Wednesday, May 24, 2006

Who's watching the babies while they're watching TV

A Kaiser Family Foundation report on "electronic media in the lives of infants, toddlers, preschoolers, and their families" was released today at a press conference featuring experts and producers of this fastest-growing audience group -- children under age 4.

Electronic media is a central focus of many very young children’s lives, used by parents to help manage busy schedules, keep the peace, and facilitate family routines such as eating, relaxing, and falling asleep, according to a new national study released today by the Kaiser Family Foundation. Many parents also express satisfaction with the educational benefits of TV and how it can teach positive behaviors. The report, The Media Family: Electronic Media in the Lives of Infants, Toddlers, Preschoolers, and Their Parents, is based on a national survey of 1,051 parents with children age 6 months to 6 years old and a series of focus groups across the country.

According to the study, in a typical day more than eight in ten (83%) children under the age of six use screen media, with those children averaging about two hours a day (1:57). Media use increases with age, from 61% of babies one year or younger who watch screen media in a typical day (for an average of 1:20) to 90% of 4 to 6 year-olds (for an average of 2:03).

In many homes, parents have created an environment where the TV is a nearly constant presence, from the living room to the dining room and the bedroom. One in three (33%) children this age has a TV in their bedroom (19% of children ages 1 year or younger, 29% of children ages 2-3 years, and 43% of those ages 4-6 years). The most common reasons parents give for putting a TV in their child’s bedroom is to free up other TVs in the house so the parent or other family members can watch their own shows (55%), to keep the child occupied so the parent can do things around the house (39%), to help the child fall asleep (30%), and as a reward for good behavior (26%). As one mother who participated in a focus group in Irvine, CA said, “Media makes life easier. We’re all happier. He isn’t throwing tantrums. I can get some work done.”



Unsurprisingly, all the people who produce media (representatives from PBS, the Cartoon Network, the new all-infants television channel, and Sesame Street's new DVDs for infants) ranged from "what's the problem" to "it's a fact of life that these kids will watch television so we might as well make sure it's the best that's available."

But the experts whose paychecks do not depend on having babies and toddlers watch television were unequivocal that this is not good for them. While the first group kept insisting "the train has left the station," Dr. Stanley Greenspan replied, "Then it's time to get it back on track." He said that the youngest children do not learn from modeling (copying) behavior they observe on television; they learn from experience. "Experience wires the brain," he told the group.

Wednesday, May 17, 2006

Utata goes to the movies


Utata Goes to the Movies in this Flickr group's meditations on, interpretations of, and salutes to their favorite movies and genres. Since they open with a quote from Sunset Boulevard, I'll put it this way: They're ready for their close-up.

Friday, May 12, 2006

A cold open for "Da Vinci?"

Not really -- they're going to show it to the critics, but not until the last minute. But in this article in Slate, Kim Masters explains that not even the exhibitors have seen the movie yet.

"I've never been this close to a release without having someone tell me what they thought," acknowledges a key player in the making of the film. Those big tracking numbers must provide some comfort that audiences will turn out. But another person involved with the picture remembers that the producers of Da Vinci at Imagine Entertainment had very high hopes for Cinderella Man and that turned into a pumpkin. So, until the box office numbers are in, producer Brian Grazer's hair will presumably be standing even straighter on end than usual.

Thursday, May 11, 2006

Akeelah gives an apple to all teachers

The producers of "Akeelah and the Bee," one of the best films of the year, are giving free tickets to any teacher who goes to the theater this weekend. Lions Gate announced that teachers who show up at any AMC theater system including Loews Theatres, Star Theatres and Magic Johnson Theatres will receive a free ticket. I hope as many as possible take advantage of this chance to see a terrific movie -- and that they then assign it as homework to all students and their families.

Wednesday, May 10, 2006

Tribeca, part 4



"Have you seen any comedies?" There was a wistful
tone in the voice of the man asking the question. He
was at Tribeca because he is a programmer for two
other festivals and he was looking for good prospects. He had no
trouble finding provocative, searing, troubling,
moving, and disturbing films on the schedule, but not
much luck finding comedies. While the people who buy
tickets like to laugh, the people who select festival
films tend to go for the earnest and sensitive over
the funny. As Woody Allen said, if you do comedy
you're always sitting at the children's table.

