Aneesh chaganty

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2008.01.25 07:52 Movie News and Discussion

News & Discussion about Major Motion Pictures
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2020.11.29 14:31 Romt0nkon What movies did you watch last week (21.11.2020 - 28.11.2020)?

Hello FG,
The weekly thread is back. Let's begin.
RUN (2020) / Dir.: Aneesh Chaganty - 4/10
A homeschooled teenager begins to suspect her mother is keeping a dark secret from her.
If this movie were made in the 60s it would have starred Bette Davis or Joan Crawford and nowadays would have been forgotten by everybody except drag queens. Sarah Paulson gave a fair share of campy performances in her career but this have to be her most overblown. Not sure what scared critics; I was mostly giggling.
BOSS LEVEL (2020) / Dir.: Joe Carnahan - 5/10
A retired special forces officer is trapped in a never ending time loop on the day of his death.
Strange film. It looks and feels like a direct-to-video stuff and yet includes performers like Naomi Watts, Mel Gibson and Michelle Yeoh who pop up for a couple of minutes each in thankless roles. It works at times because of Frank Grillo's charisma and B-movie cartoonish violence, but overall the plot is perplexing and the ending is unsatisfying.
HILLBILLY ELEGY (2020) / Dir.: Ron Howard - 5.5/10
Based on the bestselling memoir by J.D. Vance, HILLBILLY ELEGY is a modern exploration of the American Dream and three generations of an Appalachian family as told by its youngest member, a Yale Law student forced to return to his hometown.
I would have never watched a Ron Howard about hillbillies but since reviews were so tantalizingly bad I couldn't miss it. It's not as terrible as critics suggest. A plain Oscar bait which conveys its message ("rednecks have feelz too!") with the subtlety of a sledgehammer and has two Oscar losers (Glenn Close and Amy Adams) hamming it up for awards attention. Movies like this are innumerous and this one is far from being amongst the most offensive.
THE ACT / 1st season - 9/10
Dee Dee Blanchard is overprotective of her daughter, Gypsy, who is trying to escape the toxic relationship she has with her mother. Gypsy's quest for independence opens up a Pandora's box of secrets, which ultimately leads to murder.
Saw it right after "Run". I heard about this story before but didn't know details. Scary and sad.
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2020.11.26 13:47 ThePoetsTell REQ: RUN by Aneesh Chaganty

"A homeschooled teenager begins to suspect her mother is keeping a dark secret from her."
Patchy, and far-from-perfect, but man, does it know how to dial up suspense. I know it's a writer-director job, but would still be interesting to see how it was tackled on the page.
submitted by ThePoetsTell to Screenwriting [link] [comments]


2020.11.25 15:33 amg7355 'Run' Director Aneesh Chaganty on Channeling Hitchcock and Shyamalan for His Thriller

'Run' Director Aneesh Chaganty on Channeling Hitchcock and Shyamalan for His Thriller submitted by amg7355 to ABCDesis [link] [comments]


2020.11.24 01:31 OldmanRevived I saw three movies (Fatman, Run, The Twentieth Century)

