Oswald in the doorway: the blog of the Oswald Innocence Campaign, by Ralph Cinque

Let's settle something, once and for all. There is a criticism of my movie, which I have seen repeated, which faults the location that we used for a home in Tunis, the capitol of Tunisia. In the Closing Credits, it says  that the house was in L.A. So, the criticism goes that it looks like a house in L.A., a typical house in L.A. 

Well, this house, in L.A., was built by a Moroccan architect according to Moroccan architectural design, and I am speaking of the landscape architecture. 

And do you see that little mountain in the background?  The critic said that that mountain gives it away that it's L.A. because, of course, L.A. is the only place that has mountains. 

And do you see the jacket the man on the left is wearing? This same critic said that it looks like it's off the rack at Walmart. 

This is a movie which laments the killing of "hundreds of thousands...and more" in the post-9/11 wars. So, we're supposed to be fretting about the source of a jacket?

How do you trash a movie with such a strong message without addressing the message? Focusing,  instead, on whether the jacket is authentic (and we had an excellent cultural adviser) and whether a mountain in the distance shouldn't be there? 

I knew before we started that the movie would come under attack.  And it's not just because of the film's message, accusing the U.S. government of war crimes, which it does, but because of who I am and my visibility in the JFK realm. 

But, indeed, let there be a culture war surrounding this movie. I hope my enemies get fired up. Let's start drawing attention to it in a big way. Let's just brawl over it, shall we?  Let's make it the most controversial, the most polarizing movie of all time.  The story is extreme, and it looks like the fight over it is going to be extreme  as well.