WEBVTT - How the MPAA Works

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<v Speaker 1>Welcome to you stuff you should know from HowStuffWorks dot com.

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<v Speaker 2>Hey, and welcome to the podcast. I'm Josh Clark. There's

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<v Speaker 2>Charles W Chuck Bryant, and Jerry. But where's wal though

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<v Speaker 2>right over there apparently.

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<v Speaker 1>Man, I wish people could hear in between stuff.

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<v Speaker 2>I think Jerry was recording that last one.

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<v Speaker 1>Oh yeah, I think so. She used to give us

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<v Speaker 1>a neat little outtakes, but she doesn't do that anymore.

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<v Speaker 1>Those days are long gone. They exist in the vault, though.

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<v Speaker 1>How you doing?

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<v Speaker 2>I cood no, No, I don't know what's wrong with me.

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<v Speaker 2>I am off.

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<v Speaker 1>Today, out of your game?

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<v Speaker 2>Yeah, it's weird.

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<v Speaker 1>Well, I think this is the perfect podcast to set

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<v Speaker 1>you straight. Why because it's something that we both have

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<v Speaker 1>some passion about against.

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<v Speaker 2>Yeah. I think anybody who's seen the documentary this film

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<v Speaker 2>is not yet rated. Yeah, that would be very difficult

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<v Speaker 2>to not be persuaded to feel strongly about the MPAA

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<v Speaker 2>and its practices.

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<v Speaker 1>Yeah, and at least how they do things.

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<v Speaker 2>But we're going to try to be objective.

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<v Speaker 1>Yeah, I'm gonna go ahead and say up front, I

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<v Speaker 1>have no problem with rating a film's content so parents

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<v Speaker 1>can decide whether or not it's appropriate. I think it's valuable,

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<v Speaker 1>but I think there are ways to do it that

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<v Speaker 1>I don't think the MPa does. Yes, So I just

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<v Speaker 1>wanted to float that early on.

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<v Speaker 2>Okay, I think that was probably smart. Okay, Okay, I

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<v Speaker 2>don't have kids, so I don't really whatever. But I mean,

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<v Speaker 2>I can understand the value of that kind of thing.

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<v Speaker 1>Yeah, but it gives you an idea, Like I like

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<v Speaker 1>having an idea what I'm about to see too.

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<v Speaker 2>I feel like I can tell just from watching a

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<v Speaker 2>trailer of previewsing a movie poster. I'm pretty I'm pretty

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<v Speaker 2>intuitive when it comes to the marketing techniques of movies.

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<v Speaker 1>Yeah, but I think like being a film nerd, it's like,

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<v Speaker 1>is the New Is the New Avengers movie going to

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<v Speaker 1>be rated? R? That really tells you something, Right, it

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<v Speaker 1>won't be. No, it never would be, because PG thirteen

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<v Speaker 1>is the the that's the strikes one.

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<v Speaker 2>These days, it really is. Apparently PG thirteen movies pull

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<v Speaker 2>in more money than all other ratings combined. Yeah, and

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<v Speaker 2>it's a relatively new phenomenon. You want to talk about

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<v Speaker 2>its origin, Yeah, let's do it. So Back in nineteen

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<v Speaker 2>eighty four, a man named Steven Spielberg had two movies

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<v Speaker 2>out who Steven Spielberg, Right. He directed one, Indiana Jones

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<v Speaker 2>and the Templar Doom, and he produced another, Gremlins. Yeah,

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<v Speaker 2>and both of them caught He caught a lot of

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<v Speaker 2>heat from both of them.

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<v Speaker 1>Sure, Indiana Jones for the heart removal scene specifically.

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<v Speaker 2>Yeah, but also the snake, the live snake at the

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<v Speaker 2>feast thing yeah. Yeah, all the snake babies, the eyeballs,

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<v Speaker 2>all that stuff. And then with Gremlins, it was just

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<v Speaker 2>downright terrifying in a lot of different places, especially if

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<v Speaker 2>you're a kid. And the reason he caught heat was

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<v Speaker 2>because both of those movies were rated PG. Yeah. So

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<v Speaker 2>Spielberg went to the NPAA, the Motion Picture Association of America,

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<v Speaker 2>and said, let's do something about this, because these clearly

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<v Speaker 2>aren't our movies. Yeah, but they apparently aren't PG movies either,

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<v Speaker 2>so maybe we should come up with something in between.

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<v Speaker 2>And PG thirteen was born.

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<v Speaker 1>Yeah, And this was before he had all this sway

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<v Speaker 1>in the world. He was influential, but it wasn't like

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<v Speaker 1>Spielberg today, who could have just waved his wand and

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<v Speaker 1>made it happen.

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<v Speaker 2>Yeah, But I think even at the time he was important.

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<v Speaker 2>He Yeah, there were very few directors at that time

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<v Speaker 2>who could have gotten something like that done.

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<v Speaker 1>Yea too.

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<v Speaker 2>So that's where PG thirteen came from, and that, like

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<v Speaker 2>you said, that's the strike zone now. And the reason

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<v Speaker 2>why is because that is the kind of movie that

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<v Speaker 2>caters to young teenage boys, who apparently are the most

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<v Speaker 2>successful at getting girls to go to movies with them.

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<v Speaker 2>So if you can get a movie rated PG thirteen, yeah,

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<v Speaker 2>you're going to make a bunch of money.

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<v Speaker 1>Yeah. Plus it makes sense, it's right there in the middle. Yeah,

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<v Speaker 1>you know.

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<v Speaker 2>But the problem is is it's become a means of

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<v Speaker 2>almost advertising that rating rather than cautioning parents. It's a

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<v Speaker 2>way of attracting the audience.

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<v Speaker 1>Yeah.

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<v Speaker 3>True, it's like this is some kids PG movie.

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<v Speaker 2>This is as close to an R movie as you

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<v Speaker 2>can get.

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<v Speaker 1>In Yeah, and I think filmmakers try to achieve that

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<v Speaker 1>rating by either scaling back their R rated movie or

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<v Speaker 1>juicing up their PG movie.

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<v Speaker 2>Or adding more violence. Apparently PG thirteen movies are have

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<v Speaker 2>tripled in violence over the last few decades. Yeah, and

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<v Speaker 2>they now have, according to one study, more violence than

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<v Speaker 2>there are rated counterparts.

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<v Speaker 1>Yeah, and different kinds of violence that you didn't used

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<v Speaker 1>to see. Yeah, you know, all right, I guess we

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<v Speaker 1>should go back in time a little bit. Let's is

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<v Speaker 1>it way back machine?

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<v Speaker 2>Sure, let's let's go way back in time in Hollywood.

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<v Speaker 1>All right, it's nineteen twenty two. Hollywood and Vine is

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<v Speaker 1>a viable intersection in Hollywood at the time, unlike now,

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<v Speaker 1>although people are going to say no, they built that

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<v Speaker 1>area back up. Yeah, and that is when the NPA

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<v Speaker 1>was born in the early nineteen twenties.

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<v Speaker 2>Yeah.

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<v Speaker 1>And at the time, it was up to local authorities

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<v Speaker 1>or your state or your municipality to either stamp something

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<v Speaker 1>as moral or immoral. There were no ratings on movies.

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<v Speaker 1>And thanks to a guy named Will Hayes who was

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<v Speaker 1>the first president of the NBA, he installed the Hayes

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<v Speaker 1>Code and said, you're either going to pass or fail.

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<v Speaker 1>It's either going to be stamped in moral or moral.

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<v Speaker 2>Right. And the reason Will Hayes, who was the NPAA president,

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<v Speaker 2>came up with the Hayes Code, which was really extensive.

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<v Speaker 2>It was like, if you talk about the government, it

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<v Speaker 2>always has to be good, sexuality has to be repressed,

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<v Speaker 2>and just basically in hetero how you think about all

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<v Speaker 2>movies from like the thirties and forties. Yeah, squeaky clean

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<v Speaker 2>basically sure, like the division between good and evil is

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<v Speaker 2>very clearly defined and the good guy always wins. And

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<v Speaker 2>if he didn't fall into that Hayes code, like you said,

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<v Speaker 2>your movie would be stamped immoral. But the whole reason

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<v Speaker 2>he came up with this code was because local municipalities

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<v Speaker 2>could pass their own obscenity laws and that could be

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<v Speaker 2>bad for business.

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<v Speaker 1>So is it not even get your film exhibited?

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<v Speaker 2>Right? So remember in the A c l U episode

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<v Speaker 2>where we're talking about that one, that one movie that

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<v Speaker 2>New York just the Catholics said no, you can't show

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<v Speaker 2>that here, and the a cl you went to work

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<v Speaker 2>getting getting the Catholics beaten in court.

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<v Speaker 1>Right, even though it was just a bad movie that

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<v Speaker 1>had something to do with well, I mean it did,

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<v Speaker 1>but it shouldn't have been shown because it was so terrible.

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<v Speaker 2>Was it bad?

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<v Speaker 1>I don't remember. Yeah, I mean it was supposed to

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<v Speaker 1>be not very good.

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<v Speaker 2>Okay, but it happened like that kind of thing happened

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<v Speaker 2>a lot like local local town said no, we're not

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<v Speaker 2>going to show that movie. So Hayes figured out if

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<v Speaker 2>if Hollywood policed itself. Then they could control what, you know,

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<v Speaker 2>what movies came out, and therefore everybody could make a

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<v Speaker 2>bunch of money. That's right, And that's the point of

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<v Speaker 2>the NPAA. They're the lobbying arm of six major Hollywood studios.

