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Post by Donnamarie Wed 18 May 2016, 02:21

From Entertainment Weekly ......

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Post by melbert Wed 18 May 2016, 03:21

Woody will supply all the pot for the shoot!
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Post by Sevens Wed 18 May 2016, 04:43

Woody Harrelson Joins Matt Damon in George Clooney’s ‘Suburbicon’ (Exclusive)
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What intrigues me most is that they've secured the previously romoured cast.
That is amazing! with the success of "Money Monster", Gerge needs to start all over again with his peak skills!
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Post by Missa Thu 19 May 2016, 02:58

Remember during the press tour for Hail Caesar and the #OscarsSoWhite controversy when he talked about how he could have done better in the past with casting diverse actors?

So glad that the very next time he's given the opportunity, he's completely failed to put his money where his mouth is. Sigh.
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Post by Donnamarie Thu 19 May 2016, 04:47

The only info about this film that I've read is that it's set in the 1950s in a small "family" town. The storyline may not lend itself to casting minorities in lead roles considering the era and setting. Not too many minorities lived in suburban neighborhoods back in the 50s.

I remember a movie he produced several years ago "Far From Heaven". It starred Julianne Moore, Dennis Quaid and a black actor, Dennis Haysbert. It also was set in the 50s. The setting was an upscale suburban neighborhood . Haysbert race was integral to the story.

I don't know enough yet about the plot or the characters in this story to criticize his casting of just white lead actors.
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Post by Carla97 Sat 21 May 2016, 09:15

Woody Harrelson is my favorite... I mean after...Very Happy Sounds good !
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Post by LizzyNY Sat 21 May 2016, 16:35

Missa wrote:Remember during the press tour for Hail Caesar and the #OscarsSoWhite controversy when he talked about how he could have done better in the past with casting diverse actors?

So glad that the very next time he's given the opportunity, he's completely failed to put his money where his mouth is. Sigh.
Missa, not every story lends itself to a multi-racial cast and we really don't know enough about this one yet to say he could have done better. It also occurs to me that he might just be trying to work with people he knows - friends, if you like - whose talents are proven, to give himself a better chance at success. He hasn't been all that successful lately and really does need a hit. Maybe working with people he knows well makes him more confident.
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Post by Sevens Sat 21 May 2016, 17:53

I think we can already call Money Monster a hit financially. Besides, Missa, have you ever seen any black leads in a Coen Bros script? George did make some changes to the draft, but that's not enough to change the basic character settings.
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Post by fava Sat 21 May 2016, 18:04

LizzyNY wrote:
Missa wrote:Remember during the press tour for Hail Caesar and the #OscarsSoWhite controversy when he talked about how he could have done better in the past with casting diverse actors?

So glad that the very next time he's given the opportunity, he's completely failed to put his money where his mouth is. Sigh.
Missa, not every story lends itself to a multi-racial cast and we really don't know enough about this one yet to say he could have done better. It also occurs to me that he might just be trying to work with people he knows - friends, if you like - whose talents are proven, to give himself a better chance at success. He hasn't been all that successful lately and really does need a hit. Maybe working with people he knows well makes him more confident.
Lizzy-- I understand your comments about the story line.  However, "working with people you know" is exactly what perpetuates this insidious type of discrimination in Hollywood.

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Post by LizzyNY Sat 21 May 2016, 19:12

fava wrote:Lizzy-- I understand your comments about the story line.  However, "working with people you know" is exactly what perpetuates this insidious type of discrimination in Hollywood.
You're right, but it's a more complicated issue than it appears on the surface, and it isn't only George's problem to solve. This project has been in the works for a long time. Who knows what commitments were made, when and to whom? Also, George is concerned with telling the story he sees in his head and hopefully boosting his career in the process. To do this he's making personal choices and decisions that he thinks will give him what he wants. Is it fair to expect him to alter his vision to be more inclusive if that's not how he sees the film?