First up was Fatman
"Fatman" begins with a thought-provoking idea, and exploits it for its action and plot potential, but never really develops it. The movie seeks to spin a bleak and wintry hitman tale into a deadpan dark Christmas comedy by making Santa Claus the target of a hired killer. Mixing these disparate genres together would require an absolute mastery of tone that the film can't quite muster.
It helps to understand that Chris Cringle (Mel Gibson), the hero of "Fatman," is a real person. Well, of course he is. He lives in snowbound Canada, in a lonely picturesque farmhouse, along with his adoring wife, Ruth (Marianne Jean-Baptiste), and he has maintained order over his workshop for centuries. But now, times are hard for Santa. His annual rite of Christmas toy delivery, you see, has been sliding off the rails. Too many kids aren’t behaving well. His profound sadness, which permeates the touching Gibson performance, comes from his attempt to justify inhuman behavior with a belief system that has no connection with his life or his world.
Santa's entire organization is subsidized by the United States government as a way of helping to spur the economy thanks to the good will that he generates. Alas, Chris has grown to be increasingly pessimistic, and has been leaving more lumps of coal than usual. As a result, the government is reducing its subsidy. However, they do make him an offer to help make up the financial shortfall by retraining his elves so that they can spend a couple of months fulfilling a contract to build military hardware.
There are some cruel and resentful people in the world who believe they have been wronged by Santa. One of them is Billy (Chance Hurstfield), who lives with his grandmother, and spends his free time making life miserable for his maids. After a girl finishes ahead of him at the science fair, he orders a henchman to abduct her, then threatens her with a severe shock from a car battery. Since he was asking for it, the kid receives a lump of coal from Santa for Christmas. Billy is outraged. He commissions a deranged hitman (Walton Goggins), who has his own grudge against the fat man, to take out Santa and possibly keep his coat as a souvenir.
There is much cleverness and ingenuity in "Fatman,'' but Mel Gibson is the key. The movie wouldn't work with an actor who was heavy on his feet, or was too sincere about the material. Gibson is essentially an action comedian, who enters into violence with a bemused detachment. There’s a consistent vision for this version of Santa Claus throughout, such as the choice in wardrobe - he's a flannel-shirt-and-jeans guy rather than someone in a fur-trimmed red suit.
But there is a problem, and the problem is, everything seems to be an act. Nothing really seems to be at stake. It's odd, how the movie's gloom and doom are amusing at first, and then dampen down the humor. Although many unfortunate events do indeed occur in "Fatman," they cannot be called exciting because everyone is rather depressed by them. There is no one in the movie to provide a reasonable reaction to anything; the adults and kids are all demented, evil, or, in the case of Walton Goggins, stunningly lacking in perception.
The two competing storylines do not mesh; Chris dealing with the government and the pressures of the real world is the more promising of the two, but every time something starts to get going on that end, the film hops over to the infinitely less interesting material with the hitman. And when the two finally meet, any satirical point the movie could be making is thrown out in a violent climax. But look more deeply, and you see the self-destructive impulse that guides Santa in the closing scenes, as he sadly marches forth to practice his code in the face of people who only want to kill him.
A movie about Mel Gibson playing a bounty-hunted Santa Claus should be wackier than "Fatman" ultimately is. It should have more smoldering panic bursting into full-blown freak-outs. It should have more passion, more intensity. By the end, the film seems to have lost enthusiasm for itself and become strangely detached; it begins to feel like an exercise, not an exuberation. Somehow it's all kind of hollow. By the numbers. For all of the work that was put into figuring out the logistics of a real-world Santa, it's a bit disappointing that it's all in service of something fundamentally routine.

