Madhavan: Hollywood Is Tough For Indian Actors
Hollywood dumps romantic comedies for raunchier laughs
Some projects that did not meet with German approval were canceled, others nitpicked into irrelevance. The road to the triumph of the German will led from Berlin to a consulate in Los Angeles, to the Hays Office (better known for censoring sex in films), to the studio chiefs, to the minions who did their bidding. Looking for things to do? Select one or more criteria to search Kid-friendly Get ideas The studios reason for succumbing to pressure was simple: money. Germany was their second largest international market, and executives were eager to protect the box office for films like the hugely successful Broadway Melody of 1936 and Mickey Mouse cartoons, a personal favorite of Hitlers. At first, the German foreign office complained that warlike images in Hollywood movies offended national honor and hindered its people from rejoining the community of nations. Then it asked for protection of Germanys healthy racial feelings. Finally, it sought a prohibition on the rendering of sympathetic Jewish characters. Or any Jewish characters. The irony of the hypocrisy rises to additional heights or sinks to greater depths because the majority of the executives who acceded to the Germans ever-increasing demands for control were themselves Jewish, in many cases refugees from Europe. Abetted in their cowardice by various Hollywood rabbis as well as the Anti-Defamation League, these Jewish producers convinced themselves that too great a focus on Jewish suffering in a still-isolationist America might lead to anti-Semitic backlash. Urwand tracks German intervention in several movies, including Hells Angels, All Quiet on the Western Front and Sinclair Lewiss fable of fascism in America, It Cant Happen Here. Although Germany never paid directly for these favors, as companies now do in having their latest superhero glance at a Rolex, its aim was propagandistic product placement. Moviemakers concerned with the bottom line?
Among the findings: 53 percent of LGBT respondents believed that directors and producers are biased against LGBT performers in hiring. More than half of LGBT performers had heard anti-LGBT comments on set. And yet, 72 percent said that coming out had no effect on their careers. Of course, that means that 28 percent had a different, most likely negative experience. Gender nonconforming men and men who were out professionally were the most likely to experience discrimination. –Almost half of gay and lesbian respondents strongly agreed that producers and studio executives thing they are less marketable. In other words, Hollywood may be progressive, but their marketing to backward Americans still needs more aggressive propagandizing. SAG-AFTRA chief administrative officer and general counsel Duncan Crabtree-Ireland told TheWrap.com that We were pleased to see that our membership is overwhelmingly supportive of LGBT actors, and that many LGBT actors found benefits in coming out…Nonetheless, coming out remains a significant and consequential decision for many performers and we are committed to supporting our members in living honest and authentic personal and professional lives. Crabtree-Ireland, who quipped that he wasnt an actor but was married to one thanks to the cases that legalized same-sex marriage in California, told The Hollywood Reporter that the union will now develop an action plan based on the findings from the study. (The two unions became one in 2012.) The good news, said study co-author M. V. Lee Badgett, is that virtually no one thought things were getting worse for the gay agenda. The survey results show both progress and indications that more work will be necessary to make the workplace an equal and fully welcoming place for LGBT performers, Badgett said. While their website claims the Williams Institute is independent, they are transparently on the gay left. In 2008, Curve Magazine named Badgett one of the twenty most powerful lesbians in academia.
Hollywood’s Still ‘Discriminating’ Against the LGBT Entertainers?
Even if an actor has two hits in his life in Hollywood, he will never be poor,” he said. Not only are the payments enhanced but so are the budgets of the films. “Technology-wise we are almost there. But the budgets over there are high (higher). It is very tough for us to make those kinds of films in our kind of economy. But even now we do make international level films,” said the 43-year-old actor. He has finished shooting Night of the Living Dead: Origins, a zombie film. “It has been a huge learning experience and it was very exciting. I was very nervous as I had never shot like that before,” he said. It was the prospect of working with Simon West of Con Air and Lara Croft: Tomb Raider fame that attracted him to go on board. “It was a Simon West film. That was a huge advantage. Secondly, it had completely new technology,” said Madhavan, who has featured in TV shows and has also done films in Hindi, Tamil, Telugu and Malayalam across his over 15-year-old career. Madhavan is glad that the Indian film industry and the public have “been very nice with me”.
“The Collaboration: Hollywood’s Pact with Hitler,” by Ben Urwand
We live longer, work out, eat well, and there’s plenty of Botox to go around. Our age doesn’t define us. Rather, it refines us! Actress Terry Walters says, “It’s a magnificent time, and I’m grateful to be aging and a woman. Negativity is imposed on me by the business, and I feel I have to keep my age a secret. I really hate that, because I don’t get to brag about how amazing I am at the age I’m at. And the shape I’m in! I feel like what’s hopeful is there’s gonna be a place for me again. Right now, I’m straddling two worlds.” “We must stop listening to the notion that life is over after 40 for actresses,” says Garcia. “If a window is closing, just prop it up! We must embrace the change that happens in our lives at 40 and realize that we’re so much more interesting, and our voices are so much more engaging and powerful than they were ever before.
Aging Out: Hollywood’s Problem With Women Over 40
“I wanted to play with rom-com conventions and poke fun at them a bit,” said Gordon-Levitt, who also wrote and starred in the lead role. “(Barbara) expects her relationship with Jon to be like the romantic movies that she watches, and she tries to make him into that kind of man. They’re both stuck in their expectations instead of accepting each other for who they are,” he added. “Don Jon,” rated R for its graphic sexual content and strong language, leads a wave of comedies taking the place of conventional romantic-comedies drawing audiences looking for warm feel-good films as the weather gets colder. Movies such as 2001’s “Bridget Jones’s Diary” starring Renee Zellweger, Colin Firth and Hugh Grant that made $281 million worldwide, and 2006’s “The Holiday” with Cameron Diaz and Kate Winslet, which made $205 million at the global box office, demonstrated the power of romantic-comedies to bring in audiences. But in 2013, few traditional romantic comedies follow the traditional formula of boy meets girl in unlikely circumstances, falls in love and eventually lives happily ever after, a model that made films such as 1990’s “Pretty Woman” or 2001’s “The Wedding Planner” into romantic-comedy staples. “Rom-coms are not disappearing altogether, but there is a need for a novel approach … where the story-telling structure is different and doesn’t end with a woman and man just being happy,” said Lucas Shaw, film writer at TheWrap.com. COURTING MALE AUDIENCES Instead of romance, the fall season will see comedies such as “Bad Grandpa”, starring “Jackass” comedian Johnny Knoxville about an 86-year-old man traveling across America with his 8-year-old grandson, and “Last Vegas,” where four aging friends head to Sin City for a weekend of debauchery. The latter echoes the premise of the “Hangover” franchise spawned from four friends on a wild weekend in Las Vegas, with three films making more than $1 billion at the global box office. One romantic comedy vying for audiences this fall is British film “About Time,” about a man who can time travel, written and directed by Richard Curtis, the man behind hit romantic comedies including “Love Actually” and “Notting Hill.” The film starring Rachel McAdams has a 65 percent approval rating on review aggregator RottenTomatoes.com, but will go up against Marvel’s superhero sequel “Thor: The Dark World” and drama “The Wolf of Wall Street,” starring Leonardo DiCaprio, and is likely to have low expectations at the box office. “Studios don’t seem to be courting female viewers as much as they should be.