I don't know what this movie will ultimately look like. We may be surprised. Hopefully, in the future, George will do his best to be more inclusive on all his projects, but there has to be a balance between redressing an industry-wide problem and personal vision for a project.
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Post by Donnamarie Sat 21 May 2016, 21:14

We don't have any details on the film other than the setting and the decade. I still think it's way too premature to criticize George's selection of cast. George is well aware of the diversity issue. He has spoken about it and taken part of the blame. But he also said the solution isn't simply just inserting minorities and women into existing screenplays. But it has to begin with the screenplays. It has to happen organically. And the studios have to change their mindset of insisting on certain actors for projects they are backing. So more to this than just looking at a new project, regardless of its plot, and wondering why there aren't minorities in it.
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Post by Missa Mon 23 May 2016, 00:47

I couldn't disagree more with the arguments made against this cast being more diverse.  

It doesn't matter what time period it is or where it's set; it's not a documentary, it's a fictional piece of art. If this is a Coen Bros script, then by definition it's taking place in some sort of skewed version of reality.  Anything is possible.  Plus, the Coens DO have a troubling history with diversity; this would have been an excellent opportunity to show them that actors of different races can play roles in their scripts well, regardless of whether they imagined it that way.  Besides, George made a huge point of casting Don Cheadle in his live Fail Safe remake, even though there would not have been black air force pilots in the time when it was set, because Don is the best.  If he could throw his weight around on a risky project like a live televised movie, 20 years ago, he could certainly put his foot down now, with a couple of Oscars under his belt.

George said, regarding how this film came together, that it had been kicking around for a while and he asked the Coens about taking a crack at it.  It's not like it was in the planning stages and he was hired to direct.  How could commitments have been made to anyone without any sense of when the film would come to fruition? 

Fava is right, "working with people you know" is one of the ways this became an industry wide problem.  And let's be honest, has George working with people he knows worked out that well for him?  Monuments Men was full of pals, and that was a dud. I'd go so far as to argue that Confessions and GNGL are his best directorial efforts, and as far as I know, he wasn't close friends with most of the main cast in those films before filming.  Maybe branching out to other actors would help him improve his track record. And also? there are people of color he's worked with before, whose talents have been proven time and again, e.g., Don Cheadle, Viola Davis, Jeffrey Wright.  Keegan Michael Key (from Tomorrowland) is a terrific comedian and would be amazing in a Coen bros. movie.  I would line up TODAY for a movie directed by George starring Viola and Jeffrey, without any knowledge of plot, setting, or anything.

It's NOT only his problem to solve, but as long as everyone keeps saying "Hey, it's not MY fault!" it will never get solved.  I was so pleased with George's comments during the Oscars so White debacle. He was literally the ONLY person who I saw personally take some responsibility and admit he could have done better, and list specific films he could have done better on.  He seemed like he really got it.  It's just disappointing to see the same old same old, not five months later.  

You want to know how serious this problem is?  The four actors of color I listed earlier? Add the Arab actor in Syriana and the Asian acrobat from Ocean's 11, and you have a complete list of the actors of color George has worked with* in films where he had some say in the casting.  That's a grand total of 6, in a 16 year directorial/producing career.  We all like him, but he can do better.

*obviously not counting extras and very minor characters.  The point of increasing diversity is to get actors of color OUT of these roles and into leading roles.
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Post by LizzyNY Mon 23 May 2016, 12:24

Missa wrote:I couldn't disagree more with the arguments made against this cast being more diverse.  

It doesn't matter what time period it is or where it's set; it's not a documentary, it's a fictional piece of art.
    I'm sorry to disagree, but it does matter. It may be fiction but to be believable it needs to have its roots in reality. If you were doing a film about modern day China you wouldn't have an all white cast dressed in loin cloths. If this takes place in a white suburb in the fifties there are certain truths that you can't ignore because they change the entire dynamic of the story and make it less believable.

