A junket brings the reporter to a central site—the studio, a location, a rented hotel meeting room in a city where a premiere is occurring—for intense but orchestrated exposure to the film and its stars. The company provides transportation, lodging, and a per diem (in the $150 to $200 range). Junketers receive goodie bags, known cynically as swag bags, full of licensed products, some promotional items for the film, and perhaps a costly gift or two. The reporters get brief access to the stars and key behind-the-camera talent, and in some cases they visit the set. Such junkets have been widely criticized as pressuring reporters and reviewers to create favorable stories so that they will be invited on future junkets.
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Above all, the junket situation allows the studio’s publicists to guide the interview process. Reporters may agree in advance to avoid certain topics. Hints that an actor may be gay or references to arrests or marital discord can get an interviewer ejected and banned from future junkets. In June 2005, Brad Pitt and Angelina Jolie appeared at two thirty-minute press conferences for Mr. and Mrs. Smith. Rumors of a romance between the two that had damaged Pitt’s marriage led lawyers to warn the roughly one hundred international journalists present that if they asked any personal questions, the event would terminate immediately. When publicists demanded that the published stories “not be used in a manner that is disparaging, demeaning and derogatory,”
24 reporters complained. Still, information about new films and their stars is the coin of infotainment, and news media have a vested interest in remaining in the favor of movie companies.
The mechanics of most junket interviews are standardized. A star or a small number of stars will sit in a hotel room, a film location, or a set throughout one day, perhaps joined by the director or other key crew members. Batches of print and radio journalists come in and spend perhaps fifteen minutes asking questions in the manner of a news conference. As soon as one group leaves, another takes its place. A second day is devoted to TV reporters, who receive one-on-one face time. This privilege is balanced by the brief exposure—around five minutes, ordinarily—that the reporter has. The cameras filming these interviews are run by the studio, which may request retakes or edit the results. Tapes or discs are then given to the reporter.
Anyone who followed media coverage of the Rings saw the same photos and clips over and over and heard familiar answers to familiar questions. We might think that a studio publicity department would want more variety, to keep spectators interested while following such coverage. The studio’s goal, however, is to link each main character, each major plot line, and other important components of the film to one or two simple concepts that will “brand” the film and help it float above the clutter of competing publicity. Diversity of coverage matters less than keeping journalists on topic.