Address before the Advertising Federation of America convention, Boston, Massachusetts (28 June 1965); published in the Congressional Record (7 July 1965) Vol. 111, Appendix, p. A3583
Kontext: I sleep each night a little better, a little more confidently, because Lyndon Johnson is my president. For I know he lives and thinks and works to make sure that for all America and indeed, the growing body of the free world, the morning shall always come.
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The Voluntary Movie Rating System (2004)
Kontext: By summer of 1966, the national scene was marked by insurrection on the campus, riots in the streets, rise in women's liberation, protest of the young, doubts about the institution of marriage, abandonment of old guiding slogans, and the crumbling of social traditions. It would have been foolish to believe that movies, that most creative of art forms, could have remained unaffected by the change and torment in our society.
The result of all this was the emergence of a "new kind" of American movie — frank and open, and made by filmmakers subject to very few self-imposed restraints.
Interview on National Public Radio (13 December 1974)
Kontext: I think politicians and movie actors and movie executives are similar in more ways than they’re different. There is an egocentric quality about both; there is a very sensitive awareness of the public attitude, because you live or die on public favor or disfavor. There is the desire for publicity and for acclaim, because, again, that’s part of your life... And in a strange and bizarre way, when movie actors come to Washington, they’re absolutely fascinated by the politicians. And when the politicians go to Hollywood, they’re absolutely fascinated by the movie stars. It’s a kind of reciprocity of affection by people who both recognize in a sense they’re in the same racket.
Testimony to the US House of Representatives (1982)
Kontext: We are facing a very new and a very troubling assault on our fiscal security, on our very economic life and we are facing it from a thing called the video cassette recorder and its necessary companion called the blank tape. And it is like a great tidal wave just off the shore. This video cassette recorder and the blank tape threaten profoundly the life-sustaining protection, I guess you would call it, on which copyright owners depend, on which film people depend, on which television people depend and it is called copyright.
The Voluntary Movie Rating System (2004)
Kontext: We count it crucial to make regular soundings to find out how the public perceives the rating program, and to measure the approval and disapproval of what we are doing... The rating system isn't perfect but, in an imperfect world, it seems each year to match the expectations of those whom it is designed to serve — parents of America.
Interview on National Public Radio (13 December 1974)
Kontext: I think politicians and movie actors and movie executives are similar in more ways than they’re different. There is an egocentric quality about both; there is a very sensitive awareness of the public attitude, because you live or die on public favor or disfavor. There is the desire for publicity and for acclaim, because, again, that’s part of your life... And in a strange and bizarre way, when movie actors come to Washington, they’re absolutely fascinated by the politicians. And when the politicians go to Hollywood, they’re absolutely fascinated by the movie stars. It’s a kind of reciprocity of affection by people who both recognize in a sense they’re in the same racket.
“The entire rostrum of the rating program rests on the assumption of responsibility by parents.”
The Voluntary Movie Rating System (2004)
Kontext: The basic mission of the rating system is a simple one: to offer to parents some advance information about movies so that parents can decide what movies they want their children to see or not to see. The entire rostrum of the rating program rests on the assumption of responsibility by parents.
The Voluntary Movie Rating System (2004)
Kontext: I knew that the mix of new social currents, the irresistible force of creators determined to make "their" films and the possible intrusion of government into the movie arena demanded my immediate action.... My first move was to abolish the old and decaying Hays Production Code. I did that immediately. Then on November 1, 1968, we announced the birth of the new voluntary film rating system of the motion picture industry... the emergence of the voluntary rating system filled the vacuum provided by my dismantling of the Hays Production Code. The movie industry would no longer "approve or disapprove" the content of a film, but we would now see our primary task as giving advance cautionary warnings to parents so that parents could make the decision about the movie-going of their young children.
“They make $75,000 to $100,000 a year. That's not much to live on. I don't have to tell you that.”
Discussing the plausibility of anti-piracy advertisements featuring wealthy Hollywood figures. Entertainment Weekly (18 April 2003)
Kontext: I found the most convincing part to be the working stiffs, the guys who have a modest home and kids who go to public schools. They make $75,000 to $100,000 a year. That's not much to live on. I don't have to tell you that.
A Plea For Keeping Alive the U.S. Film Industry’s Competitive Energy (1995)
Testimony to the U.S. House of Representatives on copyright immunities for ISPs. (7 February 1996) http://www.judiciary.house.gov/legacy/461.htm
Testimony to the US House of Representatives (1982)
As quoted in "US TV industry plans June ad campaign on decency" Reuters news agency (24 April 2006) http://www.entertainment-news.org/breaking/50538/us-tv-industry-plans-june-ad-campaign-on-decency.html
Testimony to the US House of Representatives (1982)
On the TV rating system, as quoted in "U.S. TV industry unveils ratings system" CNN (19 December 1996) http://www.cnn.com/US/9612/19/tv.ratings.update/index.html
Testimony to the U.S. House of Representatives on copyright immunities for ISPs. (7 February 1996)
“If what you own cannot be protected, you own nothing.”
He later paraphrased this statement in a pamplet: "If You Cannot Protect What You Own, You Don’t Own Anything!" (28 February 2002) (PDF document) http://commerce.senate.gov/hearings/022802valenti.pdf
Testimony to the US House of Representatives (1982)
Testimony to the US House of Representatives (1982)
Comments on the Cable television industry, in testimony to Congress (June 1974); quoted in "What Jack Valenti Did for Hollywood" by Richard Corliss in TIME magazine (27 April 2007) http://www.time.com/time/arts/article/0,8599,1615388,00.html
On changing the un-trademarked "X" rating to an "A" for Adults; it was eventually changed to the trademarked "NC-17". The New York Times (5 March 1987)
“There is no fair use to take something that doesn't belong to you. That's not fair use.”
In response to the question "Do consumers have a fair use right to remix a few seconds of a Hollywood movie into a home movie project?"
Engadget interview (2004)
Responding to a question on breaking encryption to make a back-up copy of a DVD.
Interview in Harvard Political Review (2002)
Testimony to the US House of Representatives (1982)
Interview in Harvard Political Review (2002)
Kontext: I wasn't opposed to the VCR. The MPAA tried to establish by law that the VCR was infringing on copyright. Then we would go to the Congress and get a copyright royalty fee put on all blank videocassettes and that would go back to the creators.
On being informed there were no legitimate DVD players for Linux after four years, in "Real Dialogue: The Tech interviews Jack Valenti" by Keith J. Winstein of The Tech (16 April 2004) http://www-tech.mit.edu/V124/N20/ValentiIntervie.20f.html
