Publicists Suggest Talking Points

After reading of Patrick Goldstein’s disappointment that the Academy Awards have been overshadowed by excessive campaign advertising and publicity (“An Oscar Mantra: Press to Excess,” Feb. 5), we were surprised that he chose to use the rest of his column to revisit those very same “distractions” that he claims to hate.

Inspired by Goldstein’s “slightly exaggerated” talking points (we’d love his help on our press kits), we, the Miramax publicity staff, have prepared our own list of talking points on Goldstein’s journalistic inquiries on academy hype.

* Don’t revisit and breathe life into a controversy that does not exist. After writing about the alleged Miramax/Universal feud two weeks ago, and recognizing both studios’ on-the-record denials of any problems, Goldstein chose to recycle the same old charges with no new substance, wasting valuable space that could have been better filled by his insights on particular films.

* Referencing one New York Post story that suits your agenda, while refusing to cite another contradictory one, leads to incomplete conclusions. Either include both sides or neither--just be fair.

* Excoriating members of the entire “In the Bedroom” cast simply because Miramax granted Tom Wilkinson’s routine request for a talking points memo before an interview is just plain mean. Instead, why not celebrate these top actors who accepted lower wages to work on an edgy, independent movie, heralded by top critics as one of the best films of the year, one the big studios declined to make?

* Magnifying the attention given to the many rumors, accusations and allegations that studios plot against each other’s films during this time of year helps spice up a slow news week. In fact, we are working hard to raise awareness of great independent and foreign films like “In the Bedroom” and “Amelie.”

* When countless critics and journalists from reputable outlets like the New York Times, Entertainment Weekly and the New Yorker provide factual complaints about the inaccuracies of a particular film, don’t blame one columnist or one studio as being behind it. We never blamed other studios for stirring up media attacks on “Chocolat” and never complained to reporters about our competitors’ hypocritical complaints about our “hiding abortion and incest themes” in “The Cider House Rules.”

* Opposing the use of quotes from non-critics in film ads denies moviegoers a common benefit offered those purchasing books with acclaim from non-critics on the book jacket. What exactly is wrong with using Stanley Donen and Robert Wise to highlight a musical masterpiece like “Moulin Rouge” or quoting someone whose personal experiences relate to the difficult issues faced in “In the Bedroom”?

* Rewarding anonymous “studio publicity experts” with the chance to attack us by contributing to Goldstein’s malicious talking points only contributes to the atmosphere of negative campaigning that he rightfully complains about in his column.

* Knocking Miramax and others for spending money on academy campaigns promoting a variety of innovative, risk-taking and low-budget films discourages the making and marketing of those types of films. In fact, last year Goldstein chastised a studio for failing to support exactly that type of film. In addition, our high-profile campaigns bring attention to much of the less-celebrated but equally important work of costume and set designers, composers, editors, sound technicians, writers and cinematographers. These are the people who need to be celebrated on Oscar night.

* Seeing is believing. We at Miramax have repeatedly said over the years that we know that all a campaign can do is encourage voters to see the movie and develop their own opinion. After that, the film must speak for itself.

When films succeed, it’s good for the entire business. To that end, let’s work together to raise the bar, not lower it.

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Amanda Lundberg is executive vice president of worldwide publicity, Janet Hill is executive vice president of publicity and Matthew Hiltzik is vice president of corporate communications at Miramax Films.