Showing posts with label Creativity. Show all posts
Showing posts with label Creativity. Show all posts

New movie rating announced

SUBHEAD: MPAA adds category "O" for "Original" to warn audiences of films not based on existing works. 

By Staff on 20 October 2015 for The Onion -
(http://www.theonion.com/article/mpaa-adds-new-rating-warn-audiences-films-not-base-51651)


Image above: Screen presentation of the new "Original" category rating is not meant as censorship. From original article.

In an effort to provide moviegoers with the information they need to determine which films are appropriate for them to see, the Motion Picture Association of America (MPAA) announced Tuesday the addition of a new rating to alert audiences of movies that are not based on existing works.

According to MPAA officials, the new “O,” or “Original,” designation will inform viewers that a particular film contains characters with whom they are unfamiliar, previously unseen settings, and novel plots.

The rating will also reportedly serve as a warning of the potentially disorienting effects associated with having to remember characters’ names for as many as two hours and the discomfort that can occur when one is forced to keep track of narrative arcs for an entire film.

“We recognize how distressing it can be when viewers go into a film and suddenly find themselves confronted with jarring scenes containing a protagonist they’ve never encountered before, which is precisely why we created this rating,” said Joan Graves, head of the MPAA’s ratings board, who said the new category was added in part due to the thousands of complaints the organization has received from moviegoers who were upset they weren’t given advance notice that they’d have to make sense of the scenarios unfolding onscreen.

“It’s important that today’s movie fans are aware upon entering the theater that none of what they will see has been adapted from a well-known comic book, television series, novel, video game, historical event, previous movie, or theme park ride.”

“Ultimately, it will be up to the consumer’s discretion as to whether a film is suitable for themselves and their family, but the O rating will explicitly caution people that they will have to pay attention during the movie and follow the storyline on their own,” Graves added.

Though sources said films requiring the new rating are comparatively rare, a spate of high-profile movies over the past several years that do not stem from any previously existing source material—including The Kids Are All Right, Her, WALL-E, Birdman, and Nebraska, among others—have left many viewers angered and perplexed.

Citing test audiences they have observed, MPAA officials said that many moviegoers spent the entirety of such films in a state of distress, waiting for the moment when the Incredible Hulk, Katniss Everdeen, Wolverine, or another recognizable character from an established franchise would appear onscreen and clarify the meaning and direction of the film.

“I never would have gone to see Sicario if I knew it was going to be so unbearable,” said filmgoer Mark Kemmer of Cleveland, referring to the recently released crime thriller set against the violent backdrop of the contemporary Mexican drug trade that, under the MPAA’s guidelines, would receive the new rating. “It was pretty much unwatchable.

It seemed like in nearly every scene I had to figure out who the people were and where the story was going. And the whole movie was like that!”
“What a waste of money,” he added.

Others reported being viscerally repulsed by movies they attended that were not based on media that originated several decades or generations earlier, saying they had become so upset by what they had seen that they had trouble even sitting through the films.



Image above: Still from Pixar animation "Inside Out". From (http://www.theverge.com/2015/6/17/8790177/inside-out-movie-interview-pixar-pete-docter-jonas-rivera).

“How does this trash even get made?” said Katherine Hubbard, a mother of three from Rockford, IL, who, after buying tickets for the Pixar film Inside Out, was incensed that her children had been exposed to original storytelling. “Within the first minute, some little girl character my kids have never seen or heard of walks onscreen, and then we immediately have to learn her whole backstory and how she navigates the world?

 I marched us all right out of that theater after about 10 minutes.”

While audiences have reportedly been receptive to the new rating, directors and distributors have already decried it as severely damaging in regard to box-office revenues and the number of venues that will carry their films. However, the MPAA was adamant that the new classification should not be interpreted as censorship.

“The O rating isn’t meant to be a punishment or a moral judgment of any kind,” Graves said. “It’s simply a value-neutral designation intended to protect consumers, ensuring that they are fully informed about a movie and are able to make their own decisions about how much artistic and narrative originality they are comfortable seeing.”

