Interview: Sound Editor and Mixer Sean Karp

Posted on May 9, 2018 at 4:07 pm

It was a delight to talk to 10-times Daytime Emmy-nominated Sean Karp for The Credits. who answered my questions about sound editing and sound mixing. An excerpt:

Do our readers a basic service, and describe the difference between sound mixing and sound editing?

Basically, sound editing is taking all your different sound elements or sound files and editing together all the production sound that’s recorded on set when they shoot the film or TV show, which generally is dialogue, and then build a soundscape. That means creating the sound environment, so if stuff is taking place in the city so you will edit in all these background city sounds; the sounds of traffic, the sounds of people walking by, horns honking; that kind of thing. Then you’ll edit in all your specific sounds. Maybe there’s a gunfight, so we’re placing in all those gunshots and the sounds of the shell casings leaving the guns and dropping on the floor. Then of course there’s the music. The composer will create the score, but then a music editor will do some touch-ups to make it work better to picture. So that is sound editing; it’s basically putting to time all the sound elements to the picture.

Sound mixing is mixing all those elements for the final version. I’ve heard it described as almost like when you’re recording an album. Editing is doing all your tracking like I’m tracking my drums, I’m tracking my bass guitar, my lead guitar, my keyboards, my vocals; that’s sound editing, and then the mix is the mix as it would be for a song.

The goal is almost for your work to be invisible, then?

The rule of thumb is: if your work is noticed you did a bad job. The point is to help tell the story, to help the film draw people in and get caught up in the story. So if people are paying attention to the sound, then you really didn’t do a good job because they’re not in the story, they’re not being drawn in. Badly done sound can be much more noticeable than a really good, smooth job. It cuts the suspension of disbelief. A really good movie is going to draw you in, so it’s our job in post-production sound to help the director or the producers achieve that in the final product; it’s all about the experience for the person sitting in the seat.

Related Tags:

 

Behind the Scenes Interview Television
Celebrate Mother’s Day with a Mamma Mia Sing-Along!!

Celebrate Mother’s Day with a Mamma Mia Sing-Along!!

Posted on May 9, 2018 at 3:10 pm

You know what moms love?  Well, breakfast in bed, of course, and hand-made cards and poems, but after that, they love “Mamma Mia!”  And there are free screenings all across the country this Sunday for Mother’s Day!

Copyright Universal 2018

In anticipation of its upcoming Mamma Mia! Here We Go Again, Universal Pictures today announced that free sing-along screenings of the blockbuster musical comedy Mamma Mia! will be available on Mother’s Day, Sunday, May 13, at 25 theater locations across the U.S. and Canada. Each guest who requests a ticket the day of the screening—at a participating location—will be given one free admission to the 10:00 a.m. showing, up to theater capacity.

Free tickets will be available on a first-come, first-served basis and may only be picked up at the theater box office starting at 9:00 a.m. on Sunday, May 13. This offer is valid for the 10:00 a.m. showing of Mamma Mia! The Movie on May 13, at participating locations only.

For more information and a list of theaters offering the special screenings, please visit www.MammasDaySingAlong.com

And get ready for a prequel/sequel, coming July 20, 2018!

Related Tags:

 

Based on a play Musical
May 9, 1961: Newton Minow and the Vast Wasteland Speech That Changed Television

May 9, 1961: Newton Minow and the Vast Wasteland Speech That Changed Television

Posted on May 9, 2018 at 9:12 am

On May 9, 1961, my father, Newton Minow, delivered a speech that continues to inspire the conversation about media. He was President Kennedy’s new Chairman of the FCC, just 35 years old, and in his first major address he told the National Association of Broadcasters that while there was much to admire on television, too much of it was a “vast wasteland.” Last Friday, our family had the privilege of watching him receive the Chicago Television Academy’s Silver Emmy Award for his contributions to broadcasting, including the launching of the first telecommunications satellite, the creation of PBS, and helping to start the Presidential debates. He continues to serve as Vice Chair of the Commission on Presidential Debates, which he helped to form.

He told the audience about the day before the speech, when President Kennedy brought Commander Alan Shepherd, who had just become the first American in space, and his wife, to the National Association of Broadcasters event Dad would be speaking to the following day.  President Kennedy invited Dad to come upstairs while he changed his shirt, to give him some ideas about what to tell the broadcasters.  Dad suggested that he talk about the difference between the way Americans and the Soviet Union conducted their space program.  In the US, we had all the television cameras there to show the American people, good or bad, what was happening.

