Among victims and advocates, an important step in dismantling the pervasive problem of harassment and the system that has kept it under wraps for so long is to void or curb the use of NDAs to settle sexual abuse cases.
The tough part is recreating a better system and predicting the potential future abuses that may continue in such a system. How do we enforce fairness fairly? What unintended consequences might there be?
This is another insightful reflection from Pernille Ripp. It continues on from her apology earlier this year for stepping back. It makes me wonder what happens to the ‘edu-influencer‘ when they step back? As much agree with Joe Sanfileppo about the power and potential of being connected, what happens when those people stop answering?
Some of this reminds me a bit of CAA’s mantra to have their agents try to occupy all the buying executives’ time within their coverage areas with CAA clients calls and meetings as a means of not only controlling the conversation, but preventing the competition from having a chance.
In the Wild West of “influencer” marketing, there are few protections and plenty of easy marks.
Of the multi-billion dollar business and the issues with needing to give away one’s password to be tracked within this field, the real loss here seems to be that Instagram isn’t building infrastructure for their users to take advantage of these opportunities. Even if they were only taking a small fraction of the income for facilitating the market, they’re missing out on hundreds of millions.
It’s not mentioned here, but the fact that there are businesses built around the idea of “link in bio” means that Instagram really isn’t innovating on their platform.
Is Instagram really so deaf to the needs of their userbase?
Last weekend, Steelers running back Le’Veon Bell sat out the first game of the regular season rather than play under the NFL franchise tag. Slated to earn $14.5 million in guaranteed money in 2018, Bell loses out on $855,529 each week he fails to report. The franchise tag would make Bell the third highest paid running back in the NFL this season — but only if he actually plays. Around the league, there is a wide range of speculation on how long Bell’s holdout will last. ESPN’s Adam Schefter reports that his sources believe Bell could be back by the end of September, while others note his holdout could conceivably last through Week 10.
Roseanne Barr said she was not an “apologist” for Mr. Trump but wanted the reboot of her sitcom to address the strong divide in the country.
I’m seeing a pattern of Roseanne “quitting” Twitter, but returning to her detriment. I’m aware of morals clauses in countries like France, but I’m curious if, with social media, we’ll see more and more countries in the U.S. begin to add such clauses to talent contracts?
In a case that highlights the economic consequences of sexual harassment and retaliation, Ashley Judd is suing Harvey Weinstein for the damage he did to her career after she rebuffed his advances.
And in the second part of the episode, three women who pioneered the language of consent reflect on being far ahead of their time on the politics of sex.
On today’s episode:
• Jodi Kantor, one of the investigative reporters at The New York Times who broke the story about the raft of sexual harassment accusations against Mr. Weinstein, discusses the implications of a new lawsuit.
• Ms. Judd filed a lawsuit on Monday accusing Mr. Weinstein of harming her career by spreading lies about her after she rejected his sexual requests. Her claim is corroborated by the director Peter Jackson, who revealed last year that Mr. Weinstein had warned him not to hire the actress for his “Lord of the Rings” franchise.
It’s long been an open secret in casting related discussions that people’s character and habits are maligned to push decisions in one direction or another, and often in ways that harm not only the person’s career, but their future potential for hiring. In most other industries, this would be easily litigated or at least brought up. I’m glad to see it may be banned outright as a result of cases like these.
Having gone to college in the 90’s myself I also remember the Antioch College agreements. Though they may have gone a bit too far, it’s obvious they were generally right in re-balancing the power in relationships as well as being well ahead of their times.
"I have two words to leave with you tonight," the actress told the audience after winning her Oscar: "inclusion rider." But she didn't define those words onstage — so, here's a helpful primer.
Simply put: It's a stipulation that actors and actresses can ask (or demand) to have inserted into their contracts, which would require a certain level of diversity among a film's cast and crew.
For instance, an A-list actor negotiating to join a film could use the inclusion rider to insist that "tertiary speaking characters should match the gender distribution of the setting for the film, as long as it's sensible for the plot," Stacy L. Smith explained in a 2014 column that introduced the idea in The Hollywood Reporter.
On Veteran's day, a memoriam of writer Millard Kaufman.
n Veterans Day this year, which lands very near the release of the film Trumbo starring Bryan Cranston, I thought I’d take a moment to remember my old friend and mentor Millard Kaufman.
Millard not only fought for us in the war, but when he came back home he helped to defend our right to free speech and our ability to pursue happiness in a very fundamental way in his career as a screenwriter. I often hear friends in the entertainment industry say, “This isn’t brain surgery, we’re not saving lives, here.” but in a great sense Millard was doing that in small steps throughout his career. Millard Kaufman enlisted in the Marines in 1942, served on Guadalcanal, landed at Guam with the 1st Marine Brigade (Provisional) where he wrote an article for the Marine Corps Gazette about the battle, then participated in the Battle of Okinawa with the 6th Marine Division.