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<v Speaker 3>Yeah, they're there. They worked for them.

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<v Speaker 2>Yeah.

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<v Speaker 1>Well, yeah, that's one way to say it.

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<v Speaker 2>But they and it's just too isn't it.

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<v Speaker 1>Well yeah, I mean, there's definitely an arguments these days

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<v Speaker 1>that independent filmmakers have a much rougher time with the NBA. Yeah,

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<v Speaker 1>but most of the indies too, are eventually distributed by

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<v Speaker 1>the majors. Anyway, I got you. You know what I'm saying. Okay,

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<v Speaker 1>So flash forward a bit in our way back machine

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<v Speaker 1>to the nineteen fifties. Things changed a little bit after

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<v Speaker 1>World War Two and people, I guess the easiest way

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<v Speaker 1>to say is people loosen up a little bit and

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<v Speaker 1>didn't mind certain elements in their entertainment any longer. Yes,

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<v Speaker 1>A big example this article uses Frank Sinatra got an

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<v Speaker 1>Oscar nomination for playing a heroin Addict in The Man

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<v Speaker 1>with a Golden Arm, And that couldn't have happened in

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<v Speaker 1>the nineteen forties.

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<v Speaker 2>No, millions of people hadn't died in World War Two yet,

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<v Speaker 2>that's right. I imagine that kind of loosens you up

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<v Speaker 2>as far as the seeing Chris Wards and stuff in

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<v Speaker 2>movies goes.

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<v Speaker 1>Yeah, like that's not a big deal, Like World War

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<v Speaker 1>two is a big deal, right, get your haunches down exactly. Yeah.

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<v Speaker 2>That was the big one, the big first crack to

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<v Speaker 2>the Hayes code. Yeah, and then there were I think

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<v Speaker 2>that you said He.

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<v Speaker 1>Won an Oscar, right, Yeah, it was a really good

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<v Speaker 1>movie that kind.

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<v Speaker 2>Of opened the floodgate, so that by the end of

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<v Speaker 2>the fifties you got some like it hot and Tony

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<v Speaker 2>Curtis and Jack lemon are dressed like women hitting on

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<v Speaker 2>Marilyn Monroe. Yeah, And at that point it was pretty

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<v Speaker 2>obvious that Hayes code was dead. Yeah.

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<v Speaker 1>I mean, they weren't passing the code, but they were

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<v Speaker 1>still getting released. So once something is subverted like that,

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<v Speaker 1>it's dead in the water.

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<v Speaker 2>Right, So there was a that was fine for a

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<v Speaker 2>little while. I think the Hayes code just kind of

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<v Speaker 2>fell to the wayside and people were releasing movies without

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<v Speaker 2>any kind of moral or immoral stamp. But the rating

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<v Speaker 2>system as we understand it today hadn't come about yet. Yeah,

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<v Speaker 2>so it's kind of a limbo period until nineteen sixty

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<v Speaker 2>eight and a store owner in New York with the

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<v Speaker 2>last name of Ginsburg got busted for selling Newti maags

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<v Speaker 2>to sixteen year old boys, and he took it all

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<v Speaker 2>the way to the Supreme Court saying, you can't say

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<v Speaker 2>anything about this. There's federal laws about upsidnity, not local laws.

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<v Speaker 2>In the Supreme Court said, you know what, we really

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<v Speaker 2>think it's sut to local municipalities to decide what they

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<v Speaker 2>want their miners exposed to or not. That got Hollywood's

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<v Speaker 2>attention because all of a sudden, local municipalities could decide

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<v Speaker 2>whether or not they wanted to show movies to minors

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<v Speaker 2>or not. So what was old became new again. And

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<v Speaker 2>Jack Valenti, who was in charge of the MPAA, said

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<v Speaker 2>we need another system of another self policing system, and

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<v Speaker 2>he came up with the rating system that we have today.

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<v Speaker 1>Yeah, and he, I mean Jack Valenti was the head

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<v Speaker 1>of the NBA for close to forty years, and he

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<v Speaker 1>initially the intention was to stop censorship because he feared

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<v Speaker 1>that the movies were going to start being censored locally

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<v Speaker 1>and so I think the origins of the NPA rating system.

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<v Speaker 1>We're art centered.

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<v Speaker 2>Art center, but also money centered, because again, if you

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<v Speaker 2>have if you have town A showing the movie, but

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<v Speaker 2>Town's B through L deciding that the movie is obscene

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<v Speaker 2>and not showing it, then you're losing that money and

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<v Speaker 2>B through L. So what Valenti came up with was

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<v Speaker 2>this idea that let us tell you what is appropriate

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<v Speaker 2>for minors or not what movie is, and we'll just

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<v Speaker 2>make a simple rating system. Yeah, gpg R.

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<v Speaker 1>Or X the old X yeah, and triple X, which

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<v Speaker 1>wasn't even formally a rating, it was just.

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<v Speaker 2>A marketing tool.

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<v Speaker 1>Yeah.

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<v Speaker 3>Yeah, because three exes, that's like whoa.

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<v Speaker 2>I wonder if anybody ever came out with one with.

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<v Speaker 1>Four X yeah or double X even yeah, like yeah,

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<v Speaker 1>we cut out that one part so X.

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<v Speaker 2>Yeah.

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<v Speaker 1>Christian, our colleague here, wrote a great blog post about

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<v Speaker 1>the former X rated movie.

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<v Speaker 2>Is that right? Yeah, we'll have to check that out.

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<v Speaker 2>That's good for brain Stuff for stuff a genius.

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<v Speaker 1>On the brain stuff blog earlier this year. And you

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<v Speaker 1>actually recommended it on your blog, the X rating, Yeah

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<v Speaker 1>the best I remember it this week.

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<v Speaker 2>Yeah, I remember recommending one of his things I just

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<v Speaker 2>don't remember that one.

0:12:17.600 --> 0:12:19.360
<v Speaker 1>Just good. I thought about asking him in here, but

0:12:19.400 --> 0:12:22.720
<v Speaker 1>then I thought, yeah, we got it nice. So yeah,

0:12:22.760 --> 0:12:26.600
<v Speaker 1>back then it was G through X and well we'll

0:12:26.600 --> 0:12:29.800
<v Speaker 1>talk about you know how that changed maybe after this

0:12:29.880 --> 0:12:36.360
<v Speaker 1>message break. All right, so no longer do we have

0:12:36.520 --> 0:12:38.199
<v Speaker 1>X rayed movies. Now we have something. I guess we

0:12:38.240 --> 0:12:41.480
<v Speaker 1>should just go through what these ratings mean today in

0:12:41.520 --> 0:12:45.040
<v Speaker 1>twenty fourteen. Okay, so you've got your G.

0:12:45.040 --> 0:12:47.400
<v Speaker 2>G's always been G general audience.

0:12:47.520 --> 0:12:50.679
<v Speaker 1>Anyone can see it, Yes, and that's your your family

0:12:50.840 --> 0:12:54.480
<v Speaker 1>cartoon that kids love and parents are forced to go to.

0:12:55.120 --> 0:12:55.400
<v Speaker 2>Right.

0:12:56.120 --> 0:13:00.640
<v Speaker 1>Then you've got PG that means no drug use, maybe violence,

0:13:00.880 --> 0:13:04.840
<v Speaker 1>because as we'll learn, the MPa has less problems with

0:13:04.920 --> 0:13:08.760
<v Speaker 1>violence and more problems with language and sex. Huge criticism,

0:13:08.960 --> 0:13:12.960
<v Speaker 1>huge criticism PG thirteen, which we've you know, kind of

0:13:12.960 --> 0:13:16.560
<v Speaker 1>been through. Then you've got your R and that is

0:13:16.760 --> 0:13:18.960
<v Speaker 1>no one under said. This is a suggestion that no

0:13:18.960 --> 0:13:22.679
<v Speaker 1>one ever seventeen be admitted without a parent. And these

0:13:22.679 --> 0:13:24.960
<v Speaker 1>aren't laws, though, that's one thing that's important to point out.

0:13:25.320 --> 0:13:28.239
<v Speaker 1>Those are suggestions, And then theaters have policies.

0:13:28.920 --> 0:13:33.120
<v Speaker 2>Yes, it's let's kind of dig into that. So none

0:13:33.160 --> 0:13:36.080
<v Speaker 2>of this is legally binding. Now, none of them are

0:13:36.120 --> 0:13:40.320
<v Speaker 2>anything more than recommendations. They're basically saying that this movie

0:13:41.040 --> 0:13:45.960
<v Speaker 2>has X amount of profanity or x amount of nudity,

0:13:46.280 --> 0:13:49.600
<v Speaker 2>or lacks any drug use or something like that. Sure,

0:13:49.640 --> 0:13:54.720
<v Speaker 2>and so for what the MPAA thinks the average moral

0:13:54.800 --> 0:13:59.040
<v Speaker 2>compass of the average American thinks about these different things

0:13:59.040 --> 0:14:02.520
<v Speaker 2>like sex, drugs, nudity, all that stuff, this movie falls

0:14:02.520 --> 0:14:05.840
<v Speaker 2>into this rating. Right, And again it's not enforceable. You

0:14:05.880 --> 0:14:08.040
<v Speaker 2>don't even need to have a rating to release a movie.