Next up was Run
The hero of "Run" is trapped in a wheelchair, and we're trapped, too - trapped inside her point of view, inside her lack of freedom and her limited options. Her name is Chloe (Kiera Allen), and a short prologue focuses on her mother Diane (Sarah Paulson), who gives birth to a premature baby. The doctors are hesitant to disclose what the child's prognosis is, but some on-screen text does the work for them, listing a series of ailments and conditions. That's when we meet the teenaged Chloe, who goes through her morning routine - most of it perfectly ordinary and some it relating to her various medical conditions.
Diane has homeschooled her daughter, and it has paid off. Chloe is looking forward to a college acceptance letter any day now, and from a brief scene at a local meeting for parents who homeschool, it seems as if Diane is conflicted but somewhat relieved to have some part of her life return when her daughter goes away to college. Chloe lives an isolated existence, cut off from virtually all social interaction, but she's bright and resourceful, as evidenced by the almost-operational robotics project she’s been building in her upstairs bedroom.
On a seemingly ordinary day, Diane returns from the grocery store with a new medication. Looking for forbidden chocolate, Chloe notices the pills and the prescription in her mother's name. What a shock it is, then, when one of those pills ends up in Chloe's nightly medicine regimen. Chloe is immediately unnerved, unsure what she’s putting into her system. Without access to phones or the internet, she begins to question her mother’s care, unsure if she's being protected or imprisoned. That gets Chloe thinking about her mother's motives, and much of the film is about a hunt for the truth.
That Chloe isn't as sick as she thinks shouldn't come as a shock, but the movie certainly serves that fact as if it should. Further plot elements can be spotted from far away, but still play out with the grandeur of revelation. The obvious obstacles include the facts that Chloe is in a wheelchair, meaning that she can't just reach up for the pill bottle to figure out the medication's name, and that her asthma and diabetes can cause some serious problems in the midst of an investigation, such as when she sneaks away from a movie theater to the pharmacy to get a professional opinion on the pill in question.
At this point the film takes a turn toward guilt, panic, deception and concealment, and I will not take the turn with it, because a film like this must be allowed to have its way with you. Let us say that Aneesh Chaganty, the director and co-writer (with Sev Ohanian), understands as Hitchcock did the small steps by which a wrong decision grows in its wrongness into a terrifying paranoid nightmare. And how there is nothing more disturbing than trying to conceal a crime that cries out to be revealed. He pulled off the same feat in his previous film, "Searching," which told the story about a father (John Cho) searching for his missing daughter with a gimmick set entirely within the confines of electronic devices.
The cast makes an intriguing team. In her first major role, Allen (who, I learn from news reports, is actually disabled) embodies intelligence and grit. She is controlled and even passive here, the disbelieving captive of a madwoman. Paulson, who has the film's key role, is uncanny in her ability to switch, in an instant, from sweet solicitude to savage scorn. Some of the things Chaganty invents for her to do to her daughter are so shocking that they could be a trap for an actor - an invitation to overact. But she somehow remains convincing inside her character's madness.
"Run" serves as a prime example of how thrilling a thriller can actually be when its character base is treated with both depth and importance. When we care about (or can at least identify with) the characters when dangerous incidents do come into play, we're all the more caught up because of the dramatic underpinnings giving them weight and immediacy. With that said, I can't deny that you would have to suspend a large amount of disbelief at certain moments, since a lot of scenes in the movie are about as convincing as a timeshare salesman. But the majority of the film is good enough, and so these faults hardly take away from it being an impressive piece of work.

