[phylt]

Originally Posted by golfing eagles

There is usually a wide difference large enough to build a Walmart Supercenter between what the so-called critics like and popular opinion. The most egregious example was in 1977 when Dennis Cunningham, movie critic for WCBS-NY rated "The Turning Point" with Mikhail Baryshnikov as a "10" and Star Wars as a "-1". I think history has spoken, and George Lucas is happier with his bank account than the producer of "The Turning Point"

Totally agree. One HUGE example of this is the movie "Reagan". If I recall the difference on Rotten Tomatoes was something like 19% positive for Critics and 98% for public opinion. Of course much of this disparity can be ascribed to L<>R stuff.

[Taltarzac725]

Originally Posted by phylt

Totally agree. One HUGE example of this is the movie "Reagan". If I recall the difference on Rotten Tomatoes was something like 19% positive for Critics and 98% for public opinion. Of course much of this disparity can be ascribed to L<>R stuff.

I saw Reagan speak at the University of Nevada, Reno. Great man IMHO. I will leave it at that though. I will note that Hollywood leans very heavily in one direction even if there are many individual movie stars who go the other way .

[mbene]

I remember asking my parents when they were older why they never went to the movies anymore. Their reply was that all the actors they used to enjoy were gone. Didn't understand that back then but do now.

[tjdmlhw]

Dune Part 2 and that was free on TV.

[Taltarzac725]

I will probably see most of those unless they are only available on Apple TV or whatever. Still have only seen half of the Tom Hanks' movie about guarding conveys in WW2. It is only available on Apple TV.

[darkim]

Nope!

[Kelevision]

Originally Posted by Rainger99

The following is a list of the movies nominated for Best Picture.

Anora
The Brutalist
A Complete Unknown
Conclave
Dune: Part Two
Emilia Pérez
I’m Still Here
Nickel Boys
The Substance
Wicked

How many have you seen?
Has anyone seen all of them?

I’ve seen them all except Nickel Boys and Emilia Perez which is on Netflix. Anora, which won, was a good movie but i liked The Florida Project better, which was also a Sean Baker film. He tied a 70 year old record with Walt Disney for winning the most awards for a film in one night for Anora. Best picture, screenplay, editing and director. I really like Wicked and Conclave was better than I thought. Love The Substance which was free on the MUBI app. Wicked and Dune 2 were huge box office hits. A complete Unkown is the story of Bob Dylan and it was a little slow.

[jimjamuser]

I saw Dune part 2 and thought that it was excellent.

[jimjamuser]

Originally Posted by mbene

I remember asking my parents when they were older why they never went to the movies anymore. Their reply was that all the actors they used to enjoy were gone. Didn't understand that back then but do now.

That is a perfect example of the idea that we all slowly become our parents as we age.

[Salty Dog]

Representation and Inclusion Standards

The Academy of Motion Picture Arts and Sciences representation and inclusion standards for Oscars® eligibility in the Best Picture category are designed to encourage equitable representation on and off screen to better reflect the diverse global population.

Submitting a confidential Academy Inclusion Standards form (RAISE) and meeting TWO out of FOUR of the standards will be required in order for the film to be deemed eligible for Best Picture consideration:

STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

A1. Lead or significant supporting actors from underrepresented racial or ethnic groups

At least one of the lead actors or significant supporting actors submitted for Oscar consideration is from an underrepresented racial or ethnic group in a specific country or territory of production.

This may include:
• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

A2. General ensemble cast

At least 30% of all actors not submitted for Oscar consideration are from at least two underrepresented groups which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

A3. Main storyline/subject matter

The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s).

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD B: CREATIVE LEADERSHIP AND PROJECT TEAM

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

B1. Creative leadership and department heads

At least two of the following creative leadership positions and department heads—Casting Director, Cinematographer, Composer, Costume Designer, Director, Editor, Hairstylist, Makeup Artist, Producer, Production Designer, Set Decorator, Sound, VFX Supervisor, Writer—are from an underrepresented group and at least one of those positions must belong to someone from an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

B2. Other key roles

At least six (6) other crew/team and technical positions (excluding Production Assistants) are from an underrepresented racial or ethnic group. These positions include but are not limited to First AD, Gaffer, Script Supervisor, etc.