At the time Dad called on the broadcasters to do better, there were just three national television networks. There was no PBS, just a National Educational Television which was not even available in most of the country, including Washington DC itself. My father told the broadcasters that as long as the airwaves were a scarce resource, they would have to do better to live up to their statutory obligation to serve the public interest, convenience, and necessity, especially with regard to coverage of news and programming for children. He worked over the next half-century to make more choices available, including cable and satellite as well as the creation of a robust public television station. He helped get the original funding for “Sesame Street,” served as chairman of PBS and of the Chicago affiliate WTTW, served on the board of CBS, helped create the Presidential debates, pushed for closed captioning to make television programming available to hearing-impaired viewers, and argued one of the only cases in history to have a broadcast license rescinded — a station that spewed hatred across the airwaves. And in protest of his critique of television, the sinking ship on “Gilligan’s Island” was named after him, the S.S. Minnow!

He is also the world’s best dad and we are all so proud of him.

He was interviewed on a television history podcast. Here is the speech:

Governor Collins, distinguished guests, ladies and gentlemen. Governor Collins you’re much too kind, as all of you have been to me the last few days. It’s been a great pleasure and an honor for me to meet so many of you. And I want to thank you for this opportunity to meet with you today.

As you know, this is my first public address since I took over my new job. When the New Frontiersmen rode into town, I locked myself in my office to do my homework and get my feet wet. But apparently I haven’t managed yet to stay out of hot water. I seem to have detected a very nervous apprehension about what I might say or do when I emerged from that locked office for this, my maiden station break.

So first let me begin by dispelling a rumor. I was not picked for this job because I regard myself as the fastest draw on the New Frontier. Second, let me start a rumor. Like you, I have carefully read President Kennedy’s messages about the regulatory agencies, conflict of interest, and the dangers of ex parte contacts. And, of course, we at the Federal Communications Commission will do our part. Indeed, I may even suggest that we change the name of the FCC to The Seven Untouchables.

It may also come as a surprise to some of you, but I want you to know that you have my admiration and my respect. Yours is a most honorable profession. Anyone who is in the broadcasting business has a tough row to hoe. You earn your bread by using public property. When you work in broadcasting you volunteer for public service, public pressure, and public regulation. You must compete with other attractions and other investments, and the only way you can do it is to prove to us every three years that you should have been in business in the first place.

I can think of easier ways to make a living.

But I cannot think of more satisfying ways.

I admire your courage — but that doesn’t mean that I would make life any easier for you. Your license lets you use the public’s airwaves as trustees for 180 million Americans. The public is your beneficiary. If you want to stay on as trustees, you must deliver a decent return to the public — not only to your stockholders. So, as a representative of the public, your health and your product are among my chief concerns.

Now as to your health, let’s talk only of television today. 1960 gross broadcast revenues of the television industry were over 1,268,000,000 dollars. Profit before taxes was 243,900,000 dollars, an average return on revenue of 19.2 per cent. Compare these with 1959, when gross broadcast revenues were 1,163,900,000 dollars, and profit before taxes was 222,300,000, an average return on revenue of 19.1 per cent. So the percentage increase of total revenues from ’59 to ’60 was 9 per cent, and the percentage increase of profit was 9.7 per cent. This, despite a recession throughout the country. For your investors, the price has indeed been right.

So I have confidence in your health, but not in your product. It is with this and much more in mind that I come before you today.

One editorialist in the trade press wrote that “the FCC of the New Frontier is going to be one of the toughest FCC’s in the history of broadcast regulation.” If he meant that we intend to enforce the law in the public interest, let me make it perfectly clear that he is right: We do. If he meant that we intend to muzzle or censor broadcasting, he is dead wrong. It wouldn’t surprise me if some of you had expected me to come here today and say to you in effect, “Clean up your own house or the government will do it for you.” Well, in a limited sense, you would be right because I’ve just said it.

But I want to say to you as earnestly as I can that it is not in that spirit that I come before you today, nor is it in that spirit that I intend to serve the FCC. I am in Washington to help broadcasting, not to harm it; to strengthen it, not weaken it; to reward it, not to punish it; to encourage it, not threaten it; and to stimulate it, not censor it. Above all, I am here to uphold and protect the public interest.

