Michael Moore shares footage cut from Fahrenheit 11/9 of pipe bomb suspect Cesar Sayoc 

Last week, when FBI officials arrested Cesar Sayoc, the Florida man accused of sending explosive devices to prominent Democratic Party figures, pretty much nobody was surprised to hear that he was a diehard Trump supporter, given the political leanings of his targets. Least surprised of all was Michael Moore, who, in a recent Instagram post, revealed that he and his film crew had a previous encounter with Sayoc while shooting his latest film, Fahrenheit 11/9, at a Trump rally in Melbourne, Florida. In the above clip—which did not make it into the final film—you can see Sayoc among a crowd of Trump supporters angrily chanting anti-mainstream media slogans at the various camera crews in attendance.

“Our footage of Mr. Sayoc would never make it into the final cut of what would be the film that is now in its last week in cinemas across America,” Moore writes in his lengthy Instagram post. “But I’d like to share it with you, if only to give you a momentary glimpse of him in action.” He goes on to say that while the depictions of Sayoc in recent news coverage make him look like “a slight, normal, everyday American,” it’s important to see what he became here at Trump’s first post-election rally, long after being radicalized and bolstered by far-right rhetoric. “His body grossly deformed into what he thought a man should be, muscles the size of basketballs,” Moore writes. “Underneath his threatening Hulk-like exterior, there is fear in his eyes and, for a quick moment, you can see he’s already gone.”

Michael Moore has perhaps a more vested interest in understanding Sayoc than others considering a photo of his face in crosshairs was printed on the side of Sayoc’s propaganda-covered white van. The director says it’s far from the first time someone has directly or indirectly threatened his life but that someday he’d still like the chance to sit down with Sayoc and ask “Why me?” If that interview ever happens, we’re sure it’ll make the cut for Moore’s next film.

[via Vulture]

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