I have to agree with Abe. I’m not sure why this board objects so stridently to a forty-foot tall advertisement for Coke on your movie screen when there’s probably one right outside your window anyway, sitting in the quadrangle of your local high school or university, plastered in the pages of a history book, or filling space at the front of your VHS copy of Indiana Jones and the Last Crusade. As Abe noted with Stephen King, part of immersion and characterization is about the quick-hit product identification.
With Macintosh, it has two things going for it, product-wise. One, a recognizable logo. Two, it has the reputation of being the underdog, the little guy, used by creative types and people who (forgive me) think different. If you’ve got a fifth of a second on a movie screen to show that a character is a rebel who carves his own path, what do you show? A generic plastic box devoid of character? Or a bright colored box with an underdog reputation?
Ditto for beer: show a character who drinks Schlitz or Coors and you’ve got an everyday kinda guy (in American terms, that is). But show him drinking Fish Tail Ale, or Pyramid Brown, or Guinness, or that funky Japanese beer that’s sold in the plain silver can, and you’ve got a completely different take on the character.
This was the case in The Whole Nine Yards when Rosanna Arquette’s character was shown driving a bright yellow new-model VW Beetle. The movie took no money for the ad, according to Jonathan Lynn’s commentary. He said VW would have paid them if Matthew Perry had driven the car. Lynn said no, that was the wife’s car, because that was appropriate to her character. VW said no thanks, we’ll pass; we’ve already got the demographic that petite cutesy women drive Beetles, we want to expand our product line’s image. Matt drives, we pay. Otherwise, go away.
I have to say that sometimes, yes, the product logo is particularly irritating when it’s obvious. The Coke can in Ghostbusters was mentioned. Why? Because not only was it logo placement, but a continuity error. The camera shifts position a few feet for a two-shot, and yet the Coke can turns 180 degrees to show both sides of the can, each perfectly aligned.
I always notice it, during that scene. Doesn’t ruin the movie, though.
FISH