0:14:08.160 --> 0:14:10.880
<v Speaker 2>But if you want to get your movie in theaters,

0:14:11.440 --> 0:14:14.560
<v Speaker 2>there's basically no theater chain out there right now, no

0:14:14.720 --> 0:14:17.600
<v Speaker 2>major theater chain out there right now that will show

0:14:17.840 --> 0:14:18.920
<v Speaker 2>an unrated movie.

0:14:19.240 --> 0:14:23.000
<v Speaker 1>Yeah, it's a completely voluntary system to submit your film

0:14:23.160 --> 0:14:25.000
<v Speaker 1>to the MPa ratings board.

0:14:25.040 --> 0:14:29.240
<v Speaker 3>But it's de facto, but you have to do it. Yeah,

0:14:29.560 --> 0:14:30.000
<v Speaker 3>that's the.

0:14:30.000 --> 0:14:32.680
<v Speaker 1>Rub is that they say it's voluntary, but you actually

0:14:32.680 --> 0:14:34.280
<v Speaker 1>have to pay a fee to submit your movie if

0:14:34.280 --> 0:14:36.920
<v Speaker 1>you ever want to have it shown in theaters.

0:14:37.080 --> 0:14:39.240
<v Speaker 2>Right and the fee is anywhere from like twenty five

0:14:39.280 --> 0:14:41.960
<v Speaker 2>thousand dollars for a big budget movie to seven hundred

0:14:41.960 --> 0:14:45.840
<v Speaker 2>and fifty dollars for a short Yeah, and so you

0:14:46.760 --> 0:14:49.120
<v Speaker 2>submit your movie. Well, we'll get into it in a second.

0:14:49.200 --> 0:14:51.440
<v Speaker 2>Let's talk some more about the rest of the ratings.

0:14:51.520 --> 0:14:53.880
<v Speaker 1>Yeah, well, there's only one more, and that's NC seventeen,

0:14:53.880 --> 0:14:56.800
<v Speaker 1>which replaced X. And that means this is a nineteen

0:14:56.880 --> 0:15:00.600
<v Speaker 1>ninety and that basically means that it's for adults only

0:15:00.760 --> 0:15:03.920
<v Speaker 1>and you should not come in if you're under eighteen.

0:15:03.800 --> 0:15:07.640
<v Speaker 2>Right, and also means these days it's foreign or about

0:15:07.800 --> 0:15:12.520
<v Speaker 2>lesbian or gays. Basically, yeah, not fully, but sure, it's

0:15:12.560 --> 0:15:16.680
<v Speaker 2>pretty close. Yeah, and NC seventeen. The first movie to

0:15:16.680 --> 0:15:19.400
<v Speaker 2>come out with that was Henry in June. Yeah, I

0:15:19.440 --> 0:15:22.480
<v Speaker 2>have to be confused with Benny and June, and it

0:15:22.560 --> 0:15:26.600
<v Speaker 2>basically sunk that movie because everybody was like, oh, this

0:15:26.760 --> 0:15:29.880
<v Speaker 2>is X now, right, NC seventeen. If you jumble it

0:15:29.880 --> 0:15:33.280
<v Speaker 2>all together, it looks like X. And the whole reason

0:15:33.280 --> 0:15:35.600
<v Speaker 2>they came out with NC seventeen was to replace X

0:15:35.640 --> 0:15:39.720
<v Speaker 2>because X was associated exclusively with pornography in the minds

0:15:39.720 --> 0:15:40.480
<v Speaker 2>of moviegoers.

0:15:40.640 --> 0:15:45.640
<v Speaker 1>Yeah, exactly. Yeah, all right, So let's get into this

0:15:45.920 --> 0:15:49.960
<v Speaker 1>the actual ratings board. There's the NPAA, and then working

0:15:50.000 --> 0:15:55.360
<v Speaker 1>for the NPA is the Classification and Ratings Administration. Kara

0:15:56.280 --> 0:16:00.000
<v Speaker 1>and Kara doesn't say whether your movie stinks or not.

0:16:00.560 --> 0:16:05.000
<v Speaker 1>Kara is eight to thirteen people and they are called raiders,

0:16:05.200 --> 0:16:07.640
<v Speaker 1>and they are overseen by a senior raider, and they

0:16:07.720 --> 0:16:10.480
<v Speaker 1>sit down and watch these movies and take copious notes

0:16:10.800 --> 0:16:15.440
<v Speaker 1>on what they think based on their standards. Is I

0:16:15.480 --> 0:16:19.480
<v Speaker 1>don't want to say offensive, but just noteworthy, right, Like

0:16:19.760 --> 0:16:22.520
<v Speaker 1>maybe they're not offended, but they think the average mom

0:16:22.560 --> 0:16:24.080
<v Speaker 1>and sheboygan might be offended.

0:16:24.840 --> 0:16:28.120
<v Speaker 2>Right supposedly, which is a kind of a thing because

0:16:28.280 --> 0:16:31.280
<v Speaker 2>the whole rating system, as you just kind of pointed out,

0:16:31.440 --> 0:16:33.600
<v Speaker 2>is a subjective.

0:16:33.640 --> 0:16:38.760
<v Speaker 1>Totally subjective. They supposedly. Here's the other rub is it's

0:16:38.800 --> 0:16:39.480
<v Speaker 1>all secret.

0:16:40.160 --> 0:16:40.400
<v Speaker 2>Right.

0:16:40.720 --> 0:16:43.960
<v Speaker 1>You can find out a federal judge's name and address,

0:16:44.520 --> 0:16:46.720
<v Speaker 1>but you can't find out who a raider is for

0:16:46.800 --> 0:16:49.600
<v Speaker 1>your films. It's all conducted in private. None of this

0:16:49.640 --> 0:16:52.000
<v Speaker 1>stuff is released. And that's one of the big rubs

0:16:52.400 --> 0:16:56.400
<v Speaker 1>in that documentary and with filmmakers in general, is it's

0:16:56.400 --> 0:17:00.440
<v Speaker 1>all done behind closed doors. There's never any explanations provided.

0:17:00.680 --> 0:17:03.680
<v Speaker 1>These people are supposed to have kids between ages of

0:17:03.680 --> 0:17:06.560
<v Speaker 1>five and seventeen, but many of them do not, right,

0:17:06.640 --> 0:17:08.159
<v Speaker 1>either have kids at all or have kids that are

0:17:08.200 --> 0:17:09.080
<v Speaker 1>older than eighteen.

0:17:09.200 --> 0:17:09.400
<v Speaker 2>Yep.

0:17:12.480 --> 0:17:16.520
<v Speaker 1>It basically frees them up from any accountability. Yeah, to

0:17:16.560 --> 0:17:18.080
<v Speaker 1>do this all in private and in secrecy.

0:17:18.240 --> 0:17:23.040
<v Speaker 2>And until that movie by Kirby what is Kirby's last name?

0:17:23.520 --> 0:17:27.560
<v Speaker 1>Henry and June No no, the documentary Oh oh yeah,

0:17:27.600 --> 0:17:28.680
<v Speaker 1>this film is not yet rated.

0:17:28.760 --> 0:17:33.520
<v Speaker 2>Yeah, until Kirby Dick's this film is Not Yet Rated

0:17:33.640 --> 0:17:38.240
<v Speaker 2>came out, Like all of this stuff was just conjection,

0:17:38.880 --> 0:17:41.879
<v Speaker 2>conjecture in Hollywood legend. Yeah, he was the first one

0:17:41.920 --> 0:17:46.200
<v Speaker 2>to really basically he tailed these people, tail them to lunch, yeah,

0:17:46.240 --> 0:17:48.640
<v Speaker 2>to find out who they were, and eavesdrop on them,

0:17:48.960 --> 0:17:52.399
<v Speaker 2>and like did some digging and found like these anonymous

0:17:52.480 --> 0:17:55.439
<v Speaker 2>people did not fall into the requirements that the NPA

0:17:55.600 --> 0:17:59.960
<v Speaker 2>said they did. And so not only was it in secret,

0:18:00.119 --> 0:18:06.080
<v Speaker 2>it was it was fraudulent. Basically, this rating system, so

0:18:07.840 --> 0:18:11.320
<v Speaker 2>according to the standards, you submit your film, this group

0:18:11.359 --> 0:18:13.840
<v Speaker 2>of people, this anonymous group of people, watch it, they

0:18:13.960 --> 0:18:16.840
<v Speaker 2>rate it, and then they come together and vote on

0:18:16.880 --> 0:18:21.560
<v Speaker 2>a rating, and then they pass their their vote along

0:18:21.640 --> 0:18:24.679
<v Speaker 2>to a senior raider who talks to the movie's distributor

0:18:24.720 --> 0:18:27.879
<v Speaker 2>or director or producer says, here's the rating, here's why

0:18:27.920 --> 0:18:31.240
<v Speaker 2>we rated it like this, and then your face with

0:18:31.320 --> 0:18:36.320
<v Speaker 2>the choice. You can accept the rating. You can edit

0:18:36.600 --> 0:18:42.360
<v Speaker 2>your film as per the CRA's recommendations.

0:18:41.560 --> 0:18:43.600
<v Speaker 1>Take out these bad words, cut the sex scene a

0:18:43.600 --> 0:18:45.520
<v Speaker 1>little early, leave all the violence.

0:18:46.040 --> 0:18:51.439
<v Speaker 2>Yeah. Or you can reject the rating and just release

0:18:51.440 --> 0:18:52.960
<v Speaker 2>your movie is unrated.