Now what do we mean by “the public interest?” Some say the public interest is merely what interests the public. I disagree. And so does your distinguished president, Governor Collins. In a recent speech — and of course as I also told you yesterday — In a recent speech he said,

Broadcasting to serve the public interest, must have a soul and a conscience, a burning desire to excel, as well as to sell; the urge to build the character, citizenship, and intellectual stature of people, as well as to expand the gross national product. …By no means do I imply that broadcasters disregard the public interest. …But a much better job can be done, and should be done.

I could not agree more with Governor Collins. And I would add that in today’s world, with chaos in Laos and the Congo aflame, with Communist tyranny on our Caribbean doorstep, relentless pressures on our Atlantic alliance, with social and economic problems at home of the gravest nature, yes, and with the technological knowledge that makes it possible, as our President has said, not only to destroy our world but to destroy poverty around the world — in a time of peril and opportunity, the old complacent, unbalanced fare of action-adventure and situation comedies is simply not good enough.

Your industry possesses the most powerful voice in America. It has an inescapable duty to make that voice ring with intelligence and with leadership. In a few years, this exciting industry has grown from a novelty to an instrument of overwhelming impact on the American people. It should be making ready for the kind of leadership that newspapers and magazines assumed years ago, to make our people aware of their world.

Ours has been called the jet age, the atomic age, the space age. It is also, I submit, the television age. And just as history will decide whether the leaders of today’s world employed the atom to destroy the world or rebuild it for mankind’s benefit, so will history decide whether today’s broadcasters employed their powerful voice to enrich the people or to debase them.

If I seem today to address myself chiefly to the problems of television, I don’t want any of you radio broadcasters to think that we’ve gone to sleep at your switch. We haven’t. We still listen. But in recent years most of the controversies and cross-currents in broadcast programming have swirled around television. And so my subject today is the television industry and the public interest.

Like everybody, I wear more than one hat. I am the chairman of the FCC. But I am also a television viewer and the husband and father of other television viewers. I have seen a great many television programs that seemed to me eminently worthwhile and I am not talking about the much bemoaned good old days of “Playhouse 90” and “Studio One.”

I’m talking about this past season. Some were wonderfully entertaining, such as “The Fabulous Fifties,” “The Fred Astaire Show,” and “The Bing Crosby Special”; some were dramatic and moving, such as Conrad’s “Victory” and “Twilight Zone”; some were marvelously informative, such as “The Nation’s Future,” “CBS Reports,” “The Valiant Years.” I could list many more — programs that I am sure everyone here felt enriched his own life and that of his family. When television is good, nothing — not the theater, not the magazines or newspapers — nothing is better.

But when television is bad, nothing is worse. I invite each of you to sit down in front of your television set when your station goes on the air and stay there, for a day, without a book, without a magazine, without a newspaper, without a profit and loss sheet or a rating book to distract you. Keep your eyes glued to that set until the station signs off. I can assure you that what you will observe is a vast wasteland.

You will see a procession of game shows, formula comedies about totally unbelievable families, blood and thunder, mayhem, violence, sadism, murder, western bad men, western good men, private eyes, gangsters, more violence, and cartoons. And endlessly, commercials — many screaming, cajoling, and offending. And most of all, boredom. True, you’ll see a few things you will enjoy. But they will be very, very few. And if you think I exaggerate, I only ask you to try it.

Is there one person in this room who claims that broadcasting can’t do better? Well a glance at next season’s proposed programming can give us little heart. Of 73 and 1/2 hours of prime evening time, the networks have tentatively scheduled 59 hours of categories of action-adventure, situation comedy, variety, quiz, and movies. Is there one network president in this room who claims he can’t do better? Well, is there at least one network president who believes that the other networks can do better? Gentlemen, your trust accounting with your beneficiaries is long overdue. Never have so few owed so much to so many.

Why is so much of television so bad? I’ve heard many answers: demands of your advertisers; competition for ever higher ratings; the need always to attract a mass audience; the high cost of television programs; the insatiable appetite for programming material. These are some of the reasons. Unquestionably, these are tough problems not susceptible to easy answers. But I am not convinced that you have tried hard enough to solve them.

