chris played it smart and dumb at the same time
thats why he got money problems
Taraji P. Henson breaks out crying mid interview when discussing her financial situation
- Thread starter Gemini
- Start date
thats why he got money problems
most of them got beef with oprah but not saying shitDamn that was weird.
If you’re not getting production credits, who cares how much the movie gross? You’ve never seen the Fries Guy be concerned about the stores revenue and expenses.
Do you want to know why Brad Pitt doesn’t act anymore? Check the credits for Plan B. Nothing but Oscar winners.
Jamie Foxx won one for best actor in 2004....by 2017 the nigga was hosting a GAME SHOW..
The first 3 definitely aren't because they're getting money.
And yet lord sinister will say she’s playing in the and1 league
i dont know if it was moYour right. I didn't think about that
but at one her black women parties is said she cussed out lupita
thats why mo said behind the scenes everybody was giving her props
but no one backed her in public
Cause of the Big O? Damn. Why would she cuss Lupita out like that? I believe that too. That's fucked up. All them need ta give me some pussy and we can discuss their issues afterwards.
chillax im already there why u think i know so muchCause of the Big O? Damn. Why would she cuss Lupita out like that? I believe that too. That's fucked up. All them need ta give me some pussy and we can discuss their issues afterwards.
stick to ur pictures greedy ass negro
Nigga. No!!
Jamie Foxx won one for best actor in 2004....by 2017 the nigga was hosting a GAME SHOW..
That he executive produced and got front and backend and syndication money from the series?
How is that a bad thing?
He was still making movies and everything else. He was diversified in his ventures like he saw ALL THE OTHER ACTORS doing when network's were starved for content giving out TV game show deals.
Jimmy Fallon, Alec Baldwin, Elizabeth banks, Anthony Anderson, Lesley Jones, Michael Strahan etc
That's easy big money
So yeah you should leave.
Meant about what?
u will get work but not pay
bro are there are videos of them complaining in this thread lol
Viola Davis and Sanaa Lathan.
i dont count rosario does she even identify as black?
Now Playa you KNOW good n well if you saw Denzel Washington hosting a game show you aint saying oh D must be diversifying his venture.....youd say OH SHIT DENZEL MUST HAVE FUCKED UP SOMEWHERE!!!
Do you want to be seen or do you want to be paid? Do you want to “work” or do you want to work? Byron Allen used to get paid by Jimmie Walker for jokes.
In 30 years of “working” Denzel only has 15 Producer credits and 5 director credits. Regina King has 15 director credits and 5 Producer credits.
The Oscars in Labor History: Union-Busting Is at the Roots of the Ceremony. The Oscars were created to pacify Hollywood talent. The story of the Academy Awards starts with Louis B. Mayer's beach house....
Politics
The Oscars in Labor History: Union-Busting Is at the Roots of the Ceremony
The Oscars were created to pacify Hollywood talent.
BY SOPHIE HAYSSEN
MARCH 10, 2023
In 1926, Mayer was working as West Coast chief for the film studio Metro-Goldwyn-Mayer, a position vested with extreme wealth and power. As film critic and historian David Thompson wrote in Vanity Fair, Mayer wanted to build his family a relaxing getaway, and to do so quickly. Conventional laborers would be too slow, he thought, so he decided to use studio construction workers, who he knew could work fast.
Previously, theater stagehands who migrated to Hollywood in the early film industry belonged to the theatrical union, the International Alliance of Theatrical Stage Employees (IATSE). By 1925, IATSE was attempting to organize technical workers in earnest. For Mayer, this meant concerns about the price of studio labor going up.
The organizing of technical workers resulted in the Studio Basic Agreement. The agreement, signed on November 29, 1926, wasn’t a formal labor contract, but rather a serious promise allowing union representatives to meet with select producers to hash out grievances and labor disputes. It was approved by nine major production corporations along with five unions. Today, IATSE remains a major union for Hollywood crew members.
But ultimately, according to Thompson’s reporting, Mayer got what he wanted. By using a few studio laborers and relying on cheap, outsourced labor, he quickly completed his beach house. Still, news of labor organizing left him concerned about what might happen if the “talent” — actors, directors, and writers — started to unionize.
At the time, Hollywood was run by the studio system, in which a few studios controlled everything from film production to distribution. Actors signed contracts with a particular studio, which gave them significantly less creative control than they have today. Studios were just beginning to understand how actors could be used to generate publicity and promote films. In other words, without control of their talent, studios had a lot to lose.
