Moore's Expectations For The 2004 Presidential Election
The film was released in June 2004, less than five months before the 2004 presidential election. Michael Moore, while not endorsing presidential candidate John Kerry, stated in interviews that he hoped "to see Mr. Bush removed from the White House". He also said that he hoped his film would influence the election: "This may be the first time a film has this kind of impact". However, some political analysts did not expect it to have a significant effect on the election. One Republican strategist stated that Moore "communicates to that far-left sliver that would never vote for Bush", and Jack Pitney, a government professor at Claremont McKenna College, suspected that the main effect of the film would be to "turn Bush-haters into bigger Bush-haters." Regardless of whether the film would change the minds of many voters, Moore stated his intention to use it as an organizing tool, and hoped that it would energize those who wanted to see Bush defeated in 2004, increasing voter turnout. Notwithstanding the film's influence and commercial success, George W. Bush was re-elected in 2004.
Read more about this topic: Fahrenheit 9/11
Famous quotes containing the words moore, expectations, presidential and/or election:
“Though he is captive,
his mighty singing
says, satisfaction is a lowly
thing, how pure a thing is joy.
This is mortality,
this is eternity.”
—Marianne Moore (1887–1972)
“Masturbation is not only an expression of self-regard: it is also the natural emotional outlet of those who ... have already accepted as inevitable the wide gulf between their real futures and the expectations of their fantasies.”
—Quentin Crisp (b. 1908)
“Under a Presidential government, a nation has, except at the electing moment, no influence; it has not the ballot-box before it; its virtue is gone, and it must wait till its instant of despotism again returns.”
—Walter Bagehot (1826–1877)
“He hung out of the window a long while looking up and down the street. The world’s second metropolis. In the brick houses and the dingy lamplight and the voices of a group of boys kidding and quarreling on the steps of a house opposite, in the regular firm tread of a policeman, he felt a marching like soldiers, like a sidewheeler going up the Hudson under the Palisades, like an election parade, through long streets towards something tall white full of colonnades and stately. Metropolis.”
—John Dos Passos (1896–1970)