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Ray Pride

By Ray Pride Pride@moviecitynews.com

Knowing Dick: re-rating the MPAA

No, no, no, we never take advice, we never react, we are the sons of Jack Valenti, you’d think the MPAA would say in re: the ratings system, but it looks like Kirby Dick’s bullhorn got heard. In the wake of This Film is Not Yet Rated, writes Variety’s Pamela McClintock, the MPAA will be at Sundance tub-thumpingegoyan_dick740_2.jpgchanges to the film rating system that incorporate many of the suggestions in Dick’s doc. “Looking to reform and demystify the ratings system, the MPAA and National Assn. of Theater Owners are planning… changes, including a new admonishment to parents that certain R-rated movies aren’t suitable for younger kids, period.” The surge starts Monday at Sundance “when MPAA topper Dan Glickman and Joan Graves, chair of the Classification & Rating Administration, will meet with indie filmmakers, producers and specialty arm execs to go over the alterations.” When This Film was shown at Sundance 2006, McClintock avers, “Glickman had already been meeting with… various stakeholders [sic] in the ratings system—including filmmakers, guilds, parents’ groups and Washington lawmakers—but Dick’s film had an impact. “The documentary made it clear that we probably haven’t done as much as we can to explain how it all works,” Glickman [said], adding that the voluntary ratings system—devised and implemented by Jack Valenti, his predecessor—is a “gem,” even if it needs some polishing.” [Much like apples.] For the first time, CARA will post the ratings rules on the MPAA Web site, describing… The ratings and appeal processes also will be described in detail, along with a link to paperwork needed to submit a film for a rating… CARA will formalize its rule that a member of the ratings board doesn’t stay on the board after his or her children are grown.” [More particulars at the link.]

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon