Tag Archives: Viola Davis

New “Suicide Squad” Posters Feature Characters, Marshmallows

Warner Bros. and DC Comics’ Suicide Squad have released new posters, and they are all sugary sweet. Literally.

I think it’s a rather ingenious move to showcase the characters of the film in Lucky Charms-esque marshmallow form. It seems to say it all about the film; it’s a comic book film, of course, but it’s a comic book film that is also highly aware of the candy-coated action film it’s striving to be, a film non-comic book fans can watch and like too. If there’s one thing I don’t like about Marvel movies (and I have more than one thing I don’t like), it’s that Marvel Studios only seems to market their films to die-hard comic book fans, leaving not-so-regular Marvel readers like me feeling a little out in the cold. DC, though, also seems like a lot of their big characters, like Superman, Batman, Wonder Woman, Aquaman, etc., seem to be more equal-access characters than Marvel characters, as in they seem to be a bigger part of the American collective consciousness than Marvel’s big characters like Captain America. The only Marvel character that is as much a part of the collective consciousness like Batman is Spider-Man. Anyways, let me not get into a dissertation about how accessible certain characters are.

Here are the character posters as well as that aforementioned marshmallow poster. Wouldn’t it be great if Kellogg’s partnered with DC and actually made this poster into a cereal? I’d eat a ton of that.

Suicide Squad comes to theaters August 5. Here’s more about the film:

From director David Ayer (“Fury,” “End of Watch”) comes “Suicide Squad,” starring Oscar nominee Will Smith (“Ali,” “The Pursuit of Happyness”), Oscar winner Jared Leto (“Dallas Buyers Club”), Margot Robbie (“The Wolf of Wall Street,” “Focus”), Joel Kinnaman (Netflix’s “House of Cards”) and Oscar nominee Viola Davis (“The Help,” “Doubt”).

It feels good to be bad… Assemble a team of the world’s most dangerous, incarcerated Super Villains, provide them with the most powerful arsenal at the government’s disposal, and send them off on a mission to defeat an enigmatic, insuperable entity. U.S. intelligence officer Amanda Waller has determined only a secretly convened group of disparate, despicable individuals with next to nothing to lose will do. However, once they realize they weren’t picked to succeed but chosen for their patent culpability when they inevitably fail, will the Suicide Squad resolve to die trying, or decide it’s every man for himself?

Written and directed by Ayer based on the characters from DC Comics, the film also stars Jai Courtney (“Insurgent”), Jay Hernandez (“Takers”), Adewale Akinnuoye-Agbaje (“Thor: The Dark World”), Ike Barinholtz (“Neighbors”), Scott Eastwood (“Fury”), Cara Delevingne (“Paper Towns”), Adam Beach (“Cowboys & Aliens”), and Karen Fukuhara in her feature film debut. It is produced by Charles Roven and Richard Suckle, with Zack Snyder, Deborah Snyder, Colin Wilson and Geoff Johns serving as executive producers.

Ayer’s behind-the-scenes creative team includes director of photography Roman Vasyanov (“Fury,” “End of Watch”), production designer Oliver Scholl (“Edge of Tomorrow”), editor John Gilroy (“Pacific Rim”), costume designer Kate Hawley (“The Hobbit” Trilogy) and Oscar-nominated visual effects supervisor Jerome Chen (“Stuart Little,” “Fury,” “The Amazing Spider-Man” films). The music is by Oscar-winning composer Steven Price (“Gravity”).

Warner Bros. Pictures presents, an Atlas Entertainment production, a film by David Ayer, “Suicide Squad.” The film will be distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company. The film opens worldwide in 3D, and in 2D, and in select IMAX 3D theaters beginning August 5, 2016.

 

#OscarsSoWhite Gets Academy Results and Old Guard Fallout

There has been too much Oscars news lately! Well, complaining is wrong; there’s been just the right amount of Oscars news since it’s actually news affecting change. And in the past 24+ hours, there has been tons of movement (and tons of upset). Here’s what’s happened in four sections.