If this is a Coen Bros script, then by definition it's taking place in some sort of skewed version of reality.
     This isn't a Coen brothers script anymore. Its a George Clooney script.  
Plus, the Coens DO have a troubling history with diversity; this would have been an excellent opportunity to show them that actors of different races can play roles in their scripts well, regardless of whether they imagined it that way.
     Whatever the Coen brothers' history, it isn't George's responsibility to teach them how to cast their films. They know the situation as well as anyone in the business and have their own reasons for the choices they make. And, if I'm not mistaken, wasn't Don Cheadle in O Brother?

Besides, George made a huge point of casting Don Cheadle in his live Fail Safe remake, even though there would not have been black air force pilots in the time when it was set,
     Point of information: There were African American Air Force pilots at the time Fail Safe took place.

George said, regarding how this film came together, that it had been kicking around for a while and he asked the Coens about taking a crack at it.  It's not like it was in the planning stages and he was hired to direct.  How could commitments have been made to anyone without any sense of when the film would come to fruition? 
    Because in the process of developing the script people talk to each other - just like the Coens talked to George about starring in it they may have spoken to others about working on the film when/if it went into production. George may well have had those same kinds of conversations with people well before the Academy Awards brought the diversity issue to a head.

Fava is right, "working with people you know" is one of the ways this became an industry wide problem. 
    Agreed, but again, not only George's responsibility to solve. And Donnamarie was right. The solution needs to come from the top down with increased opportunity and funding for more diverse projects - not just more diversity in casting - and not just in George's films. You say several times that it isn't only up to George and then seem disappointed that he isn't leading a crusade to correct things. Truth is, he's just a guy trying to stay relevant and keep his career going. If he can do some good along the way that's great, but that's not why he's there.

 
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Post by Missa Mon 23 May 2016, 12:45

Asking him to use what opportunities he has to make a difference is not expecting him to lead a crusade, its in fact the bare minimum he could do. He's certainly within his rights to keep passing the buck, but he made very clear that he understands that a) this is an issue and b) he has a role to play in addressing it. He wants to stay relevant? Movies starring actors of color have made a ton of money this year. If he cast some new/different actors he would open his work up to whole audiences who may not typically seek out his films. Look, George's recent stretch of films have not been successful. Arguing that he should continuing doing what he's doing makes no sense. From a purely selfish stand point, it seems likely he'd personally benefit by working with different actors and telling different stories, while simultaneously addressing some of the inequality in his own industry. Everybody wins.
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Post by fava Mon 23 May 2016, 13:48

LizzyNY wrote:

    Agreed, but again, not only George's responsibility to solve. And Donnamarie was right. The solution needs to come from the top down with increased opportunity and funding for more diverse projects - not just more diversity in casting - and not just in George's films. You say several times that it isn't only up to George and then seem disappointed that he isn't leading a crusade to correct things. Truth is, he's just a guy trying to stay relevant and keep his career going. If he can do some good along the way that's great, but that's not why he's there.

 
If George is directing and producing, and presumably getting or helping to get the financing, isn't he the "top"?  I don't think he needs to lead the crusade--is casting one person "leading" a crusade?  Or just a adding one "point of light"?  He is the one who spoke out and acknowledged not only that Hollywood has the problem, but that he has contributed to it.

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Post by Donnamarie Mon 23 May 2016, 14:20

I still think George cast this movie to reflect the time period.  The 50s. Small town suburbia.  I think for him he thought it important to stay true to the era he's portraying.  Whether we see it that way or not.  And we don't know much of anything about this story written by the Coens.  So for now I give him the benefit of the doubt.

Other than Matt George has never directed Brolin, Julianne or Woody.  Not 100% sure on Woody.

I'm posting this Vanity Fair article as a reminder of what he said back in February.

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Post by Missa Mon 23 May 2016, 14:38

I will simply repeat that he cast Don Cheadle as an air force pilot in Fail Safe because he wanted talent over accuracy. He makes it a priority when he wants to. He's worked with Matt, Julianne, and Josh before, and he's talked about playing basketball with Woody, so there's a definite "getting the gang together" feel. And I want to be clear, I don't have a problem with any of those actors. They're all wonderful and will likely do a great job. But they're all going to get lead roles with or without George's help. It would have been great to give at least one of those opportunities to someone unexpected. In fact, there's no reason the time frame couldn't have been updated a bit to make the inclusion on people of color more realistic, if that was actually a concern.