0:18:52.640 --> 0:18:56.600
<v Speaker 1>Yeah, which, well, you can try to release it, but

0:18:56.880 --> 0:18:58.480
<v Speaker 1>since no one will show it, it's really sort of

0:18:58.520 --> 0:18:59.919
<v Speaker 1>a misnomer.

0:18:59.720 --> 0:19:04.600
<v Speaker 2>Right, but it's becoming increasingly a thing again. You need

0:19:04.640 --> 0:19:07.280
<v Speaker 2>the rating to get your movie shown in movie theaters.

0:19:07.720 --> 0:19:10.359
<v Speaker 2>But what happens if you don't care if your movie

0:19:10.359 --> 0:19:13.199
<v Speaker 2>comes out in theaters, video and demand, yeah, or just

0:19:13.400 --> 0:19:14.680
<v Speaker 2>releasing it to the internet.

0:19:14.840 --> 0:19:16.960
<v Speaker 1>Now, I'm curious about that. How that's going to change

0:19:17.000 --> 0:19:17.679
<v Speaker 1>the landscape?

0:19:17.720 --> 0:19:20.800
<v Speaker 2>Well, right now, it's a huge threat to the NPAA

0:19:20.880 --> 0:19:23.520
<v Speaker 2>because all of the power they wield is found in

0:19:23.560 --> 0:19:24.960
<v Speaker 2>this rating system.

0:19:25.119 --> 0:19:29.120
<v Speaker 1>And if for theaters, yes, if no one's going to theaters.

0:19:28.920 --> 0:19:32.399
<v Speaker 2>Then the MPAA loses all that power, which is a

0:19:32.440 --> 0:19:36.240
<v Speaker 2>big deal, especially now because the NPAA is needed more

0:19:36.280 --> 0:19:39.760
<v Speaker 2>than ever as a lobbying group because of online piracy,

0:19:39.800 --> 0:19:41.600
<v Speaker 2>which we'll talk about some more. So it's a very

0:19:41.640 --> 0:19:44.399
<v Speaker 2>precarious time for the MPAA right now, and it's a

0:19:44.520 --> 0:19:48.120
<v Speaker 2>terrible time for them to be under as much scrutiny

0:19:48.280 --> 0:19:51.760
<v Speaker 2>and public attack and critique as they are. So it's

0:19:51.920 --> 0:19:55.280
<v Speaker 2>I mean, they got spears sticking out every which way,

0:19:55.760 --> 0:19:58.760
<v Speaker 2>and their trunk is flailing and they're honking.

0:19:59.280 --> 0:20:01.359
<v Speaker 1>That is true. One thing I should point out is

0:20:01.359 --> 0:20:04.560
<v Speaker 1>I said, is that there's no accountability. That's what the

0:20:04.680 --> 0:20:07.840
<v Speaker 1>NPA says. It's the good thing about the secrecy is

0:20:07.880 --> 0:20:10.879
<v Speaker 1>that it frees them up. That anonymity does. It frees

0:20:10.880 --> 0:20:15.560
<v Speaker 1>them up from accountability. I just don't agree, right, Okay.

0:20:15.640 --> 0:20:19.720
<v Speaker 2>So if you want to appeal, there was apparently a

0:20:19.800 --> 0:20:25.480
<v Speaker 2>change made in response to Kirby Dick's movie the documentary

0:20:25.920 --> 0:20:30.160
<v Speaker 2>before if you were appealing your rating, which is very difficult,

0:20:32.119 --> 0:20:34.080
<v Speaker 2>almost never was done and.

0:20:34.119 --> 0:20:36.320
<v Speaker 1>Well you never want that's for sure, right.

0:20:36.520 --> 0:20:40.680
<v Speaker 2>And when you were appealing, you couldn't reference any other film.

0:20:41.000 --> 0:20:44.720
<v Speaker 2>It was totally done in a vacuum, which is pretty preposterous.

0:20:44.840 --> 0:20:47.919
<v Speaker 1>Yeah, Like that's the only way to be able to

0:20:47.920 --> 0:20:49.600
<v Speaker 1>tell us like, wait a minute, if you said this

0:20:49.720 --> 0:20:52.560
<v Speaker 1>about this, then why not this for my movie?

0:20:53.119 --> 0:20:55.720
<v Speaker 2>Which meant that there was no real standard yeah that

0:20:56.520 --> 0:20:59.240
<v Speaker 2>you could point to, or there were standards you could

0:20:59.240 --> 0:21:01.320
<v Speaker 2>point to, they just would be considered.

0:21:01.359 --> 0:21:03.120
<v Speaker 1>Yeah, or at the very least, if they do have

0:21:03.320 --> 0:21:05.720
<v Speaker 1>written standards, they don't release them, so you don't even

0:21:05.720 --> 0:21:06.240
<v Speaker 1>know what they are.

0:21:06.440 --> 0:21:13.440
<v Speaker 2>Right. So the MPAA is they've got their rating system,

0:21:13.720 --> 0:21:16.320
<v Speaker 2>they've got the appeals process.

0:21:16.119 --> 0:21:20.840
<v Speaker 1>Which was also in secret, unless that's changed, right I think.

0:21:20.960 --> 0:21:23.640
<v Speaker 1>I think the appeals board not only was the appeals

0:21:23.640 --> 0:21:26.040
<v Speaker 1>board and secret, but they weren't even just raiders. They

0:21:26.040 --> 0:21:28.760
<v Speaker 1>were people from the industry.

0:21:28.840 --> 0:21:33.800
<v Speaker 2>Right, and the Theater Owners Association exactly, whereas the people

0:21:33.840 --> 0:21:37.800
<v Speaker 2>who were raiders are supposedly unaffiliated with the movie industry

0:21:37.840 --> 0:21:39.840
<v Speaker 2>and are just like average ordinary.

0:21:39.600 --> 0:21:46.200
<v Speaker 1>Parents representing your Middle America. We'll just call it, even

0:21:46.200 --> 0:21:47.280
<v Speaker 1>though I think that's insulting.

0:21:47.560 --> 0:21:49.760
<v Speaker 2>The thing is, though, is a lot of people criticize

0:21:49.760 --> 0:21:54.199
<v Speaker 2>the NPA and say, these raiders are really representing the

0:21:54.240 --> 0:21:57.439
<v Speaker 2>six major studios who rake in ninety five percent of

0:21:57.440 --> 0:22:01.960
<v Speaker 2>the ten point nine billion dollars made in the United States. Yeah,

0:22:02.119 --> 0:22:05.000
<v Speaker 2>in theaters alone, just ticket sales, not DVD or anything

0:22:05.040 --> 0:22:10.400
<v Speaker 2>like that. Yeah, And that's what the NPAA does in

0:22:10.400 --> 0:22:13.520
<v Speaker 2>addition to rating. They are, like we said, the lobby

0:22:13.600 --> 0:22:17.480
<v Speaker 2>arm for these six studios, that's.

0:22:17.359 --> 0:22:20.800
<v Speaker 1>Right, and they I guess we should talk about piracy now. Huh.

0:22:21.280 --> 0:22:24.240
<v Speaker 1>That's one of their other big asides from rating movies,

0:22:24.840 --> 0:22:29.120
<v Speaker 1>they are heavy in the lobby against well, especially now

0:22:29.119 --> 0:22:33.280
<v Speaker 1>with online piracy, because the digital distribution network is it

0:22:33.280 --> 0:22:37.520
<v Speaker 1>seems like the way forward as far as distribution goes, right,

0:22:37.800 --> 0:22:39.760
<v Speaker 1>it's the futre. It's not the future, it's the present

0:22:39.840 --> 0:22:40.439
<v Speaker 1>and the future.

0:22:40.520 --> 0:22:45.320
<v Speaker 2>And the NPAA has a they're accused of basically trying

0:22:45.359 --> 0:22:50.199
<v Speaker 2>to quell new technology, yeah, by just saying like, well,

0:22:50.240 --> 0:22:53.159
<v Speaker 2>let's just keep people from peer to peer file sharing

0:22:54.119 --> 0:22:57.520
<v Speaker 2>in total, yeah, so that they can't steal movies. In part,

0:22:58.520 --> 0:23:00.560
<v Speaker 2>and if you go back to the early eighties, Jack

0:23:00.640 --> 0:23:05.400
<v Speaker 2>Valente was known to have railed and lobbied against the

0:23:05.520 --> 0:23:07.119
<v Speaker 2>legality of VCRs.

0:23:08.240 --> 0:23:10.560
<v Speaker 1>People are just gonna be recording things and handing them.

0:23:10.520 --> 0:23:13.760
<v Speaker 2>Out to their friends exactly. So there was a The

0:23:13.920 --> 0:23:16.080
<v Speaker 2>NPA is a long history of basically like just doing

0:23:16.119 --> 0:23:19.240
<v Speaker 2>anything at can to stifle innovation in order to protect

0:23:19.240 --> 0:23:22.920
<v Speaker 2>the profits of these big movie studios. The other problem

0:23:22.960 --> 0:23:28.000
<v Speaker 2>with them lobbying in favor of these six movie studios

0:23:28.320 --> 0:23:31.600
<v Speaker 2>is that they inherently have a conflict of interest against

0:23:31.640 --> 0:23:35.639
<v Speaker 2>the studios that are not part of these six that

0:23:35.640 --> 0:23:40.520
<v Speaker 2>they represent, but whose movies they still rate, so they've

0:23:40.520 --> 0:23:46.720
<v Speaker 2>been accused of more scrupulously or scrutinously rating the movies

0:23:46.880 --> 0:23:52.119
<v Speaker 2>of rival studios or foreign studios when assigning a rating.

0:23:52.400 --> 0:23:57.320
<v Speaker 1>Well, and that's why filmmakers call consistently for transparency. It's

0:23:58.119 --> 0:23:59.920
<v Speaker 1>I don't think there are many filmmakers out there saying

0:24:00.119 --> 0:24:03.080
<v Speaker 1>should be no rating, we should just maybe some like

0:24:03.200 --> 0:24:07.160
<v Speaker 1>a large fontrier, you know, or Werner Hertzog. They're probably

0:24:07.160 --> 0:24:09.720
<v Speaker 1>like nota eight things at all. But I think they

0:24:09.760 --> 0:24:13.200
<v Speaker 1>just want transparency, like open it up and let everyone

0:24:13.200 --> 0:24:15.560
<v Speaker 1>know how this is all done, who these people are,

0:24:16.160 --> 0:24:18.240
<v Speaker 1>and give us an idea on what in the world

0:24:18.320 --> 0:24:23.160
<v Speaker 1>we're submitting to voluntarily, quote unquote. Pretty interesting.

0:24:23.359 --> 0:24:28.160
<v Speaker 2>So you were talking about online piracy and with digital

0:24:28.160 --> 0:24:31.480
<v Speaker 2>distribution being a big deal now, the MPa is needed

0:24:31.520 --> 0:24:34.480
<v Speaker 2>more than ever because they have to lobby Congress to

0:24:34.560 --> 0:24:37.960
<v Speaker 2>fight online piracy at a time when more and more

0:24:38.000 --> 0:24:41.359
<v Speaker 2>people are distributing online and going around the MPAA. So

0:24:41.400 --> 0:24:44.360
<v Speaker 2>it's losing its power, but it needs its power more

0:24:44.400 --> 0:24:47.200
<v Speaker 2>than ever. So, like we said, it's a precarious time

0:24:47.240 --> 0:24:50.159
<v Speaker 2>for the MPAA. And they tried a few things. They

0:24:50.200 --> 0:24:54.560
<v Speaker 2>were successful with the what was the first one in

0:24:54.600 --> 0:25:01.280
<v Speaker 2>two thousand, the Digital Sofa No, the Digital Millennium Right Act, right,

0:25:01.520 --> 0:25:05.600
<v Speaker 2>which basically that up until then it wasn't a federal

0:25:05.640 --> 0:25:10.280
<v Speaker 2>crime to share movies on peer to peer networks. Right,

0:25:10.560 --> 0:25:12.760
<v Speaker 2>that one did it and they got that passed. The

0:25:12.840 --> 0:25:14.919
<v Speaker 2>MPAA lobbied and got that passed.

0:25:15.160 --> 0:25:18.880
<v Speaker 1>Yeah, they've cracked down on camcorder recording, yeap. Like when

0:25:18.880 --> 0:25:21.240
<v Speaker 1>you're in New York City and someone has that brand

0:25:21.280 --> 0:25:25.359
<v Speaker 1>new copy of Godzilla on video cassette for you, Yeah,

0:25:25.480 --> 0:25:28.200
<v Speaker 1>that's because if you've seen Seinfeld, someone went and sat

0:25:28.240 --> 0:25:31.640
<v Speaker 1>in that theater with a camera recorder and just made

0:25:31.640 --> 0:25:34.240
<v Speaker 1>a stupid, awful quality pirated version.

0:25:34.320 --> 0:25:36.280
<v Speaker 2>Yeah, And it says that those are the most common.

0:25:36.400 --> 0:25:38.560
<v Speaker 2>I guess I kind of believe that they're also the

0:25:38.600 --> 0:25:41.400
<v Speaker 2>worst quality. Like sometimes people will like get up and

0:25:41.440 --> 0:25:43.399
<v Speaker 2>move in front of the camera, like they go to

0:25:43.440 --> 0:25:44.880
<v Speaker 2>the bathroom or something, and.

0:25:44.840 --> 0:25:48.120
<v Speaker 3>Yeah, it's I've never seen one, but I think they're terrible.

0:25:48.200 --> 0:25:52.320
<v Speaker 2>Yeah much. I don't want to say more common, but

0:25:52.720 --> 0:25:56.400
<v Speaker 2>probably more common these days are like copies of screeners. Yeah,

0:25:56.440 --> 0:25:59.280
<v Speaker 2>Like they send out DVDs to everybody who's members of

0:25:59.280 --> 0:26:03.159
<v Speaker 2>the Academy to vote on movies and so around OSCAR

0:26:03.200 --> 0:26:06.080
<v Speaker 2>timer before Oscar time, it seems like the Internet gets

0:26:06.119 --> 0:26:09.879
<v Speaker 2>flooded with way more high quality copies of these major

0:26:09.960 --> 0:26:11.400
<v Speaker 2>movies that are up for awards.

0:26:11.560 --> 0:26:14.359
<v Speaker 1>Yeah, I think now they have, thanks to the NBA,

0:26:14.560 --> 0:26:19.720
<v Speaker 1>have something coded to your name now on your copy.

0:26:19.600 --> 0:26:21.720
<v Speaker 2>So like they'll know who leaked it or whatever. I

0:26:21.760 --> 0:26:27.520
<v Speaker 2>think so not surprised by that. Apparently, if you want

0:26:27.560 --> 0:26:32.840
<v Speaker 2>to show Frozen at your church, yeah, you better have

0:26:32.880 --> 0:26:37.679
<v Speaker 2>a public performance license because it is illegal to show

0:26:37.760 --> 0:26:39.200
<v Speaker 2>a movie outside of your home.

0:26:39.560 --> 0:26:41.760
<v Speaker 1>Yeah, that surprised me. But there are a lot of

0:26:42.480 --> 0:26:45.879
<v Speaker 1>especially in the summertime, a lot of community screenings, like

0:26:45.960 --> 0:26:49.439
<v Speaker 1>every city now has, you know, Atlanta shows them, and

0:26:49.920 --> 0:26:53.480
<v Speaker 1>I think at Oakland Cemetery some other places in New York.

0:26:53.520 --> 0:26:56.440
<v Speaker 1>They have them all over the place, and technically, yeah,

0:26:56.440 --> 0:26:58.000
<v Speaker 1>they're supposed to have a license to do so, I'm

0:26:58.000 --> 0:26:58.960
<v Speaker 1>sure they do the big ones.

0:26:59.040 --> 0:27:00.199
<v Speaker 2>Yeah, the big ones, I'm sure do.

0:27:00.440 --> 0:27:02.960
<v Speaker 1>But like at your community pool and you want to

0:27:03.000 --> 0:27:04.680
<v Speaker 1>show et and.

0:27:05.359 --> 0:27:08.800
<v Speaker 2>The Feds could come kick the gate down around the pool.

0:27:09.000 --> 0:27:10.359
<v Speaker 2>I bet everybody.

0:27:10.359 --> 0:27:13.040
<v Speaker 1>I bet they don't love HBO these days because you

0:27:13.040 --> 0:27:18.120
<v Speaker 1>know HBO go people steal that. They're just like, hey, dude,

0:27:18.119 --> 0:27:18.760
<v Speaker 1>what's your log in.

0:27:18.880 --> 0:27:19.800
<v Speaker 2>Oh right, yeah, and.

0:27:19.960 --> 0:27:22.159
<v Speaker 1>HBO came out and they're like, who cares?

0:27:22.240 --> 0:27:23.520
<v Speaker 2>Yeah, people are watching it.

0:27:23.600 --> 0:27:26.400
<v Speaker 1>Yeah, like go watch a True Detective. Maybe you'll sign

0:27:26.440 --> 0:27:28.920
<v Speaker 1>up for HBO, yeah because you liked it, or maybe

0:27:28.920 --> 0:27:32.680
<v Speaker 1>you'll just support the show period on social media, even

0:27:32.720 --> 0:27:35.080
<v Speaker 1>though you're getting it for free. Like we're making enough

0:27:35.119 --> 0:27:36.280
<v Speaker 1>money basically.

0:27:36.560 --> 0:27:39.200
<v Speaker 2>Yes, And that's something that a lot of people say,

0:27:39.560 --> 0:27:42.040
<v Speaker 2>you know, film industry, we don't really feel that bad

0:27:42.080 --> 0:27:46.200
<v Speaker 2>for you, Yeah, Seawan Austin sit down, because you guys

0:27:46.200 --> 0:27:50.199
<v Speaker 2>made ten point nine billion dollars in America in ticket

0:27:50.240 --> 0:27:55.960
<v Speaker 2>sales alone in twenty thirteen. We don't feel that bad

0:27:56.000 --> 0:27:59.359
<v Speaker 2>about this whole conundrum that the MPAA is facing.

0:27:59.440 --> 0:28:03.240
<v Speaker 1>What Sean asked and Steel he was voices Yeah, yeah,

0:28:03.359 --> 0:28:05.280
<v Speaker 1>oh okay, yeah, I don't think I knew that.

0:28:05.640 --> 0:28:09.199
<v Speaker 2>Yeah he was. I can't remember the There was like

0:28:09.240 --> 0:28:12.960
<v Speaker 2>a whole kind of push an anti piracy pushed a

0:28:12.960 --> 0:28:16.280
<v Speaker 2>few years back, and part of it yeah yeah, and

0:28:16.320 --> 0:28:20.480
<v Speaker 2>he looked really mad about things too. But speaking of piracy,

0:28:20.520 --> 0:28:23.120
<v Speaker 2>I remember there was a story that came out recently.

0:28:23.680 --> 0:28:25.600
<v Speaker 2>It was if you think about it, at first, it's

0:28:25.640 --> 0:28:28.080
<v Speaker 2>like wah wah, but then if you really kind of

0:28:29.600 --> 0:28:34.040
<v Speaker 2>lended some thought. It's really disturbing. There were there was

0:28:34.080 --> 0:28:40.040
<v Speaker 2>a report of prisoners at a prison being shown pirated movies,

0:28:40.840 --> 0:28:44.440
<v Speaker 2>and some of the prisoners were there for pirrating movies,

0:28:45.640 --> 0:28:50.080
<v Speaker 2>and like, really think about the injustice behind that. Yeah,

0:28:50.120 --> 0:28:53.320
<v Speaker 2>like that's just crazy town. Imagine if you've been like

0:28:53.560 --> 0:28:57.520
<v Speaker 2>selling counterfeit first, and you go to prison and all

0:28:57.560 --> 0:29:01.440
<v Speaker 2>of the all the guards are wearing counterfeit for coats.

0:29:01.520 --> 0:29:03.080
<v Speaker 1>It'd be pretty swing in prison.

0:29:03.200 --> 0:29:06.120
<v Speaker 2>It'd be weird, but it would also be unjust.

0:29:06.360 --> 0:29:07.680
<v Speaker 1>Yeah, yeah, true.

0:29:07.920 --> 0:29:10.400
<v Speaker 2>But in relation to this, it's just more and more

0:29:10.480 --> 0:29:14.040
<v Speaker 2>widespread every day. It feels like it's it's a losing battle.

0:29:14.080 --> 0:29:16.040
<v Speaker 2>I think that the NPAA is fighting right now.

0:29:16.560 --> 0:29:18.520
<v Speaker 1>Well, I think I read somewhere today that they I

0:29:18.520 --> 0:29:21.640
<v Speaker 1>think they might release a few of the Raiders' names

0:29:22.600 --> 0:29:26.800
<v Speaker 1>per film, not all like thirteen, right, But I need

0:29:26.840 --> 0:29:28.800
<v Speaker 1>to look up that, look that up again, because that

0:29:28.960 --> 0:29:31.560
<v Speaker 1>I don't know. I don't see the why releasing a

0:29:31.720 --> 0:29:33.840
<v Speaker 1>three out of thirteen names does anybody any good?

0:29:33.880 --> 0:29:37.600
<v Speaker 2>It does zero good. Yeah, And speaking of doing zero good,

0:29:40.680 --> 0:29:44.760
<v Speaker 2>this there's kind of a new attachment to the rating

0:29:44.880 --> 0:29:48.440
<v Speaker 2>system that they have now. It's called check the box. Yeah,

0:29:49.000 --> 0:29:52.680
<v Speaker 2>and it's it's basically a brief description of why a

0:29:52.720 --> 0:29:55.200
<v Speaker 2>movie is, like PG thirteen. Yeah, so it'll say like

0:29:55.360 --> 0:29:58.240
<v Speaker 2>intense sci fi action or something like that, or some

0:29:58.360 --> 0:30:02.400
<v Speaker 2>drug use. Yeah, that kind of thing. And some critics

0:30:02.400 --> 0:30:06.920
<v Speaker 2>of the NPAA say it's just basically like shooting a

0:30:07.040 --> 0:30:10.240
<v Speaker 2>laser beam into like a fifteen year old boy's brain,

0:30:11.080 --> 0:30:16.000
<v Speaker 2>like brief nudity. Come see it PG thirteen, Check it out, kid,

0:30:17.560 --> 0:30:19.360
<v Speaker 2>And I think a lot of people are looking at

0:30:19.400 --> 0:30:23.400
<v Speaker 2>it like it's it's just kind of a disingenuous advertisement,

0:30:23.800 --> 0:30:30.840
<v Speaker 2>cynical advertisement, because the NPAA is accused of not regulating

0:30:31.080 --> 0:30:36.640
<v Speaker 2>or even potentially directly marketing to kids under the age

0:30:37.040 --> 0:30:40.520
<v Speaker 2>of the movies that are being advertised. So like you're

0:30:40.520 --> 0:30:42.800
<v Speaker 2>seeing a lot of ads for like R rated movies

0:30:42.840 --> 0:30:45.600
<v Speaker 2>on websites that are like very popular among like the

0:30:45.680 --> 0:30:50.040
<v Speaker 2>seventeen and undercrowd. There's a lot of tie ins for

0:30:50.160 --> 0:30:53.959
<v Speaker 2>PG thirteen movies with like kids toys for kids who

0:30:54.000 --> 0:30:57.800
<v Speaker 2>are under who are under thirteen. And so there's like

0:30:57.840 --> 0:31:07.080
<v Speaker 2>this idea that there's the NPA supposedly serving America's moral compasses. Yeah,

0:31:07.520 --> 0:31:12.040
<v Speaker 2>but really at the same time, they're undermining that morality

0:31:12.080 --> 0:31:17.760
<v Speaker 2>that they're supposedly defending, yeah, by marketing and exploiting kids.

0:31:18.200 --> 0:31:21.160
<v Speaker 1>Yeah, that'd be like a cigarette company having a cartoon

0:31:21.280 --> 0:31:22.560
<v Speaker 1>animal as their mascot.

0:31:22.760 --> 0:31:23.680
<v Speaker 2>Can you imagine?

0:31:24.080 --> 0:31:29.520
<v Speaker 1>Be weird? Well, one thing about the subjectivity of it

0:31:29.560 --> 0:31:31.120
<v Speaker 1>and the fact that it is a closed book and

0:31:31.160 --> 0:31:35.960
<v Speaker 1>they filmmakers don't even know, you know, how to tailor

0:31:36.000 --> 0:31:37.880
<v Speaker 1>their movie to achieve a certain rating, I mean to

0:31:37.960 --> 0:31:41.400
<v Speaker 1>within a certain degree. But they've learned how to manipulate

0:31:41.400 --> 0:31:44.200
<v Speaker 1>it because there is no set standard by if you

0:31:44.240 --> 0:31:46.479
<v Speaker 1>watch that film as not yet rated. And you've heard

0:31:46.520 --> 0:31:50.240
<v Speaker 1>plenty of stories over the years about filmmakers intentionally putting

0:31:50.240 --> 0:31:52.640
<v Speaker 1>in things that they never intend to be in the

0:31:52.640 --> 0:31:55.640
<v Speaker 1>final movie. Oh yeah, just to sort of distract from

0:31:55.680 --> 0:31:58.040
<v Speaker 1>some of the other things. So they'll shoot something kind

0:31:58.040 --> 0:32:03.360
<v Speaker 1>of really outrageous to get the MPA's Raiders haunches up

0:32:03.960 --> 0:32:06.720
<v Speaker 1>and what they were never going to keep that part anyway, right,

0:32:06.760 --> 0:32:09.520
<v Speaker 1>So they're subverting the system because there is no set standard.

0:32:09.600 --> 0:32:12.960
<v Speaker 2>Yeah, and they're just the stuff they want to keep

0:32:12.960 --> 0:32:16.280
<v Speaker 2>in is comparatively exactly more palatable.

0:32:16.600 --> 0:32:19.040
<v Speaker 1>And if you don't have the set standard, where you

0:32:19.080 --> 0:32:21.840
<v Speaker 1>can go and I wonder what those sheets look like

0:32:21.960 --> 0:32:25.240
<v Speaker 1>on the interior, you know. I mean that's the great mystery. Yeah,

0:32:25.280 --> 0:32:27.600
<v Speaker 1>surely they have their own interior standards. They're not just

0:32:27.640 --> 0:32:29.280
<v Speaker 1>like watch it and see what you think.

0:32:30.040 --> 0:32:33.800
<v Speaker 3>Well, they have group discussions too, man, I'd love to

0:32:33.840 --> 0:32:34.480
<v Speaker 3>sit in on those.

0:32:34.800 --> 0:32:39.360
<v Speaker 2>So the I read Another criticism of MPa is that

0:32:39.400 --> 0:32:43.000
<v Speaker 2>the difference between PG thirteen movies and our movies these

0:32:43.080 --> 0:32:48.800
<v Speaker 2>days is the profanity and the sexuality. That they're similar

0:32:48.840 --> 0:32:51.680
<v Speaker 2>in violence, if not more violent in PG thirteen movies,

0:32:52.120 --> 0:32:54.560
<v Speaker 2>and that this is kind of messed up, that the

0:32:54.680 --> 0:32:58.360
<v Speaker 2>NPAA has very little problem with violence. Yeah, but when

0:32:58.400 --> 0:33:02.960
<v Speaker 2>it comes to bad words or sexuality of almost any

0:33:03.040 --> 0:33:09.360
<v Speaker 2>nature except for women being objectified and men being gratified, Yeah,

0:33:10.480 --> 0:33:14.959
<v Speaker 2>then the MPAA suddenly puckers up. Well.

0:33:15.040 --> 0:33:19.960
<v Speaker 1>Yeah, in any a woman achieving receiving sexual gratification, or

0:33:20.240 --> 0:33:23.640
<v Speaker 1>a homosexual couple, yeah.

0:33:23.680 --> 0:33:27.280
<v Speaker 2>Virtually like guaranteed or depending on how they do it,

0:33:27.360 --> 0:33:29.760
<v Speaker 2>are if it's coming out of like one of the

0:33:29.800 --> 0:33:30.719
<v Speaker 2>major studios.