I do not accept the idea that the present over-all programming is aimed accurately at the public taste. The ratings tell us only that some people have their television sets turned on and of that number, so many are tuned to one channel and so many to another. They don’t tell us what the public might watch if they were offered half-a-dozen additional choices. A rating, at best, is an indication of how many people saw what you gave them. Unfortunately, it does not reveal the depth of the penetration, or the intensity of reaction, and it never reveals what the acceptance would have been if what you gave them had been better — if all the forces of art and creativity and daring and imagination had been unleashed. I believe in the people’s good sense and good taste, and I am not convinced that the people’s taste is as low as some of you assume.

My concern with the rating services is not with their accuracy. Perhaps they are accurate. I really don’t know. What, then, is wrong with the ratings? It’s not been their accuracy — it’s been their use.

Certainly, I hope you will agree that ratings should have little influence where children are concerned. The best estimates indicate that during the hours of 5 to 6 P.M. sixty per cent of your audience is composed of children under twelve. And most young children today, believe it or not, spend as much time watching television as they do in the schoolroom. I repeat — let that sink in, ladies and gentlemen — most young children today spend as much time watching television as they do in the schoolroom. It used to be said that there were three great influences on a child: home, school, and church. Today, there is a fourth great influence, and you ladies and gentlemen in this room control it.

If parents, teachers, and ministers conducted their responsibilities by following the ratings, children would have a steady diet of ice cream, school holidays, and no Sunday school. What about your responsibilities? Is there no room on television to teach, to inform, to uplift, to stretch, to enlarge the capacities of our children? Is there no room for programs deepening their understanding of children in other lands? Is there no room for a children’s news show explaining something to them about the world at their level of understanding? Is there no room for reading the great literature of the past, for teaching them the great traditions of freedom? There are some fine children’s shows, but they are drowned out in the massive doses of cartoons, violence, and more violence. Must these be your trademarks? Search your consciences and see if you cannot offer more to your young beneficiaries whose future you guide so many hours each and every day.

Now what about adult programming and ratings? You know, newspaper publishers take popularity ratings too. And the answers are pretty clear: It is almost always the comics, followed by advice to the lovelorn columns. But, ladies and gentlemen, the news is still on the front page of all newspapers; the editorials are not replaced by more comics; and the newspapers have not become one long collection of advice to the lovelorn. Yet newspapers do not even need a license from the government to be in business; they do not use public property. But in television, where your responsibilities as public trustees are so plain, the moment that the ratings indicate that westerns are popular there are new imitations of westerns on the air faster than the old coaxial cable could take us from Hollywood to New York. Broadcasting cannot continue to live by the numbers. Ratings ought to be the slave of the broadcaster, not his master. And you and I both know — You and I both know that the rating services themselves would agree.

Let me make clear that what I am talking about is balance. I believe that the public interest is made up of many interests. There are many people in this great country and you must serve all of us. You will get no argument from me if you say that, given a choice between a western and a symphony, more people will watch the western. I like westerns too, but a steady diet for the whole country is obviously not in the public interest. We all know that people would more often prefer to be entertained than stimulated or informed. But your obligations are not satisfied if you look only to popularity as a test of what to broadcast. You are not only in show business; you are free to communicate ideas as well as relaxation.

And as Governor Collins said to you yesterday when he encouraged you to editorialize — as you know the FCC has now encouraged editorializing for years. We want you to do this; we want you to editorialize, take positions. We only ask that you do it in a fair and a responsible manner. Those stations that have editorialized have demonstrated to you that the FCC will always encourage a fair and responsible clash of opinion.

You must provide a wider range of choices, more diversity, more alternatives. It is not enough to cater to the nation’s whims; you must also serve the nation’s needs. And I would add this: that if some of you persist in a relentless search for the highest rating and the lowest common denominator, you may very well lose your audience. Because, to paraphrase a great American who was recently my law partner, the people are wise, wiser than some of the broadcasters — and politicians — think.

As you may have gathered, I would like to see television improved. But how is this to be brought about? By voluntary action by the broadcasters themselves? By direct government intervention? Or how?

Let me address myself now to my role not as a viewer but as chairman of the FCC. I could not if I would, chart for you this afternoon in detail all of the actions I contemplate. Instead, I want to make clear some of the fundamental principles which guide me.

First: the people own the air. And they own it as much in prime evening time as they do at six o’clock Sunday morning. For every hour that the people give you — you owe them something. And I intend to see that your debt is paid with service.