But with a little planning I was able to find some
great comedy moments at Tribeca. Jeff Garlin, who
plays Larry David's agent on HBO's "Curb Your
Enthusiasm,” adapted his one-man show into a romantic
comedy co-starring Bonnie Hunt and Sara Silverman
called "I Want Someone to Eat Cheese With." Garlin,
who also directed, based the script on his own life.
The main character performs with Chicago's legendary
improv group, as did Garlin and Hunt in real life.
Silverman and Hunt play the women in his life, Chicago
actor David Pasquesi plays his best friend, and there
are marvelous cameos by Richard Kind, Dan
Castellaneta, and Amy Sedaris.

Garlin, Hunt, Silverman, and the producers spoke with
the press about the film, covering everything from
having to make up an outrageous but not descriptive
name for a sex act described in the film to their own
worst romantic experiences to the pleasures of
shooting in Chicago (Hunt called it "a big Mayberry"
and Garlin was proud to have made the first film to
feature Chicago's famous new "Bean" sculpture) to
Garlin's commitment to comedy that is not "quick,
convenient, or mean-spirited."

Garlin also appeared on a panel that saluted "Animal
House" and its influence on film comedies, along with
Harold Ramis (co-screenwriter), Todd Phillips ("Road
Trip," "Old School"), and Jake Kasdan ("Orange
County"), whose new satire of network television, "The
TV Set," starring David Duchovny and Sigourney Weaver,
was a popular festival selection.

Kasdan said that Ramis' "Stripes" and "Ghostbusters"
were his biggest influences. "'Stripes' is a perfect
comedy because it is about lazy, shlubby rebels who
are the coolest possible guys." He said the perfect
structure for a comedy is where "a nebbishy goofball
finds himself in the middle of some large structured
system and raises hell." “Low status is always
funny,” Garlin agreed.

Philips said it was the anti-establishment culture of
the Ramis films that attracted him. He said, "it was
brilliant to set 'Animal House' in the 1950's, when
the culture was one of respect for authority."
"Actually," Ramis explained, "the movie is set in
1963. It concludes with the parade in the fall and we
had it in our minds that it ended the day before JFK
was killed. No good comedy is set in the protest era.
‘M*A*S*H’ was set in an earlier war. Someone will be
funny about this war some day."

They also spoke about the value of improvising in
comedy. Ramis said, "The script was what we would do
if we couldn't think of anything better. Shooting was
the final draft of the script. There are techniques to
keep things fresh in drama. It doesn't depend on
surprise. But to be funny is almost invariably to be
surprising. It comes naturally and organically out of
some very specific moment that can never be repeated."
Phillips agreed, "The element of danger keeps comedy
alive. There is a fearlessness about great comic
actors like Will Ferrell. As a director I am the
opposite of a technician. I try to create a nice,
loose, environment to make the actors feel safe in
trying new things, not to be afraid something might
not work."

The younger directors acknowledged their debt to
Ramis, and he acknowledged his to those who went
before him. "We ripped off everyone. Everything we
did was derivative of someone else, silent films,
Ernie Kovacs, Martin and Lewis, Abbott and Costello.
We took from them and added some political
consciousness."

Tribeca 3 -- Music



The Tribeca Film Festival has not just exploded past
its original geographic boundaries, but past its
original subject matter focus as well. In addition to
screenings of over 170 films and hundreds of
film-related events -- press conferences, receptions
for female and documentary film-makers, workshops,
demonstrations of new technologies, special one-on-one
sessions for first-time film-makers to get guidance
from the pros, and panel discussions with performers,
producers, and directors – there is an outdoor fair
for families, and there are scene readings featuring Matthew
Broderick and Judd Hirsh and art shows at a local
gallery.