The facts

The big fact of the weekend is that the Oscars has changed its rules. In a sweeping historic move, the Academy has basically stuck it to the old white members in its ranks.

Academy-press-release

Needless to say, people aren’t happy about this, but that comes later in this article.

The support (and supportive critiques)

Many in the acting world and April Reign, the creator of #OscarsSoWhite have given their support (and in some cases, their constructive criticism) of the new changes.

“I’m very encouraged. I think that the changes that will be made will make a significant different,” Reign told the Los Angeles Times. I appreciate the fact that the vote was unanimous, which indicates to me that the academy is serious about making the organization momre inclusive and more diverse. I’ve spoken about my concern that some of the older academy members still have a vote even though they aren’t active in the film industry an that appears to be addressed. The fact that they will be proactively looking for more diverse members is [also] exciting.”

Ava DuVernay tweeted this:

Don Cheadle said during a Sundance interview that the changes are stage one in a much-needed process. “I think it is a step in the right direction, a needed step,” he said, according to Deadline. “But people really have to have access to the stories they want to tell. So what we really need is people in positions to greenlight those stories, not a hunk of metal.” (I’m assuming the “hunk of metal” Cheadle is referring to is the Oscar itself.) 

Oscar nominated director Alejandro Iñárritu said during the PGA Breakfast that the new steps the Academy is taking is a start, but change needs to happen outside of the Academy and with the industry itself. 

“I think the things the Academy has just made is a great step, but the Academy really is at the end of the chain,” he said, according to The Hollywood Reporter. Iñárritu also said, “Hopefully, active change, positive cahnge, they can start at the beginning of the chain. The complexity of the demographics of this country should be reflected not only at the end of the chain.” He also added that “cinema is the mirror where we can all see ourselves.”

Screenwriter/director/producer Jonathan Demme issued an op-ed for Deadline saying that the Academy needs to change the current nominations to reflect the diversity that was a part of the 2015 film year. He provides the example of Tangerine and how the Academy clearly ignored it. To quote him:

“Superb in every aspect and featuring dazzling, heroic performances by fantastic LGBTQ actors in leading roles, Tangerine had no campaign, but someone managed to send out screeners. The film was shot—brilliantly–on i-phones (!!!!!). This hugely entrtainiing and ground-breaking film brings fresh meaning to the “outstanding achievement” verbiage that defines the point of the Oscars. Did enough Academy voters—overwhelmingly older, white males—watch the Tangerine screener to give it a shot at nomination? Does our membership gravitate—maybe more or less exclusively—to white stories, white actors, white filmmakers? It sure feels that way, doesn’t it?”

These comments aren’t necessarily a reaction to the Academy’s changes, but Viola Davis’ comments during Elle’s 6th Annual Women in Television Dinner said the members of the Academy should ask themselves some questions about the industry. 

“How many black films are being produced every year?” she said, according to BET. “How are they being distributed? The films that are being made—are the big-time producers thinking outside of the box in terms of how to cast the role? Can you cast a black woman in that role? Can you cast a black man in that role?”

Davis also touched on the pay discrepancy, which is even worse for actresses of color than it is for white actresses. “You could probably line up all the A-list black actresses out there [and] they probably don’t make what one A-list white woman makes in one film. That’s the problem. You can change thee Academy, but if there are no black films being produced, what is there to vote for?”

Malik Yoba wrote this on Instagram, stating that being included in Hollywood shouldn’t be viewed as “a birthright”:

Only in NY will this happen. Such an interesting time we’re living in. The more things change the more things stay the same. A function of living inauthentically and disconnected from the eternal truth that God is love and we were all made in His image. From atheist to believers one thing is certain, everybody wants to feel loved, honored, included, acknowledged and feel the support of their peers. Working in a business that doesn’t always see the big picture is a challenge but being included is not a given or a birthright. All we can do as individuals is continue to honor our gifts and work toward building our own pathways to get our stories out to the masses. None of this is easy and every little bit counts including the protestations. Happy Friday Fam!! It’s a great day to be alive as we take nothing from granted 🙏🏾 #truth #honor #oscars #hollywood #america #actor #blessing #pop #popculture

A photo posted by malikyoba (@malikyoba) on

http://www.thewrap.com/danny-devito-oscar-diversity-america-racist-country-genocide/

Marlon Wayans, on the other hand provides a perspective that could be argued as missing the point. During an Essence Live appearance for his latest film, Fifty Shades of Black, Wayans said that while the discussion about diversity in Hollywood is important, showing up to support minority films is even more important.

