Great article dealing with all sides of a very controversial subject. Once again, Alan Prendregast helps sets the story straight(er) on the Columbine tragedy.
By Alan Prendergast
By Michael Roberts
By Michael Roberts
By Amber Taufen
By Patricia Calhoun
By William Breathes
By Michael Roberts
By Melanie Asmar
The news first surfaced in the Hollywood trade press last month: The Lifetime cable network is developing a miniseries about the 1999 school shootings at Columbine High School in Littleton, Colorado. Based on a best-selling book about the tragedy, the project involves a team of heavyweight producers whose collective film credits include the fact-based dramas Moneyball, The Social Network and Boys Don't Cry.
Sam Granillo heard about the miniseries on Facebook a few days later, as the story got discussed and linked and passed along to people in the flyover states who generally don't pay attention to such things. But this news was different.
A miniseries? On Columbine? Based on actual events, as they say? Really?
"When I read about it — I don't know if furious is the right word, but I was intensely emotional," says Granillo. "I was beyond irritated."
The thirty-year-old Granillo is a cameraman and production assistant who's worked on a slew of commercials and television programs, from MTV Extreme Cribs to American Idol. But his interest in the proposed miniseries goes deeper than professional curiosity. A couple of lifetimes ago, he was a seventeen-year-old junior at Columbine.
On April 20, 1999, he was eating lunch in the school cafeteria, known as the Commons, when seniors Eric Harris and Dylan Klebold began shooting students outside. The pair soon entered the school, firing randomly at cornered teens and tossing pipe bombs. Hundreds of people fled the Commons in various directions. Granillo and seventeen other people ended up trapped in a small room in the kitchen area, listening to shots, screams and explosions. The door had no lock, so Granillo planted his feet against it.
In the course of about fifty minutes, Harris and Klebold killed twelve students and one teacher, injured 21 others, then committed suicide. The ploddingly methodical SWAT rescue teams didn't reach the kitchen for almost three hours. The police led Granillo and the others through a broken window, past pools of blood and lifeless bodies on the ground outside. Some of those bodies had been friends Granillo knew well. He'd also known Klebold since he was ten years old — or thought he'd known him.
Past the scenes of carnage was a battery of police investigators demanding written statements, reporters trolling for eyewitness accounts — and television cameras poised to soak up the shock and grief. For weeks, survivors of the attack were buttonholed, interrogated, stalked. A reporter followed Granillo and some friends into an Old Chicago restaurant, only to be ejected by management. Tabloid journalists offered hard cash for a hot-off-the-presses copy of the school yearbook, racing to be first to publish the killers' senior photos. The headlines went on for months, followed by "anniversary stories," documentaries, books and even feature films loosely based on the shootings.
Even when he thought he was through the mourning process, Granillo found that Columbine wasn't through with him. He had bouts of anxiety, recurrent nightmares about being chased and trapped. "At first the coping mechanism in my brain downplayed a lot of what happened to me, but it stuck with me," he says. "Then I wanted to get counseling, and I kept running into dead ends. I found out a lot of other people were in the same situation. It was available to us once, and now it's not. I've had people come up to me and say, 'Sam, it's been ten years. Aren't you over it yet?' But it's never going away for us, ever."
A few months ago, Granillo began raising funds and conducting preliminary interviews for a documentary about the long-term trauma left by the shootings. He figured this might be a way for him and others to put the tragedy to rest, take the discussion in a new direction.
Then he heard about the miniseries. A true story about the worst day of his life, his friends' lives. A true story. Based on actual events. Told by people he's never met.
"Anyone who wasn't there doesn't understand how we feel about having our lives put on display for everyone to see," he says. "Who would want that? I'm worried for my friends who are going to turn on the television and see themselves portrayed as who knows what. A miniseries? That's like the fucking straw that broke the camel's back."
Another Columbine graduate soon launched an online petition, "Say 'No' to Columbine Movie." "We ask for basic human respect to be shown to a community that does not want to be exploited over a sensitive and persistently prodded event," the petition states. "There is no mention of any proceeds being directed at programs that address school violence. There has been no indication that people were actually consulted from the community. There is no indication that anyone has been contacted for likeness rights."
Within a week, thanks largely to social-media activism among alums and their families, the petition had collected more than 5,000 signatures. Some of the protesters posted comments expressing their displeasure with the project's source material: Columbine, a book by journalist Dave Cullen, who bills himself as "the nation's foremost authority on the Columbine killers." Cullen's book won awards and made several critics' best-reading lists for 2009, but it's had a rougher reception in Littleton, where some prominent members of the Columbine community have taken issue with its accuracy and its slant.