Music in particular seems especially important this
year. Screenings include documentaries about
established and emerging music groups and the festival
will have live performances featuring Elvis Costello
and Allen Toussaint, John Mayer, and the Brazilian
Girls.

Musician/composer/soundtrack artist T. Bone Burnett
was interviewed by Vanity Fair’s Lisa Robinson before
a packed auditorium in a wide-ranging discussion
punctuated with clips from some of his films,
including “The Big Lebowski,” “Cold Mountain,” and “O
Brother Where Art Thou.”

Burnett talked about how he listens to music (loud and
on vinyl, and if anyone talks he turns it off) and the
way that “Music is not notes for me any more. It's
all booms and clumps and bumps and dings.
Onomatopoeia.” He talked about the original recording
of “I Walk the Line:” “Sam Phillips gave Johnny Cash
a dollar bill to stick under his guitar strings to
muffle the sound, turning his guitar into a snare
drum, just the heart beat of the song.” Burnett
coached non-singers Joaquin Phoenix and Reese
Witherspoon for their portrayals of Johnny Cash and
June Carter Cash.

Robinson asked how his relationship with the Coen
brothers began. “I went to see ‘Raising Arizona’ and
it hit me that these people had been paying attention
to all the things I had been paying attention to and
for the first time in my life I just called someone
up.” They told him they had a movie that, unlike what
they had done before, would have songs from artists,
not just a soundtrack, and they invited him to work
with them. It was The Big Lebowski.

“We had the Gypsy Kings do the Eagles song, ‘Hotel California.’ That's exactly the kind of misdirection with music that the Coens do visually.” He wanted to have Townes van Zandt perform the Rolling Stones song, “Dead Flowers.” Alan Klein, who manages the rights to the Stones songs, refused – until they showed him some scenes and he heard The Dude say the line, "I hate the Eagles." “So then he said, ‘All right, you can have it.’”

His new project is “Across the Universe,” inspired by the songs of the Beatles, directed by Julie Taymor of Broadway’s “The Lion King.”

One of the emerging musical groups features in a
Tribeca films this year is “Word.Life: The Hip Hop
Project,” a documentary produced by Bruce Willis about
a program that teaches at-risk teenagers to tell their
stories through hip-hop. Chris “Kazi” Rolle, who
founded the program when he was a homeless teenager,
told me that he was inspired by “Hoop Dreams.” “A lot
of inner city kids see sports as their way out.”

Rolle wanted to give them a chance with something they
could do themselves, without relying on anyone outside
the community. So he adopted what he calls “the pill
in the dog food” approach, “pulling them in with what
they like,” hip-hop. His goal is to reach “the kid in
the back of the class – he is always scribbling
something.” When they arrive, they want to imitate
what they have heard. “Young people live from the
outside in; TV and radio tell them who they have to
be.” But he brings them back to the origins of
hip-hop – “it started as political” and encourages
them to tell their own stories by listening to them
and encouraging them to listen to each other.

Tribeca, part 2

One of the sharpest and funniest films at the Tribeca
Film Festival this year has a young couple asking the
guy who is mugging them to pose for a picture. “Can
you hold the knife at his throat?” the woman chirps as
the mugger, well, mugs for her cell phone camera.
Then the couple wanders off to get some crepes, as she
says approvingly, “You really looked scared.”

It’s one of the shorts by American Express, the
sponsor of the festival, shown before the screenings,
and it exemplifies the cheerfully “fuggedaboutit”
attitude of a festival whose slogan is: “Even the city
that’s seen it all hasn’t seen this.” This is a
gathering for people who think of any situation, no
matter how dire, as a story to be told.

One issue that was raised in many contexts and venues
was the impact of new technologies on the world of
film-making. The
War Tapes
is one of the new category of
“Wiki-style” films. Documentarian Deborah Scranton
gave cameras to three soldiers in Iraq and let them
tell their own story. In a panel discussion, she
talked about getting the soldiers to trust her and
then editing their 800 hours of footage into a
feature-length film. “We were one degree closer than
an embed. We were able to see what it really means,
the immediacy of the experience, plus some perspective
by following them for 10 months after their return.”

