Legendary Hollywood screenwriter David Mamet is no fan of the entertainment industry’s efforts to drive greater diversity, equity and inclusion (Dei) in its ranks.
“Dei is garbage,” Mamet told the Los Angeles Times Festival of Books on Sunday during a session with Matt Brennan. Mamet, who was on hand to talk about his memoir Everywhere an Oink Oink: An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood, added the industry’s Dei efforts amounted to “fascist totalitarianism,” according to an account in the Times.
The playwright and director, who has worked in Hollywood since the 1980s and is known for his trademark rapid-fire script dialogue, did not shy away from criticism during an informal conversation at USC’s Newman Recital Hall.
“There’s no room for individual initiative,” Mamet said of a film industry having experienced “growth, maturity, decay and death,” especially in the wake of the recent Hollywood writers strike.
“Dei is garbage,” Mamet told the Los Angeles Times Festival of Books on Sunday during a session with Matt Brennan. Mamet, who was on hand to talk about his memoir Everywhere an Oink Oink: An Embittered, Dyspeptic, and Accurate Report of Forty Years in Hollywood, added the industry’s Dei efforts amounted to “fascist totalitarianism,” according to an account in the Times.
The playwright and director, who has worked in Hollywood since the 1980s and is known for his trademark rapid-fire script dialogue, did not shy away from criticism during an informal conversation at USC’s Newman Recital Hall.
“There’s no room for individual initiative,” Mamet said of a film industry having experienced “growth, maturity, decay and death,” especially in the wake of the recent Hollywood writers strike.
- 4/22/2024
- by Etan Vlessing
- The Hollywood Reporter - Movie News
No romantic comedy should feel like homework, and yet the conversation that has engulfed Billy Eichner and Universal’s “Bros” after its disappointing opening weekend at the box office concerns whether a movie that billed itself as groundbreaking and historic truly earns the label, to the point that even many LGBTQ audiences haven’t bought into that narrative.
There are a number of reasons why “Bros” underperformed at the box office, grossing just 4.8 million on a modest 22 million production budget. But the “Bros” discourse that has been the talk of Twitter this past week has centered on how the dominant discussion about the film has been the heavy-handed marketing around its status as the first major studio rom-com with a fully LGBTQ+ cast given a wide theatrical release.
That approach clearly hasn’t don’t “Bros” any favors, particularly among critics in the LGBTQ community, with at least one critic,...
There are a number of reasons why “Bros” underperformed at the box office, grossing just 4.8 million on a modest 22 million production budget. But the “Bros” discourse that has been the talk of Twitter this past week has centered on how the dominant discussion about the film has been the heavy-handed marketing around its status as the first major studio rom-com with a fully LGBTQ+ cast given a wide theatrical release.
That approach clearly hasn’t don’t “Bros” any favors, particularly among critics in the LGBTQ community, with at least one critic,...
- 10/7/2022
- by Brian Welk
- The Wrap
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