Other signers were troubled that the network backing the miniseries is Lifetime, purveyor of turgid melodramas involving cheating spouses, suave serial killers and Tori Spelling. ("Lifetime should stick to cheesy movies about pregnancy pacts and Dance Moms," one wrote.) But the prevailing sentiment seemed to be that any film project purporting to be the "real story" of Columbine, yet put together by outsiders, would reopen wounds not yet healed and possibly inspire more copycat shootings.
"This is a terrible idea for a movie," wrote Anne Marie Hochhalter. "I was injured at Columbine, and Dave Cullen's book is inaccurate and sensationalized. Please don't let this movie be made; it brings back all the pain I experienced, and is insensitive to all of us in the Columbine community."
Hochhalter figures in several passages in Cullen's book; she was one of the first students shot outside the school and was left paralyzed by her injuries. Her mother's suicide a few months later provides another graphic scene. But Cullen never interviewed Hochhalter; his accounts of her family's ordeal, complete with quotes, come from various news articles.
"It felt kind of violating, to be honest," Hochhalter says of the experience of reading Cullen's book. "He got the part about how I was injured completely wrong. I couldn't bear to read the whole thing. The fact that this movie is in the works, based on what he wrote — I just feel sick over it. I don't want young, impressionable, angry people out there, who idolize Harris and Klebold anyway, to see this on film."
Cullen, who now lives in New York City, says he was surprised by the virulent opposition to a miniseries based on his book. The project has been "in development" for years now, but he cautions that it hasn't been "greenlit," hasn't been cast. There isn't even a finished script yet.
"When the book came out, I braced for possible controversy, and there wasn't much," he says. "People who don't like the book probably aren't going to like the film. But with the film, we don't have anything for them to judge yet. It's frustrating."
Although it's drawn the most ire, the miniseries isn't the only Columbine-themed project in the works. A stage play based on Cullen's book is also planned, and We Need to Talk About Kevin, a new film starring Tilda Swinton as the mother of a Harris-like teen killer, has been making the rounds of the festivals and is scheduled to open in Denver on March 30.
And the news continues to offer its own reminders of the tragedy. Most of the students who attend Columbine today aren't old enough to have any direct memories of the attack. They'd rather see their school's name celebrated for its frequent state athletics championships than used as shorthand for "massacre." But events keep conspiring to keep the school's dark legacy alive. In the past three months alone, locals have had to contend with not one, but three "Columbine-related incidents" that made national news:
•In December, Columbine principal Frank DeAngelis was interviewed by a sixteen-year-old youth from Utah about the attack. The youth was arrested a few weeks later, suspected of plotting with another student to bomb an assembly at his school and escape in a stolen plane.
•In February, a fourteen-year-old girl was arrested after an alleged assault on two other students with a hammer. The girl's mother claimed that she'd been bullied. The case wouldn't have made headlines — except that the school happened to be Columbine.
•Two weeks later, a shooting at Chardon High School in Ohio left three dead and two wounded, the latest in more than a hundred such incidents since Columbine. The suspected shooter, seventeen-year-old T.J. Lane, reportedly told a deputy that he'd fired at random, but other accounts have suggested he was seeking revenge.
If you include college-campus violence in the statistics, then there were deadlier school shootings before Columbine (University of Texas, 1966) and afterward (Virginia Tech, 2007). Harris and Klebold had hoped to kill hundreds more, with bombs planted in the Commons and the parking lot, but their plan failed miserably. Yet Columbine remains the touchstone for this type of event, the standard by which other horrors are measured, the archetype for Harris-and-Klebold wannabes. That the culture is still so fascinated by the shootings thirteen years later may have more to do with the powerful myths woven around the tragedy — by the media, the killers, law enforcement and others — than the "actual events" of what happened that day.
"Directors will be fighting over this story," Klebold declared in one of the so-called "basement tapes," the videos the pair made in the weeks before the attack. It was just about the only prediction that the killers got right.
But whose story is it?
"We all have hundreds of stories about what happened that day and since," says Granillo. "But that's not the story they keep telling."
Klebold and Harris began planning their grandiose suicide mission more than a year before the attack. Amid all the fantasizing and strategizing, it's clear they were aiming for something quite different from the late-1990s rash of school shootings in places like West Paducah, Kentucky, and Jonesboro, Arkansas.
"Do not think we're trying to copy anyone," Harris announced on one of the basement tapes. "We had the idea before the first one ever happened. Our plan is better, not like those fucks in Kentucky with camouflage and .22s. Those kids were only trying to be accepted by others."