Her fellow panelists compared the film to more
traditional forms of journalism and other kinds of war
coverage. Anthony Swofford, whose award-winning
memoir of his experiences in the Persian Gulf War was
the basis for last year’s Jarhead,
said that the soldiers did immediately what it took
him ten years to do: “For these soldiers, there is
very little distance between the event and receiving
the stark and real reality of what fighting is all
about. Stark and brutal images are less shocking to
us these days -- we have all seen headless and burned
bodies. What's more important to me is the narrative
of these guys trying to make meaning right away. One
concern with the lack of distance between the event
and communication is that we may be forgoing the 3-5
year period that it takes to achieve some
perspective.” One aspect that he found very accurate
was the “dark, dark, dark humor. That's what makes it
possible for these guys to get up every morning in the
midst of all the absurdity."

Time Magazine correspondent Aparisim Ghosh called this
format a “welcome addition.” While journalism
provides perspective and objectivity, and the war
changes so quickly that even if these three soldiers
returned they would find a very different story, the
immediacy of the moments in this film are very
significant and future historians will value this
unprecedented quantity of material.

Scranton said that it was Swofford’s book that
inspired her to want to help the soldiers tell their
stories. “It is one of the oldest stories in the
world, the hero's journey, like the Iliad and the
Odyssey. They go in our name and as a society we need
to know what it means to go to war and that's what I
wanted to show.”

Other challenges and opportunities for new technology
were raised in a session with Oscar-winner Morgan
Freeman, who concluded an interview about his career
with a discussion of his latest project, Click Star, an
entertainment and movie download service launching
this fall, with almost-immediate download of
theatrical releases, starting with Freeman’s “10 Items
or Less.” The service will include thematic,
genre-based channels to reflect the passions of star
performers, including an all-documentary channel run
by Danny DeVito. The service is in part a response to
the threats created by new technology. Their theme is
“We need to make movies easier to buy than to pirate.”
But Freeman and his partners see this as a great
opportunity to make non-studio films like the ones
featured at the Tribeca festival available to
everyone.

Monday, May 08, 2006

Vast Wasteland anniversary


45 years ago tomorrow, my dad, then age 35, stood before the National Association of Broadcasters and gave his first major speech as the new chairman of the Federal Communications Commission. It is still remembered -- everywhere from answers to questions on "Jeopardy" and "Who Wants to be a Millionaire" to its inclusion in every major anthology of the most significant American speeches and the most significant writing about television. And yes, the "S.S. Minnow" on "Gilligan's Island" was named after him -- the whole story is explained here.

I know Dad feels a little rueful that those two words are what are remembered about the speech, but it is a tribute to the power of his rhetoric and his ideas and the way they resonated with and inspired a nation that they have endured so long. Still, I agree that the entire speech is worth remembering, so I urge each of you to look at it again, to be reminded of how prescient it was, how relevant it is, and how proud we all are.


Thank you for this opportunity to meet with you today. This is my first public address since I took over my new job. It may also come as a surprise to some of you, but I want you to know that you have my admiration and respect. Yours is a most honorable profession. Anyone who is in the broadcasting business has a tough row to hoe. You earn your bread by using public property. When you work in broadcasting, you volunteer for public service, public pressure, and public regulation. You must compete with other attractions and other investments, and the only way you can do it is to prove to us every three years that you should have been in business in the first place.

I can think of easier ways to make a living.

But I cannot think of more satisfying ways.

I admire your courage—but that doesn't mean I would make life any easier for you. Your license lets you use the public's airwaves as trustees for 180 million Americans. The public is your beneficiary. If you want to stay on as trustees, you must deliver a decent return to the public—not only to your stockholders. So, as a representative of the public, your health and your product are among my chief concerns...

I have confidence in your health.

But not in your product.

It is with this and much more in mind that I come before you today.