What our discussion comes down to is this: A few months ago he said "I could have done better." Now he's saying, "But I'm not going to." Some of us are fine with that and some of us aren't.
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Post by Donnamarie Mon 23 May 2016, 15:36

Missa, I'm not convinced that he won't act on his statement made back in February. With future scripts he has opportunities. We have no idea of the process he went through to determine his cast. Maybe many different actors went through his mind to play the main characters before he decided on this cast. There could have been discussions on changing the dynamics of the period to allow for a different kind of cast. We just don't know. He has "his reasons".

He has not directed a movie with Josh, Julianne or Woody. That was my point earlier. But all of them except maybe Julianne have been cast in Coen movies.
Is there a reason for that?

But you are right Missa at this point some of us are fine with his choices and some aren't.
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Post by Missa Mon 23 May 2016, 16:33

The reason its all actors who have Coen experience is likely the one that fava stated earlier: The same people work with the same people, which is how Hollywood got to be a good 'ol boys club to begin with. And I expect that actors of color of tired of being told they have to wait until people in positions of authority are ready to include them.
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Post by LizzyNY Mon 23 May 2016, 23:02

We have to agree to disagree on this. Your insistence that George should be willing to change the time frame of this project so he can include more people of color lacks understanding of the artistic process. He has a story he wants to tell. It apparently takes place at a time and place with specific social parameters. To change those parameters changes the story and makes it something other than the project he was drawn to.

I don't know how old you are, but I was around in the 1950s (albeit as a child). The US was for the most part a de facto segregated country. Not by law, but by affinity. Many people were fairly recent immigrants and chose to live near/with their countrymen. It made it easier for them to acclimate to their lives in the US. It also kept communities fairly separate from each other. They might interact on a business level, but social interaction was limited at best.

That's the way it was. If George is making a movie about a white suburb in the 1950s there would have been few people of color around.

If there were, they probably worked there by day and then went home at night. It's possible he will include people like that in the film. If he does, please don't complain about the parts they play because to present them as anything else would be inaccurate.

One other point. George still has to meet the requirements of the "money men" if he wants to get funding. Hopefully he'll be able to influence the process in the future so more diverse projects get funded - and maybe produce some of those projects himself - but on this project I trust him to make the decisions he needs to make to create the movie he wants to make.

Oh, and please stop saying George changed history to cast Don in Fail Safe. Don is an amazing actor, but there were black pilots at the time. Check out the Tuskeegee Airmen.
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Post by party animal - not! Mon 23 May 2016, 23:33

Mm, I think you're right about recreating the time and place. Just as they did in Hail Caesar.....

And now I think about it Far from Heaven was the same in that it reflected that time and George was a producer on that I believe. 

I think he'll do what is appropriate for the era

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Post by Missa Tue 24 May 2016, 00:15

LizzyNY wrote:We have to agree to disagree on this. Your insistence that George should be willing to change the time frame of this project so he can include more people of color lacks understanding of the artistic process. He has a story he wants to tell. It apparently takes place at a time and place with specific social parameters. To change those parameters changes the story and makes it something other than the project he was drawn to.

I don't know how old you are, but I was around in the 1950s (albeit as a child). The US was for the most part a de facto segregated country. Not by law, but by affinity. Many people were fairly recent immigrants and chose to live near/with their countrymen. It made it easier for them to acclimate to their lives in the US. It also kept communities fairly separate from each other. They might interact on a business level, but social interaction was limited at best.

That's the way it was. If George is making a movie about a white suburb in the 1950s there would have been few people of color around.

If there were, they probably worked there by day and then went home at night. It's possible he will include people like that in the film. If he does, please don't complain about the parts they play because to present them as anything else would be inaccurate.

