Steve Sailer writes:
Blomkamp, a gun-loving Afrikaner whose movies are based around his fear that the rapid breeding of Third Worlders threatens to bring down civilization, says Elysium originated in a disastrous visit to Mexico in 2005. While shooting a Nike commercial in lovely San Diego, the Boer crossed the border one evening to see Tijuana, where he was abducted by corrupt Mexican cops who shook him down for $900 in return for not killing him.
Despite the obviousness of Blomkamp’s parable about Mexican immigration’s catastrophic effects, Elysium has been universally interpreted as preaching the need for amnesty, open borders, and Obamacare. (…)
Blomkamp is the most glaring example since the primes of Gibson and John Milius of the overlooked fact that the creative guys who make big-budget movies aren’t necessarily on the same page politically as the nice liberal dweebs who write about them.
For example, Christopher Nolan (director of the last three Batman movies) is slightly to the right of the Duke of Wellington, but liberal journalists seldom perceive that.
When I was in college, Apocalypse Now was being sold as the ultimate antiwar film. Yet it was actually beloved by the jocks and ROTC cadets in my dorm, who came back from it humming Wagner and shouting, “I love the smell of napalm in the morning!” Meanwhile, my more cultured friends seemed perturbed by it.
When I finally saw Apocalypse Now, I realized why: It was a based on a far-right script by Milius (who went on to direct Conan the Barbarian and Red Dawn) about how the US could have won in Vietnam if we only had the guts to unleash Kurtz. (Apocalypse Now was directed by Francis Ford Coppola, who won his first Oscar for writing Patton.)