For a near-century now, The Academy Awards have evolved and changed with the times in significant ways. Ever since 2015, there has been a push to have more diversity following the two-year Oscars So White protest. While this year's nominees reflected significant breakthroughs, there were still minor quarrels that proved how much still needs to be worked on. The measure of former president Cheryl Boone Isaacs was a great start and it has already made difference in major categories. However, there's still one particular field that feels like it needs to be updated, or at least given a few more tweaks to fit with their incredible voting body that allows films like Moonlight, The Shape of Water, and Parasite to win Best Picture.
Yesterday it was announced that those striving for a Best Picture nomination will now need to try a little harder to get consideration. In a letter published yesterday, The Academy outlined a qualification sheet where every film needs to succeed in two of four fields, all reflecting diversity whether in story or production. For some, it's lead to jokes about how terribly white films wouldn't be able to be nominated. Others have read into it more and understand that this isn't radical, but actually just set in place things that are already in place. It's a good measure and one that will hopefully produce meaningful changes in the years to come.
When this was announced, my first thought was about Frances McDormand's acceptance speech from 2018 when she won Best Actress for Three Billboards Outside Ebbing, Missouri. While the whole speech was a rousing celebration of the diverse nominees, the parting thought is one that has stuck with me: "two words: inclusion rider." It was an industry term that meant that every production had a certain diversity in their crew members, allowing for more opportunities to grow and improve the industry. While The Academy has done a great job of recognizing diversity (only one white American has won Best Director since 2010), there's clearly a need to keep trying.
That is where these new plans come to mind. Among their rules is a need to have actors of diverse backgrounds in significant roles. While some would argue that this hurts traditional period pieces where characters of racial, gender, sexual orientation, or disability aren't as likely to be seen, there's room to argue that the films could still qualify if there are people behind the scenes willing to work with them. It may lead to some terrible tropes coming back, such as Magical Negroes or enthusiastic gay best friend, but the record has already shown that films from the past few years that would qualify didn't fall to that. There will always be this problem with Oscar Bait movies, but even films that seem ostensibly exclusive like Joker or Ford v. Ferrari have enough of a collaborative effort to prove why this rule is not a big deal.
Some could argue that it will keep certain films out of the mix, though the better way to look at things is that this will force the industry to change for the better. Provided that they stick to their word, the 2024 nominees (when this will start) shouldn't have a problem meeting this code. It encourages growth and change that they have been working on since the Oscars So White era. This is a logical next step, even if it feels like overstating the obvious. The Oscars have long been the progenitors of change in the film industry, and hopefully, this will lead to significant change on top of what's already been going on.
It may be difficult to fully understand, especially since it's all so lengthy and has so much jargon. Those who are fearing that these changes will hurt the ceremony have nothing to worry about. It may seem daunting, but it's just an extension of McDormand's inclusion rider proposal, desiring to have this medium that we love so much be more interesting, full of personality and ideas that need to be shared. It's too soon to determine if it will all work or if this is the final stage, but something tells me that anyone complaining won't have much to worry about once things get rolling.
The details, in full, are below. Read for yourself what all of the new advancements are and feel free to share your opinions in the comments.
STANDARD A: ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES
To achieve Standard A, the film must meet ONE of the following criteria:
A1. Lead or significant supporting actors At least one of the lead actors or significant supporting actors is from an underrepresented racial or ethnic group.
Asian
Hispanic/Latinx
Black/African American
Indigenous/Native American/Alaskan Native
Middle Eastern/North African
Native Hawaiian or other Pacific Islander
Other underrepresented race or ethnicity
A2. General ensemble cast At least 30% of all actors in secondary and more minor roles are from at least two of the following underrepresented groups:
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
To achieve Standard B, the film must meet ONE of the criteria below:
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 the following underrepresented groups:
Women
Racial or ethnic group
LGBTQ+
People with cognitive or physical disabilities, or who are deaf or hard of hearing
At least one of those positions must belong to the following underrepresented racial or ethnic group:
Asian
Hispanic/Latinx
Black/African American
Indigenous/Native American/Alaskan Native
Middle Eastern/North African
Native Hawaiian or other Pacific Islander
Other underrepresented race or ethnicity
B2. Other key roles At least six 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 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 C: INDUSTRY ACCESS AND OPPORTUNITIES
To achieve Standard C, the film must meet BOTH criteria below:
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 marketing, publicity, and distribution The studio and/or film company has multiple in-house senior executives from among the following underrepresented groups (must include individuals from underrepresented racial or ethnic groups) on their marketing, publicity, and/or distribution teams.
Women
Asian
Hispanic/Latinx
Black/African American
Indigenous/Native American/Alaskan Native
Middle Eastern/North African
Native Hawaiian or other Pacific Islander
Other underrepresented race or ethnicity
LGBTQ+
People with cognitive or physical disabilities, or who are deaf or hard of hearing
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