“If filmmakers want to avoid the rating and appeal to a wider audience, all they have to do is throw in a superhero or a hobbit or some other licensed property,” Graves added.


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Fleetwood Mac - Love & Chaos

SUBHEAD: The background story of Fleetwood Mac’s ‘Rumours’ album tells secrets of romance, jealousy, creativity and madness.

By Mark Beech on 2 February 2013 for Bloomberg News -
(http://www.bloomberg.com/news/2013-01-30/fleetwood-mac-s-rumours-spills-secrets-of-love-chaos.html)


Image above: Contents of the deluxe box set of "Rumours" by Fleetwood Mac, released for its 35th anniversary. From original article.

Fleetwood Mac’s nightly recording sessions in a cramped, windowless studio were fueled by booze and cocaine. The band’s complex romances left every member heartbroken. Shouting matches lasted longer than the songs.

Today, 35 years on, an anniversary box set of “Rumours” shows how the musical cocktail of two women and three men was shaken and stirred by their romantic splits. Newly released material shows the tracks getting endlessly reworked and improved as they squabbled.

It was a “crucifyingly difficult” process, drummer Mick Fleetwood notes. He was going through a divorce, with his wife dating his best friend. He never imagined the chaos would lead to a 40-million-selling LP: the best of 1977, according to the Grammy judges, and one of the finest efforts of the 1970s, maybe even of all time.

The American couple in the band added a pop edge to British blues. Californian Lindsey Buckingham had been inseparable from his singer girlfriend Stevie Nicks for five years. When Fleetwood asked him to join, Buckingham insisted she be included too. Now they were all arguing, and the frustrated guitarist started writing a bitter rant called “Strummer.”

On the box set, we hear how this evolved from a simple acoustic demo into a Celtic rag and finally a sleek piece of disco with hints of the Bee Gees, retitled “Second Hand News.” There’s a percussive roll which, it now turns out, was made by bashing an old Naughahyde chair near the mixing desk.

Romantic Links
Buckingham throws the opening words at his ex: “I know there’s nothing to say, someone has taken my place.” (Nicks was romantically linked to Don Henley of the Eagles, then Fleetwood himself.)

Her own breakup lyric “Dreams” is a swift rejoinder: “Now here you go again, you say you want your freedom.” The song’s first mix, nowhere near so radio-friendly, puts her voice starkly to the fore and buries its optimism.

This creative jousting inevitably leads to Buckingham replying, bluntly inviting her to “Go Your Own Way” because he was “Never Going Back Again.”

The band’s other couple, the McVies, were walking from the wreckage of an eight-year marriage. They were on such bad terms that they would only speak about music.

Christine McVie defiantly shows how she’s moved on with “Don’t Stop” about her on-tour romance with the band’s lighting director. “You Making Loving Fun” tells her husband that her new flame is much better.

Tender Songbird
Coproducer Ken Caillat recalls how huge rows in the Sausalito, California studio would be followed minutes later by the composition of sweet harmonies. He deserves credit for singling out the most tender ballad, “Songbird,” and taking it somewhere else -- more precisely, to the Zellerbach Auditorium, Berkeley, which had the right acoustic and a Steinway piano.

The younger Nicks had the tougher words, but McVie is outstanding with her performance here: “And I love you, I love you, I love you, like never before, like never before.”

When the LP came out, I was a very young punk bassist and hated it, of course. This expensively produced, sentimental mush was exactly the stuff we were rebelling against. Just a few years on and I got it. “Songbird” now moves me every time. The record’s soft rock has echoes in acts such as Sting, Heart, Kelly Clarkson and Neko Case, to name just four.

The creative madness which had threatened to sink records as varied as “Exile on Main Street,” “Pet Sounds” and “Station to Station” again resulted in an act coming out with its best. Miracles do happen. As the lyric has it, “thunder only happens when it’s raining.”
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