"NC-17 means that you get it in like 3 theaters. They won't run the spots on MTV, won't run the advertising. It's the kiss of death so there was really no other choice"
About this Quote
NC-17, in Rob Zombie's telling, isn't a moral rating so much as a distribution sentence. The blunt math of "3 theaters" lands like a tour anecdote: you can be as loud and unruly as you want, but if the venue won't book you and the radio won't play you, you're shouting into a void. Zombie's genius here is the way he strips the debate of its usual posturing. No handwringing about protecting children, no romantic martyrdom about artistic purity - just the industry choke points where culture is actually decided.
The subtext is frustration with a system that pretends to be about consumer information while functioning as corporate risk management. "They won't run the spots on MTV" dates the quote in the most revealing way: it pins the gatekeeping to a specific media ecosystem where youth culture and advertising were braided together. If MTV is off-limits, you don't just lose promotion; you lose legitimacy, oxygen, the sense that your work even exists in the mainstream conversation.
"It's the kiss of death" isn't hyperbole, it's a diagnosis of how censorship often works in America: not through bans, but through friction, attrition, and economic penalties that make "choice" feel voluntary. Zombie isn't arguing that the rating is unfair on principle; he's explaining how the marketplace disciplines artists into self-editing. The horror director with a shock-rock persona ends up sounding almost managerial, which is the point - transgression is easy to sell until the accounting department meets the MPAA.
The subtext is frustration with a system that pretends to be about consumer information while functioning as corporate risk management. "They won't run the spots on MTV" dates the quote in the most revealing way: it pins the gatekeeping to a specific media ecosystem where youth culture and advertising were braided together. If MTV is off-limits, you don't just lose promotion; you lose legitimacy, oxygen, the sense that your work even exists in the mainstream conversation.
"It's the kiss of death" isn't hyperbole, it's a diagnosis of how censorship often works in America: not through bans, but through friction, attrition, and economic penalties that make "choice" feel voluntary. Zombie isn't arguing that the rating is unfair on principle; he's explaining how the marketplace disciplines artists into self-editing. The horror director with a shock-rock persona ends up sounding almost managerial, which is the point - transgression is easy to sell until the accounting department meets the MPAA.
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