Mpaa Quotes

R means under 18 accompanied by an adult. Therefore all corporately funded films in the US must be made with the concept that those under the age of 18 are able to view the film. This means all corporately funded films in the US are made for the eyes of children.

You have to question a cinematic culture which preaches artistic expression, and yet would support a decision that is clearly a product of a patriarchy-dominant society, which tries to control how women are depicted on screen. The MPAA is okay supporting scenes that portray women in scenarios of sexual torture and violence for entertainment purposes, but they are trying to force us to look away from a scene that shows a woman in a sexual scenario which is both complicit and complex. It’s misogynistic in nature to try and control a woman’s sexual presentation of self. I consider this an issue that is bigger than this film

MPAA. The idea that piracy is an effective form of resistance, a direct attack on the corporate empire, is confirmed by the reaction it has provoked:

The last week of shooting, we did a scene in which I drag Amanda Wyss, the sexy, blond actress who played Tina, across the ceiling of her bedroom, a sequence that ultimately became one of the most visceral from the entire Nightmare franchise. Tina’s bedroom was constructed as a revolving set, and before Tina and Freddy did their dance of death, Wes did a few POV shots of Nick Corri (aka Rod) staring at the ceiling in disbelief, then we flipped the room, and the floor became the ceiling and the ceiling became the floor and Amanda and I went to work. As was almost always the case when Freddy was chasing after a nubile young girl possessed by her nightmare, Amanda was clad only in her baby-doll nightie. Wes had a creative camera angle planned that he wanted to try, a POV shot from between Amanda’s legs. Amanda, however, wasn’t in the cameramen’s union and wouldn’t legally be allowed to operate the cemera for the shot. Fortunately, Amy Haitkin, our director of photography’s wife, was our film’s focus puller and a gifted camera operator in her own right. Being a good sport, she peeled off her jeans and volunteered to stand in for Amanda. The makeup crew dapped some fake blood onto her thighs, she lay down on the ground, Jacques handed her the camera, I grabbed her ankles, and Wes called, “Action.” After I dragged Amy across the floor/ceiling, I spontaneously blew her a kiss with my blood-covered claw; the fake blood on my blades was viscous, so that when I blew her my kiss of death, the blood webbed between my blades formed a bubble, a happy cinematic accident. The image of her pale, slender, blood-covered legs, Freddy looming over her, straddling the supine adolescent girl, knife fingers dripping, was surreal, erotic, and made for one of the most sexually charged shots of the movie. Unfortunately it got left on the cutting-room floor. If Wes had left it in, the MPAA - who always seemed to have it out for Mr. Craven - would definitely have tagged us with an X rating. You win some, you lose some.

A "guerra" que foi levantada contra as tecnologias da Internei o que o presidente da Motion Picture Association of America (MPAA)6 Jack Valenti chamou de "sua própria Guerra Contra o Terror" [13] foi forjada como uma batalha pelo direito legal de respeito à propriedade. Para saber que lado assumir nessa guerra, muitos pensam que precisamos decidir apenas se somos a favor ou não da propriedade privada. Se essas fossem as verdadeiras escolhas, então eu provavelmente estaria do lado de Jack Valenti e da indústria do conteúdo. Eu também acredito no direito à propriedade privada, e especialmente na importância ao que o Sr. Valenti carinhosamente chama de "propriedade criativa". Eu acredito que a "pirataria" é errada, e que a lei, propriamente ajustada, deveria punir a "pirataria", seja ela dentro ou fora da Internet. Mas tais crenças simplistas mascaram uma questão ainda mais fundamental e uma mudança ainda mais dramática. Meu medo é que, a não ser que percebamos essa mudança, a guerra para livrar o mundo dos "piratas da Internei" irá também livrar nossa cultura de valores que são fundamentais à nossa tradição desde seu início.

THE TRUTH: Shakespeare would have gotten a hard R from the MPAA. Well,

. Recommendation: One avenue for ensuring that all civilian CCTV equipment is SCORPION STARE compatible by 2006 is to exploit an initiative of the US National Security Agency for our own ends. In a bill ostensibly sponsored by Hollywood and music industry associations (MPAA and RIAA: see also CDBTPA), the NSA is ostensibly attempting to legislate support for Digital Rights Management in all electronic equipment sold to the public. The implementation details are not currently accessible to us, but we believe this is a stalking-horse for requiring chip manufacturers to incorporate on-die FPGAs in the one million gate range, re-configurable in software, initially laid out as DRM circuitry but reprogrammable in support of their nascent War on Un-Americanism. If such integrated FPGAs are mandated, commercial pressures will force Far Eastern vendors to comply with regulation and we will be able to mandate incorporation of SCORPION STARE Level Two into all digital consumer electronic cameras and commercial CCTV equipment under cover of complying with our copyright protection obligations in accordance with the WIPO treaty. A suitable pretext for the rapid phased obsolescence of all Level Zero and Level One cameras can then be engineered by, for example, discrediting witness evidence from older installations in an ongoing criminal investigation. If we pursue this plan, by late 2006 any two adjacent public CCTV terminals—or private camcorders equipped with a digital video link—will be reprogrammable by any authenticated MAGINOT BLUE STARS superuser to permit the operator to turn them into a SCORPION STARE basilisk weapon. We remain convinced that this is the best defensive posture to adopt in order to minimize casualties when the Great Old Ones return from beyond the stars to eat our brains.