Loosers In the Guardian
In a rather oddball article which focuses on the film's marketing.
There's a futility to arguing with them that even they recognise. "You can't stop this, you can't hold us back," Jason says. "Many outlets have tried to ignore us, but in the end they are all forced to listen to us because their viewers are demanding it." He is right. The exponential growth of Loose Change is gradually forcing the film on the mainstream media. Though it began as an internet phenomenon, its biggest spikes have come, significantly, after the film gained airplay on old media platforms such as Air America and Pacifica radio stations, local Fox TV outlets and on stations around the world, including state outlets in Belgium, Ireland and Portugal. So far though, no British channel has been rash - or as the film-makers would see it, brave - enough to bite.
"This is unlike anything I have worked on," says Tim Sparke of MercuryMedia, which handles international distribution for the film. "It has forced millions of people to question whether they can trust big media, and by bypassing the broadcasters through internet distribution it has altered the media power balance profoundly. With a little money and passion, anyone can make an important film."
The final test for Avery and co is yet to come. They are putting together Loose Change: the Final Cut using an upgraded Power Mac G5 (price $5,000). They have filmed original interviews with Washington players, employed lawyers to iron out copyright issues with borrowed footage, commissioned 3D graphics from Germany, and recruited a theology professor to act as fact-checker and consultant. The end result, they hope, will be seen at Cannes and have a cinema release in America and across the world on the sixth anniversary of 9/11.
Of course there is the usual contradiction between "don't trust the media" and "look at this TV clip" that suffuses Loose Change and much of the 9-11 Denial Movement.