B3. Overall crew composition

At least 30% of the film’s crew is from at least two underrepresented groups, which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD C: INDUSTRY ACCESS AND OPPORTUNITIES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

C1. Paid apprenticeship and internship opportunities

The film’s distribution or financing company has paid apprenticeships or internships that are from the following underrepresented groups and satisfy the criteria below:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

The major studios/distributors are required to have substantive, ongoing paid apprenticeships/internships inclusive of underrepresented groups (must also include racial or ethnic groups) in most of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

The mini-major or independent studios/distributors must have a minimum of two apprentices/interns from the above underrepresented groups (at least one from an underrepresented racial or ethnic group) in at least one of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

C2. Training opportunities and skills development (crew)

The film’s production, distribution and/or financing company offers training and/or work opportunities for below-the-line skill development to people from the following underrepresented groups:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD D: AUDIENCE DEVELOPMENT

To achieve Standard D, the film must meet the criterion below:

D1. Representation in development, marketing, publicity, and distribution

The studio and/or film company has multiple (more than one) in-house senior executives or hired consultants belonging to at least two underrepresented groups on their creative and development, marketing, publicity, and/or distribution teams. At least one individual must belong to an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

All categories other than Best Picture will be held to their current eligibility requirements. Films in the specialty feature categories (Animated Feature Film, Documentary Feature, International Feature Film) submitted for Best Picture/General Entry consideration will be prompted to participate in the Representation and Inclusion Standards process.

For more information, and to submit the information needed to facilitate the Representation and Inclusion Standards review process, visit RAISE.oscars.org.

[Taltarzac725]

Originally Posted by Salty Dog

Representation and Inclusion Standards

The Academy of Motion Picture Arts and Sciences representation and inclusion standards for Oscars® eligibility in the Best Picture category are designed to encourage equitable representation on and off screen to better reflect the diverse global population.

Submitting a confidential Academy Inclusion Standards form (RAISE) and meeting TWO out of FOUR of the standards will be required in order for the film to be deemed eligible for Best Picture consideration:

STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

A1. Lead or significant supporting actors from underrepresented racial or ethnic groups

At least one of the lead actors or significant supporting actors submitted for Oscar consideration is from an underrepresented racial or ethnic group in a specific country or territory of production.

This may include:
• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

A2. General ensemble cast

At least 30% of all actors not submitted for Oscar consideration are from at least two underrepresented groups which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

A3. Main storyline/subject matter

The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s).

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD B: CREATIVE LEADERSHIP AND PROJECT TEAM

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

B1. Creative leadership and department heads

At least two of the following creative leadership positions and department heads—Casting Director, Cinematographer, Composer, Costume Designer, Director, Editor, Hairstylist, Makeup Artist, Producer, Production Designer, Set Decorator, Sound, VFX Supervisor, Writer—are from an underrepresented group and at least one of those positions must belong to someone from an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

B2. Other key roles

At least six (6) other crew/team and technical positions (excluding Production Assistants) are from an underrepresented racial or ethnic group. These positions include but are not limited to First AD, Gaffer, Script Supervisor, etc.

B3. Overall crew composition

At least 30% of the film’s crew is from at least two underrepresented groups, which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD C: INDUSTRY ACCESS AND OPPORTUNITIES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

C1. Paid apprenticeship and internship opportunities

The film’s distribution or financing company has paid apprenticeships or internships that are from the following underrepresented groups and satisfy the criteria below:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

The major studios/distributors are required to have substantive, ongoing paid apprenticeships/internships inclusive of underrepresented groups (must also include racial or ethnic groups) in most of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

The mini-major or independent studios/distributors must have a minimum of two apprentices/interns from the above underrepresented groups (at least one from an underrepresented racial or ethnic group) in at least one of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

C2. Training opportunities and skills development (crew)

The film’s production, distribution and/or financing company offers training and/or work opportunities for below-the-line skill development to people from the following underrepresented groups:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD D: AUDIENCE DEVELOPMENT

To achieve Standard D, the film must meet the criterion below:

D1. Representation in development, marketing, publicity, and distribution

The studio and/or film company has multiple (more than one) in-house senior executives or hired consultants belonging to at least two underrepresented groups on their creative and development, marketing, publicity, and/or distribution teams. At least one individual must belong to an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

All categories other than Best Picture will be held to their current eligibility requirements. Films in the specialty feature categories (Animated Feature Film, Documentary Feature, International Feature Film) submitted for Best Picture/General Entry consideration will be prompted to participate in the Representation and Inclusion Standards process.