The Columbine killers weren't interested in being accepted. In addition to a high body count, they wanted posthumous fame. And followers. They wanted to "kickstart a revolution," as Harris put it.
Their bombs failed to detonate. The revolution never arrived. Their few imitators tended to be mental cases like Virginia Tech's Seung-Hui Cho. But the pair did manage to achieve a degree of infamy that's eluded other school shooters.
One reason for the persistent fascination with Columbine has to do with local law enforcement's inept response to the attack. While the first Jefferson County Sheriff's Office deputies on the scene exchanged shots with Harris, they didn't follow the killers inside the school; adhering to what was then common practice, they waited for SWAT to arrive and conduct a time-consuming, room-by-room sweep. Meanwhile, the killers were free to fire at will at unarmed targets. (They killed themselves around the time the first SWAT team entered at the opposite side of the building, but police didn't discover their bodies for three hours.)
The entire sorry spectacle unfolded on national television that afternoon. News copters caught images of hundreds of cops standing around outside, seemingly helpless; throngs of terrified students fleeing with their hands in the air; a sign in a window, announcing that teacher Dave Sanders, shot while trying to shepherd students to safety, was bleeding to death in a science classroom. (He died before medical aid could be safely escorted to him.) No other school shooting had ever attracted such a massive live audience before — and new procedures adopted by police across the country in the wake of Columbine, designed to deal swiftly with an active shooter situation, make a repeat of such a prolonged siege unlikely.
The blundering continued long after the siege ended. Fearing civil suits, school and law enforcement officials lawyered up, releasing little information about the killers and even lying about a prior police investigation of Eric Harris for making threats and detonating pipe bombs. Determined to explain the "why" of the shootings, journalists fashioned motives out of rumors, cranking out stories about Harris and Klebold being persecuted goths, or members of the Trench Coat Mafia, or put-upon nerds looking for payback against bullying jocks.
The truth trickled out gradually. Under pressure from victims' families, the Jeffco sheriff's office grudgingly released some of its investigative files while fighting for years to suppress some of the most embarrassing documents — as well as the writings and videos of the killers, claiming they would provoke copycat shootings. (The basement tapes, though viewed by some reporters and Columbine families, are still officially under wraps.) The stonewall made the materials seem far more interesting than they actually were, helping to perpetuate a mystique about Columbine that endures to this day.
The media mythology quickly became fodder for film and television dramas — everything from high-minded indie features to episodes of Law & Order, Cold Case, One Tree Hill and even American Horror Story. The first full-length film out of the box was a low-budget splatterfest, Duck! The Carbine High Massacre, featuring two trenchcoated neo-Nazi killers, Derwin and Derick, who carry out a brutal revenge plot against the jocks at their school. Although the exploitation flick was billed as a dark comedy, its backers were trying to cash in as crassly as possible; the release date was the first-year anniversary of the attack on Columbine.
Only slightly less exploitative, in the view of some Columbine families, is Michael Moore's 2002 venture into quasi-documentary, Bowling for Columbine. Despite the title — an erroneous reference to Harris and Klebold attending their bowling class the morning of the massacre, which didn't happen — the film has little to do with Columbine. The bulk of it is a rambling Moore polemic about America's love of firearms and its culture of fear. Yet the film makes effective use of the now-familiar surveillance footage from the Columbine Commons, as well as a sequence in which Richard Castaldo and Mark Taylor, both severely wounded by the shooters, accompany Moore to Kmart corporate headquarters to protest sales of handgun ammo. Audiences may have felt misled by the title, but they made Bowling for Columbine the highest-grossing documentary of its time — and encouraged other independent filmmakers to plunge into the topic.
The feature films that followed Moore's coup tend to fall into two camps. They either focus on the killers as some inexplicable evil force, or on the aftermath of a school shooting, in which survivors search for solace and explanations. The champ of the killer portraits is Gus Van Sant's Elephant (2003), which borrows many details from the Columbine attack and weaves them into an arty bit of nihilism, complete with long, wordless tracking shots of students trudging down gleaming hallways and gazing up at empty skies outside.
Van Sant's Eric and Alex watch a documentary on Hitler and play first-person shooter games. They're ready to go out and kill everybody — and "most importantly, have fun," one says, a reference to a note left by Klebold — but we never learn why. (There's a scene early in the movie in which Alex is harassed in class, but it seems insufficient provocation for what follows.) Like Eric Harris, Alex quotes Shakespeare, taunts his prey and pauses mid-massacre to take a sip from another student's abandoned drink in the cafeteria. But ultimately, these ephebic murderers are pure ciphers; they have a homosexual tryst just before launching their attack, but it's more about shedding the burden of virginity than any true feeling. As the rampage draws to a close, one dispatches the other casually in mid-sentence, as if swatting a bug.
