by Jeremy Doyle

The Question.

A couple of weeks ago Julie and Jessica threw out a simple question (on the King is a Fink facebook fan page) that really intrigued me.  It was a question that has many implications and the answers are completely subjective.  It effects everyone that watches movies.  Their question: PG-13?  That was it, a simple rating with a question mark.  My answer at that time was, "I have a lot to say about it.  Maybe I should make it a blog post."  Welcome to that post.

Now at this point I could go into a whole description of the rating process and the history of ratings, but that information is already out there, so I'll just point you in that direction if you want to read more about it: http://en.wikipedia.org/wiki/Mpaa_ratings

There is also a tremendous documentary that I would highly recommend that goes pretty in depth as well.  Its title is "This Film Not Yet Rated".  Not only does it cover ratings, it also goes into some piracy issues which are very interesting.

For the sake of this post, I'm just going to list the current ratings and their definition.

G - General Audiences

All ages admitted

PG - Parental Guidance Suggested

Some material may not be suitable for children

PG-13 - Parents Strongly Cautioned

Some material may be inappropriate for children under 13

R - Restricted

Under 17 requires accompanying by a parent or adult guardian

NC-17 - No One 17 and Under Admitted

Here is my take on the ratings system:

 It sucks.  It's good intentioned, but it doesn't work.  Much like the television and video game rating systems, the MPAA is a self-governed committee.  They are putting ratings on films as a way to self-police, and there is no standard for giving a film a rating.

Now as we watch films we can start to guess at the formula.   Generally, in my observation, if you have male full-frontal nudity, you are going to get an "R" rating.  On the contrary, if you have female frontal nudity, (by female frontal nudity I mean breasts and / or vagina) it's going to depend on the length of the shot.  Take, for instance, one of the first PG-13 movies, "The Woman in Red", which has a scene of a woman's dress being blown up.  Guess what?  No underwear.  What?  Why is that? How come the double standard?

If you use the "F" word more than twice, you'll pretty much be guaranteed a "R".  I guess other profanities are less vile, as they don't earn an "R".  Seriously?  Why?  This is language most people hear everyday.

Language is such an objective, culture-based thing.  I don't use "profane" language much myself for the simple fact that I don't find it polite.  But it doesn't take much looking around to see that even politeness changes. "Pissed off" is something that I regularly say.  It's common language now days.  However, I'm thinking it wasn't that long ago that that phrase seemed pretty vulgar.

Most people are either familiar with or have heard of The Ten Commandments.  At one point in time this was a moral code.  Are they relevant for today?  Not according to the ratings system.  There is not a single one of them that, if broken in a film, would give it more than a PG rating.  So where do we derive our moral code from?  How is that translated into our films?  What is the compass the ratings board uses to judge things?

Clearly, in my opinion, the ratings system is broken. 

Back to the original question...

PG-13?  Yes, I believe there needs to be something between PG and R.  A couple years ago a change was made that was much needed and has improved an imperfect, broken system.  Underneath the rating is a box that lists the potentially objectionable content that was used to determine the film's rating.  For me, especially now as a parent, this is helpful.  I know what my child is being exposed to.  Don't get me wrong, I will still see the majority of movies before my children do in their formative years, but it could (and should) be a big help to lazy parents.  The short of it is, you can't un-see something.  Whether it be in real life or at the movies, it will be filed in your memory.  And, as parents, it's important to pay attention to what's going into our kids' heads.

In the end, I believe that the ratings system a broken system, but it's something that needs to be in place.  

This is a big, big topic.  I didn't even get into violence or how ratings effect box office ticket sales.  Feel free to add your comments. 

• What are your thoughts about the rating system? 
• Can you think of an alternative?
• And I'll ask again: PG-13? 

BTW Tilt, if rated at this point, would be  "PG-13" "R" for Language, Violence, Some Drug Use. Of course, the script's only 2/3's done, so maybe that will change and we can still hit "NC-17"...

by Jeremy Doyle


What makes a movie compelling?

Is it the actors?  Is it the shooting? The editing?  The musical score? Sure all these things add into it, but none on their own make a movie compelling.  I believe the answer to what makes a movie compelling is the story.  Without a compelling story, movies become forgettable.  

Because I work in production and post-production and have for the last 13 years, I watch movies and TV differently.  I'm critical of the lighting, editing, sound mix, color grade, shot composition, and just about everything else. There is no way around it.  That is just how I'm wired.  I'm sure many of you reading this blog can relate.  

If a story is good, I'll be drawn in and the analysis will become secondary.  I'll throw out an example from an educational video that my wife and I were watching recently.  The host was telling a dramatic story of a friend who had cancer.  The music was slow and low, giving a sad vibe.  Photos of the friend were doing simple fade ins and outs as not to draw attention to the editing.  When it dissolved to the talking head, the camera was on a slow zoom in (and when I say slow, I mean crawl, barely distinguishable) to heighten the intensity.  Then as the story climaxed, the music switched.  It became a little quicker and more lively.  My mood lifted. The camera started to pull back lessening the tension.  