Second: I think it would be foolish and wasteful for us to continue any worn-out wrangle over the problems of payola, rigged quiz shows, and other mistakes of the past. There are laws on the books which we will enforce. But there is no chip on my shoulder. We live together in perilous, uncertain times; we face together staggering problems; and we must not waste much time now by rehashing the clichés of past controversy. To quarrel over the past is to lose the future.

Third: I believe in the free enterprise system. I want to — I want to see broadcasting improved, and I want you to do the job. I am proud to champion your cause. It is not rare for American businessmen to serve a public trust. Yours is a special trust because it is imposed by law.

Fourth: I will do all I can to help educational television. There are still not enough educational stations, and major centers of the country still lack usable educational channels. If there were a limited number of printing presses in this country, you may be sure that a fair proportion of them would be put to educational use. Educational television has an enormous contribution to make to the future, and I intend to give it a hand along the way. If there is not a nation-wide educational television system in this country, it will not be the fault of the FCC.

Fifth: I am unalterably opposed to governmental censorship. There will be no suppression of programming which does not meet with bureaucratic tastes. Censorship strikes at the tap root of our free society.

Sixth: I did not come to Washington to idly observe the squandering of the public’s airwaves. The squandering of our airwaves is no less important than the lavish waste of any precious natural resource. I intend to take the job of chairman of the FCC very seriously. I happen to believe in the gravity of my own particular sector of the New Frontier. There will be times perhaps when you will consider that I take myself or my job too seriously. Frankly, I don’t care if you do. For I am convinced that either one takes this job seriously — or one can be seriously taken.

Now how will these principles be applied? Clearly at the heart of the FCC’s authority lies its power to license, to renew or fail to renew, or to revoke a license. As you know, when your license comes up for renewal, your performance is compared with your promises. I understand that many people feel that in the past licenses were often renewed pro forma. I say to you now: renewal will not be pro forma in the future. There is nothing permanent or sacred about a broadcast license.

But simply matching promises and performance is not enough. I intend to do more. I intend to find out whether the people care. I intend to find out whether the community which each broadcaster serves believes he has been serving the public interest. When a renewal is set down for a hearing, I intend, whenever possible, to hold a well-advertised public hearing, right in the community you have promised to serve. I want the people who own the air and the homes that television enters to tell you and the FCC what’s been going on. I want the people — if they’re truly interested in the service you give them — to make notes, document cases, tell us the facts. And for those few of you who really believe that the public interest is merely what interests the public, I hope that these hearings will arouse no little interest.

The FCC has a fine reserve of monitors — almost 180 million Americans gathered around 56 million sets. If you want those monitors to be your friends at court, it’s up to you.

Now some of you may say, “Yes, but I still do not know where the line is between a grant of a renewal and the hearing you just spoke of.” My answer is: Why should you want to know how close you can come to the edge of the cliff? What the Commission asks of you is to make a conscientious, good-faith effort to serve the public interest. Everyone of you serves a community in which the people would benefit by educational, and religious, instructive and other public service programming. Every one of you serves an area which has local needs — as to local elections, controversial issues, local news, local talent. Make a serious, genuine effort to put on that programming. And when you do, you will not be playing brinkmanship with the public interest.

Now what I’ve been saying applies to the broadcast stations. Now a station break for the networks — and will last even longer than 40 seconds: You networks know your importance in this great industry. Today, more than one half of all hours of television station programming comes from the networks; in prime time, this rises to more than three fourths of the available hours.

You know that the FCC has been studying network operations for some time. I intend to press this to a speedy conclusion with useful results. I can tell you right now, however, that I am deeply concerned with concentration of power in the hands of the networks. As a result, too many local stations have foregone any efforts at local programming, with little use of live talent and local service. Too many local stations operate with one hand on the network switch and the other on a projector loaded with old movies. We want the individual stations to be free to meet their legal responsibilities to serve their communities.

I join Governor Collins in his views so well expressed to the advertisers who use the public air. And I urge the networks to join him and undertake a very special mission on behalf of this industry. You can tell your advertisers, “This is the high quality we are going to serve — take it or other people will. If you think you can find a better place to move automobiles, cigarettes, and soap, then go ahead and try.” Tell your sponsors to be less concerned with costs per thousand and more concerned with understanding per millions. And remind your stockholders that an investment in broadcasting is buying a share in public responsibility. The networks can start this industry on the road to freedom from the dictatorship of numbers.