Even more disturbing, perhaps, and considerably less pretty, is Zero Day (2003), which is presented as a video diary left behind by school shooters Andre and Calvin, who dub themselves the Army of Two. The home-video footage is uncomfortably reminiscent of the basement tapes, but this army doesn't do much ranting or explaining; they seem to blend in all too well with their surroundings. "We see more than you do," one of the boys tells the camera, but much of what we get to see seems chillingly normal. Ironically, the final sequence of their suicides, shot as if taken by a grainy security camera, has been confused online with actual surveillance footage from Columbine.
If the shooter films come across as cold-blooded, those that focus on the aftermath of a shooting resemble somber but preachy after-school specials. Home Room (2002) offers Busy Phillips of Freaks and Geeks as a put-upon goth girl — and a message about not singling people out because they're different. The Life Before Her Eyes (2007) has the star power of Uma Thurman and Evan Rachel Wood, a message about survivor guilt — and a final plot twist right out of Ambrose Bierce's "An Occurrence at Owl Creek Bridge."
Survivor guilt and bullying also provide the framework for April Showers (2009), written and directed by Andrew Robinson, a '99 graduate of Columbine. Tom Arnold delivers a surprisingly strong performance as Mr. Blackwell, a heroic teacher based on Dave Sanders, and some reviewers found the film quite moving, but it suffers from murky sound and an even murkier storyline, with many mawkish moments. Lifetime has its own prior effort at a hope-and-healing film, Dawn Anna (2005), an inspirational biopic starring Debra Winger as the mother of Lauren Townsend, the class valedictorian who was slain in the school library. But the best of all the aftermath movies to date may be a work of non-fiction, the 2011 documentary Thirteen Families, which follows the emotional journey of all the families of those slain at Columbine — and never once mentions the names of the shooters.
The latest entry in the Columbine subgenre is Lynne Ramsay's We Need to Talk About Kevin — which, like Elephant, doesn't offer much accounting for the Bad Seed who decides to practice his archery on his classmates. (Even Kevin, who survives the attack, doesn't have much in the way of motive to offer: "I thought I knew," he says.) The movie is visually striking, with a fragmented, flashback-heavy structure. (There's something about school-shooting movies that invites a non-linear approach — probably so that the violence can be teased out rather than inflicted all at once.) But as in the Lionel Shriver novel the film is based on, it's a bleak business trying to figure out if Kevin is just born bad or a product of rotten mothering by Tilda Swinton's empathy-deprived character. By the end of the film, audiences may be wearing the same look of stunned stupefaction Swinton carries throughout the proceedings.
So far, Kevin hasn't stirred any noticeable outrage among Columbine alums. None of the other filmmakers' interpretations generated much controversy, either. But then, none of them claimed to be the "real story" of Columbine.
The petition opposing Lifetime's miniseries was started by a Las Vegas stage hand named Michael Berry, a 2001 graduate of Columbine. Berry was sitting in his guitar class in the school auditorium when two students ran in and said there were guys with guns running around. As the shots and explosions drew nearer, Berry's teachers locked the doors. Later, a janitor showed the class a safe way out of the school. They ran to a nearby park, where other students milled about in a general panic.
After the initial shock, some students and parents pressed for things to "return to normal" as soon as possible. Berry found that a difficult move. In his senior year, his English class went to see a production of Hamlet set in the 1920s. "The director didn't tell my teacher that at the end of it, the lights go out and guns start firing," he recalls. "A lot of my class had a real hard time with that."
Berry says he doesn't have a problem with Cullen's book, which he hasn't read. But he believes an effort to dramatize the "actual events" of Columbine will do more harm than good. "It's taken me thirteen years, and I still have a few tics and triggers," he says. "This was something that happened to us. Showing someone a video of this — it's way more potent content than reading a book. This is psychologically intense material. It's just toxic. I just don't understand what is going to be added to the conversation."
He notes that people from Jonesboro and Virginia Tech have signed his petition. The issue, he suggests, goes far beyond Columbine: "This does set a precedent for marketing these types of events. If this goes through, I'll bet you twenty dollars there's going to be a movie on the whole Norway thing. Does anybody want to see that rampage? At what point do we draw the line?"