Last was The Twentieth Century
"The Twentieth Century" is a film that starts out as an odd technical experiment that self-consciously tries to resemble something from the early days of motion pictures, and ends as a fascinating work that evokes the spirit of those earlier films while still succeeding as a fully developed work in its own right. To see it is to understand how a film can be created entirely by its style, and how its style can create a world that never existed before, and lure us, at first bemused and then astonished, into it.
This is the debut feature of Matthew Rankin, who very freely adapts the life of Mackenzie King, a politician that served as prime minister of Canada from 1926 to 1930, and again from 1935 to 1948. Despite his coldness and lack of charisma, King ascended to the top ranks of the Liberal Party to become one of Canada’s most revered leaders. Through shrewd diplomacy and an even hand, King lead the country through World War II, helped calm the contentious relationship between English and French populations, and ushered Canada into the modern technological age. He never married, and while historians have speculated that he may have been closeted, evidence would seem to indicate that he simply wasn’t a very interesting person.
Everything in the film is drawn from Mackenzie King's diary and reprocessed. The film is not a realistic or literally accurate depiction of Canadian history. Instead, it's mixing and matching elements of real history with invented fantasia in a stylized manner reminiscent of the films of Guy Maddin, and taking place largely on deliberately unrealistic sets influenced by German Expressionism, 1940s melodrama and wartime propaganda films. Such meticulous care is enthralling because you can feel the passion.
In Rankin's telling, Mackenzie King (Dan Beirne) is a wide-eyed naif whose one goal in life is to win the Prime Minister Competition; featuring such events as waiting your turn in line, identifying various trees by scent, and clubbing baby seals. One day, while reading to a young girl with tuberculosis in the Home for Defective Children, he falls head over heels for the beautiful Ruby Elliott (Catherine Saint-Laurent), who plays her harp to soothe the patients. Ruby, you see, bears a striking resemblance to King's True Love, as depicted in a painting dictated from a vision by his oppressive, bed-ridden mother (Louis Negan). Ruby is also the daughter of the tyrannical Lord Muto (Seán Cullen), the iron-fisted ruler of Canada.
Unfortunately for Mackenzie, he ties for second place, with the dashing Bert Harper (Mikhaïl Ahooja) winning. Even worse, Harper captures the heart of Lady Ruby Elliott, the woman Mackenzie believed it was his destiny to marry. From there, the movie follows what happens as its hero's fate changes in drastic ways. When Ruby ships off to fight the Boers overseas, King spirals into depravity, and his foot fetishism threatens to become "a crime against national dignity." This leads him to the cruel treatment of the nefarious Dr. Milton Wakefield (Kee Chan).
King's efforts to control his own unruly libido coincide with a more grandly scaled campaign for Canada to impose order on itself. A subplot concerns the Boer War and the Québécois resistance to what was seen as a British-Canadian project in South Africa. The French-speaking population appears as a diminutive society dressed in light green jackets, led by the mustached female separatist J. Israël Tarte (Annie St-Pierre), an existential threat to the reign of Lord Muto that the royalist must use King to defeat. He eventually leads the charge in an ice skating battle against Tarte and his legion of followers.
"The Twentieth Century" feels like it was beamed in from some obscure dimension that exists perpetually in the transition between vaudeville and talkies. We see a hyperbolic mix of melodrama and satire, which is teeming with higher nonsense. Rankin has an incredibly deep understanding of the theatrics of early cinema. He shoots on 8mm film and blows it up to look like a memory from the distant past. There's a generous use of soft focus, and travel sequences are represented by paper cut-outs gliding between rough drawings and Xeroxed photographs. The film also makes use of cross-gender acting, with three significant characters (King's mother, J. Israël Tarte and Lady Violet) portrayed by performers in drag.
This is the kind of audacious filmmaking that deserves to be recognized and which will no doubt inspire any number of impassioned discussions. The more films you have seen, the more you may love "The Twentieth Century." It plays like satirical nostalgia for a past that never existed. The actors bring that kind of earnestness to it that seems peculiar to supercharged melodrama. You can never catch them grinning, nor can you catch Rankin condescending to his characters; he takes them as seriously as he possibly can, considering that they occupy a mad, strange, gloomy, absurd comedy.
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2020.11.20 23:06 sevohanian We are Aneesh Chaganty & Sev Ohanian, filmmakers from SEARCHING and now back (although Sev never left...) with our second collaboration: RUN a movie that premieres TODAY on Hulu. AMA!

Hello again!
After having read over hundreds of AMAs, it was SO surreal to be a part of one myself in 2018 when we did this for our film SEARCHING. And it was even funner being active on the official movies discussion of the film for weeks and weeks as more Redditors discovered the movie.
We're so excited to be back with our new film RUN releasing today on Hulu! We made it very much with the same team as SEARCHING. Aneesh directed it as his second feature, he and I wrote it together, I produced alongside Natalie Qasabian. And we had the same two amazing editors Will Merrick & Nick Johnson and the amazing SEARCHING composer Torin Borrowdale as well -- alongside many new great collaborators on RUN.
The movie stars Sarah Paulson and newcomer Kiera Allen, and we hope you all get a chance to watch it.
Here’s the trailer. And here's some proof:
Ask Aneesh and me anything! We'll be answering questions starting at 3pm PT!
EDIT: This was a ton of fun. We're heading out now to handle some more RUN business. But I'll always be around (I'm already on Reddit pretty much all the time) to answer any few more straggling questions here or on the Official Discussion. Thanks for the questions and hope you guys check out the film!
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2020.11.20 20:59 LiteraryBoner Official Discussion - Run [SPOILERS]

