At Strong Language we love creative swearing. But sometimes being creative means avoiding swearwords. When John Boorman and his team were filming Deliverance in rural southeast US, they faced difficulties not only in handling the unforgiving location but also in making certain scenes suitable for eventual TV broadcasting.
One scene in particular proved a challenge: Jon Voight and Ned Beatty’s brutal encounter with two sadistic locals in the woods. According to Boorman, the film’s producers suggested that he shoot the scene two different ways, so that there’d be a version suitable for TV. This meant, among other things, toning down the language in the working script.
With Joe Pesci back in the spotlight thanks to The Irishman, and Christmas just around the corner, I’ve been remembering one of his finest performances – as hapless burglar Harry Lyme in Home Alone. It’s easy to forget how against-type this role was for Pesci, best known for playing menacing, foul-mouthed criminals in gangster films like Casino:
(Don’t miss the TV version, with its fancy hecking swear-avoidance.)
When Pesci was sent the script for Home Alone, he ‘saw he could do something with it’, according to executive producer Mark Levinson. But the filmmakers knew that Harry Lyme would be a challenge for Pesci. In a behind-the-scenes featurette on the DVD, director of photography Julio Macat says:
You’re in luck if you sell FUCK ME formalwear, own the NO SHIT diner, or produce HEY ASSHOLE pepper spray. You’ll soon be able to head over to the website of the United States Patent and Trademark Office (USPTO) and register those trademarks. Because the U.S. Supreme Court has just ruled in the Brunetti case that the statutory bars on registering “scandalous” and “immoral” trademarks are unconstitutional.
But you better move quickly . . . A passel of the Justices is not pleased with this outcome. (The moral panic during the oral argument was sort of a red flag.) Continue reading
This is a guest post by Monika Bednarek, a linguist who has extensively analyzed US TV series. She is the author of Language and Television Series and the editor of Creating Dialogue for TV, a collection of interviews with Hollywood screenwriters. She has created a companion website at www.syd-tv.com and tweets at @corpusling.
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The use of swear words in US TV series attracts a lot of attention. There are those who revel in creating mash-ups of swearing, and there are those who monitor and oppose swearing (like the Parents Television Council). Rules by the Federal Communications Commission restrict the broadcasting of profane and indecent speech to the evening and night and forbid obscene speech. But these rules don’t apply to subscription-based television such as cable or streaming services. Elsewhere I’ve looked at how frequent swearing is, but here I want to approach swearing a little differently. Basically, what I’m asking is: How do TV series use swear words? And what are their functions?
Let’s start with the first question. Most TV series do seem to use at least one swear word, especially if expressions such as oh my god are counted. But there are a lot of different ways in which TV series can handle swears. I’ve tried to catalogue some of these below.
Following hard upon Iva Cheung’s delicious food-based ethnic slurs post, we turn to disparaging and sweary food truck trademarks.
First, a recent and timely controversy over food service-related branding. Local officials in Keene, New Hampshire were dismayed when signage popped up for a new Vietnamese restaurant, PHO KEENE GREAT.