Cullen is well aware of the range of objections to the miniseries. He read through comment after comment in the online petition, trying to understand his critics' perspective, but finally gave it up. "It was demoralizing," he says. "A lot of them were calling me a horrible person."
It stung, he says, that people think the project is just about money, as if anything dealing with Columbine is a guaranteed blockbuster. He spent the better part of ten years researching his book and challenging the core myths about the attack — for example, that Harris and Klebold were out to kill jocks — but most major publishers weren't interested. Even after the book won rave reviews, major studios passed on the idea of a feature-film adaptation.
"It was this project nobody wanted to do, based on this very dark material," he says. "People who think it's a moneymaker, I would love for them to go to Hollywood and have that conversation with the studios that said no."
After some high-profile industry names became attached to the proposal — writer/director Tommy O'Haver (An American Crime) and producers Michael DeLuca (Moneyball, The Social Network) and Christine Vachon and Pam Koffler (Boys Don't Cry) — Lifetime became interested in it as a "prestige project," something to help change the network's image.
"I was leaning all the time toward doing it as a miniseries on TV," Cullen says. "You can tell a much more involved story that way."
Cullen expects to have considerable input into the adaptation, which he says will give due attention to survivors' stories as well as that of the killers. He doesn't anticipate that the miniseries will inspire copycats, because the "actual" Harris and Klebold, stripped of their mythologies, "are pretty unappealing." For economy's sake, the script may contain composite characters on the periphery of the story, but the intent is to tell a true story: "It's definitely all real names, real people, keeping it as real as possible."
Yet it's precisely the assertion of the project's authenticity that most troubles its opponents. In the Columbine community, Cullen's book is widely regarded not as the definitive account of the massacre and its aftermath, but one version of it, with its own biases and questionable interpretations. The second chapter portrays Harris as a chick magnet, an assertion based largely on the account of one reputed girlfriend whom police investigators concluded wasn't credible; several people who knew the killers well believe both Harris and Klebold died as virgins. ("Right now I'm trying to get fucked and trying to finish off these time bombs," Harris wrote two weeks before the attack.) It's one thread in a larger dispute some readers have with Cullen's work — which, in their view, downplays the role of bullying and other factors in its efforts to portray Harris as a well-integrated psychopath and Klebold as his depressed, rejected follower.
It's doubtful that even the most nuanced version of the killers' motives would satisfy all camps. Harris and Klebold offered contradictory explanations for their hatred and despair. They were filled with rage over perceived slights from family members and the "bitches" who rejected them, but they also believed they had "evolved one step above you fucking human shit." They offered ample warning signs of their intentions because they suspected, correctly, that almost no one was paying attention. They disparaged religion but clung to a hope that they would somehow be able to enjoy their dead-celebrity status. They pursued their apocalyptic plot for months, with the monomania of terrorists, even as their lives seemingly improved, yet they were adept at blaming others for their isolation and contempt for the whole world. "I hate you people for leaving me out of so many fun things," Harris wrote in the final, self-pitying entry in his journal. That's not an explanation — just another expression of long-nurtured grievances by an angry, deeply delusional teenager.
A few of Cullen's most vocal critics say they don't trust his book because he relies so heavily on sources among law enforcement and school officials, including Jefferson County lead investigator Kate Battan, FBI agent Dwayne Fuselier (whose psychological analysis of the killers Cullen presents as if handed down from Mount Sinai) and principal Frank DeAngelis — people whom Columbine families accused of misleading them or providing self-serving accounts. Although Cullen deals in a roundabout way with the police cover-up concerning prior investigations of the killers and their blunders on the day of the attack, he also describes the Jeffco commanders — several of whom lied outright to the media and the victims' families — as "essentially honest men," and he makes a point of proclaiming that Battan "was clean."
"He was working with Battan and Fuselier to make the police look good," says Brian Rohrbough, who fought in court for years to establish that the official account of how his son Danny died outside the school was wrong. "He glosses over the cover-up as if it's an incidental thing."
When Columbine was published, three years ago, Rohrbough and other parents were incensed to learn that Oprah Winfrey was going to feature the author, along with Battan and Fuselier, on a show marking the tenth anniversary of the shootings. Contacted by a producer for photos of his son, Rohrbough suggested that Winfrey was making a terrible mistake.
"I said, 'I'd be happy to pay for my own plane ticket and be part of this,'" he recalls. "'If you're going to put these liars on, someone needs to be there to refute them.' She was horrified."
An appearance on Oprah virtually guaranteed a dramatic rise in sales for any author. Winfrey decided to shelve the episode on Cullen's book, issuing a brief statement: "After reviewing it, I thought it focused too much on the killers. Today, hold a thought for the Columbine community. This is a hard day for them."