But there is more to the problem than network influences on stations or advertiser influences on networks. I know the problems networks face in trying to clear some of their best programs — the informational programs that exemplify public service. They are your finest hours, whether sustaining or commercial, whether regularly scheduled or special. These are the signs that broadcasting knows the way to leadership. They make the public’s trust in you a wise choice.

They should be seen. As you know, we are readying for use new forms by which broadcast stations will report their programming to the Commission. You probably also know that special attention will be paid in these forms to reports of public service programming. I believe that stations taking network service should also be required to report the extent of the local clearance of network public service programs, and when they fail to clear them, they should explain why. If it is to put on some outstanding local program, this is one reason. But if it is simply to run an old movie, that’s an entirely different matter. And the Commission should consider such clearance reports carefully when making up its mind about the licensee’s over-all programming.

We intend to move — and as you know, and as I want to say publicly, the FCC was rapidly moving in other new areas before the new Administration arrived in Washington. And I want to pay my public respects to my very able predecessor, Fred Ford, and to my colleagues on the Commission, each of whom has welcomed me to the FCC with warmth and cooperation.

We have approved an experiment with pay TV, and in New York we are testing the potential of UHF broadcasting. Either or both of these may revolutionize television. Only a foolish prophet would venture to guess the direction they will take, and their effect. But we intend that they shall be explored fully, for they are part of broadcasting’s New Frontier. The questions surrounding pay TV are largely economic. The questions surrounding UHF are largely technological. We are going to give the infant — the infant pay TV a chance to prove whether it can offer a useful service; we are going to protect it from those who would strangle it in its crib.

As for UHF, I’m sure you know about our test in the canyons of New York City. We will take every possible positive step to break through the allocations barrier into UHF. We will put this sleeping giant to use and in the years ahead we may have twice as many channels operating in cities where now there are only two or three. We may have a half dozen networks instead of three.

I have told you that I believe in the free enterprise system. I believe that most of television’s problems stem from lack of competition. This is the importance of UHF to me: with more channels on the air, we will be able to provide every community with enough stations to offer service to all parts of the public. Programs with a mass market appeal required by mass product advertisers certainly will still be available. But other stations will recognize the need to appeal to more limited markets and to special tastes. In this way, we can all have a much wider range of programs. Television should thrive on this competition, and the country should benefit from alternative sources of service to the public. And, Governor Collins, I hope the NAB will benefit from many new members.

Another and perhaps the most important frontier: Television will rapidly join the parade into space. International television will be with us soon. No one knows how long it will be until a broadcast from a studio in New York will be viewed in India as well as in Indiana, will be seen in the Congo as it is seen in Chicago. But as surely as we are meeting here today, that day will come; and once again our world will shrink.

What will the people of other countries think of us when they see our western bad men and good men punching each other in the jaw in between the shooting? What will the Latin American or African child learn of America from this great communications industry? We cannot permit television in its present form to be our voice overseas.

There is your challenge to leadership. You must reexamine some fundamentals of your industry. You must open your minds and open your hearts to the limitless horizons of tomorrow. I can suggest some words that should serve to guide you:

Television and all who participate in it are jointly accountable to the American public for respect for the special needs of children, for community responsibility, for the advancement of education and culture, for the acceptability of the program materials chosen, for decency and decorum in production, and for propriety in advertising. This responsibility cannot be discharged by any given group of programs, but can be discharged only through the highest standards of respect for the American home, applied to every moment of every program presented by television.

Program materials should enlarge the horizons of the viewer, provide him with wholesome entertainment, afford helpful stimulation, and remind him of the responsibilities which the citizen has towards his society.

Now those are not my words. They are yours. They are taken literally, verbatim, from your own Television Code. They reflect the leadership and aspirations of your own great industry. I urge you to respect them as I do. And I urge you to respect the intelligent and farsighted leadership of Governor LeRoy Collins, and to make this meeting a creative act. I urge you at this meeting and, after you leave, back home, at your stations and your networks, to strive ceaselessly to improve your product and to better serve your viewers, the American people.

I hope that we at the FCC will not allow ourselves to become so bogged down in the mountain of papers, hearings, memoranda, orders, and the daily routine that we close our eyes to this wider view of the public interest. And I hope that you broadcasters will not permit yourselves to become so absorbed in the daily chase for ratings, sales, and profits that you lose this wider view. Now more than ever before in broadcasting’s history the times demand the best of all of us.

