Unlike Lincoln, about a man who was killed a century and a half ago, Zero Dark Thirty portrays recent events. We know pretty much everything there is to know about Lincoln—all that's left is to interpret the historical record—but precious little about the hunt for bin Laden. That's why I was not only riveted by the "Bring me people to kill" line, but curious. Did it really happen? Did the film's heroine, who is called Maya, really tell the CIA director, during a meeting about bin Laden's compound, "I am the motherfucker that found that place"?

I had fact-or-fiction questions about nearly every scene in the movie. Because the historical record is so slim, there was really only one person who could answer all my questions. A few days ago I talked with Boal, a former journalist who wrote the screenplay, basing it on exclusive interviews he conducted with, among others, people at the CIA.

"It's a movie," Boal reminded me. "It's not a documentary." He continued, "I'm not going to go scene by scene or line by line, because first of all I think I've got to have some authorial privilege ... My standard is not a journalistic standard of 'Is this a word-for-word quote?' I'm not asking to be held to that standard and I'm certainly not representing my film as that. The standard is more, 'Is this more or less in the ballpark?'" I pressed for detail and he replied, "It gets very dicey for me if I start confirming specific lines from specific people, so I'm not going to do that."

I am a journalist of the quotes-are-sacred sort, which means this is the point in the story where I should begin tearing into Boal and Bigelow. But I don't think the problem rests with them. They set out to create a feature film based on real events, and they have done so, making very clear that the film's heroine and other characters, while based on real people, are composites or complete inventions. I was hardly the only person who received the it's-a-movie-not-a-documentary line; the web is filled with instances of that quote from Boal and Bigelow. They are quite literally telling us to not believe every word we hear.

The fundamental problem is that our government has again gotten away with offering privileged access to carefully selected individuals and getting a flattering story in return. Embeds, officially begun during the invasion of Iraq, are deeply troubling because not every journalist or filmmaker can get these coveted invitations (Seymour Hersh and Matt Taibbi are probably not on the CIA press office's speed dial), and once you get one, you face the quandary of keeping a critical distance from sympathetic people whom you get to know and who are probably quite convincing. That's the reason the embed or special invitation exists; the government does its best to keep journalists, even friendly ones, away from disgruntled officials who have unflattering stories to tell.