"Focused too much on the killers" is a frequent rap on Cullen's work. Jeff Kass, the author of Columbine: A True Story, another tenth-anniversary release that made less of a splash than Cullen's book, recently wrote an op-ed piece about the miniseries flap, suggesting that his competitor's psychological approach presents a distorted view of "two teens who wanted to kill almost everyone they met...and wanted to keep hurting people even after they died."
"Lifetime may have every right to make a Columbine miniseries," Kass writes. "But it also has an obligation to make it the right way."
But what's the right way? Cullen points out that his book also deals with the recovery process of survivors and victims' families, especially Patrick Ireland, the badly wounded youth who crawled out of the library window into the arms of rescuers, and the wife of Dave Sanders. His book was positively received by some of the Columbine families — as well as by thousands of people affected by other shootings and forms of trauma. He insists the producers he's working with are as committed as he is to honoring the victims and not glorifying the killers.
At the same time, he concedes that he doesn't have an easy response for people concerned about the trauma the miniseries might trigger. "Of all the anger and reasons for protest, that's the one that gnaws at me the most," he says. "That's the one I'm really worried about. You'd think I'd have a better answer for that by now. I don't know how to answer it without sounding like an asshole."
Cullen says he recognizes that the post-traumatic stress experienced by many of the survivors is genuine and ongoing. He had two diagnosed bouts of "secondary PTSD" himself while researching his book, one of which was triggered by a series of school shootings in the news in a matter of days. The two most emotionally trying chapters to write, he says, involved the death of Sanders and, oddly, Klebold's funeral.
"I couldn't get any work done," he recalls. "I was pretty much crying every day. I thought I would get over it. I was about three weeks into it when I realized I was in trouble. I was kind of a mess."
But he believes the downside to revisiting the shootings is outweighed by the good that a thorough, honest treatment of the event could do. He likens the project to Vietnam movies of the late 1970s, which distressed some vets but helped the nation come to terms with the war's legacy. "The whole country did go through Columbine and really needs something that will help them," he says. "So I think we need to do it."
Sam Granillo and other petition signers don't agree. Many of them have strong notions about what constitutes PTSD and what sort of catharsis might be helpful.
"I don't doubt that he went through emotional hardships," Granillo says of Cullen, with whom he's exchanged a few e-mails. "But he didn't witness anything. He probably read a lot of horrible stories, but he did that to himself. None of us chose what happened to us."
The miniseries controversy has only strengthened Granillo's resolve to pursue his own documentary about how his classmates have dealt with the long-term legacy of the shootings. He recently launched a website to promote the project, now called Columbine: Wounded Minds, and has a fundraiser planned for next month.
"There's no reason to relive the tragedy endlessly," he says. "What needs to be done now is, how do we get people help? How do we prevent this from happening in the future? There needs to be a new perspective of the situation, from us — and that has not been done yet."
"For the people who've struggled over the years with flashbacks and nightmares, maybe this film can help motivate them to get help," says Hochhalter, who's a strong supporter of Granillo's project. "Other people have had struggles and gotten help, and it really did improve their lives. I'm happy with my life. I have a really good support system, and I think that's key."
Many of the people Granillo is interviewing for his documentary have never talked publicly about the attack before. It's difficult work, he says, and easy to get off track, as subject and interviewer start reminiscing about various friends they lost, or share little stories about life at Columbine before everything was utterly transformed. "It's so close to home," he says. "I can ask questions nobody else can even think of."
Recently, Granillo sat down with Frank DeAngelis, who remains at the helm of Columbine after all these years, the person reporters seek out for every anniversary story. For the first 45 minutes, the interview trudged forward as just another retrospective — the same canned questions and answers. Then Granillo asked his old principal what was really going on in his head, having to be the spokesman and public face of Columbine.
DeAngelis thought about it. He began to talk more candidly than Granillo had ever heard him talk before. The two spent the next four hours in conversation about the school they loved and mourned.
"It was both of us," Granillo says, "sharing things we could relate to. Things we knew, that you had to be there to know."
Great article dealing with all sides of a very controversial subject. Once again, Alan Prendregast helps sets the story straight(er) on the Columbine tragedy.
Amazing write-up! This could aid plenty of people find out more about this particular issue. Are you keen to integrate video clips coupled with these? It would absolutely help out. Your conclusion was spot on and thanks to you; I probably won’t have to describe everything to my pals. I can simply direct them here!