Mayer founded the Academy of Motion Picture Arts and Sciences (AMPAS) in 1927. AMPAS was initially designed to seem like an advocate for employees, effectively trying to replace the need for a union. However, membership in the organization was by invite only, and its loyalties clearly rested with management. Peter Decherney, a professor of cinema studies and author of Hollywood and the Cultural Elite tells Teen Vogue, “The Academy promised to be this industry-wide body that could help set standards. It never worked that way. It was often dismissed as the studio-heads' union.”
The desire for industry control also inspired the creation of the Academy Awards in 1929. After a number of scandals, the awards offered an opportunity to generate positive publicity. Mayer is even quoted in one of his biographies specifically identifying the awards as a means for creative control. He said if he gave filmmakers “cups and awards, they'd kill themselves to produce what I wanted."
Decherney argues the awards were designed so talent would think of themselves as artists rather than laborers, thereby driving a wedge between them and technical, union workers. “Giving people awards shows that what they do is creative rather than labor,” Decherney explains. “Also, it awards a few individuals rather than thinking about the much larger community of actors and writers. Most don't get awards or even get invited to the ceremony.”
The formation of AMPAS didn’t stop talent from unionizing, but it did delay the process by several years. The Actor’s Equity Association, which began in 1919 as a theatrical union, attempted to organize actors in 1921, with its efforts coming to a head in a 1929 strike against the studios to demand the formation of a union shop. Despite supporting a 10% wage cut across the board, AMPAS secured actors a baseline contract with a grievance process. Actors were mostly happy with these initial gains and Equity left Hollywood, according to the 1947 journal article, “Labor Relations in Hollywood,” by writer and economist Murray Ross.
A similar scenario played out for screenwriters who demanded satisfactory compensation, onscreen credits, and a standard contract. Again, AMPAS successfully negotiated some demands while declining to set forth an official contract for freelance screenwriters. Still, the screenwriters continued to distrust AMPAS.
Any faith that workers had left in AMPAS broke during the Great Depression, when the film industry was hit so hard its leaders considered shutting down all studios due to financial troubles. In 1933, studios demanded a 50% pay reduction for everyone except executives and unionized crew members. This move was supported by AMPAS, which deeply angered the talent, especially highly paid actors.
The same year, driven by dissatisfaction with AMPAS, union activity for creative talent hit two important milestones: The Screen Actors Guild (SGA) was formed in a secret meeting at actor Kenneth Thomson’s home, and the Screen Writers Guild (SWG) was officially established. Both organizations encouraged members to resign from AMPAS.
In the following years, AMPAS continued to face pushback from unions. Before the 1936 Oscars ceremony, the guilds called for a boycott of the awards due to AMPAS’s continued involvement in labor negotiations. They also wanted to inspire new negotiations with producers, to urge them to bargain directly with them instead, PhD student Monica Sandler explained in the 2015 Media Industries Journal article, “PR and Politics at Hollywood’s Biggest Night: The Academy Awards and Unionization.” The boycott didn’t produce much actionable change, but it did increase awareness and prompted two winners to refuse their awards. As of 1937, AMPAS began to restructure, withdrawing directly from labor negotiations.
Today, Hollywood is a union town. SAG, SWG, and the Screen Directors Guild (the latter two now known as the Writers Guild of America and Directors Guild of America, respectively) are still going strong. But at the Academy Awards, the same struggle for industry control — the clash between art and business — rages on.
Gil Robertson, cofounder and president of the African American Film Critics Association, tells Teen Vogue, “There's always been tension there and probably always will. The way the Oscars and Hollywood operate is no different than any other company or institution in this country.” He adds, “So, whether or not that's good or bad, people who have more money have more privilege.”
This privilege is encapsulated in the campaign process, which became costly in the 2000s when now disgraced producer Harvey Weinstein began launching elaborate campaigns for his films. These campaigns create barriers to entry for lower-budget films seeking recognition. This year, Andrea Riseborough’s surprise nomination for the small, independent film To Leslie put a spotlight back on the campaign process. As the New York Times recounted, Riseborough allegedly got her nomination because her manager and his wife enlisted celebrity pals to publicly advocate for her. Some people called the campaign unfair, but Tom Salinsky, cohost of Best Pick, a podcast about the Oscars, points out for Teen Vogue the distinction between Riseborough’s campaign and the typical Oscar campaign equates to “having more money to spend than everyone else” vs. “having fancier friends than everyone else.”
Producers are willing to pull out all the stops because Oscar nominations can give films a second wind at the box office. For actors, winning an Oscar can also translate into job offers. A study published in 2015 found that Oscar nominees starred in more films than non-nominees, and Oscar winners starred in more films than nominees. These material consequences demonstrate the importance of #OscarsSoWhite, the hashtag and boycott launched in 2015 that called attention to the lack of racial diversity among nominees.