We need imagination in programming, not sterility; creativity, not imitation; experimentation, not conformity; excellence, not mediocrity. Television is filled with creative, imaginative people. You must strive to set them free.

Television in its young life has had many hours of greatness — its “Victory at Sea,” its Army-McCarthy hearings, its “Peter Pan,” its “Kraft Theaters,” its “See It Now,” its “Project XX,” the World Series, its political conventions and campaigns, and the Great Debates. And it’s had its endless hours of mediocrity and its moments of public disgrace. There are estimates today that the average viewer spends about 200 minutes daily with television, while the average reader spends 38 minutes with magazines, 40 minutes with newspapers. Television has grown faster than a teenager, and now it is time to grow up.

What you gentlemen broadcast through the people’s air affects the people’s taste, their knowledge, their opinions, their understanding of themselves and of their world — and their future.

Just think for a moment of the impact of broadcasting in the past few days. Yesterday was one of the great days of my life. Last week the President asked me to ride over with him when he came to speak here at the NAB. And when I went to the White House he said, “Do you think it would be a good idea to take Commander Shepard?” And, of course, I said it would be magnificent. And I was privileged to ride here yesterday in a car with the President and the Vice President, Commander and Mrs. Shepard. This was an unexpected, unscheduled stop. And Commander Shepard said to me, “Where are we going?” “What is this group?” And I said, “This is the National Association of Broadcasters at its annual convention.”

This is the group, this is the industry that made it possible for millions of Americans to share with you that great moment in history; that his gallant flight was witnessed by millions of anxious Americans who saw in it an intimacy which they could achieve through no other medium, in no other way. It was one of your finest hours. The depth of broadcasting’s contribution to public understanding of that event cannot be measured. And it thrilled me — as a representative of the government that deals with this industry — to say to Commander Shepard the group that he was about to see.

I say to you ladies and gentlemen — I remind you what the President said in his stirring inaugural. He said: Ask not what America can do for you; ask what you can do for America.1 I say to you ladies and gentlemen: Ask not what broadcasting can do for you; ask what you can do for broadcasting. And ask what broadcasting can do for America.

I urge you, I urge you to put the people’s airwaves to the service of the people and the cause of freedom. You must help prepare a generation for great decisions. You must help a great nation fulfill its future.

Do this! I pledge you our help.

Thank you.

Related Tags:

 

Television Understanding Media and Pop Culture

Interview: Jason Reitman and Mackenzie Davis on “Tully”

Posted on May 4, 2018 at 8:00 am

For Rogerebert.com I interviewed Jason Reitman and Mackenzie Davis, the director and title actress of “Tully,” a new film written by Oscar-winner Diablo Cody (“Juno,” “Ricki and the Flash”).  An excerpt:

Jason, I loved your montage that so bittersweetly evokes those numbingly exhausting first months of motherhood. Tell me how you put that together.

JASON REITMAN: I’m so happy you asked about that! That’s something that was on our call sheet every single day and it was really important to us that we get that right. There are so many movies that examine and portray parenting and it often comes across as slapstick. Parenting is one of these odd taboo subjects in a time when we share our most intimate details. We will describe what medication we’re taking but we still won’t share the intimacies and struggles of parenting in a real way. So we gave a questionnaire to twelve mothers and asked them to give us anything they were willing to share about the first three months of being a parent. It was through these questionnaires that we got these odd details like putting the baby on top of the dryer and the amount of moms and dads that drop their phones on their babies. We were constantly shooting it and there was an editor who worked only on that montage throughout the film.

Related Tags:

 

Actors Directors Interview
Tully

Tully

Posted on May 3, 2018 at 2:27 pm

B +
Lowest Recommended Age: Mature High Schooler
MPAA Rating: Rated R for language and some sexuality/nudity
Profanity: Strong language
Alcohol/ Drugs: Drinking and drunkenness, drunk driving
Violence/ Scariness: Auto accident with injuries
Diversity Issues: None
Date Released to Theaters: May 4, 2018
Date Released to DVD: July 30, 2018
Copyright 2018 Focus Features

With “Tully,” their third collaboration, director Jason Reitman and screenwriter Diablo Cody are approaching a “Before Sunrise/Sunset/Midnight”-style series about the challenges of growing up and getting older.

