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By MCN Editor editor@moviecitynews.com

THE WEINSTEIN COMPANY TO APPEAL MPAA RATING OF BULLY

TWC Co-Chairman Harvey Weinstein And One Of Film’s Bullied Subjects Will Personally Appeal MPAA’s Decision To Give Anti-Bullying Documentary An “R” Rating

Restricted Rating Will Keep Film Out Of Schools Where America’s Bullying Epidemic Rages

New York, NY, February 21, 2012 – The Weinstein Company (TWC) announced today plans to appeal the MPAA’s decision to assign an “R” rating to its forthcoming documentary BULLY, an urgent and intimate look at America’s bullying crisis by award-winning filmmaker Lee Hirsch.  The “R” rating was made on the basis of “some language,” and restricts children under 17 from seeing the film unless accompanied by a parent or guardian.  As a result, BULLY could not be screened in U.S. middle and high schools, where it might otherwise reach a mass national audience of students and be used as a tool to stop an epidemic of physical, psychological and emotional violence.  BULLY is scheduled for release on March 30, 2012.

TWC Co-Chairman Harvey Weinstein will appeal the MPAA rating, and will be joined by Alex Libby, one of the bullied children whose experiences are documented in BULLY.  The hearing will be held at the MPAA’s Sherman Oaks screening room on February 23rd with Motion Picture Consulting LLC’s Ethan Noble assisting The Weinstein Company.

Discussing the pending appeal, BULLY director Lee Hirsch said, “I made BULLY for kids to see – the bullies as well as the bullied.  We have to change hearts and minds in order to stop this epidemic, which has scarred countless lives and driven many children to suicide.  To capture the stark reality of bullying, we had to capture the way kids act and speak in their everyday lives – and the fact is that kids use profanity.  It is heartbreaking that the MPAA, in adhering to a strict limit on certain words, would end up keeping this film from those who need to see it most.  No one could make this case more powerfully than Alex Libby, and I am so proud and honored that he is stepping forward to make a personal appeal.”

Said Weinstein, “I have great respect for the work Chairman Joan Graves and the rest of the MPAA governing body do. I have been compelled by the filmmakers and the children to fight for an exception so we can change this R rating brought on by some bad language. As a father of four, I worry every day about bullying; it’s a serious and ever-present concern for me and my family.  I want every child, parent, and educator in America to see BULLY, so it is imperative for us to gain a PG-13 rating. It’s better that children see bad language than bad behavior, so my wish is that the MPAA considers the importance of this matter as we make this appeal.”

TRAILER

SYNOPSIS

The U.S. Department of Education’s Office for Safe and Drug-Free Schools estimates that over 13 million American kids will be bullied this year, making it the most common form of violence experienced by young people in the nation.  In the new documentary BULLY, award-winning filmmaker Lee Hirsch (AMANDLA! A REVOLUTION IN FOUR-PART HARMONY) brings human scale to this startling statistic, offering an intimate, unflinching look at how bullying has touched five kids and their families.  Filmed over the course of the 2009/2010 school year, BULLY opens a window onto the pained and often endangered lives of bullied kids, revealing a problem that transcends geographic, racial, ethnic and economic borders.   It documents the responses of teachers and administrators to aggressive behaviors that defy “kids will be kids” clichés, and it captures a growing movement among parents and youths to change how bullying is handled in schools, in communities and in society as a whole.

ABOUT THE WEINSTEIN COMPANY
The Weinstein Company (TWC) is a multimedia production and distribution company launched in October 2005 by Bob and Harvey Weinstein, the brothers who founded Miramax Films in 1979. TWC also encompasses Dimension Films, the genre label founded in 1993 by Bob Weinstein, which has released such popular franchises as SCREAM, SPY KIDS and SCARY MOVIE. Together TWC and Dimension Films have released a broad range of mainstream, genre and specialty films that have been commercial and critical successes, including Tom Hooper’s THE KING’S SPEECH, winner of four 2011 Academy Awards®, including Best Picture.

Since 2005, TWC and Dimension Films have released such films as GRINDHOUSE; I’M NOT THERE; THE GREAT DEBATERS; VICKY CRISTINA BARCELONA; THE READER; THE ROAD; HALLOWEEN; THE PAT TILLMAN STORY; PIRANHA 3D; INGLOURIOUS BASTERDS; A SINGLE MAN; BLUE VALENTINE; THE COMPANY MEN; MIRAL; SCRE4M; SUBMARINE; DIRTY GIRL; APOLLO 18; OUR IDIOT BROTHER; I DON’T KNOW HOW SHE DOES IT; SARAH’S KEY; and SPY KIDS: ALL THE TIME IN THE WORLD IN 4D. Currently in release are MY WEEK WITH MARILYN; THE ARTIST; THE IRON LADY; CORIOLANUS; W.E.; and UNDEFEATED. Upcoming releases include BULLY and THE INTOUCHABLES. Recently wrapped was SILVER LININGS PLAYBOOK, and currently in production is DJANGO UNCHAINED.

TWC is also active in television production, with credits including the Emmy® nominated and Peabody Award winning reality series Project Runway, the VH1 reality series Mob Wives, and the critically acclaimed HBO comedy/crime series The No. 1 Ladies Detective Agency which also received a Peabody Award. The company is currently producing After The Runway, Project Runway All Stars and Project Accessory. The company currently has 17 series in different stages of development, including Marco Polo, a scripted historical series about the great explorer; and The Nanny Diaries, being adapted for ABC by Amy Sherman Palladino (Gilmore Girls).

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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