One editorialist in the trade press wrote that 'the FCC of the New Frontier is going to be one of the toughest FCCs in the history of broadcast regulation'. If he meant that we intend to enforce the law in the public interest, let me make it perfectly clear that he is right—we do.

If he meant that we intend to muzzle or censor broadcasting, he is dead wrong.

It would not surprise me if some of you had expected me to come here today and say in effect, 'Clean up your own house, or the government will do it for you'.

Well, in a limited sense, you would be right—I've just said it.

But I want to say to you earnestly that it is not in that spirit that I come before you today, nor is it in that spirit that I intend to serve the FCC.

I am in Washington to help broadcasting, not to harm it; to strengthen it, not to weaken it; to reward it, not to punish it; to encourage it, not threaten it; to stimulate it, not censor it.

Above all, I am here to uphold and protect the public interest.

What do we mean by 'the public interest'? Some say the public interest is merely what interests the public.

I disagree.

So does your distinguished president, Governor Collins. In a recent speech he said, 'Broadcasting, to serve the public interest, must have a soul and a conscience, a burning desire to excel, as well as to sell; the urge to build the character, citizenship, and intellectual stature of people, as well as to expand the gross national product... By no means do I imply that broadcasters disregard the public interest... But a much better job can be done and should be done.'

I could not agree more.

And I would add that in today's world, with chaos in Laos and the Congo aflame, with Communist tyranny on our Caribbean doorstep and relentless pressure on our Atlantic alliance, with social and economic problems at home of the gravest nature, yes, and with technological knowledge that makes it possible, as our president has said, not only to destroy our world but to destroy poverty around the world—in a time of peril and opportunity, the old complacent, unbalanced fare of action-adventure and situation comedies is simply not good enough.

Your industry possesses the most powerful voice in America. It has an inescapable duty to make that voice ring with intelligence and with leadership. In a few years this exciting industry has grown from a novelty to an instrument of overwhelming impact on the American people. It should be making ready for the kind of leadership that newspapers and magazines assumed years ago, to make our people aware of their world.

Ours has been called the Jet Age, the Atomic Age, the Space Age. It is also, I submit, the Television Age. And just as history will decide whether the leaders of today's world employed the atom to destroy the world or rebuild it for mankind's benefit, so will history decide whether today's broadcasters employed their powerful voice to enrich the people or debase them...

Like everybody, I wear more than one hat. I am the chairman of the FCC. I am also a television viewer and the husband and father of other television viewers. I have seen a great many television programs that seemed to me eminently worthwhile, and I am not talking about the much-bemoaned good old days of Playhouse 90 and Studio One.

I am talking about this past season. Some were wonderfully entertaining, such as The Fabulous Fifties, the Fred Astaire Show and the Bing Crosby Special; some were dramatic and moving, such as Conrad's Victory and Twilight Zone; some were marvelously informative, such as The Nation's Future, CBS Reports, and The Valiant Years. I could list many more— programs that I am sure everyone here felt enriched his own life and that of his family. When television is good, nothing—not the theater, not the magazines or newspapers—nothing is better.

But when television is bad, nothing is worse. I invite you to sit down in front of your television set when your station goes on the air and stay there without a book, magazine, newspaper, profit-and-loss sheet, or rating book to distract you—and keep your eyes glued to that set until the station signs off. I can assure you that you will observe a vast wasteland.

You will see a procession of game shows, violence, audience participation shows, formula comedies about totally unbelievable families, blood and thunder, mayhem, violence, sadism, murder, western bad men, western good men, private eyes, gangsters, more violence and cartoons. And, endlessly, commercials—many screaming, cajoling, and offending. And, most of all, boredom. True, you will see a few things you will enjoy. But they will be very, very few. And if you think I exaggerate, try it.

Is there one person in this room who claims that broadcasting can't do better?

Well, a glance at next season's proposed programming can give us little heart. Of seventy-three and a half hours of prime evening time, the networks have tentatively scheduled 59 hours to categories of 'action-adventure', situation comedy, variety, quiz, and movies.

Is there one network president in this room who claims he can't do better?

Well, is there at least one network president who believes that the other networks can't do better?