0:33:30.880 --> 0:33:35.280
<v Speaker 1>So in other words, a man can receive pleasure from

0:33:35.320 --> 0:33:38.960
<v Speaker 1>a woman, and of course it's scrutinized somewhat, because any

0:33:39.000 --> 0:33:41.840
<v Speaker 1>kind of sex is more heavily scrutinized than violence, right,

0:33:42.160 --> 0:33:44.400
<v Speaker 1>but if a woman does like you said, or if

0:33:44.400 --> 0:33:49.560
<v Speaker 1>it's a gay couple, it's all over so homophobic, misogynistic.

0:33:50.320 --> 0:33:56.840
<v Speaker 3>You decide right, and fetishistic of violence, you know.

0:33:57.160 --> 0:33:59.960
<v Speaker 1>Yeah. Like, here's one example. There's a great article called

0:34:00.120 --> 0:34:02.760
<v Speaker 1>don't Expect any major changes to the NPA rating system

0:34:02.800 --> 0:34:06.120
<v Speaker 1>in twenty fourteen. Yeah, and it's basically Chris Dodd, who's

0:34:06.160 --> 0:34:08.719
<v Speaker 1>the new head and the gang, digging in and saying,

0:34:08.719 --> 0:34:14.359
<v Speaker 1>you know what, we talked to your average parents and

0:34:14.400 --> 0:34:18.279
<v Speaker 1>we pull them and this is what they want. But

0:34:18.320 --> 0:34:21.000
<v Speaker 1>they release No, none of those studies are released. Yeah,

0:34:21.040 --> 0:34:25.000
<v Speaker 1>none of those conversations are released. A movie like Filamina,

0:34:25.080 --> 0:34:28.239
<v Speaker 1>which you saw, was rated at R. Yeah. It was

0:34:28.280 --> 0:34:30.399
<v Speaker 1>about a lady looking for a long lost sun.

0:34:30.920 --> 0:34:33.360
<v Speaker 2>It was so far from an R movie, it was ridiculous.

0:34:33.440 --> 0:34:35.440
<v Speaker 1>Yeah, but it had a couple of F bombs in it,

0:34:36.480 --> 0:34:38.560
<v Speaker 1>so they cut those out and they bring it to

0:34:38.560 --> 0:34:41.520
<v Speaker 1>a PG thirteen. You might think, who cares cut up

0:34:41.600 --> 0:34:45.399
<v Speaker 1>the F bombs make it PG thirteen, But there's something

0:34:45.440 --> 0:34:46.640
<v Speaker 1>bigger going on here, you know.

0:34:47.000 --> 0:34:51.960
<v Speaker 2>Yeah, there's a great AV Club article about how just

0:34:52.120 --> 0:34:56.120
<v Speaker 2>totally out of step a lot of the ratings are

0:34:56.320 --> 0:35:00.520
<v Speaker 2>and they have fifteen movies listed and basically talk about

0:35:00.520 --> 0:35:05.040
<v Speaker 2>their ratings, like the first one. They talk about once. Yeah,

0:35:05.200 --> 0:35:09.839
<v Speaker 2>that romantic. It wasn't like a romantic comedy, wasn't.

0:35:10.000 --> 0:35:12.279
<v Speaker 1>No, I would say it was a other sweet just

0:35:12.320 --> 0:35:16.040
<v Speaker 1>a modern day romance told through music. It wasn't a musical,

0:35:16.080 --> 0:35:17.280
<v Speaker 1>but there are a lot of musical numbers.

0:35:17.520 --> 0:35:23.080
<v Speaker 2>Highly inoffensive love story. Yeah, very sweet movie. It had

0:35:23.120 --> 0:35:28.200
<v Speaker 2>the same rating as Hostile Too, which is basically torture porn.

0:35:28.920 --> 0:35:30.560
<v Speaker 2>They both got the same rating.

0:35:30.719 --> 0:35:33.920
<v Speaker 1>Yeah, we should read this first line from the av club.

0:35:34.480 --> 0:35:36.480
<v Speaker 1>In early summer of two thousand and seven, two films

0:35:36.480 --> 0:35:38.839
<v Speaker 1>were released with our ratings. One featured a scene where

0:35:38.840 --> 0:35:42.040
<v Speaker 1>a naked woman is suspended from a ceiling while another

0:35:42.120 --> 0:35:46.040
<v Speaker 1>naked woman slashes her with a scyth and bays in

0:35:46.080 --> 0:35:50.040
<v Speaker 1>her blood. The other featured two Dublin musicians singing songs together,

0:35:50.280 --> 0:35:52.960
<v Speaker 1>falling in love and opting not to act on it.

0:35:53.640 --> 0:35:55.600
<v Speaker 1>Like there was never any sex scene. They didn't even

0:35:55.880 --> 0:35:58.560
<v Speaker 1>get together. Really, Nope, they're both rated.

0:35:58.560 --> 0:36:02.840
<v Speaker 2>Are both rated are because of profanity.

0:36:02.280 --> 0:36:07.279
<v Speaker 1>Rushmore rated R for the uh scene at the end,

0:36:07.320 --> 0:36:10.280
<v Speaker 1>whether Max is putting on the play the Vietnam play

0:36:10.880 --> 0:36:13.040
<v Speaker 1>and there is a shot of a couple of little

0:36:13.120 --> 0:36:16.719
<v Speaker 1>kids looking at on the set. There's some Playboy centerfolds

0:36:16.760 --> 0:36:19.120
<v Speaker 1>up in the locker, yep, like on the Vietnam set,

0:36:19.360 --> 0:36:21.400
<v Speaker 1>and it shows these little kids like looking at those

0:36:22.040 --> 0:36:23.680
<v Speaker 1>like a twelve year old would probably do.

0:36:23.840 --> 0:36:25.400
<v Speaker 2>And it got an R for that, got an R

0:36:25.480 --> 0:36:30.120
<v Speaker 2>for that. Happiness Todd Solins one of my favorite movies

0:36:30.160 --> 0:36:33.560
<v Speaker 2>of all time. Yeah, they tried to give it an

0:36:33.640 --> 0:36:35.799
<v Speaker 2>NC seventeen rating, and he said, you know what, I'm

0:36:35.880 --> 0:36:41.440
<v Speaker 2>not cutting anything. You can just go take a long

0:36:41.480 --> 0:36:43.520
<v Speaker 2>walk off a short pier, is what I think, he

0:36:43.600 --> 0:36:47.120
<v Speaker 2>famously said to them. Yeah, and he released his movie

0:36:47.360 --> 0:36:48.160
<v Speaker 2>as unrated.

0:36:48.360 --> 0:36:50.359
<v Speaker 3>Oh really, yep, I don't think I knew that.

0:36:50.440 --> 0:36:51.880
<v Speaker 2>Wait to go, Todd Solins.

0:36:52.320 --> 0:36:56.000
<v Speaker 1>Or if you're looking at some serious homophobia, The Great

0:36:56.239 --> 0:37:01.040
<v Speaker 1>nineteen eighty nine movie and Longtime Companion features no real

0:37:01.120 --> 0:37:05.040
<v Speaker 1>sex acts at all, nothing explicit. In fact, the AV

0:37:05.160 --> 0:37:08.359
<v Speaker 1>Club says it could show on network TV today with

0:37:08.640 --> 0:37:12.399
<v Speaker 1>just a few alterations. But it was about a gay

0:37:12.440 --> 0:37:16.880
<v Speaker 1>couple and uh so I got an NC seventeen.

0:37:17.520 --> 0:37:20.120
<v Speaker 2>Yeah. There was something called Afternoon Delight, which was a

0:37:22.560 --> 0:37:28.279
<v Speaker 2>movie about a woman who hires a giglow and it

0:37:28.320 --> 0:37:34.480
<v Speaker 2>apparently is heavy on the the woman receiving sexual gratification.

0:37:35.120 --> 0:37:39.200
<v Speaker 2>It got an R rating despite and it got an

0:37:39.200 --> 0:37:41.680
<v Speaker 2>OUR rating after apparently the director cut a lot of

0:37:41.680 --> 0:37:46.840
<v Speaker 2>stuff out and the director said, what the hey after

0:37:47.400 --> 0:37:48.800
<v Speaker 2>Wolfe of Wall Street came out.

0:37:48.880 --> 0:37:50.960
<v Speaker 3>Like have you seen this movie with like some very.

0:37:50.840 --> 0:37:54.200
<v Speaker 2>Graphic apparent sex scenes between a man and a woman.

0:37:54.760 --> 0:37:58.320
<v Speaker 2>But Leonardo DiCaprio is the one enjoying it the most,

0:37:58.520 --> 0:38:01.719
<v Speaker 2>So it's fine. It's an R, right, blue is the

0:38:01.800 --> 0:38:02.720
<v Speaker 2>warmest color.

0:38:02.920 --> 0:38:06.120
<v Speaker 1>Yeah. Last year that a teenage lesbian love story, and

0:38:06.200 --> 0:38:09.040
<v Speaker 1>since seventeen, yeah, got a lot of attention, and there

0:38:09.040 --> 0:38:13.759
<v Speaker 1>were some theaters that allowed high school age kids to

0:38:13.760 --> 0:38:15.120
<v Speaker 1>go see that anyway.

