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Lmfao at the thought that this will have any meaningful change in the film industry. Again, I said “meaningful.” The problem isn’t representation of fucking actors on screen (which I recognize is all most care about). It’s systemic racism, which this does not tackle whatsoever.
I agree. Letting minorities into the corporation in itself does not necessarily change the output of the corporation, nor will it make the corporation challenge the ways in which it disenfranchises said minorities.
ReplyCopy URLThis is honestly silly? Not only because the goals are minor and easy to achieve but also because getting a nomination at the Oscars should not be the reason for the crew, including behind the scenes, to be diverse. It’s quite worrying if this awakes any type of emotion on you all, it’s a bunch of nothing.
ReplyCopy URLDoes anyone here know what is the most recent BP nominee that wouldn’t be elegible with these new rules?
… The Hurt Locker? I think… might be wrong, not sure. Unless killing Iraqis counts as… diverse? Coincidently, directed by a female, but I don’t think that checks off all the boxes. Haven’t a clue who the interns were.
I’m 50/50 no the idea. Wish it wasn’t ‘forced’. I don’t think it will actually change too much though.
EDIT: Sorry, misread that as ‘BP winner’. I’ll check on Ford V Ferrari, The Irishman and 1917… it’s probably one of those.
ReplyCopy URLThe Hurt Locker follows the first two standards. No way to know the other two.
I’ll admit, it’s been a while since I’ve seen it. What does it follow for standard A? I figure it would probably be able to check off standard D somehow or another.
I imagine big-budget films will have no issue checking off three if not four of these, particularly C and D. I truly don’t think this is going to change a whole lot. Might make some people happy, might piss some other people off, but everything will pretty much be the same as it’s been the past handful of years.
ReplyCopy URL1917 was written and produced by a woman.
ReplyCopy URLThe chaotic editing from Moulin Rouge!
The chaotic editing from Moulin Rouge!
The chaotic editing from Moulin Rouge!
The chaotic editing from Moulin Rouge!I love it, I love it, I love it, but I also have my problems with it.
Nicole Kidman is amazing in Moulin Rouge!
The film won the Golden Globe and the PGA for Best Motion Picture
I’ll admit, it’s been a while since I’ve seen it. What does it follow for standard A? I figure it would probably be able to check off standard D somehow or another.
I imagine big-budget films will have no issue checking off three if not four of these, particularly C and D. I truly don’t think this is going to change a whole lot. Might make some people happy, might piss some other people off, but everything will pretty much be the same as it’s been the past handful of years.
A1. Lead or significant supporting actors
At least one of the lead actors or significant supporting actors is from an underrepresented racial or ethnic group.
• Asian
• Hispanic/Latinx
• Black/African American (Anthony Mackie)
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• Other underrepresented race or ethnicityThat’s how easy this little rules will work, lol.
ReplyCopy URL1917 was written and produced by a woman.
That’s how easy this little rules will work, lol.
Irishman was Edited by a woman and its Cinematographer is a Mexican. So it already fulfills the criteria B.
Yeah, all pass (I assume Netflix’s team is big enough that it would’ve taken care of section D for The Irishman, plus it had a number of female producers). Blanked on Mackie. Might look into FvF though…
This really shouldn’t be too difficult at all.
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