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Current pop culture is so keen to avoid offense and cover up history that it begs the question of whether a movie hero like Josey Wales or Rooster Cogburn or anything played by Mel Gibson, would be allowed to hit the modern big screen.
Movies have always served as entertaining diversions: The smell of popcorn, crowds lining up to have their tickets torn, the larger-than-life heroes and heroines. Hollywood was about great stories designed to spark the imagination and create a distraction from life for a bit. But not anymore.
Movies are no longer a diversion, but a teaching point. Movies must have trigger warnings. We must be saved from ourselves. One look at the warning labels on certain products will tell you that there is an overtly desperate and ongoing attempt to save us from ourselves. Someone somewhere somehow did the ridiculous and now we all get to pay for it.
Phil Williams is a former state senator from District 10 (which includes Etowah County), retired Army colonel and combat veteran, and a practicing attorney. He previously served with the leadership of the Alabama Policy Institute in Birmingham. He currently hosts the conservative news/talk show Rightside Radio on multiple channels throughout north Alabama. The opinions expressed are his own.
In American life, it seems that for every action there is an equal and opposite reaction: intellectualism and rising anti-intellectualism, eight years of Barack Obama and the election of Donald Trump, large advances in civil rights and the retraction of those rights (e.g., Dobbs v. Jackson). But no neat system of binaries would stand without eventual collapse when faced with a topic like free speech. Society shifts with the demarcations of history and our current reality is the result of many interconnected political and sociocultural factors.
People coming from nearly all positions of the political spectrum can seem to become exercised over free speech issues. Within the past year, the following types of incidents have thus occurred: the heckling of conservative speakers, debates over trigger warnings, debates over course content (and the expanding canon), student discomfort with specific topics, self-censorship, cancel culture and what some decry as a lack of viewpoint diversity on campuses. Considering that any situation that involves free speech is highly specific, each incident has a unique context and is a unique combination of the phenomena listed above.
After losing her mother in a tornado, like all good female leads in Tornado movies, she battles against her wannabe-predictor father that tornadoes are in fact unable to be predicted. So when she is sent to document his predictions, they are forced to get along.
What was the first R-rated movie you saw? I have to think back, and I remember seeing Black Hawk Down in theaters in 8th grade. And I think The Terminator in 6th grade on VHS. Now, those are not too provocative of films, but they did come with my Dad explaining things to me after.
The point is, both those movies were rated R, meaning, as someone under 17 years old, I could not get in without a parent. They were movies made for adults. Entering those movies, I knew there would be things I had not encountered in the world that I would have to reflect on.
A trigger warning is a notice or advisory provided before the presentation of content that may evoke strong emotional or psychological responses in some individuals. Its purpose is to alert readers, viewers, or listeners to the potential presence of content that could be distressing, offensive, or triggering for certain individuals due to their personal experiences, trauma, or sensitivities.
They are commonly employed in various forms of media, such as articles, blogs, videos, social media posts, books, lectures, or discussions that touch upon sensitive topics like violence, sexual assault, abuse, self-harm, suicide, racism, or other potentially distressing subjects.
This is a bit of a loaded question. I think we already have them! The MPAA, which I think is skewed and flawed, already exists in the United States. Other countries have their own version of this system as well. But its rating system is pretty detailed.
PG (Parental Guidance Suggested): Films rated PG may contain some material that parents or guardians might find unsuitable for young children. It suggests that parents should provide guidance and decide whether the content is appropriate for their child.
PG-13 (Parents Strongly Cautioned): Films rated PG-13 may contain material that parents may find inappropriate for children under 13 years old. Some content, such as violence, brief nudity, or mild language, may be included, but it should not be excessive or graphic.
R (Restricted): Films rated R require viewers to be at least 17 years old, or they should be accompanied by a parent or guardian. These films often contain intense or graphic violence, strong language, sexual content, or other adult themes.
NC-17 (No One 17 and Under Admitted): Films rated NC-17 are restricted to viewers who are 18 years or older. These films may include explicit sexual content, persistent strong language, or graphic violence that goes beyond what is typically seen in an R-rated film.
With each of these ratings comes a list of why a movie received which rating. They're called "content descriptors." They will detail why the movie received the rating, things like adult activity, harsh language, intense graphic violence, drug abuse, and nudity are taken into account.
Well, I think proponents would say they add specifics. This is what specifically happens in these movies and TV shows, and it might cause you some emotional harm. And I don't want anyone to feel bad or have a negative interaction with a movie or TV show.
The sad truth of this world is that horrible things happen to people. And sometimes, when we see these things recreated in film and television, they can connect with us in a way that brings back these memories or experiences.
I will admit when I started writing this article, I was vehemently against trigger warnings before movies. If something is rated R or NC-17, it's for adults. It's going to have scenes in it that are complicated, challenging, and difficult. In an era filled with trailers and clips online, you know what a movie will be about going into it.
So why do you need more explanation of a title? Where is the personal responsibility to seek out what might affect you and do research on the topic? Do we need to add trigger warnings to the entryway of art museums and galleries?
My worry stems from the idea that another entity should be independently telling people what happens in your project and how it might affect you. I think that would encourage censorship and negatively affect the kinds of things that were made.
I think that decision should be left to the artist. and I'm also against freaking out at people calling for trigger warnings on movies and TV shows because I think it's okay to warn people about the content.
If you have specific things that bother you, and you see an explicit rating, there are a lot of websites that can help you decide if a movie is for you, without the onus being on the filmmaker to tell you.
If you're a filmmaker and you think the audience would benefit from a trigger warning, I'm all for it. Do it and feel good about it. If you don't want to put one on, I get it and skip it. There's no right or wrong choice here unless an outside source comes in and forces you to do it.
In terms of No Film School readers, I wonder if when you're making something, you consider adding a trigger warning to your content? Do you feel the need to let people know about certain plot points or scenes?
My background includes being a Creature Developer (ILM San Francisco) and Crowd Department Supervisor (ScanlineVFX), Pixomondo) in the post-production field. That, combined with having had large-scale On-Set Supervision experience for projects such as Midway (2019), gave me a thorough understanding of my process and approach to keep high-quality work on my most recent project, The Curse.
There were so many memorable moments during the production of The Curse. In order to have all the references for motion and positions for the actors and the set, which eventually became the center of the story, I always had two witness cameras running whenever I needed to supervise those key moments. All that footage became instrumental at the time of completing the VFX, but also as a side element we ended up also capturing amazing BTS material with those witness cameras. I got to work closely with the wardrobe department to capture outfits for digital doubles. I had close communication with set design for all the necessary builds and for keeping track of furniture and even minor set decorations to replicate digitally in post if needed.
The most memorable collaboration was my continuous interaction with the stunt supervising coordinator, Timothy Eulich. We had worked together on a previous project, and his knowledge and experience helped us plan and execute everything without any incidents. The stunts were very challenging, and we had to evaluate every aspect to minimize risks and, at the same time, be able to capture all necessary footage and data from my end.
This show has an amazing character and timeline curve, going from a small-town drama to ending as a sci-fi thriller; therefore, I had to use a specific approach to each defining moment of those episodes. Each one posed a new challenge. In order to capture some of the key elements, I used LiDar and photogrammetry to provide exact locations and props. Early on I also built some 3d scenes for the production to prepare for the difficult stunts that were on the upcoming schedule.
Now, to be sure, there are some of us who play positive movies in their heads. They dream of lovely things, successful things, beautiful things, and courageous things. These people, whether they know it or not, are geniuses. They are typically happy and the navigate the world quite well, even in the midst of chaos.
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