Gentlemen, your trust accounting with your beneficiaries is overdue.

Never have so few owed so much to so many.

Why is so much of television so bad? I have heard many answers: demands of your advertisers; competition for ever higher ratings; the need always to attract a mass audience; the high cost of television programs; the insatiable appetite for programming material—these are some of them. Unquestionably these are tough problems not susceptible to easy answers.

But I am not convinced that you have tried hard enough to solve them. I do not accept the idea that the present overall programming is aimed accurately at the public taste. The ratings tell us only that some people have their television sets turned on, and, of that number, so many are tuned to one channel and so many to another. They don't tell us what the public might watch if they were offered half a dozen additional choices. A rating, at best, is an indication of how many people saw what you gave them. Unfortunately it does not reveal the depth of the penetration or the intensity of reaction, and it never reveals what the acceptance would have been if what you gave them had been better—if all the forces of art and creativity and daring and imagination had been unleashed. I believe in the people's good sense and good taste, and I am not convinced that the people's taste is as low as some of you assume.

My concern with the ratings services is not with their accuracy. Perhaps they are accurate. I really don't know. What, then, is wrong with the ratings? It's not been their accuracy—it's been their use.

Certainly I hope you will agree that ratings should have little influence where children are concerned. The best estimates indicate that during the hours of 5 to 6 pm, 60 per cent of your audience is composed of children under twelve. And most young children today, believe it or not, spend as much time watching television as they do in the schoolroom. I repeat—let that sink in— most young children today spend as much time watching television as they do in the schoolroom. It used to be said that there were three great influences on a child: home, school, and church. Today there is a fourth great influence, and you ladies and gentlemen control it.

If parents, teachers, and ministers conducted their responsibilities by following the ratings, children would have a steady diet of ice cream, school holidays, and no Sunday school. What about your responsibilities? Is there no room on television to teach, to inform, to uplift, to stretch, to enlarge the capacities of our children? Is there no room for programs deepening their understanding of children in other lands? Is there no room for a children's news show explaining something about the world to them at their level of understanding? Is there no room for reading the great literature of the past, teaching them the great traditions of freedom? There are some fine children's shows, but they are drowned out in the massive doses of cartoons, violence, and more violence. Must these be your trademarks? Search your consciences and see if you cannot offer more to your young beneficiaries whose future you guide so many hours each and every day.

What about adult programming and ratings? You know, newspaper publishers take popularity ratings too. The answers are pretty clear; it is almost always the comics, followed by the advice-to-the-lovelorn columns. But, ladies and gentlemen, the news is still on the front page of all newspapers, the editorials are not replaced by more comics, the newspapers have not become one long collection of advice to the lovelorn. Yet newspapers do not need a license from the government to be in business—they do not use public property. But in television—where your responsibilities as public trustees are so plain—the moment that the ratings indicate that Westerns are popular, there are new imitations of Westerns on the air faster than the old coaxial cable could take us from Hollywood to New York. Broadcasting cannot continue to live by the numbers. Ratings ought to be the slave of the broadcaster, not his master. And you and I both know that the rating services themselves would agree.

Let me make clear that what I am talking about is balance. I believe that the public interest is made up of many interests. There are many people in this great country, and you must serve all of us. You will get no argument from me if you say that, given a choice between a Western and a symphony, more people will watch the Western. I like Westerns and private eyes too—but a steady diet for the whole country is obviously not in the public interest. We all know that people would more often prefer to be entertained than stimulated or informed. But your obligations are not satisfied if you look only to popularity as a test of what to broadcast. You are not only in show business; you are free to communicate ideas as well as relaxation. You must provide a wider range of choices, more diversity, more alternatives. It is not enough to cater to the nation's whims—you must also serve the nation's needs.

And I would add this—that if some of you persist in a relentless search for the highest rating and the lowest common denominator, you may very well lose your audience. Because, to paraphrase a great American who was recently my law partner*, the people are wise, wiser than some of the broadcasters—and politicians—think.

