By MCN Editor editor@moviecitynews.com

PG-13 RATING GRANTED FOR BULLY BY MPAA WITHOUT CUTTING CRUCIAL SCENE

PG-13 RATING GRANTED FOR BULLY BY MPAA WITHOUT CUTTING CRUCIAL SCENE

NEXT STEP: FIGHT TO PASS

SAFE SCHOOLS IMPROVEMENT ACT

April 5, 2012 – New York, NY – The Weinstein Company (TWC), aided by the guidance and consultation from attorneys David Boies and Ted Olson, announced today that the MPAA has lowered the R rating, given for some language, for BULLY to a PG-13 in time for the film’s April 13th expansion to 55 markets. The scene that has been at the forefront of the battle with the MPAA, the intense scene in the film that shows teen Alex Libby being bullied and harassed on a bus, has been left fully intact and unedited. BULLY director Lee Hirsch felt editing the scene was not an option, and subsequently refused to do so, since it is too important to the truth and integrity behind the film. Also a victory is the exception the MPAA made by allowing the film to be released with the new rating before 90 days, which is the length of time their policy states a film must wait to be in theaters after a rating change to avoid confusion or inconvenience for moviegoers.

This decision by the MPAA is a huge victory for the parents, educators, lawmakers, and most importantly, children, everywhere who have been fighting for months for the appropriate PG-13 rating without cutting some of the most sensitive moments. Three uses of the ‘F word’ were removed from other scenes, which ultimately persuaded the MPAA to lower the rating. Hirsch made the documentary with the intent to give an uncensored, real-life portrayal of what 13 million children suffer through every year.

The new rating, which came about with the great support from MPAA Chairman Chris Dodd, grants the schools, organizations and cities all around the country who are lined up and ready to screen BULLY, including the National Education Association and the Cincinnati School District, the opportunity to share this educational tool with their children.

“Senator Dodd is a hero for championing this cause, and the MPAA showed great courage by not cutting the scene everyone has been fighting to keep,” said TWC Co-Chairman Harvey Weinstein. “Senator Dodd’s support gives voice to the millions of children who suffer from bullying, and on behalf of TWC, the filmmakers, the families in the film and the millions of children and parents who will now see this film, I thank him for recognizing that this very real issue cannot afford to go unnoticed.”

“I feel completely vindicated with this resolution,” said Hirsch. “While I retain my belief that PG-13 has always been the appropriate rating for this film, as reinforced by Canada’s rating of a PG, we have today scored a victory from the MPAA. The support and guidance we have received throughout this process has been incredible, from the more than half a million people who signed Katy Butler’s petition, to members of Congress, Governor Mike Huckabee and the many celebrities and others who raised their voices to express deeply felt support for a film that can inspire millions. The scene that mattered remains untouched and intact, which is a true sign that we have won this battle. With an array of great partners, a fabulous educator’s guide and extensive online tools, we can now bring this film unhindered, to youth and adults across our country.”

Building support for the Safe Schools Improvement Act is the next step in this movement for change. Already a meeting has been set with Senator Bob Casey to discuss how he can help. Lawmakers and politicians are being sought out to back the efforts of anti-bullying supporters everywhere in creating legislation that will comprehensively address the issues of bullying and harassment.

“If we can’t get the Safe Schools Improvement Act passed, we’ll be visiting the home states of each lawmaker until it does,” said Katy Butler, the 17 year old Michigan high school student who rallied petitioners on Change.org to urge the MPAA to lower BULLY’s rating. “On behalf of the more than half a million supporters who joined me on Change.org in petitioning the MPAA, I want to express how grateful I am not only to the MPAA for lowering the rating without cutting a vital scene, but to all of the people who used their voices to put a national spotlight on this movie and its mission.”

For the hundreds of organizations and individuals partnering with the film, the rating news means more screenings for more children.

Said National Education Association President Dennis Van Roekel, “The changing of the rating for BULLY from R to PG-13 will enable many more young people to see this film. NEA applauds the Motion Picture Association of America and the producers for the PG-13 rating. Every teenage student should have the opportunity to see this powerful documentary about a problem that still haunts our schools. NEA also salutes 17-year-old Katy Butler and the other young activists whose online petition drive led to having the rating for BULLY reconsidered.”

After Weinstein’s and BULLY teen Alex Libby’s appeal in February to the MPAA for a PG-13 rating was denied by one vote, TWC and Hirsch chose to move forward with releasing the film unrated last weekend allowing theaters the chance to use their discretion when admitting children to the theater. BULLY leads all non-fiction films so far for 2012 with its strong opening weekend attendance.

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. TWC releases took home eight 2012 Academy Awards®, the most wins in the studio’s history. The tally included Best Picture for Michel Hazanavicius’s THE ARTIST and Best Documentary Feature for TJ Martin and Dan Lindsay’s UNDEFEATED. THE ARTIST brought TWC its second consecutive Best Picture statuette following the 2011 win for Tom Hooper’s THE KING’S SPEECH.

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.; UNDEFEATED; and BULLY. Upcoming releases include THE INTOUCHABLES. Recently wrapped was SILVER LININGS PLAYBOOK, and currently in production is DJANGO UNCHAINED.

TWC is also active in television production, led by former Miramax Films President of Production and current President of Television Meryl Poster, with credits including the Emmy® nominated and Peabody Award winning reality series Project Runway, spin-off series Project Accessory and Project Runway All Stars, 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 in pre-production on the martial-arts epic Marco Polo for Starz as well as production on the second season of Mob Wives and the newest installment in the series’ franchise Mob Wives Chicago. TWC additionally has 17 series in different stages of development, including The Nanny Diaries, being adapted for ABC by Amy Sherman Palladino (Gilmore Girls).

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Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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