“How about we all show up and we support these movies? A lot of times we complain but yet we sit in our seat opening weekend and we don’t support our films,” he told Essence. “Everybody out there, come support because Hollywood is not about black and white. Hollywood is about gree. So why don’t we support our own, make sure we make the green because as long as you make thee green, we can make more movies and then we won’t have these discussions.”

(Some would say that Wayans’ point dodges the actual issue at hand; it’s not about people not supporting minority films, because people did and have been supporting minority films—Straight Outta Compton doesn’t get to number one at the box office and stay there through just critical support. The real issue is getting the films that the people love awarded for their achievements.)

Some other things of note are some highly interesting and necessary articles about the racist underside of the Oscars and the industry at large. Entertainment Weekly has teased their magazine interview with Sacheen Littlefeather, the woman who stood on stage and delivered Marlon Brando’s message to the Academy in 1973 when he boycotted on behalf of Native Americans. NBC Latino provides a list of Latino films that could easily be nominated for an Oscar. Mashable also has an article addressing how Latino, Asian, and Native American actors are hardly nominated for an Oscar. (This also goes into why the industry needs to be changed; currently, the industry itself doesn’t greenlight enough films telling Latino, Native American and Asian stories, and when there are Latino, Native or Asian characters in films, they are sometimes played by white or “beige” actors, such as Emma Stone in Aloha and Tilda Swinton as The Ancient One, while Benedict Wong is stuck with playing what could be racist stereotype—Doctor Strange’s manservant/sidekick.)

 

Want to read more about diverse entertainment? Read the inaugural issue of COLOR BLOCK Magazine!

 

 

The outrage

The outrage to #OscarsSoWhite took a while to whip up, but it came, especially after the Academy changed its rules. Friday alone saw Charlotte Rampling, Michael Caine and Julie Delphy saying annoying, tone-deaf and, in Rampling and Delphy’s cases, extremely racist things.

Rampling, who is nominated for an Oscar for her role in 45 Years, said the Oscars controversy was “racist to whites.”

“One can never really know, but perhaps the black actors did not deserve to make the final list,” she said to French radio station Europe 1, according to The Guardian. She also said in response to a question about if the Academy should have quotas, “Why classify people? These days everyone is more or less accepted…People will always say: ‘Him, he’s less handsome’; ‘Him, he’s too black’; ‘He is too white’…someone will always be saying ‘You are too’ [this or that]…But do we have to take from this that there should be lots of minorities everywhere?”

She later walked back her statement after a vicious roasting on Twitter. According to USA Today, the statement, which was given to CBS News, states, “I regret that my comments could have been misinterprted. I simply meant to say that in an ideal world every performance will be given equal opportunities for consideration.” The apology-PR damage control also stated, “Diversity in our industry is an important issue that needs to be addressed. I am highly encouraged by the changes announced today by the academy to diversify its membership.”

Michael Caine said that black actors should “be patient,” a statement that was in response to the fear of the Academy using quotas, but it’s also a statement  that could be uncomfortably interpreted as telling minorities to wait their turn. As he told Radio 4 according to the Independent, “There’s loads of black actors. In the end you can’t vote for an actor because he’s black. You can’t say ‘I’m going to vote for him, he’s not very good, but he’s black, I’ll vote for him…Of course [nominations and wins] will come. It took me years to get an Oscar, years.”