When I read about it — I don't know if furious is the right word, but I was intensely emotional. craighorman
I thought the research that went into Cullen's book was exceptional; however, I do agree with the notion that he does overdramatize some of the sections with fragmentary evidence.
Don't get me wrong, I sympathize with the families and friends of the Columbine community whose lives are going to be portrayed for a movie. However, like most Hollywood movies that are centered on true events, there is bound to be vast misinterpretations that anyone who has read 'Columbine' (especially the criticism of Cullen book) will recognize these flaws.
I might be wrong, but I think the purpose of this film is not to immortalize Klebold and Harris but instead to shed light on the community's response to the tragedy. There is still a lot to be learned from what happened that day, and hopefully this film will cause school administrators across the country to revaluate their security measures. And God willing our crooked politicians will outlaw the sale of firearms for recreational purposes. The film can also bring attention to the causes of Klebold and Harris' rampage for a generation of students who were too young to remember Columbine, like myself.
This whole this is just disgusting. I don't care if the have a script ready or not. This whole "project" is just completely wrong.
Along with that our JROTC was bad arses and where well prepared with the flag polls and the whole school used to have to go to see the home coming show where ROTC showed off their I will kick your butt skills with a flag poll.
That is the way it was in my school. But I live in a more conservative area. I knew the ex retired officers on campus. And some of us kids used to practice invasion Red Dawn drills and had full scale war plans maps out with using our elders in case it happened. So we knew they where armed.
My personal belief is like my father stated in a more conservative time. When the kids knew the Principle had a shotgun on campus and some of the teachers where ex officers or had concealed guns on them. But that is a very conservative view point, he said kids in his age did not think about that as they knew the elders where armed.
Sounds like a great way to allow further students to be able to track, infranchise, along with see mental conditions of kids who are possibly those type of students who would kill their own fellow class mates. The mini series could use points like, how to be nicer to kids who seem outkasted. I remember when I was in school I tried to be nice to those kids who just seemed to want to be alone and did not wan to socialize with everyone else. Kids forget that other kids are human sometimes. Especially in inner city schools or suburbia. Where Church does not play a big part in child upbringing. It was funny as a major peer in the school as a very outgoing character how I look back and see what influence by just being me really played on the whole school. They do not teach kids that. Kids do not understand aura's or reality of those kids who are just more leaders or outgoing than others how they look up to them. That is something that is not taught in social studies.
LEAVE THE DEAD VICTIMS ALONE. And let the living ones in peace and quiet. They don't need that horrific event to be put forth into the public's eye again.
Once again Alan Prendergast shows his mastery of telling the true story, an incredibly complicated story, told by one of the few experts on the Columbine Tragedy.Alan understands it, and he has written about it with integrity for years.
About Cullen's book, it is, in my opinion, pitiful.If Cullen had bouts with PTSD it was about his failure to write a good book and tell the real story. His book is a joke. His tales of PTSD made me laugh. He cried for 3 weeks... bull. The police love him. That is all you should need to know, after watching the fiasco on tv. You could write a book about the errors in his book.
Sam, mentioned in Alan's story, is a wonderful young man. What a brave young man. I have met him and admire him. His story of the time in the cafeteria is chilling and maddening. I hope for him all of the best, and good luck on his documentary.
And, Thirteen Families is a wonderful, sad, heartfelt movie with some of the most memorable moments in film I have ever seen. Gee, I am starting to cry a little bit here. Hope it doesn't last for 3 weeks. It is a sad but great film.
One of the worst parts of this tragedy is the waste of the money that was donated to the Columbine Community, that was used to build bike paths,etc, and not saved for days like these, when the survivors would need counseling and some help to get through the day.There are still broken and healing hearts out there: sad, questioning, wondering, hoping that the school shootings will one day stop. They know about the sadness that the unnecessary violence creates. They have lived it.
Stop the bullying.
If anyone is interested, here's the link for the petition:
As you are too young to remember Columbine, let me enlighten you a bit. This thing has been beaten to death, reported on, referenced, pondered, and discussed to no end. This miniseries will do nothing but make money for the people buying advertisement slots during its broadcast. You know bullying is wrong, you know that shooting up a school is wrong, and you are probably very well aware of the culture of fear that has lead to a zero-tolerance policy for violence and weapons in practically all K-12 institutions (7-year-old kids getting suspended and/or expelled for bringing a steak knife to eat their lunch with). We've learned our lessons, perhaps too well, and policies have been put in place to remind us of this fact constantly. A cheesy, over-dramatized miniseries will not make us learn these things any more than we already have, and such a production will only hurt the families and friends that you allegedly "sympathize" with.
