“I walk through the red carpet and Cate Blanchett is there and DiCaprio is right behind her, and there are like a million people taking pictures of them,” he says, making a rapid clicking paparazzo noise with his tongue. “And I walk by and it’s like one guy with a Polaroid from The Socialist Worker.”
In interviews with Scahill, the entertainment press has referred to his movie as “Dirty Horse,” or occasionally “Dirty Whores,” and interviewers have a tendency to look with distaste when he describes the details of the film—footage of mutilated children, their limbs apparently torn apart by bombs from apparently American drones.
“It’s very weird. At Sundance, there would be this woman wrapped up head-to-toe in a huge fur outfit, with just her eyes peeking out and eight inch heels and her first question is ‘Sooooo…Sundance!?’” Scahill says, holding out a reporters imaginary microphone. “And it’s like, ‘Ok so, we made a film about extra judicial killings and drones and you are [wearing] some kind of thing that used to be an animal asking me a question.”’