Julie Delpy also put in her two cents, saying that it’s harder to be a woman in showbusiness than it is a black person. “Sometimes, I wish I were African-American because people don’t bash them afterwards,” she said to The Wrap. Her statement widely ignores the fact that 1) black women are also women, which illustrates why people should have intersectional feminism and 2) that all women of color including black women have it easier in Hollywood, when women of color have historically had it much harder in terms of finding roles, pay equal to their white female counterparts, and the respect white actresses receive on a daily basis.

The real fire came when the Academy released their new rules, leading many in Hollywood, mostly those members among the older set, to release angry statements. You can read many of their statements at The Hollywood Reporter (and again), The Los Angeles Times, and Deadline, but most of them (including those who were smart enough to remain anonymous for fear of backlash) include feelings of resentment at what they feel is the Academy’s implication that their age makes them unable to judge talent as well as the implication that their voting strategies have been biased (or as many have said, “racist.”)

While the angry members are the most vocal right now, there are quite a few members who are glad of the changes, including those who are of the older set. These members recognize that there’s a clear bias at work when most of the Academy is made of old white men. 72-year-old actor Robert Walden summed it up perfectly when emailing his response to the Times. “I can tell you now that if the voters had actually viewed ‘Beasts of No Nation’ and ‘Straight Outta Compton,’ the situation might have been different. But because of the subject matter, or presumed understanding of what the films were about, I’d venture half the members did not see thoe films. …I feel a significant segment of the older members might assume that certain films don’t appeal or ‘speak’ to them. That they speak to a ‘niche’ and not to us all.”

Takeaways

There’s going to be tons of Oscar talk for the weeks leading up to Feb. 28, the night the Oscars airs (still hosted by Chris Rock, thank goodness; get your popcorn ready for viewing some uncomfortable faces in the audience). But I have read enough to give some takeaways, and these takeaways are going to be just the same now as they will be in the future.

The older members who are upset (including, in an ironic twist, Tab Hunter, who is for all intents and purposes the first outed gay actor of the 1950s and 1960s) are upset for very human, very selfish reasons. Their view is that the Academy sees them as not just old, but antiquated and out of touch with the times. To a certain degree, the Academy’s view is just that; they are too out of touch and too set in their ways to see past what they think is and isn’t art worthy of being nominated. That’s a problem, and that problem doesn’t just occur with Hollywood; it occurs in many other segments of life in which an older body is trying to impose old rules on a younger, more agile, more integrated set of individuals. America, to be frank, was founded because of an older “parent” trying to rule a younger country who wanted to fail or succeed by their own terms. Just like with the War for Independence, the Academy and its sympathizers are now rebelling against some of the older set who are comfortable having things just as they were. There’s a historical analog to this too: the South wanted things to stay the same because many white southerners were comfortable with Jim Crow and other segregationist tactics because they served their interests. When stuff started changing, they started rebelling against the tides of change. They ultimately lost that fight, for the most part, and the Old Guard at the Academy’s going to lose their fight as well.

Perhaps, some of the old members who feel like they’ve lost their way will find another way to assert what remains of their power, but it’ll never be like how it was before. Hollywood itself won’t be the same after this controversy, because now the onus will not just be on the Academy to provide a facade for diversity; it’ll be up to everyone who runs anything dealing with entertainment. In order for there to be films to nominate, there have to be more films featuring non-white, non-male stories getting greenlit. There has to be more of a reliance on the now and less of a reliance on, as some members intimated, an “I’m not racist” card just because they might have participated in the Civil Rights Movement in some way.

This gets to my last point: Right before writing this, I read this tweet:

I think that’s true for many things, and it’s definitely true for this. Everyone who has had their feelings hurt by #OscarsSoWhite is quick to say “I’m not a racist.” The Academy’s changes aren’t fearful for some just because it’s change; the changes are being met with fear because some of these people know that there’s more they could have done to prevent this nominations fiasco in the first place. Like what Walden said, if half of the members who didn’t view Straight Outta Compton and Beasts of No Nation actually watched the films instead of writing them off as niche, then the nominations card would look completely different. Basically, I personally think many of the ones crying foul are actually crying out because of their guilt. Who wants to own up to the fact that they might have had a damaging, insidious bias in their voting when they thought they were voting strictly on talent?