I met Millard 20 years ago in 1995 on a trip to Los Angeles with Matt Gross while we were ostensibly programming the 1995 Milton S. Eisenhower Symposium entitled “Framing Society: A Century of Cinema” which coincided with the 100th anniversary of film. Dr. John Irwin, the long-time head of the Writing Seminars Department at Johns Hopkins, had provided us with a long distance introduction as Millard was a Hopkins alum from the class of ’39. So we met him at his home in the Hollywood Hills looking out over a forested sanctuary. Over our first simple tuna fish sandwich lunch, we began a friendship that spanned the next decade and a half.
Most may remember Millard Kaufman, if at all, as the co-creator of the cartoon character Mr. Magoo, who he based on his uncle, while many others will know his Academy Award nominated films Take the High Ground (1953) or Bad Day at Black Rock (1955). I’ll always remember him for his charm, his wry wit, his ability to swear comfortably in any company, and his sense of fairness.
Apparently Hollywood itself has glossed over his contribution to helping to maintain Dalton Trumbo’s writing career in the recent release of Trumbo (2015), in which he isn’t mentioned (or portrayed on screen). [I’ll note here that I haven’t yet seen the movie, and may boycott it for the slight.] It is here in which Kaufman’s strong internal moral compass pressured him to help ensure Trumbo’s freedom of speech and, in part, his writing career. In short, the House Un-American Activities Committee’s (HUAC) pressured Trumbo which resulted in Trumbo’s being blacklisted in Hollywood and effectively destroying his writing career.
Trumbo and Kaufman shared the same agent at the time, George Willner. One day, relatively early in Kaufman’s career, Willner approached him to see if he would be willing to put his name on the script Gun Crazy that would turn into the 1950 film-noir crime classic to allow it to get made. As Millard told me many times, “I didn’t have much sense then, but at least I had sense enough to say, ‘Let me talk it over with Laurie’ [his wife].” “But we discussed it and we believed it was rotten that a man couldn’t write under his own name,” Kaufman told Daily Variety in 1992. That same year Kaufman, a board member of WGAw, officially requested that the Writers Guild take his name off the credits and replace it with Dalton Trumbo’s name. Kaufman’s fronting for Trumbo helped allow the film to get made, and Trumbo’s career to continue on, even if in the dark. As a board member of the Writer’s Guild Millard helped to restore credits to many writers of the blacklist era who were similarly slighted as a result of their politics at the time. It’s a travesty, that a film gets made highlighting this exact period in Trumbo’s life, but Millard’s small contribution to it has been all but forgotten. Fortunately there are enough who do remember to tell the story.
When I think of Millard and his various contributions, my favorite is always that he wrote the stunning script for Bad Day at Black Rock (MGM, 1955), a superb Western suspense film starring Spencer Tracy as a one-armed veteran facing mysterious enemies in a small desert town. The film shows how post-World War II America could be be both horrifyingly racist and cowardly, but it also showed a way out through Tracy’s character which always reminds me of Millard’s high-mindedness. It was such a great film, I was personally honored to screen it on November 3, 1995, as the premiere film in Shriver Hall after we had mounted a year-long renovation of the film equipment, screen, and sound system. The day before we were all honored to have Millard speak on “Censorship in Film” as part of the Milton S. Eisenhower Symposium.
For those who never had the chance to meet him, I’m including a short 3 minute video of several clips of him talking about a variety of topics. The Millard portrayed here is the no-holds barred man I’ll always remember. Thanks for fighting for all of us, Millard!
For those looking for more information about Millard Kaufman, I’ll include the following articles:
A series of articles by producer Gavin Polone can serve as an excellent introduction to the business of Hollywood.
Dearth of (Great) Textbooks on The Entertainment Business
In having previously taught several classes on the business of the entertainment industry, I was never quite able to pick out even a mediocre textbook for such a class. There are a handful that will give one an overview of the nuts and bolts and one or two that will provide some generally useful numbers (see the syllabi from those classes), but none comes close to providing the philosophy of how the business works in a short period of time.
A Short Term Solution
To remedy this problem, I was always a fan of producer and ex-agent Gavin Polone, who had a series of articles in New York Magazine/Vulture. I’ve recently gone through and linked to all of the forty-four articles, in chronological order, he produced in that series from 9/21/11 to 5/7/14.
I’ve aggregated the series via Readlists.com, so one can click on each of the articles individually. Better yet, for students and teachers alike, one can click on the “export” link and very easily download them all in most ebook formats (including Kindle, iPad, etc.) for your reading/studying convenience.
My hope is that for others, they may create an excellent starter textbook on how the entertainment business works and, more importantly: how successful people in the business think. For those who need more, Gavin is also an occasional contributor to the Hollywood Reporter. (And, as a note for those not trained in the classics and prone to modern-day stereotypes, I’ll make the caveat that I use the title “Machiavelli” above with the utmost reverence and honor.)
I’m still slowly, but surely making progress on my own all-encompassing textbook, but, until then, I hope others find this series of articles as interesting and useful as I have.
Gavin Polone is an agent turned manager turned producer. His production company, Pariah, has brought you such movies and TV shows as Panic Room, Zombieland, Gilmore Girls, and Curb Your Enthusiasm. Follow him on Twitter @gavinpolone.