0:38:15.000 --> 0:38:18.560
<v Speaker 2>Because again, this isn't law, it's not binding, it's up

0:38:18.640 --> 0:38:19.400
<v Speaker 2>to the theaters.

0:38:20.000 --> 0:38:22.120
<v Speaker 1>Yeah, it's just so strange that such a small group

0:38:22.120 --> 0:38:25.680
<v Speaker 1>of people have such influence on such a large industry.

0:38:26.000 --> 0:38:28.359
<v Speaker 2>And yeah, the secret the more you dig into it,

0:38:28.520 --> 0:38:32.400
<v Speaker 2>the more conflicts of interest arise, and the more arbitrary

0:38:32.520 --> 0:38:36.880
<v Speaker 2>the standards become, the more blood boiling it is. I

0:38:36.960 --> 0:38:39.239
<v Speaker 2>highly recommend you go read some stuff like rated R

0:38:39.280 --> 0:38:42.160
<v Speaker 2>for ridiculous by Kirby Dick his Little uh yeah, his

0:38:42.239 --> 0:38:47.439
<v Speaker 2>little op ed about the MPAA that one US News

0:38:47.440 --> 0:38:51.080
<v Speaker 2>and World Report article you wrote or suggested it was good.

0:38:51.160 --> 0:38:52.000
<v Speaker 1>I wish I wrote it.

0:38:53.160 --> 0:38:56.480
<v Speaker 2>Had you been there, would have been used correctly.

0:38:57.160 --> 0:38:58.120
<v Speaker 1>Oh did they misuse it?

0:38:58.520 --> 0:38:59.560
<v Speaker 2>What? Yeah? I know?

0:39:00.080 --> 0:39:03.279
<v Speaker 1>Terrible. So the MPa will defend themselves and they say

0:39:03.320 --> 0:39:06.919
<v Speaker 1>that there's no such bias and that we all these

0:39:07.680 --> 0:39:12.520
<v Speaker 1>objectionable scenes are rated on the quality and how graphic

0:39:12.520 --> 0:39:15.960
<v Speaker 1>it is. But if you just look at the you'd

0:39:16.000 --> 0:39:18.439
<v Speaker 1>have to be a dummy not to see these correlations, right,

0:39:19.040 --> 0:39:20.640
<v Speaker 1>And the fact that they don't seem to care that

0:39:20.800 --> 0:39:24.719
<v Speaker 1>much about violence in this age where I don't know,

0:39:25.000 --> 0:39:27.080
<v Speaker 1>does it influence people to go shoot up a school?

0:39:28.120 --> 0:39:28.600
<v Speaker 1>Who knows?

0:39:30.120 --> 0:39:32.440
<v Speaker 2>Did you see that John Oliver quote that's going.

0:39:32.200 --> 0:39:35.840
<v Speaker 1>Around, Yes, but what was it?

0:39:35.840 --> 0:39:40.319
<v Speaker 2>It's like somebody unsuccessfully tries to carry a bomb onto

0:39:40.320 --> 0:39:43.040
<v Speaker 2>a plane in their shoe. We all take our shoes off, right.

0:39:43.440 --> 0:39:48.120
<v Speaker 2>There's like thirty something school shootings after Columbine and absolutely

0:39:48.120 --> 0:39:49.000
<v Speaker 2>nothing's changed.

0:39:49.280 --> 0:39:51.839
<v Speaker 1>Yeah. Or the onion article that's going around too now,

0:39:51.920 --> 0:39:56.719
<v Speaker 1>is this is something that can't be prevented, says the

0:39:56.760 --> 0:39:59.239
<v Speaker 1>only country where this kind of thing happens all the time,

0:39:59.680 --> 0:40:00.359
<v Speaker 1>something like that.

0:40:00.480 --> 0:40:03.600
<v Speaker 2>Huh, I'm paraphrasing, Oh yeah, that's the onion.

0:40:05.000 --> 0:40:07.960
<v Speaker 1>Yeah, good stuff, MPa. Keep keep doing the fighting, the

0:40:07.960 --> 0:40:08.319
<v Speaker 1>good fight.

0:40:08.440 --> 0:40:11.400
<v Speaker 2>Yeah. Go check out, like, just go start reading up

0:40:11.440 --> 0:40:13.319
<v Speaker 2>on it. It's funny how much we just take this

0:40:13.360 --> 0:40:17.000
<v Speaker 2>stuff for granted, but when just start digging just slightly

0:40:17.040 --> 0:40:19.520
<v Speaker 2>beneath the surface at the very least. See this film

0:40:19.600 --> 0:40:23.480
<v Speaker 2>is not yet rated. It's really good. Yeah, really engrossing.

0:40:23.680 --> 0:40:27.120
<v Speaker 2>And you know, for every one hundred documentaries that come out,

0:40:27.160 --> 0:40:30.359
<v Speaker 2>what five of them are like really great? Sure, most

0:40:30.360 --> 0:40:33.239
<v Speaker 2>of them are pretty good, some are terrible. So any

0:40:33.280 --> 0:40:35.960
<v Speaker 2>really good one is worth seeing just in and of itself.

0:40:36.040 --> 0:40:36.400
<v Speaker 1>Agreed.

0:40:37.160 --> 0:40:39.680
<v Speaker 2>If you want to learn more about the MPAA, type

0:40:39.680 --> 0:40:42.120
<v Speaker 2>those letters into the search part housetifforks dot com. And

0:40:42.160 --> 0:40:47.520
<v Speaker 2>I said, search parts, it's time for listener mail. Uh.

0:40:47.560 --> 0:40:51.880
<v Speaker 1>I'm gonna call this wild Parrots. Josh mentioned in the

0:40:51.920 --> 0:40:54.000
<v Speaker 1>Tattoo podcast that he had heard parrots like to hang

0:40:54.360 --> 0:40:57.200
<v Speaker 1>together when free, and I wanted to burst in the

0:40:57.239 --> 0:41:00.279
<v Speaker 1>podcast booth and tell you about the wild pay of

0:41:00.320 --> 0:41:02.759
<v Speaker 1>San Francisco. I'm not going to get into it except

0:41:02.800 --> 0:41:04.719
<v Speaker 1>to say that, over the course of my life, the

0:41:04.760 --> 0:41:06.759
<v Speaker 1>parrots in San Francisco are a sort of living legend

0:41:06.800 --> 0:41:08.719
<v Speaker 1>that one would occaionally get the privilege of spotting now

0:41:08.719 --> 0:41:11.160
<v Speaker 1>and then. However, about three years ago, I moved in

0:41:11.239 --> 0:41:15.719
<v Speaker 1>with my aunt in the little San Francisco suburb of Brisbane,

0:41:16.400 --> 0:41:19.000
<v Speaker 1>and apparently the famous flocks of parrots were also making

0:41:19.040 --> 0:41:22.239
<v Speaker 1>their home there. Since it was warmer, unless windy, these

0:41:22.280 --> 0:41:25.000
<v Speaker 1>parrots were often hanging right outside my bedroom window, which

0:41:25.000 --> 0:41:28.560
<v Speaker 1>is pretty amazing or no, she says, amusing. I say

0:41:28.600 --> 0:41:33.560
<v Speaker 1>it's amazing, but also somewhat annoying, especially since my first

0:41:33.600 --> 0:41:35.359
<v Speaker 1>son was just a little guy then and a very

0:41:35.400 --> 0:41:37.799
<v Speaker 1>light sleeper. And these suckers are loud, that is true,

0:41:37.840 --> 0:41:40.279
<v Speaker 1>they are very loud. Also, guys, I'm sending you the

0:41:40.320 --> 0:41:42.279
<v Speaker 1>link to watch the preview of the two thousand and

0:41:42.280 --> 0:41:45.640
<v Speaker 1>three documentary The Wild Parrots of Telegraph Hill. So I

0:41:45.640 --> 0:41:46.839
<v Speaker 1>didn't know there was a documentary.

0:41:46.880 --> 0:41:48.640
<v Speaker 2>I've heard that. Yeah, I've heard of that before. I

0:41:48.680 --> 0:41:50.360
<v Speaker 2>never knew what it was about.

0:41:50.600 --> 0:41:51.879
<v Speaker 1>Amy. I will check that out.

0:41:52.400 --> 0:41:55.000
<v Speaker 2>Thank you, thank you for writing it. Yeah, thanks a lot. Amy.

0:41:56.000 --> 0:41:59.280
<v Speaker 2>If you have a documentary recommendation, we are always interested

0:41:59.320 --> 0:41:59.680
<v Speaker 2>in those.

0:42:00.040 --> 0:42:00.200
<v Speaker 1>Heck.

0:42:00.280 --> 0:42:03.280
<v Speaker 2>Yeah, you can tweet them to us at s YSK podcast.

0:42:03.719 --> 0:42:06.879
<v Speaker 2>You can post them on Facebook. Dot com, slash stuff

0:42:06.880 --> 0:42:09.240
<v Speaker 2>you Should Know, and you can send us an email

0:42:09.320 --> 0:42:13.360
<v Speaker 2>to Stuff Podcast at houstuffworks dot com and as always,

0:42:13.440 --> 0:42:16.160
<v Speaker 2>joined us at our home on the web, the Beautiful

0:42:16.280 --> 0:42:22.880
<v Speaker 2>Stuff you Should Know dot com.

0:42:23.000 --> 0:42:25.560
<v Speaker 1>For more on this and thousands of other topics, visit

0:42:25.600 --> 0:42:33.920
<v Speaker 1>HowStuffWorks dot com.