As you may have gathered, I would like to see television improved. But how is this to be brought about? By voluntary action by the broadcasters themselves? By direct government intervention? Or how?

Let me address myself now to my role, not as a viewer but as chairman of the FCC. I could not if I would chart for you this afternoon in detail all of the actions I contemplate. Instead, I want to make clear some of the fundamental principles which guide me.

First, the people own the air. They own it as much in prime evening time as they do at 6 o'clock Sunday morning. For every hour that the people give you, you owe them something. I intend to see that your debt is paid with service.

Second, I think it would be foolish and wasteful for us to continue any worn-out wrangle over the problems of payola, rigged quiz shows, and other mistakes of the past. There are laws on the books which we will enforce. But there is no chip on my shoulder. We live together in perilous, uncertain times; we face together staggering problems; and we must not waste much time now by rehashing the clich├ęs of past controversy. To quarrel over the past is to lose the future.

Third, I believe in the free enterprise system. I want to see broadcasting improved and I want you to do the job. I am proud to champion your cause. It is not rare for American businessmen to serve a public trust. Yours is a special trust because it is imposed by law.

Fourth, I will do all I can to help educational television. There are still not enough educational stations, and major centers of the country still lack usable educational channels. If there were a limited number of printing presses in this country, you may be sure that a fair proportion of them would be put to education use. Educational television has an enormous contribution to make to the future, and I intend to give it a hand along the way. If there is not a nationwide educational television system in this country, it will not be the fault of the FCC.

Fifth, I am unalterably opposed to governmental censorship. There will be no suppression of programming which does not meet with bureaucratic tastes. Censorship strikes at the taproot of our free society.

Sixth, I did not come to Washington to idly observe the squandering of the public's airwaves. The squandering of our airwaves is no less important than the lavish waste of any precious natural resource. I intend to take the job of chairman of the FCC very seriously. I believe in the gravity of my own particular sector of the New Frontier. There will be times perhaps when you will consider that I take myself or my job too seriously. Frankly, I don't care if you do. For I am convinced that either one takes this job seriously—or one can be seriously taken.

Now, how will these principles be applied? Clearly, at the heart of the FCC's authority lies its power to license, to renew or fail to renew, or to revoke a license. As you know, when your license comes up for renewal, your performance is compared with your promises. I understand that many people feel that in the past licenses were often renewed pro forma. I say to you now, renewal will not be pro forma in the future. There is nothing permanent or sacred about a broadcast license.

But simply matching promises and performance is not enough. I intend to do more. I intend to find out whether the people care. I intend to find out whether the community which each broadcaster serves believes he has been serving the public interest. When a renewal is set down for hearing, I intend—wherever possible—to hold a well-advertised public hearing, right in the community you have promised to serve. I want the people who own the air and the homes that television enters to tell you and the FCC what's been going on. I want the people—if they are truly interested in the service you give them—to make notes, document cases, tell us the facts. For those few of you who really believe that the public interest is merely what interests the public—I hope that these hearings will arouse no little interest.

The FCC has a fine reserve of monitors—almost 180m Americans gathered around 56m sets. If you want these monitors to be your friends at court—it's up to you.

Some of you may say, "Yes, but I still do not know where the line is between a grant of a renewal and the hearing you just spoke of." My answer is, Why should you want to know how close you can come to the edge of the cliff? What the commission asks of you is to make a conscientious good-faith effort to serve the public interest. Every one of you serves a community in which the people would benefit by educational religious instructive or other public service programming. Every one of you serves an area which has local needs—as to local elections, controversial issues, local news, local talent. Make a serious, genuine effort to put on that programming. When you do, you will not be playing brinkmanship with the public interest...

Another, and perhaps the most important, frontier: television will rapidly join the parade into space. International television will be with us soon. No one knows how long it will be until a broadcast from a studio in New York will be viewed in India as well as in Indiana, will be seen in the Congo as it is seen in Chicago. But as surely as we are meeting here today, that day will come - and once again our world will shrink.