One other point. George still has to meet the requirements of the "money men" if he wants to get funding. Hopefully he'll be able to influence the process in the future so more diverse projects get funded - and maybe produce some of those projects himself - but on this project I trust him to make the decisions he needs to make to create the movie he wants to make.

Oh, and please stop saying George changed history to cast Don in Fail Safe. Don is an amazing actor, but there were black pilots at the time. Check out the Tuskeegee Airmen.

We can certainly agree to disagree, but please don't put words in my mouth.  I never INSISTED he change the time period to include more diversity; I simply suggested that as a way around this idea that no people of color ever lived in a suburb throughout the 1950s, an argument I believe is a cop out.  Sure, people of color were not allowed to buy homes in many areas of the country.  Some still lived there, according to the U.S. Census, anyway.  And who cares if it's not historically accurate?  He. Is. Not. Making. A. Documentary. It's a work of fiction.  If NBC can cast Audra McDonald as a nun in 1939 Austria for their live Sound of Music broadcast, and the biggest musical in Broadway history has a cast of black and Hispanic actors playing the Founding Fathers, George can have a black actress playing a housewife in 1955 and Western civilization won't end.  He just doesn't want to, and that's fine.  But he should stop saying "I can do better" if he doesn't intend to.

And FYI, the Tuskegee airmen were a segregated platoon of pilots, as were all black soldiers during WWII. They did not fly with white pilots, which is what Don's character was doing in the film.  THAT is the historical inaccuracy that George bucked to cast his friend.  The US military wasn't fully desegregated until 1963, and the film is set before then.  That story is also not coming from me; George made a point of telling it when doing publicity for the film.  I'm sure it's probably somewhere in the Fail Safe section of this website. But I'll stop bringing that up if you'll stop with the "After 20+ years as a commercially and critically successful actor, director, and producer, the entire filmmaking process is entirely out of his hands and he just does what he's told." COME ON.

Look, he of course can make whatever movies he wants to make.  He can tell different stories with different actors that appeal to a wider portion of the moviegoing public. Or he can continue making films with and for middle aged white dudes. But if he chooses the latter, then he can't be sending "woe is me" emails to studio heads wondering what went wrong when they flop.
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Post by Donnamarie Tue 24 May 2016, 02:58

party animal - not! wrote:Mm, I think you're right about recreating the time and place. Just as they did in Hail Caesar.....

And now I think about it Far from Heaven was the same in that it reflected that time and George was a producer on that I believe. 

I think he'll do what is appropriate for the era


Right PAN. I brought up Far From Heaven earlier in this topic. He was one of the producers. The black actor in that film had a pivotal role in the story of an upscale suburban neighborhood set in he 50s. He played a gardener and he and Julianne Moore become attracted to each other. Anyway, I do think George tries to keep his films authentic to the time in which a film is set.

I'm not giving George a pass on what he said earlier this year about doing better. I just don't think this is the movie for him to improve his track record with. I would also add that for Our Brand Is Crisis he put Sandy Bullock in the lead role in which the story was originally written for a man. In addition to casting Billy Bob Thornton, Anthony Mackie (a black actor), Joaquim de Almeida and Reynaldo Pacheco were integral players in this story. But this was a contemporary story about a presidential campaign in Boliva. The screenplay was central to determining who played the characters in the cast.
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Post by Missa Tue 24 May 2016, 03:06

Right, and the argument being made by actors of color is why can't they have roles where race IS NOT central to the story. Being black or Asian or Hispanic is not the only important part of a character, nor the only important thing these actors bring to a role. And I think the Sandy Bullock story makes my point: George is very willing to rewrite a role, even change the gender of a character based on a who actually existed, in order to get the actor he wants. Changing the race of a fictional character wouldn't have been such a big deal.
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Post by Donnamarie Tue 24 May 2016, 04:13

Missa, Our Brand is a contemporary story, not a period piece.  Changing the gender or the ethniticity in that movie wouldn't change the way the story is told.  And I do think it is a distraction to say the least to cast a film set in a 50s time period in a small American town with black and Hispanic actors.