For more information, and to submit the information needed to facilitate the Representation and Inclusion Standards review process, visit RAISE.oscars.org.

Good for them. I had gone to BYU Law School on a Merit Scholarship back in 1982. This Scholarship was for Non-Mormons. I do not think there were any other Non-Mormons there. Just a bunch of male Mormons some of which were married. Only two women in the Class of 1985. One was a librarian getting her law degree. The Criminal Law professor would not call on you if you were attending to your baby. Babies were allowed. At least in that class.


I dropped out after having to deal with a recent Puerto Rican Mormon convert who was studying dance. The school hands out your dorm roommates. And after only about 10 days there two undergraduate women already seemed to be planning our wedding.


I went back to Law School after getting a Masters in Librarianship at the U of Denver and working for Information Access Company for about two years .


My point is that the Mormon Church can make their own rules about who joins their organization as can the Academy.

I never saw a baby in any law class at the University of Minnesota. And there were more women than men at that law school but only two African Americans in the Class of 1989. The U of MN Law School Class of 1989 probably had about 250 people.

[Stu from NYC]

Originally Posted by Salty Dog

Representation and Inclusion Standards

The Academy of Motion Picture Arts and Sciences representation and inclusion standards for Oscars® eligibility in the Best Picture category are designed to encourage equitable representation on and off screen to better reflect the diverse global population.

Submitting a confidential Academy Inclusion Standards form (RAISE) and meeting TWO out of FOUR of the standards will be required in order for the film to be deemed eligible for Best Picture consideration:

STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

A1. Lead or significant supporting actors from underrepresented racial or ethnic groups

At least one of the lead actors or significant supporting actors submitted for Oscar consideration is from an underrepresented racial or ethnic group in a specific country or territory of production.

This may include:
• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

A2. General ensemble cast

At least 30% of all actors not submitted for Oscar consideration are from at least two underrepresented groups which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

A3. Main storyline/subject matter

The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s).

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD B: CREATIVE LEADERSHIP AND PROJECT TEAM

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

B1. Creative leadership and department heads

At least two of the following creative leadership positions and department heads—Casting Director, Cinematographer, Composer, Costume Designer, Director, Editor, Hairstylist, Makeup Artist, Producer, Production Designer, Set Decorator, Sound, VFX Supervisor, Writer—are from an underrepresented group and at least one of those positions must belong to someone from an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

B2. Other key roles

At least six (6) other crew/team and technical positions (excluding Production Assistants) are from an underrepresented racial or ethnic group. These positions include but are not limited to First AD, Gaffer, Script Supervisor, etc.

B3. Overall crew composition

At least 30% of the film’s crew is from at least two underrepresented groups, which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD C: INDUSTRY ACCESS AND OPPORTUNITIES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

C1. Paid apprenticeship and internship opportunities

The film’s distribution or financing company has paid apprenticeships or internships that are from the following underrepresented groups and satisfy the criteria below:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

The major studios/distributors are required to have substantive, ongoing paid apprenticeships/internships inclusive of underrepresented groups (must also include racial or ethnic groups) in most of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

The mini-major or independent studios/distributors must have a minimum of two apprentices/interns from the above underrepresented groups (at least one from an underrepresented racial or ethnic group) in at least one of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

C2. Training opportunities and skills development (crew)

The film’s production, distribution and/or financing company offers training and/or work opportunities for below-the-line skill development to people from the following underrepresented groups:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD D: AUDIENCE DEVELOPMENT

To achieve Standard D, the film must meet the criterion below:

D1. Representation in development, marketing, publicity, and distribution

The studio and/or film company has multiple (more than one) in-house senior executives or hired consultants belonging to at least two underrepresented groups on their creative and development, marketing, publicity, and/or distribution teams. At least one individual must belong to an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

All categories other than Best Picture will be held to their current eligibility requirements. Films in the specialty feature categories (Animated Feature Film, Documentary Feature, International Feature Film) submitted for Best Picture/General Entry consideration will be prompted to participate in the Representation and Inclusion Standards process.

For more information, and to submit the information needed to facilitate the Representation and Inclusion Standards review process, visit RAISE.oscars.org.

Is this why movies are so expensive to make?

[golfing eagles]

Originally Posted by Salty Dog

Representation and Inclusion Standards

The Academy of Motion Picture Arts and Sciences representation and inclusion standards for Oscars® eligibility in the Best Picture category are designed to encourage equitable representation on and off screen to better reflect the diverse global population.

