"…I do wonder if some of the sentiments alternately expressed about the film might be more appropriately directed at those who instituted and ordered these U.S. policies, as opposed to a motion picture that brings the story to the screen.
Those of us who work in the arts know that depiction is not endorsement. If it was, no artist would be able to paint inhumane practices, no author could write about them, and no filmmaker could delve into the thorny subjects of our time.
As for what I personally believe, which has been the subject of inquiries, accusations and speculation, I think Osama bin Laden was found due to ingenious detective work. Torture was, however, as we all know, employed in the early years of the hunt. That doesn’t mean it was the key to finding Bin Laden. It means it is a part of the story we couldn’t ignore. War, obviously, isn’t pretty, and we were not interested in portraying this military action as free of moral consequences.”
In the end, it matters little what the filmmaker says. You are the site of meaning: it’s your reading of the film conditioned though it may be by your cultural, moral, and social inscription that matters. Like any text, film texts are unstable, dynamic, their meaning put in motion by your engagement with them. In a sense there is no film without you.
As film, one could thus argue Zero Dark Thirty succeeds in a fundamental way, for it clearly is not a closed text, but one than can be read in multiple ways.