So should there not be films about the Trade Centers and 9/11? How about the holocaust? The millions of Africans killed by warlords? All terrible and different situations but all similar in death. If you didnt have books and films about our past why would except any one to remember what happened? This situation may still be familiar with us Coloradons but what about a 16 year old in Florida?
I haven't read Cullen's book.
I did read your son's book about Columbine. That's truly horrible all the bullying that was going on and how the police ignored threats and then played like they hadn't already heard about it.
Greg doesn't understand a great many things. Even in countries where the general public can't purchase firearms, the criminals still manage to acquire them. By Greg's "logic," anything that's ever killed anyone on purpose should be banned. Drunk guy gets in a car and runs over his girlfriend? Better ban cars. Asshole grabs a kitchen knife and stabs an acquaintance or a spouse? I guess we should all do our cooking with sporks.
Who cares about a 16-year-old in Florida? Do you really expect anyone, regardless of age, gender or ethnicity, to actually learn something of value from a made-for-TV, ADD, good/bad, edited-for-time, exaggerated-plot miniseries? I'm not sure what universe you smoke your granola in, but not everything is so clear cut so as to learn everything about our world from the boob tube. Books? Fine. Film? Fine. This is the Lifetime Channel we're talking about. Have you ever watched their "programs?" There will be strong Christian overtones, suggestions that Harris and Klebold were misogynistic abusers of women, overt foreshadowing, fabricated subplots, dramatic music and cheesy close-ups, all brought to you by L'Oreal makeup or some shit.
Cullen's book has received attention because it is favorable to the law enforcement community and puts over the same myths about Columbine we were fed right from the outset.
Myths that have never been debunked, because any attempts at a real investigation of what happened have been stymied. The worst offense, in my mind, was placing under wraps--in the National Archives no less, for 25 years--the depositions of the Harris & Klebold parents taken in Mark Taylor's civil suit. That shows a cover-up. More evidence of a cover-up is that a commission was created to "investigate" Columbine, made up of law enforcement aficionados and apologists, which continually wrung its hands over not having subpoena power, so--such a shame--it could do no real investigation. Well, there were two officials who DID have subpoena power, and could have used it--STILL could use it--to obtain the Harris & Klebold parents' depositions as well as the documents in the sheriff's office and the school. These were the DA, Dave Thomas, and the Attorney General (at the behest of the governor), Ken Salazar. Salazar, by the way, profited from the killings by mounting an "anti-bullying campaign" which received hundreds of thousands of dollars of free publicity before the 2002 election. Neither of these officials exercised their subpoena power, however. Five years after the killing Salazar announced with great fanfare that he was opening a "limited investigation." Well, why limited? And why 5 years after the fact?
The sheriff's report has many inconsistencies, revealing that not simply two, but SEVERAL shooters, were observed by dozens of students, who even identified two of them as alumni of the school. There is a videotape made early in the day of the sheriff leading someone handcuffed to his car. We were never told who that person was. The pictures of Harris and Klebold dead in the library show that it is impossible they killed themselves. Both are prone and blood is splattered up on the shelves a few inches off the floor near their bodies, showing they were killed while in that position. Also, the gun is held in the left hand by Klebold, who was right-handed--and it's a big long gun. There were something like 150 bombs found in the school. There is no way two students could have brought those into the school. There were affirmative reports of a stand-down order being given to at least one sheriff's deputy who charged into the school to try and save the students, and was ordered back.
The mention of Dewayne Fusilier, the FBI agent charged with leading the FBI investigation, is interesting, because his own son was a Columbine student who, a couple years earlier, had made a videotape about shooting up the school.
The excessive presence of the MILITARY, as well as law enforcement agencies from all over the metro area, while the killers were inside the school shows advance knowledge that Columbine was going to happen--and lends support to a theory that Columbine was, in fact, yet another false-flag operation designed to cause terror in the populace, and lead to more and more suppression of our civil liberties in the name of "security." The school is located in the heart of "CIA country" and the military establishment. Eric Harris's father was, in fact, military; and the Harris family had lived at Plattsburg, NY, the site of CIA mind-control experiments.
I believe another reason for Columbine may have been to enhance name recognition of the Ken Salazar, as well, like Obama another puppet of the finance capitalists.
So, anyway, whenever it appears that the people are starting to discover the real story, and that they've been lied to by their public officials, the banksters trot out their apologists like Dave Cullen, to burnish the myth and divert attention from the fact that there was no real investigation. And the media outlets are inundated with the Hollywood version and we get more hype and blather about The Myth. And we never get the Truth.