Submitting a confidential Academy Inclusion Standards form (RAISE) and meeting TWO out of FOUR of the standards will be required in order for the film to be deemed eligible for Best Picture consideration:

STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

A1. Lead or significant supporting actors from underrepresented racial or ethnic groups

At least one of the lead actors or significant supporting actors submitted for Oscar consideration is from an underrepresented racial or ethnic group in a specific country or territory of production.

This may include:
• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

A2. General ensemble cast

At least 30% of all actors not submitted for Oscar consideration are from at least two underrepresented groups which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

A3. Main storyline/subject matter

The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s).

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD B: CREATIVE LEADERSHIP AND PROJECT TEAM

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

B1. Creative leadership and department heads

At least two of the following creative leadership positions and department heads—Casting Director, Cinematographer, Composer, Costume Designer, Director, Editor, Hairstylist, Makeup Artist, Producer, Production Designer, Set Decorator, Sound, VFX Supervisor, Writer—are from an underrepresented group and at least one of those positions must belong to someone from an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

B2. Other key roles

At least six (6) other crew/team and technical positions (excluding Production Assistants) are from an underrepresented racial or ethnic group. These positions include but are not limited to First AD, Gaffer, Script Supervisor, etc.

B3. Overall crew composition

At least 30% of the film’s crew is from at least two underrepresented groups, which may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD C: INDUSTRY ACCESS AND OPPORTUNITIES

A film can achieve this standard by meeting the criteria in at least ONE of the following areas:

C1. Paid apprenticeship and internship opportunities

The film’s distribution or financing company has paid apprenticeships or internships that are from the following underrepresented groups and satisfy the criteria below:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

The major studios/distributors are required to have substantive, ongoing paid apprenticeships/internships inclusive of underrepresented groups (must also include racial or ethnic groups) in most of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

The mini-major or independent studios/distributors must have a minimum of two apprentices/interns from the above underrepresented groups (at least one from an underrepresented racial or ethnic group) in at least one of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

C2. Training opportunities and skills development (crew)

The film’s production, distribution and/or financing company offers training and/or work opportunities for below-the-line skill development to people from the following underrepresented groups:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD D: AUDIENCE DEVELOPMENT

To achieve Standard D, the film must meet the criterion below:

D1. Representation in development, marketing, publicity, and distribution

The studio and/or film company has multiple (more than one) in-house senior executives or hired consultants belonging to at least two underrepresented groups on their creative and development, marketing, publicity, and/or distribution teams. At least one individual must belong to an underrepresented racial or ethnic group.

Underrepresented groups may include:

• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

Underrepresented racial or ethnic groups may include:

• African American / Black / African and/or Caribbean descent
• East Asian (including Chinese, Japanese, Korean, and Mongolian)
• Hispanic or Latina/e/o/x
• Indigenous Peoples (including Native American / Alaskan Native)
• Middle Eastern / North African
• Pacific Islander
• South Asian (including Bangladeshi, Bhutanese, Indian, Nepali, Pakistani, and Sri Lankan)
• Southeast Asian (including Burmese, Cambodian, Filipino, Hmong, Indonesian, Laotian, Malaysian, Mien, Singaporean, Thai, and Vietnamese)

All categories other than Best Picture will be held to their current eligibility requirements. Films in the specialty feature categories (Animated Feature Film, Documentary Feature, International Feature Film) submitted for Best Picture/General Entry consideration will be prompted to participate in the Representation and Inclusion Standards process.

For more information, and to submit the information needed to facilitate the Representation and Inclusion Standards review process, visit RAISE.oscars.org.

If those are the criteria, they are idiotic morons, about what I’d expect from Hollywood. Nothing like having the hypothetical best movie of all time excluded based some stupid diversity standards

[Taltarzac725]

Originally Posted by golfing eagles

If those are the criteria, they are idiotic morons, about what I’d expect from Hollywood. Nothing like having the hypothetical best movie of all time excluded based some stupid diversity standards

It is probably why they have a lot of Best Picture nominees which are about gay/lesbians and various other minorities. Titanic had the steerage partiers. Not sure about Saving Private Ryan? You could probably blow anyone up on Omaha Beach and not see their ethnicity.

These Academy rules are probably rather recent though.

[reggiebrady]

I saw A Complete Unknown and loved it. None of the rest. Is Hollywood out of touch?