It may not be the same set of characters, but “Juno,” “Young Adult,” and now “Tully” can be seen as a continuing story with smart, flawed female protagonists. The first was a pregnant teenager, then a floundering author trying to reclaim the life she thought she was going to have when she was in high school, and now a married mother of two, pregnant with a third, trying to connect with the person she once was when all of her time and attention was not taken up with obligations to others. Charlize Theron plays Marlo, the exhausted mother, and Mackenzie Davis plays the title character, a night nanny who turns out to be just what Marlo needs in ways that surprise her and us.

Marlo is exhausted and overwhelmed. Her second child is a son who is described by the school principal in the words that strike terror and a fierce defensiveness in the heart of a parent: “quirky” and “out of the box” — and then, finally, “not a good fit.” Every morning, with infinite patience and tenderness, Marlo gently brushes his whole body because she saw online that it might help him with sensory integration. When he has a meltdown because she isn’t parking in the usual spot, she is compassionate. But it is clear that she is giving so much to her family that she has lost some sense of herself and her own needs.

Marlo has a brother (Mark Duplass) who offers her a baby gift — the services of a night nanny, someone who comes at night to help new parents get some rest. Marlo and her husband (Ron Livingston) enjoy mocking her brother and his wife for being materialistic and bourgeois. It also makes them feel a bit superior and helps them ignore their envy at his financial stability. The idea of a “night nanny,” even paid for by someone else seems like just another mockable bougie pretension. But then Marlo has the baby as her husband’s job keeps him away from home and, even more exhausted and overwhelmed, she calls the number her brother gave her, and Tully (Mackenzie Davis) shows up like a hipster Mary Poppins.

She’s not just a baby whisperer; she’s a Marlo whisperer, too.  With patience and kindness, she listens attentively, and she very gently and supportively guides Marlo, to feel peaceful and cared for.  “Kiss the baby,” she says, as Marlo begins to trudge upstairs to bed. “She’ll be different in the morning.  We all will.”  Marlo comes down the next morning and the house is neat.  Tully even makes cupcakes.  She even presses Marlo about reconnecting to her husband.

Theron’s performance here is superb.  “Brave” when referring to an actress, usually means that she doesn’t look like a size zero teenager.  And Theron went for it here, gaining 50 pounds from her “Atomic Blonde” action star look, and she does indeed appear like a very pretty woman who has had three children.  But what is brave here is her extraordinary emotional authenticity, her vulnerability, and her wry humor.  When she tells the officious, though superficially kind school principal that the baby is a blessing, we can see three levels to that word.  Marlo is saying the word she thinks will ingratiate her with the principal who is trying to politely extricate her son from the school (those deadly words, “not a good fit”).  She is sarcastic (Cody loves sarcasm).  But, you know what? She really believes it, too.  Tully’s greatest contribution is reminding Marlo that all that is overwhelming her is what she once wished for.  This is her happy ever after ending and even if it’s going to be messy, there has to be a way to hold on to that before she ends up missing it.

Sharply but lovingly observed, clearly based on deeply lived experience, with lots of Cody’s shrewd wit and enormous compassion for its characters, “Tully” is as welcome in theaters as its title character is at Marlo’s door.

Parents should know that this film includes glimpses of pornography, explicit sexual references and nudity, very strong language, childbirth scene, drinking and drunkenness, and an auto accident with injuries.

Family discussion: Who is Tully? Why did she visit Marlo? Why are Marlo and her brother so different? What does “quirky” mean?

If you like this, try: “Juno,” by the same director and writer

Related Tags:

 

Drama DVD/Blu-Ray Family Issues movie review
THE MOVIE MOM® is a registered trademark of Nell Minow. Use of the mark without express consent from Nell Minow constitutes trademark infringement and unfair competition in violation of federal and state laws. All material © Nell Minow 1995-2024, all rights reserved, and no use or republication is permitted without explicit permission. This site hosts Nell Minow’s Movie Mom® archive, with material that originally appeared on Yahoo! Movies, Beliefnet, and other sources. Much of her new material can be found at Rogerebert.com, Huffington Post, and WheretoWatch. Her books include The Movie Mom’s Guide to Family Movies and 101 Must-See Movie Moments, and she can be heard each week on radio stations across the country.

Website Designed by Max LaZebnik