Doesn't sound as clear cut as that, as that was only one given reason, with the rest being lobbying by the CAIR to avoid further negative stereotyping, and the screenwriter opining that arab terrorists were cliche.Metahive wrote:I remember a story that back when the adaption of The Sum of All Fears was in production (it came out in 2002, but filming was done in June 2001), the filmmakers decided to change the originally middle-eastern terrorists of the novel into Neo-Nazis because they thought middle-eastern terrorists pulling off a major attack on the US was too outlandish. Should tell you all about popular perception of terrorism pre-9/11.
https://en.wikipedia.org/wiki/The_Sum_o ... evelopment
On the "making-of" DVD extra, director Alden Brown said that it was purely for elements relating to the plot, as Arab terrorists would not be able to plausibly accomplish all that was necessary for the story to work. In addition, the terrorists in the book received significant aid from elements in East Germany, a country which had ceased to exist before the novel was even published. The group Council on American-Islamic Relations (CAIR) did mount a two-year lobbying campaign that ended on January 26, 2001, against using "Muslim villains", as the original book version did.[9] Director Phil Alden Robinson is quoted in a letter to CAIR saying, "I hope you will be reassured that I have no intention of promoting negative images of Muslims or Arabs, and I wish you the best in your continuing efforts to combat discrimination".[10]
Screenwriter Dan Pyne claimed that the decision to not use Arab terrorists was "possibly because that has become a cliché. At the time that I started writing The Sum of All Fears, Joerg Haider was just starting to come into play in Austria. And simultaneous with that, I think, there was some neo-nationalist activity in Holland, and there was stuff going on in Spain and in Italy. So it seemed like a logical and lasting idea that would be universal."[11] It has also been noted that a larger percent of profits stems from international audiences, and American filmmakers work to avoid alienating large segments of this customer base.[11]