When it comes to battling the MPAA, Harvey Weinstein’s
default position is to go into all-out attack mode. While other movie companies
usually sort out their differences with the Motion Picture Association of
America behind the scenes, Weinstein stages major public relations campaigns
like the one he is currently conducting to attempt to win the right to
call Lee Daniels’ upcoming movie The Butler.
But do they actually work?
Typically, Weinstein, one of the toughest moguls in Hollywood, portrays
himself as the scrappy underdog standing up for some higher principle. While the
current dispute revolves around whether The Weinstein Co. and Warner Bros. have
played by the rules of the MPAA’s Title Registration Bureau, to which both
companies subscribe, Weinstein is making every effort to turn the business
dispute between movie companies into a major civil rights fight. “I’ve gone
through this all my life,” Weinstein said Tuesday morning during an appearance
on CBS This Morning. “My dad taught me to fight injustice. This is
unjust.”
STORY: Harvey Weinstein Talks 'Butler' Dispute at 'Fruitvale Station'
Screening
Over the years, Weinstein’s scorched-earth tactics have resulted in a mixed
record of success. Sometimes he wins, managing to overturn NC-17 ratings in
favor of less restrictive R ratings on movies ranging from 1994’s Clerks to
2010’s Blue Valentine. And sometimes he loses, failing to convince the
ratings appeals board to downgrade its original NC-17 designations on films like
1995’s Kids or soften the R rating it gave to 2010’s The King’s
Speech and 2012’s Bully.
Win or lose, though, the very public disputes almost always result in a
torrent of publicity, which Weinstein’s critics say is his real objective.
(Among Weinstein and the show’s hosts, the CBS Morning News appearance
included three reminders that The Butler is scheduled for release Aug. 16,
while also including a clip from the film.) But all that free press doesn’t
necessarily translate into big bucks at the box office.
VIDEO: Harvey Weinstein Claims 'The Hobbit' Is Behind 'The Butler'
Title Fight
Director Kevin Smith’s Clerks, for example, grossed
$3.2 million domestically back in 1994, and that meant the low-budget,
black-and-white indie was a solid success but not a runaway phenomenon. Blue
Valentine, despite earning an Oscar nomination for its
star Michelle Williams, grossed just $12.4 million worldwide.
On the other hand, Michael Moore’s 2004 documentary Fahrenheit
9/11, which unsuccessfully appealed an R rating "for violent and disturbing
images," went on to become the top grossing documentary of all time, collecting
$222 million worldwide.
Sometimes, Weinstein has even used a ratings dispute as part of a movie’s
awards campaign. While going head-to-head with the MPAA over Fahrenheit
9/11’s rating, the expert campaigner also took out ads inviting Academy
members to screenings with the come-on, “Before the MPAA makes their decision,
MAKE YOURS.”
Most of Weinstein’s MPAA battles have revolved around the Classification
& Ratings Administration. But he’s also had previous run-ins with the Title
Registration Bureau as well.
STORY: 'The Butler' Fight: David Boies Claims WB Extortion in New
Letter
In 1995, Warner Bros. objected when Weinstein sought to
release Michael Radford’s Italian-language film stateside under
the title The Postman, a title Warners had registered for an
upcoming Kevin Costner movie of its own. Weinstein backed off,
releasing the movie as Il Postino (The Postman). The following year,
Sony objected when the Weinstein brothers released Wes Craven’s
horror spoof, Scream, because Sony had released a movie
called Screamers earlier that year. Despite TRB sanctions, reported at the
time to amount to $1,500 per day per screen on which the movie was playing, the
Weinsteins stuck to their guns. And Disney, which was then the parent company of
the Weinsteins’ Miramax Films, ultimately came to an undisclosed private
resolution with Sony.
By now, the Weinstein battle plan is familiar -- and so when the current
controversy over The Butler broke into the open last week, insiders at both
Warners and the MPAA shook their heads and claimed the dispute was “just Harvey
being Harvey.” Both sides, pending an appeal, have dug in. Warners believes it
has the MPAA rules on its side, but the Weinstein forces are convinced that they
can embarrass Warners and the MPAA into making concessions by arguing that the
studio is trying to stand in the way of a racially uplifting film.
As familiar as his tactics have become, there is no underestimating them.
One of Weinstein’s first moves is always to call in high-powered lawyers,
although the clashes rarely result in any actual litigation. In the cases of
both Clerks and Kids, Weinstein enlisted Alan
Dershowitz, famous for defending Claus von Bulow, a
case that became the basis for the movie Reversal of Fortune. To appeal an
NC-17 rating given a now-obscure 1994 movie called The Advocate, Weinstein
drafted the late William Kunstler, who defended the Chicago
Seven in the late ‘60s. David Boies, who is representing
Weinstein Co. in The Butler case, also, working alongside Hollywood
attorney Bert Fields, handled the unsuccessful appeal on The
King’s Speech rating. Both Boies and Fields can command hourly fees in
excess of $1,000.
Second, Weinstein and his allies ratchet up the rhetoric. “This rating
for The King’s Speech is arbitrary and irrational. In my view, it violates
The Weinstein Company’s right to freedom of speech under the state and U.S.
constitution. It should strike fear in the heart of every director and
producer,” Fields said during The King’s Speech dust-up. Boies has called
Warners refusal to grant Weinstein Co. the right to call its movie The
Butler “a transparent attempt to hold a major civil rights film hostage to
extort unrelated concessions from TWC” -- a charge that Warners called “deeply
offensive and untrue.” Weinstein said Tuesday that two Warners executives had
asked him to give up his share of profits from The Hobbit movies to settle
the matter. (The Weinsteins are entitled to back-end money from the first Hobbit
movie and are locked in a dispute with Warners over whether they can share
in the proceeds from the second and third installments.) Warners also called
that assertion untrue.
But Weinstein -- whether he wins or loses -- generally gets away with such
tactics because he usually has the press on his side, especially when he is
tilting with the MPAA’s ratings regulations. Historically, the MPAA has often
been slow to articulate its rationales, which to much of the media often look
overly restrictive, penalizing language and sexual imagery while letting
violence run wild.
Plus, Weinstein also has cultivated various media outlets over the years to
be sure his views will have a ready platform. Pro-Weinstein items have often
appeared on Page Six of the New York Post. And at May’s Cannes Film
Festival, he enlisted Deadline.com’s Michael
Fleming and Pete Hammond to moderate buyer
presentations for upcoming Weinstein Co. movies. When Weinstein was ready to
take The Butler dispute public, his camp leaked to Fleming the private
letters to Warners and the MPAA.
But as heated as the battles often become, Weinstein also has shown himself
to be a pragmatic businessman once the dust settles. In a number of cases when
the MPAA has ruled against him on ratings, he’s simply gotten out the scissors
for which he is famous and edited down the films to get a less restrictive
rating.
When the 2012 documentary Bully got stuck with an R rating for six uses
of the F-word, Weinstein Co. agreed to edit out three instances of the word and
the MPAA then agreed to rerate it PG-13. And in the case of the
Oscar-winning The King’s Speech, after the movie had played 12 weeks in
theaters, during which it earned the bulk of its business, Weinstein decided to
mute two uses of the F-word, and the MPAA agreed to a new PG-13 rating.