Nell Minow: January 2009 Archives

Many families have Super Bowl traditions as the generations gather around the television to watch the biggest football game of the year. It gives families a wonderful opportunity to share their interests and histories and to talk about the skill, determination, teamwork, practice, and courage that go into competing at that level.

Unfortunately, the ads, which have generated almost as much press as the game itself, can lead to a whole other kind of family conversation and not one many parents welcome. Every year, I hear complaints from parents who find themselves getting questions about ED or who find their children imitating the silly or hyper-sexed behavior from alcohol ads.

Common Sense Media has a new report based on a review of the ads in over 50 games with more than 160 hours and more than 5000 commercials.

They found:

• 1 out of every 6 commercials shown contained messages and images that were inappropriate for young kids.
• 40% of the games included advertisements for erectile-dysfunction drugs (Viagra® and Cialis®)
• More than 500 of the ads involved significant levels of violence, including gun fights, explosions and murders.
• 300 of the ads were for alcohol.
• 80 of the ads included significant levels of sexuality, including scenes about prostitution and strippers.
• Nearly half (44.7%) of the violent and sexual ads were promotions by the networks for their own programs.

94% of the mothers polled said that they were concerned about inappropriate television commercials during pro football games. And at least one father agrees:

"I wasn't too happy with ads for erectile-dysfunction drugs popping up every 15 minutes whenever I watched a football game with my daughters in the room."

--President Barack Obama, The Audacity of Hope, 2006

The report, called Broadcast Dysfunction: Sex, Violence, Alcohol, and the NFL is well worth reading. And Common Sense Media's site has something even more important -- a direct link to send the NFL a complaint using their draft text or your own words. If this is a concern for you and your family, I urge you to let Commissioner Roger Goodell know how you feel.

Edward Zwick, the director of the new Holocaust movie "Defiance," is well-known for both historical dramas ("Glory") and intimate personal stories (the television series "Thirtysomething") - and for finding the small moments in big stories and the big emotions in small ones. This is the ideal sensibility for the new Holocaust drama "Defiance," the true story of The Bielski Brothers who hid and protected 1200 Jews from the Nazis and the Russians in the Belarussian forest.

I spoke to him in Washington, D.C., where we quickly discovered that we graduated from different campuses of the same high school in the same year and have a friend in common and that lead off a lively exchange about the movie's themes and what went into getting it made.

What are some of the movies that influenced and inspired you when you were still in school?

"The Guns of Navarone and "Lawrence of Arabia when I was young, but I was a real addict of "The Late Show" and watched everything, especially anything from John Huston, Howard Hawks, and George Stevens.

Is there one theme or thruline that is a part of all the projects that interest you?

You're the critic -- that's for you to pick out. If I try to think objectively about myself and my work, I would say I want to be intuitive and distinctive. You can't help but reveal your bias, and you can't but invest personally in any story that you tell. I like to reveal people with some of the niceties of social behavior stripped away and the moral, ethical, and political issues are revealed.

One of the questions that drew me to this project was the question of how Jewish culture has survived. The Passover Seder is about telling the story of the exodus. Stories are one of the means by which a culture preserves its identity. There is a perverse irony in commemoration of the dead in the Holocaust with little attention to the survivors and the resistance, especially the Jewish resistance. Its immensity can't be underestimated and it is a story that needs to be told. We all know these iconic images of Jews in the Holocaust and those are important but we have come to accept them as the only images and that needs revision.

It came to our attention through Tuvia's obituary. We found our way to the family and they were very generous with anecdotes, pictures, videotape, and Tuvia's unpublished autobiography. The comment at the end of the film underscores the rising to the occasion aspect of what they did. They took off the mantle of responsibility and the burden of doing certain things they were not proud to revisit. They had a hard-won normalcy. Having done things that were very extreme and had to do with survival, they preferred that it was not better known.

Last spring I wrote about the superb documentary At the Death House Door when I interviewed its subject, Pastor Carroll Pickett, who served 15 years as the death house chaplain to the infamous "Walls" prison unit in Huntsville. The film was the first-time direction collaboration between award-winning directors Steve James ("Hoop Dreams") and Peter Gilbert ("Vietnam: Long Time Coming"). James was nice enough to answer some of my questions about the film.

How did you first hear about Pastor Carroll Pickett?

Steve James: Gordon Quinn at our film company Kartemquin was approached by The Chicago Tribune because they thought we would be interested in doing a film focused entirely on the investigation of the Carlos De Luna case by Steve Mills and Maurice Possley. Gordon knew that Peter and I would be interested in the subject and set up a meeting with the reporters. In the course of telling us about De Luna, they also mentioned Pastor Carroll Pickett who had been haunted by the memory of De Luna, and recorded these feelings in an amazing audio tape about the execution right afterwards. When they revealed he'd recorded audio tapes about all 95 executions he'd
ministered to, we were hooked. We decided from the get-go, that we wanted Rev. Pickett's journey to be our main story, and bring us to why De Luna was so important to him.

What was your original intention for the film and how did it evolve?

SJ: See answer above... As stated, the original intention of the Tribune was to have us do a film about Carlos De Luna, but its hard to do a film about a man who was not famous or led a well-documented life, and who was executed 17 years before. With the mention of Pickett, it was clear that we had a unique and potentially powerful story to tell about a man's past and also who he is today. This is one time when the original conception of what the film could be was pretty much on target for what the film ultimately became.But that doesn't mean that the filmmaking process did not evolve. We didn't anticipate guard Fred Allen, nor Carlos' sister Rose, nor Carroll's family and the significance they would all play in the film. Nor did we anticipate just how closed and "well armored" Carroll was as a person and how this film would ultimately - in his words - prove to be "the therapy he never got."

What films inspired you to create documentaries? What documentaries most influenced your approach?

SJ: I was initially influenced by fiction films - one director in particular whose work was always characterized by complex portrayals of his subjects. That director was the great Jean Renoir, director of such classics as The Rules of the Game and Grand Illusion. But I was also affected by less celebrated films of his like "Toni" and "The Crime of Mister Lange." Renoir was the ultimate humanist filmmaker, a great observer of the human condition. Documentary influences were the films of Barbara Kopple, particularly Harlan County, U.S.A., 35 Up by Michael Apted, and The Times of Harvey Milk by Rob Epstein.