What will the people of other countries think of us when they see our western bad men and good men punching each other in the jaw in between the shooting? What will the Latin American or African child learn of America from our great communications industry? We cannot permit television in its present form to be our voice overseas.

There is your challenge to leadership. You must reexamine some fundamentals of your industry. You must open your minds and open your hearts to the limitless horizons of tomorrow.

I can suggest some words that should serve to guide you:

Television and all who participate in it are jointly accountable to the American public for respect for the special needs of children, for community responsibility, for the advancement of education and culture, for the acceptability of the program materials chosen, for decency and decorum in production, and for propriety in advertising. This responsibility cannot be discharged by any given group of programs, but can be discharged only through the highest standards of respect for the American home, applied to every moment of every program presented by television.

Program materials should enlarge the horizons of the viewer, provide him with wholesome entertainment, afford helpful stimulation, and remind him of the responsibilities which the citizen has toward his society.

These words are not mine. They are yours. They are taken literally from your own Television Code. They reflect the leadership and aspirations of your own great industry. I urge you to respect them as I do. And I urge you to respect the intelligent and farsighted leadership of Governor LeRoy Collins and to make this meeting a creative act. I urge you at this meeting and, after you leave, back home, at your stations and your networks, to strive ceaselessly to improve your product and to better serve your viewers, the American people.

I hope that we at the FCC will not allow ourselves to become so bogged down in the mountain of papers, hearings, memoranda, orders, and the daily routine that we close our eyes to the wider view of the public interest. And I hope that you broadcasters will not permit yourselves to become so absorbed in the case for ratings, sales, and profits that you lose this wider view. Now more than ever before in broadcasting's history, the times demand the best of all of us.

We need imagination in programming, not sterility; creativity, not imitation; experimentation, not conformity; excellence, not mediocrity. Television is filled with creative, imaginative people. You must strive to set them free.

Television in its young life has had many hours of greatness—its Victory at Sea, its Army-McCarthy hearings, its Peter Pan, its Kraft Theater, its See It Now, its Project 20, the World Series, its political conventions and campaigns, the Great Debates—and it has had its endless hours of mediocrity and its moments of public disgrace. There are estimates that today the average viewer spends about two hundred minutes daily with television, while the average reader spends thirty-eight minutes with magazines and forty minutes with newspapers. Television has grown faster than a teenager, and now it is time to grow up.

What you gentlemen broadcast through the people's air affects the people's taste, their knowledge, their opinions, their understanding of themselves and of their world. And their future.

The power of instantaneous sight and sound is without precedent in mankind's history. This is an awesome power. It has limitless capabilities for good—and for evil. And it carries with it awesome responsibilities—responsibilities which you and I cannot escape.

In his stirring inaugural address, our president said, 'And so, my fellow Americans: ask not what your country can do for you—ask what you can do for your country.'

Ladies and gentlemen: ask not what broadcasting can do for you—ask what you can do for broadcasting.

I urge you to put the people's airwaves to the service of the people and the cause of freedom. You must help prepare a generation for great decisions. You must help a great nation fulfill its future.

Do this, and I pledge you our help.

Saturday, May 06, 2006

More from Tribeca

Lucy Liu spoke to the press about "Freedom's Fury," her new documentary about the 1956 Olympic water polo match betwen Hungary and the USSR.

Elvis Costello performed with Alan Toussaint at the Saturn Lounge.

Wednesday, May 03, 2006

Study: A good man is hard to find even in G-rated films

USA Today reports that a group led by Geena Davis has issued a study on the portrayal of males in G-rated movies. G-rated movies represent such a tiny fraction of releases that I don't think the report is very valuable. And, as I told the reporter, the important thing is to use whatever kids see as a starting point for a family conversation.

Interview with Laurence Fishburne on Beliefnet


My interview with Laurence Fishburne, star of "Akeelah and the Bee," is up on Beliefnet.

Tuesday, May 02, 2006

Brie Larson


I had a delightful conversation with Brie Larson about her new movie, "Hoot."

Click here to listen to Brie Larson podcast

Finally Out Of P.E.