Some folks in the Academy are, if going by their statements (especially the anonymous ones) harbor clear racist sentiments. Others are ill-informed and don’t even understand the implications of what they’re saying. Others are still holding onto the good (or guilt-easing actions) they did in the ’60s to justify “voting on talent” today. But there are others up and down in the Academy who believe these changes are good for the organization and that, sadly, they are necessary. I think so, too. These changes shouldn’t have had to be implemented, but Hollywood is nothing but a reflection of society. If we all want a seat at the table–the Academy, Hollywood or otherwise–then the table has to be retrofitted or completely remodeled to accommodate. Cheryl Boone Isaacs has taken the first step towards a remodel, and now the rest of Hollywood has to follow suit. Create more films for all minorities, not just black people. We need more LGBT stories, more Asian stories, more Middle Eastern stories, more Native American stories, and more biracial/multiracial stories. We need stories of all types, including those I might have missed mentioned here.

Rampling asked why there need to be labels; little does she know that it’s the society she participates in that created those labels. If we had more stories of all types, and if those stories were valued on the same level playing field, then the negative, segregationist thinking that comes with these labels, would go away and the labels would just be mere descriptors, not assessments of a person’s entire being.

 

#OscarsSoWhite: More Discussion, New Open Letters Published

TONS of Oscar news, I tell ya! Tons of it! The battle for diversity in the Oscar nominations has gotten bigger than anyone thought it would get (including me, which might surprise you—I vacillate between cynicism and optimism) . Here’s what’s been happening so far.

Will Smith will not attend the Oscars after all. You can read more about his comments at Entertainment Weekly, but just know that during his Good Morning America exclusive he said these points: 1) he didn’t know about his wife’s plan to release a video, 2) he feels his wife would have made a video whether or not he was nominated (despite his concession that perhaps the lack of a Concussion nomination was the catalyst for Pinkett Smith’s feelings), and 3) this issue is about more than him and Concussion; it’s about the whole industry.

Mark Ruffalo heavily weighed not going to the Oscars over the course of Thursday. First, he said to BBC News that he was considering joining the boycott, saying, “I woke up in the morning thinking, what is the right way to do this? Because if you look at Martin Luther King’s legacy, what he was saying was, the good people who don’t act are much worse than the people, the wrongdoers that are purposely not acting and don’t know the right way.” Later on Twitter, Ruffalo gave his final decision and his reasoning:

50 Cent and Tyrese Gibson want Chris Rock to boycott the Oscars, as reported by The Hollywood Reporter. But personally, I want Chris Rock to host and slay the game. Embarrassing the Academy on live television is the type of righteous pettiness I can get behind.

• Viola Davis, Lupita Nyong’o, and Quincy Jones are among other actors who are calling for more diversity in the Oscar voting pool. Davis, who was nominated for her role in The Help (a role indicative of the kind of roles the Oscars nominate for black people), said that the Oscar issue is indicative of a much larger societal problem. To quote The Hollywood Reporter:

“It’s not the Oscars. The Oscars are a symptom of a much greater issue and that’s the issue of the Hollywood movie-making system. How many more movies are being made that have this in it,” she asks as she points to the color of her skin. “More films need to be made wher we can shine. That’s the bottom line. The opportunity does not match the talent. There needs to be more opportunity, that’s just it. And you have to invest in it.”

Nyong’o, who won for her role in 12 Years a Slave (a slave role, another type the Oscars love for black people), posted this on Instagram:

Jones, who is the first black person to be added to the Academy board of governors, said to the National Association of Television Program Executives conference Wednesday that said he intends to address the diversity issue with the AMPAS board next week. “I’m going to ask the board to let me speak for five minutes on this lack of diversity. We’ve got to find a solution. It’s been going on for too long,” he said, according to Variety.

