Red Band Trailers (Rated R)

Posted on September 25, 2008 at 3:06 pm

“Green Band” trailers begin with a notice that says that while the movie has been rated something else, the trailer itself has been approved for all audiences by the MPAA. I am sure that sometimes the people who make trailers have a tough time finding two or three minutes of clips for the trailer that don’t have bad language, sex, or violence. As a result, despite the warning, the trailer often gives a misleading impression of the movie’s content. R-rated movies have red band trailers, which can only be shown before R-rated movies because they include R-rated content. These were quite rare until recently because most theaters did not allow them.
And then came the internet. Red band trailers are available online and any 12 year old who knows the birth date of an adult can easily get access to them. Slate’s Josh Levin writes about the sharp rise in red band trailers:
R-rated trailers–known as “red bands” on account of the red, “Restricted Audiences Only” warning that precedes them–have become omnipresent. According to the Motion Picture Association of America, nearly 30 restricted-audience trailers have been approved so far in 2008, already matching the number accepted between 2000 and 2006…
Given the popularity of movie trailers on the Web, the potential audience for a red-band preview has gone from minuscule in the Showgirls era to virtually limitless in the time of Pineapple Express and Zack and Miri. Compared with an R-rated trailer that’s screened in theaters, a Web-based red band is more likely to get talked up and to reach a target audience of (possibly under-17) fan boys who’ll line up for a screening on opening weekend.
Trailers are still subject to tighter restrictions than the feature films themselves due to the intensified impact of the short form. But because they are quick to watch they are especially potent and viral and are now an indispensible and fast-growing element of movie marketing. As Levin notes, these trailers may give a more accurate idea of what is in the movie but they are also more likely to give away more of the good parts of the movie. For parents, they create yet another challenge in a media minefield already filled with too many traps.

‘Gabriel Over the White House’ — The President Finds God

Posted on September 24, 2008 at 8:00 am

A little-seen 1933 film called “Gabriel Over the White House” has some themes that are particularly resonant in this time of unprecedented economic uncertainty and this historic Presidential campaign. Walter Houston (father of director John Huston and grandfather of actress Anjelica Houston — three generations of Oscar winners) plays the newly elected President of the United States, a cynical and apathetic man who has an affair with his private secretary and refuses to meet with the leader of the homeless. But then he has an automobile accident and is seriously injured. When he comes out of his coma, he is transformed. As he becomes an outspoken advocate of integrity and economic justice, he makes some powerful enemies. But it becomes clear that he has been inspired by a visit from the angel Gabriel.

This has been a controversial film since it was made for its frank acknowledgment of political policies based on scripture and for its association of policies some people consider “liberal” with religious beliefs some people consider “conservative.” Audiences have argued about whether the President is a visionary or a dictator. But it seems astonishingly prescient in its portrayal of the failures of Wall Street and government and its sincere commitment to Biblical principles is still fresh and appealing.

Should We Rate Movies for Marketing?

Posted on September 23, 2008 at 8:00 am

Alissa Quart’s column in Slate’s Big Money argues that in addition to rating movies and television for language, violence, sex, smoking, and substance abuse, we should rate them for product placement. She notes that for $300,000 you can have your product prominently featured in “customized storylines” on “The L Word,” a program produced by the “non-commercial” Showtime cable network. So, when we see a character on that show who is excited about a new car or pair of shoes or laundry detergent, we no longer accept that as an indication of character or plot but a distraction to remind us that we may be watching a story but we are also being sold. The line between art and commerce blurs even further as the networks themselves are getting into the business of selling the products and clothes and even the furniture used by television characters, essentially turning every program into an infomercial.
This is especially troubling in media for children where even “Baby Einstein,” which originally promised its DVDs would not be used to sell products, changed its mind and every G and PG release has with “partners” selling everything from postage stamps to cleaning products, not to mention toys and fast food. I would like to see a prominent caution listing all companies that have paid to have their products featured in the movie or in its advertising so at least parents can be prepared to help children navigate the ever-shrinking line between story and commercial.

Liz Perle on Marketing PG-13 Movies to Younger Kids

Posted on September 21, 2008 at 10:00 am

Liz Perle of Common Sense Media has a column on Huffington Post takes on the hypocrisy of the MPAA ratings board. Chair Joan Graves says that PG-13 films may carry parental advisory reminders that they have material inappropriate for kids under age 13 but that doesn’t mean that PG-13 movies shouldn’t be marketed to younger kids. Perle points out that this would include “Vicky Christina Barcelona” (threesome) and “The House Bunny” (a lot of sexual humor) as well as the third mummy film and “The Dark Knight.”
And in the Mummy movie, faces melt, a man is about to be quartered, there are several shots of near decapitations, limbs are dismembered, bodies are stabbed and shot, huge Yetis appear as scary CGI panther-like creatures and there are hordes of skeletal warriors (a la Pirates of the Caribbean). And “The Dark Knight?” Even my teen son turned to me and said, “This is NOT for kids!”
We believe that parents are ultimately responsible for making sure they pick movies that are right for their kids – hey, that’s why Common Sense Media exists. And we absolutely love movies. We just think there are right movies for right ages. And marketing mature movies to kids is irresponsible, plain and simple.

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The Art Form of TV Opening Credits

Posted on September 20, 2008 at 8:00 am

Newsweek’s tribute to the opening credits of the new HBO series “True Blood” reminded me of the good old days when television show theme songs and opening credits were as much fun as the shows. The “Dick Van Dyke” show kept you guessing each week. Would Rob Petrie trip over the ottoman or not?

“The Simpsons” has a terrific theme by Danny Elfman and a funny kick at the end with Bart writing a different sentence on the blackboard for punishment each week. Theme songs from Welcome Back Kotter and Friends appeared on the pop charts. I’ll bet if I just mention The Brady Bunch, Gilligan’s Island, or Cheers the entire song will go through your head — and might get stuck there. Each year’s Cosby Show opens different and all were completely charming. The best part of Valerie Bertinelli’s short-lived sitcom “Sydney” was the theme song written by her then-husband Eddie Van Halen. And I used to turn on the Saturday morning show Mugsy each week just to hear the theme song song by David Clayton-Thomas of Blood, Sweat & Tears. On PBS, the opening credits for “I Claudius” and “Tinker Tailor Soldier Spy” set the tone perfectly. HBO’s “Big Love” and “Six Feet Under” had superb opens.

But this one may be the all-time best:

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