Sorry to repeat myself but I don't know anything about this story.  I think we would need to know so much more about how this story is being told before assuming it would be a no brainier to cast minorities in the leading roles.  If the story focuses on one family are they the only characters in the story?  If one of the characters is black how does that affect the rest of the family.  Black husband and a white wife.  Or a hispanic wife?   Mixed marriage in a 1950s era small town?  Right there you've got a whole other dynamic that an audience is just not going to get if its not addressed in the movie.  Unless it is just not brought up and assuming the audience won't notice .....

If Suburbicon is supposed to be a screwy tale of a wacko black family in a wacky town in the 50s where everyone else is white. That could be a funny movie with all kinds of different dynamics.  But that I am sure is not the the Coens' story that George signed up to tell.

I understand the point you are making. And I generally agree. But George is right about how it starts with the written material available that can be easily inclusive of more diverse characters. I just don't think you can take any movie, especially period stories, and automatically insert a minority for the sake of doing so.

I'm sure we still see this issue very differently but it's been really interesting and fun to discuss it here with you, Lizzy, fava and PAN ....
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Post by amaretti Tue 24 May 2016, 04:40

Jose Ferrer played many characters in the 50's . Very Happy

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Post by LizzyNY Tue 24 May 2016, 12:38

Missa - Just 2 quick points and I'm done with this.
     1. I didn't say there was no segregation, I just said there were black airmen 
when you were implying there weren't.
     2. There are some things that are facts (def: something known to be true). If you're writing a contemporary piece you can do whatever you want, but if you're doing a piece about a specific time period or person there are facts to deal with. What happened happened. No matter how much you may want to, you can't change history. You can only change the future, and you can't do that if you don't learn from the past as it actually was.

There should be opportunities for everyone to make the art they want to make without having to bend the truth. Considering the impact the internet has had on entertainment I think it won't be long before the film industry becomes more inclusive - though maybe in non-traditional ways. Look at the changes in the music industry in the last few years. It takes time - and enough people pushing for change to make it happen.
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Post by Sevens Tue 24 May 2016, 15:35

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SPOILER ALERT! But here comes the review of the screenplay...if you want to know more about the premise...
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Post by fava Tue 24 May 2016, 18:49

Missa wrote:Right, and the argument being made by actors of color is why can't they have roles where race IS NOT central to the story.  Being black or Asian or Hispanic is not the only important part of a character, nor the only important thing these actors bring to a role. And I think the Sandy Bullock story makes my point: George is very willing to rewrite a role, even change the gender of a character based on a  who actually existed, in order to get the actor he wants. Changing the race of a fictional character wouldn't have been such a big deal.
So does the huge success of the musical Hamilton!
Oops. I see Missa already referenced this!

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Post by Missa Tue 24 May 2016, 19:29

A) The first film was made in 1889. I think waiting 127 years for inclusion is long enough; can we at least give actors of color a time frame on when the white dudes in charge will be ready to recognize they exist and can play characters other than slaves, maids, and terrorists?

B) We clearly have a fundamental disagreement as to the function of art as a mirror reflecting society as it is and was vs a creative endeavor that can be an agent of change. There's really no resolution to that.

C) There are a million and one excuses why not to diversify casting, and only one reason to do it: because its the right thing to do. He can make any movie he wants any way he pleases, obviously. I take issue with his acknowledging the issue and his role in it and choosing to do nothing to address it. If I were being truly uncharitable, I would say it looks like he was pandering to the hot button issue of the moment when he was trying to sell a movie, not dissimilar to his "Boy, Hollywood's unfair to women!" I-don't-campaign-for-Oscars Oscar campaign a few years back. I hope that's not the case here.
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Post by Way2Old4Dis Thu 02 Jun 2016, 20:44

Some really good points  made here. Views that are opposite aren't necessarily mutually exclusive, as different perspectives can have their own validity.