Brie Larson threw her support behind #OscarsSoWhite with this Instagram post:

Reese Witherspoon also called for more attention to the nominations outrage, writing on Facebook (and lauding TIME Magazine):

I really appreciated this article in TIME on the lack of racial and gender diversity in this year’s Oscar…

Posted by Reese Witherspoon on Thursday, January 21, 2016

• Other actors are furthering the diversity discussion by talking more about the industry at large. Idris Elba recently spoke to British Parliament about the lack of roles for black British actors, saying “Talent is there, opportunity isn’t, [a]nd talent can’t reach opportunity”(you can read the transcript here). On Twitter, Elba called the speech “the mot important speech I ever made.”

Nate Parker, who is playing slave rebel leader Nat Turner in the upcoming film Birth of a Nation (a film he wrote, produced and directed), said that too many of the roles for black men lack “integrity.” “As a black man, you leave auditions not hoping you get the job but wondering how you explain it to your family if you do,” he said to The Hollywood Reporter. “Historically, and this is truly my feeling, generally speaking we as black people have been celebrated more for when we are subservient, when we are not being leaders or kings, or being in the center [of] our own narrative driving it forward.”

Dustin Hoffman told BBC News (as reported by The Hollywood Reporter) that that lack of inclusion with Oscar noms is indicative of America’s racist history, calling it “subliminal racism.”

“In our country, there’s a subliminal racism, and it’s been there…the end of the Civil War didn’t change that,” he said on the red carpet of the National TV Awards. “It’s only been 200 years, this is just an example of it.” He also said, “Other than black entertaiiners being nominated, there’s a bigger problem with young black individuals being killed on our streets by police. That’s a bigger problem.”

• The Los Angeles Times has also addressed that it’s not just black people denigrated by the lack of Oscar nominations and the industry; the Times‘ Susan King points out that it’s been 54 years since a Latina won an Oscar, and an Asian actress hasn’t won in 58 years. Ben Johnson, of Cherokee and Irish descent won an Oscar in 1971, and no other indigenous person  who was nominated for an Oscar has won since.

• Some of the Oscar voters themselves have come out to The Hollywood Reporter on the defensive, with some saying that they feel it’s unfair to imply that they are racist (even though no one applied the word “racist” and the consensus doesn’t account for a more nuanced reading of the outrage fans and other Oscar voters have). Others have also said that the battle should be with the industry, not with them.

• Despite what some of the offended Oscar voters are saying, many of the current and former Academy brass are working on getting their members in check. Academy CEO Dawn Hudson had an op-ed published in The Hollywood Reporter, stating that this moment in time is an “inflection point.” To quote a piece:

“There’s not one part of the industry that doesn’t need to be addressed, and it’s been this way for 25 years. The needle has hardly moved. It’s cultural, it’s institutional, it’s our society at large, it’s our education system–all of it–before you get to an industry that’s supposed to reflect this beautiful world. And the indstury has been building up over a very log time, starting with white men running the studios who hire other people who look like them. It hasn’t changed that much, and it won’t until there’s a concerted effort on every single front: talent, the executives in the studios, the people we mentor.”

The former Academy president, Hawk Koch, wrote in a passionate open letter to the Hollywood industry (published in The Hollywood Reporter) that a boycott won’t solve anything, but changing the industry will. Quoting the letter:

“…[C]learly our industry needs to do more to find and develop talent in all the crafts. We must work with the Unions and the Guilds as well as schools across the country to identify and cultivate the talent of African Americans, Hispanics, Asians, women, LGBTs, the disabled an all under represented gropus. And then we have to allow them access to every single aspect of filmmaking.”

All of this and more will probably be discussed this Tuesday when AMPAS will meet for a routine meeting next Tuesday. One of the governors told Entertainment Weekly that “[i]t promises to be a long and adventuresome night.”

News about #OscarsSoWhite is still developing as we speak, so we’ll see what happens in the coming days.