was found primarily responsible for the spill by a federal judge in 2014. It has paid billions in cleanup costs, penalties and settlements.

"When it came down to who decided what, pointing figures, we didn't want to do that," says Wahlberg. "These guys do a very dangerous job."

The primary figure of corporate greed is encapsulated by rig supervisor Donald Vidrine (played by John Malkovich with a devilish Cajun accent), who was found guilty of a misdemeanor pollution charge for a shoddy pressure test that precipitated the explosion. In the film, a money-centric, behind-schedule BP is seen as recklessly rushing past safety regulations.

Williams, an electrician who has given up the oil business to homeschool his kids, says Berg told the story "right down the middle." He hopes the film makes people more aware of the "dirty, dangerous, potentially toxic business" that fuels their cars.

"More than likely, the people who see this film are going to get in a car and drive to the theater," he says. "Or even if they take public transportation, it still has to have some kind of fuel source. And even if it's electric-powered, it still has to have grease, it still has to have tires — all, of course, petroleum products. When they make that connection, it will be a deeper connection to the men that died."

"It's the least I can do to speak for them," says Williams, "because I'm still here and they're not."


Follow AP Film Writer Jake Coyle on Twitter at:


This story has been corrected to Sulphur Springs, Texas, from Sulfur.

'Deepwater Horizon' film stirs emotion in victims' families

Arleen Weise was apprehensive when she learned Hollywood was making a movie about the offshore explosion that killed her son, Adam, and 10 other men aboard the Deepwater Horizon drilling rig.

Watching an advance screening of the action film last month stoked her grief and anger, and the shock hasn't quite worn off yet. Weise said she's still struggling to decide how she ultimately feels about how "Deepwater Horizon" portrays the last day of her son's life before he died in the explosion off Louisiana's coast.

"The first viewing of it is shocking for a family member to see that," she said. "Hearing and seeing are always two different things."

While their reactions to the movie vary, Weise and other relatives of the 11 workers who died in the April 20, 2010, rig explosion hope it will remind people about the disaster's human toll. Many family members believe a focus on the catastrophic environmental damage from BP's massive oil spill in the Gulf of Mexico unjustly overshadowed their loved ones' deaths.

"They just swept the 11 men under the rug," Weise said.

The movie, directed by Peter Berg and starring Mark Wahlberg, Kurt Russell and Kate Hudson, is scheduled for nationwide release Friday.

The filmmakers already have privately screened the movie for relatives of the workers who died in the explosion triggered by the blowout of BP's Macondo well. The screenplay is based in part on an article by New York Times reporters who interviewed survivors of the blast, which led to the nation's worst offshore oil spill.

Berg reached out to family members after news of the production surfaced.

"I know how personal this story is to you," he wrote in a letter to Shelley Anderson, the widow of Jason Anderson. "The film is meant to honor and pay tribute to all the men and women who worked aboard the Deepwater Horizon, especially the heroic men, like Jason, who lost their lives."

Anderson believes Berg succeeded in honoring the 11 men. She said the actor who plays her husband captured some of his mannerisms, like the ways he crossed his arms or told a joke. But she had to close her eyes at times, and she burst into tears at others.

Anderson, of Midfield, Texas, said her 7-year-old son, Ryver, who was 15 months old when his father died, recently saw a trailer for the movie on television and asked, "Is that when daddy died?"

"Now he's going to remember seeing it on TV. I don't like that," she said. "It is so real to us that it hurts to experience it over and over again."

Relatives said photographs of the 11 men are shown on screen at the end of the movie. Besides Anderson and Adam Weise, they were Aaron Dale Burkeen, Donald Clark, Stephen Ray Curtis, Gordon Jones, Roy Wyatt Kemp, Karl Kleppinger Jr., Keith Blair Manuel, Dewey Revette and Shane Roshto. All 11 men are portrayed by actors in the movie.

"I do feel honored that they called my husband a hero," said Courtney Kemp Robertson, Kemp's widow. "I feel very proud of that, but I was already proud of my husband before a movie was ever made."

The filmmakers invited relatives to visit the set last year. Weise said she inadvertently snubbed actor John Malkovich, whom she mistook for a BP employee. Malkovich was dressed in a shirt with a BP logo and playing the role of Donald Vidrine, one of two BP rig supervisors charged with manslaughter over the workers' deaths.

Federal prosecutors, who later dropped the manslaughter charges, accused Vidrine and Robert Kaluza of botching a crucial safety test before the explosion.

Vidrine pleaded guilty to a misdemeanor pollution charge and was sentenced to 10 months of probation. A jury acquitted Kaluza, who also is played by an actor.

Shaun Clarke, Kaluza's attorney, said his client isn't concerned about his portrayal in the movie.

"He knows what the truth is, and he was vindicated at trial," Clarke said.

Weise, of Victoria, Texas, said the movie stirred up anger she has tried to suppress while grieving for her 24-year-old son.

"BP looks awful (in the movie), and that makes me so happy," she said.

Keith Jones, Gordon's father, praised Berg for striving to present an accurate account of the disaster.

"It was a fair portrayal of BP's decisions, and it left the viewer to decide why BP made those decisions. But it's obvious to me that BP made those decisions to save money," said Jones, an attorney based in Baton Rouge, Louisiana.

Billy Anderson, Jason's father, said the film "really shows what those men went through."

"It actually helped me, seeing the way they handled it. It gave me a little bit of closure," said Anderson, of Blessing, Texas.

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