The only thing I will add is that we know how entrenched this problem is by the way studios/producers/directors still cast White/European actors for "ethnic" roles, and those actors still take the parts. That kind of thinking is ingrained, and will not change. I wouldn't try. The thing to do is bring new mindsets to the table, to the point that the oblivious racists are crowded out of the market. How does that get done? Blacks, Latinos, women with new money who don't put it in the old money system.

As for George, I don't think of him as any more or any less a part of the problem, regardless of his public persona and declarations. He's a wealthy White man who is part of the Hollywood establishment. But he has a social conscience. I think if an option presented itself, he would jump at the opportunity to be inclusive, but he's not going to go out of his way to create that opportunity himself. After all, for as much as he talks, his parties, gatherings - and even his wedding - look like somebody whacked the crap out of a pinata filled with rich White people.

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Post by party animal - not! Thu 02 Jun 2016, 22:04

Great discussion, but hang on a minute, guys. 

Do we know if the casting is complete or how far he and Grant have got with it?

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Post by Way2Old4Dis Thu 02 Jun 2016, 22:24

Good point. No, we don't.

But, I would venture to say that in the current social climate, if there were major Black roles to be cast, and George Fucking Clooney was doing said casting, we'd have heard about it by now.

Again, just speculation, but history and convention say I'm right.

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Post by party animal - not! Thu 02 Jun 2016, 23:20

Well, the casting director is Ellen Chenoweth, - and wow, is her cv impressive!!

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Post by Donnamarie Fri 03 Jun 2016, 00:55

George has a pretty solid cast so far. From the screenplay review that Sevens posted it sounds like there will be at least a few supporting characters to cast. So we will see. Bottom line is I think George wants to stay authentic to the story that's being told. As Way2 said above if he has the opportunity he will.

Way2, really appreciate your take. I thought it was a terrific back and forth here. And both sides made really important points.
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Post by fava Fri 03 Jun 2016, 01:55

Way2Old4Dis wrote:After all, for as much as he talks, his parties, gatherings - and even his wedding - look like somebody whacked the crap out of a pinata filled with rich White people.
Subject is not really a laughing matter, but could not help chuckling at the pinata reference and visual in my head!

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Post by party animal - not! Sat 06 Aug 2016, 11:05

Not sure if we already know this, but location shooting will be in Georgia according to Imdb........I'd take a guess at Savannah....

And they were looking for stand-ins on August 5th.....

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Post by Sevens Tue 27 Sep 2016, 15:43

Looks like Woody quits, and George needs to recast this role:
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You’re due to tackle George W Bush in Rob Reiner’s Shock And Awe next followed by George Clooney’s Suburbicon?
We’re playing journalists [in Shock And Awe] who wrote important articles about the absurdity of associating Saddam with Bin Laden or trying to connect him to 9/11. They were writing important articles and they couldn’t get them published. I won’t be able to do George’s movie because the timing clashes with that one. Then I’ll shoot a movie based in London called Lost in London, which I wrote and will direct.
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Post by Donnamarie Tue 27 Sep 2016, 18:07

That's bad news. Hmmm, wonder how long ago he had to bow out? Suburbicon is so close to production.
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Post by Sevens Tue 27 Sep 2016, 18:30

He has a relatively small part, as long as George got informed early, it wouldn't be a big problem. Heck, George might even just play the part himself, why not?


Last edited by Sevens on Tue 27 Sep 2016, 19:10; edited 1 time in total
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Post by Donnamarie Tue 27 Sep 2016, 18:40

Sevens, I didn't know that Woody had a small role. So it might be easy to replace him unless like you said he chooses to take it on himself. Personally I think I'd prefer him to try and get someone else to take it on.
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Post by Sevens Wed 05 Oct 2016, 06:26

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According to this report, Woody's role was the boy's uncle, and the film's IMDb's page has been updated and listed this role under a new actor's name. Looks like George has found a replacement.
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Post by Donnamarie Wed 05 Oct 2016, 13:39

Thanks Sevens. So it's Gary Basaraba ...
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