“If you're a movie lover, you have lots and lots of choices,” Mike Sargent, chief film critic for WBAI radio’s ReelWorld tells Teen Vogue. “But at the same time, if the people who are judging it have a narrow point of view, a narrow reference, then the people who were even given the opportunity to do work, if they don't get acknowledged, they won't get more work.”
As audiences have changed and calls for greater representation in film have grown stronger, the Academy has taken steps to reinvent itself. In 2018, the Oscars accepted its largest new cohort of members to date, increasing its racial diversity. According to Statista, in 2022, 67% of Academy members were men and 81% identified as white.
“It's an institution that is in flux. It's evolving,” Robertson says, expressing optimism about the Academy’s capacity for change. “The approach that the Academy continues to make toward better representation within its membership ranks speaks to an honest effort. [They seem to be] trying to become an organization that is representative of the diversity found in this country.”
Condé Nast Store
Visual Stories
COOKIES SETTINGS
© 2023 Condé Nast. All rights reserved. Use of this site constitutes acceptance of our User Agreement and Privacy Policy and Cookie Statement and Your California Privacy Rights. Teen Vogue may earn a portion of sales from products that are purchased through our site as part of our Affiliate Partnerships with retailers. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with the prior written permission of Condé Nast.
all this shows is that nonwhites should not be losing their shit over winning one.
Many if not most people want to be validated by their parents and peers, even though those things shouldn't matter in the greater scheme, it's natural
If you had bad parents and they never gave you validation or your peers kissed the ass of everyone else and ignored your Superior talents, their opinions shouldn't matter, but they do to a lot of people
The academy, knowing this uses it against people to separate or form classism to bring out the coons willing to sell themselves or their souls for the possibility of an Oscar. It's a game as old as time
As an author/writer/ singer, I would be lying if I said I didn't want an EGOT (Emmy Grammy Oscar Tony), but these awards aren't giving out on Talent alone. I could end up like Marshall Faulk with the Heisman Trophy, they could give it to Gino toretta knowing full well that Marshall Faulk deserved it
Yo, that’s Cory Booker’s girl.
i mean was a honest question she always was doing more cac movies
maybe she zoe zaldana type
If Gabby were my wife, she would never have to work a day in her life. I’ll be her Jeff Bezos.
Comedy hype needs to be careful with their editing...cuz it's clear they're fishing for a certain narrative.
What Nonstop said. If you're not getting production credits then it doesn't fucking matter how much the movie grows. All you get is the money they paid you up front, and from that you got to pay your fucking team and taxes. So if you get 10 million for this movie it's going to come out to be maybe two million after taxes and paying your team
Brad Pitt became the pimp, not just the hoe. That's what you got to do in this game.
If you take production credits, you become the pimp. If all you do is act in the movie then all you are is a hoe and hoes are a dime a dozen. Not just that, the pimp is trying to replace the expensive hoe for cheaper hoes first chance they get.
Ask someone said, Brad Pitt rarely even acts anymore.
Denzel has produced almost every movie he's starred in since 2010 with the exception of a few.
Fantasia Barrino, star of 'The Color Purple,' says that she 'lost everything' after 'American Idol'
Fantasia Barrino, star of 'The Color Purple,' says that she 'lost everything' after 'American Idol.'
Halle Berry, Kerry Washington Co-Sign Taraji P. Henson’s Tearful Take On Hollywood Wage Disparity
By: AllHipHop Staff
December 24, 2023
allhiphop.com
By: AllHipHop Staff
December 24, 2023
Halle Berry, Kerry Washington Co-Sign Taraji P. Henson's Tearful Take On Hollywood Wage Disparity
Taraji P. Henson revealed she is tired of working hard for a small paycheck and why she's considering retirement. Read more!
allhiphop.com
Taraji P. Henson 'broke down' after discovering she wasn't initially considered to star in 'The Color Purple'
Appearing on the latest episode of "Armchair Expert with Dax Shepard," Henson said she found out from Bazawule that she wasn't on the studio's wish list for the movie.
Eammon Jacobs
Jan 2, 2024
Appearing on the latest episode of "Armchair Expert with Dax Shepard," Henson said she found out from Bazawule that she wasn't on the studio's wish list for the movie.
Eammon Jacobs
Jan 2, 2024
Taraji P. Henson wasn't considered for 'The Color Purple' role at first
Taraji P. Henson said she found out during a live Q&A that the studio didn't consider her at first for "The Color Purple."
www.businessinsider.com