I was fully aware of every trick being done in the production and still I felt the tears building in my eyes.  The story had touched me.  I was able to put myself in the storytellers place and relate with the people being talked about.

Later, in the car, my wife and I were talking about what we had just saw.  I told her I had been laughing at the same time as crying because I was fully aware of how I was being manipulated, but it didn't matter.  The story connected.  She just looked at me, because she knew.  She knew I can't just watch something without analyzing it.  It's rubbed off too.  She can sometimes speak my language now, as we dissect what we watch.

What does that mean for us as indie filmmakers? 

Let me throw out a couple of my ideas.  

First, we have to have a compelling story.  It has to be interesting and people have to be able to connect to it.  The easiest way for this to happen is for the characters to be relatable.  You have to see part of yourself or part of someone you know in a character.  Another way this can be done is by telling a tale people are familiar with.  The subject matter is relatable.  The audience has experienced what is happening, and shared experiences make it relatable.  Still another way is to make it so unique, that every one watching is learning something.  In my opinion this can be hit or miss.  Some people just don't want to experience or learn new things and I think you'll lose them fast. So, in my opinion, the easiest way is to make it relatable either by character or experience.

Second, indies are made with sweat equity.  Lots of time and devotion.  People pouring their own hard earned money from their day job, supporting their film making habits.  These films are our babies.  They are a part of us.  They are stories we believe need to be told.  Because of this emotional attachment, we can sometimes take criticism the wrong way.  We need to be able to step away from the story and look it from another view point.  This is very challenging, but needs to be done.

To sum it up, I think story is the key, but the acting, shooting, editing, and sound all play support parts that if not done properly, can distract from the story.

What do you think?  Can a movie be compelling without a captivating story?

The Man. The Myth. The Legend.  Here it is.  The one you've all been waiting for.... I think.

The Tilt gang meets up for the first time. Was it weird? You bet!  Watch the video below to see our first face to face Tilt meeting where we reveal a brief synopsis, discuss who our audience is, and chat about locations. 

Finally, some info on Tilt!

• What is TILT? A feature-length dramatic thriller we're making in 2010

• Who's involved? Phil Holbrook (directing & producing), Jessica King (writing & producing), Julie Keck (writing), Jeremy Doyle (cinematography), everyone else (TBA)

• What's it about? A father, a daughter, a tragedy, and some revenge. Not necessarily listed in order of appearance.

• When is the movie going to be finished? Phil first approached us about the collaboration in January. We plan to deliver the 1st 30 pages to Phil before they head up to meet him (and Jeremy) at EgoFest on 2/19. Projected finish date for the screenplay = March. Shooting planned for late summer / early fall.

• Where will TILT be shot? Lovely Brainerd, Minnesota

• Have any of you made a feature-length movie before? Nope

• Does that scare you? Yep.

• Why do you think now’s the time to try it? We’ve all produced our own shorts; check out Phil's Honest Work, Julie & Jessica's shorts, and Jeremy's work. Also, we’re all driven. We’re inspired by the other amazing filmmakers we know taking a shot and making it happen. We’re all ready. And we all know that 4 heads (and sets of hands) are better than one.

• Who’s in charge? Everyone. We communicate regularly through email, Twitter & GoogleWave. We meet weekly via Skype. All tasks are discussed, assigned, and followed-up on in a friendly and respectful manner. And when things get done, Jessica puts cool scratch-and-sniff stickers on our reinforcement poster. (Phil has the most stickers...for now.)

• How are you going to engage your audience? We’re going to buy a whole bunch of diamond rings, then take our audience out for a romantic dinner, get down on one knee... no, wait. Scratch that.
• We hope to engage our friends and our fans by sharing every single step of this filmmaking journey via blog, vlog, Twitter, etc. We all have all of the passwords to all of the TILT accounts (Twitter, the blog, the email, etc.), so we'll all have equal opportunity to ask questions, vent, or share information. Maybe Phil will post videos when he’s in the midst of casting or scouting for locations. Maybe Julie will vent via vlog when she’s up all night and having trouble with a scene. Maybe Jeremy will blog about how he can't believe Julie wrote a spaceship into the middle of a dramatic thriller...maybe not.
• But we're not only going to share our successes and frustrations with you. We're also going to ask for your input. From time to time, we're going to post questions or ask for your opinions about how to do something or which way to go. Why? Because YOU, friends and fans, are our best resource.
  

• So far, who’s the hardest person to work with? Phil. Two words: Di. va.

• Who’s the easiest...? Julie, definitely.

• Um ... easiest to WORK WITH? Oh...um, Jessica & Jeremy are probably tied on that one. (Awkward...)

We hope this gives you a little better idea about where we started and where we're headed. We plan to post updates on Mondays and Thursdays, at the very least, so subscribe to the site to make sure you catch everything. Also, you can keep up with us on Twitter (@TILTtheMovie) for additional updates. Follow us individually on Twitter to get extra tidbits and a ringside seat to our collaboration: Phil (@philotilt), Jeremy (@jerdoyle), Julie & Jessica (@kingisafink).

What's Coming Next? A post from Jeremy Doyle about equipment he plans to use + a vlog from King is a Fink