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Summary:
A homeschooled teenager begins to suspect her mother is keeping a dark secret from her.
Director:
Aneesh Chaganty
Writers:
Aneesh Chaganty, Sev Ohanian
Cast:
  • Sarah Paulson as Diane Sherman
  • Kiera Allen as Chloe Sherman
  • Pat Healy as Tom
  • Sara Sohn as Kammy

Rotten Tomatoes: 95%
Metacritic: 64
VOD: Hulu
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2020.11.20 20:46 watchwardmedia "Run" Movie (2020) Now Playing

Watch "Run" Movie official trailer:
"Run" Movie (2020)
"Run" is a 2020 American thriller horror mystery film directed by Aneesh Chaganty.
The starring cast includes Sarah Paulson, Kiera Allen, Pat Healy, Sara Sohn, Onalee Ames, Carter Heintz, Clark Webster, Conan Hodgkinson, Erik Athavale and Bradley Sawatzky.
#Run, #RunMovie, #AneeshChaganty, #SarahPaulson, #KieraAllen, #PatHealy, #SaraSohn, #OnaleeAmes, #CarterHeintz, #ClarkWebster, #ConanHodgkinson, #ErikAthavale, #BradleySawatzky
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2020.11.20 04:03 dingleberriesmoothie Interview with Aneesh Chaganty, director of Searching (2018) and Run (2020), about his life and career

Interview with Aneesh Chaganty, director of Searching (2018) and Run (2020), about his life and career submitted by dingleberriesmoothie to movies [link] [comments]


2020.11.20 04:00 dingleberriesmoothie Interview with Aneesh Chaganty, director of Searching (2018) and Run (Nov. 20 on Hulu), about his life and career

Interview with Aneesh Chaganty, director of Searching (2018) and Run (Nov. 20 on Hulu), about his life and career submitted by dingleberriesmoothie to ABCDesis [link] [comments]


2020.11.20 00:37 rjonreview19 'Run' Review: Sarah Paulson Goes Full Scary Paulson in Aneesh Chaganty's Latest Thriller

'Run' Review: Sarah Paulson Goes Full Scary Paulson in Aneesh Chaganty's Latest Thriller submitted by rjonreview19 to moviecritic [link] [comments]


2020.11.16 19:36 nascentt ‘Run’ Review: Sarah Paulson and Kiera Allen Are Equally Strong in Aneesh Chaganty’s Relentless Thriller

‘Run’ Review: Sarah Paulson and Kiera Allen Are Equally Strong in Aneesh Chaganty’s Relentless Thriller submitted by nascentt to Slashfilm [link] [comments]


2020.10.26 21:31 MonicaLiu7 favourite horror movies I've seen recently (order based on release date)

- Possessor (2020, Brandon Cronenberg)
- Host (2020, Rob Savage) -- short
- The Lighthouse (2019, Robert Eggers)
- Bacurau (2019, Kleber Mendonça Filho, Juliano Dornelles)
- Ad Astra (2019, James Gray) -- not horror but has tense moments
- The Vast of Night (2019, Andrew Patterson)
- The Lodge (2019, Veronika Franz, Severin Fiala)
- In Fabric (2018, Peter Strickland)
- Searching (2018, Aneesh Chaganty)
- The Witch: Part 1. The Subversion (2018, Park Hoon-jung)
- Cam (2018, Daniel Goldhaber)
- Gonjiam: Haunted Asylum (2018, Jung Bum-shik)
- Upgrade (2018, Leigh Whannell)
- Tigers Are Not Afraid (2017, Issa López)
- Terrified (2017, Demián Rugna)
- One Cut of the Dead (2017, Shinichiro Ueda)
- Ghost Stories (2017, Andy Nyman, Jeremy Dyson)
- The Ritual (2017, David Bruckner)
- The Endless (2017, Aaron Moorhead, Justin Benson)
- Better Watch Out (2016, Chris Peckover)
- Elle (2016, Paul Verhoeven)
- The Wailing (2016, Na Hong-jin)
- Over Your Dead Body (2014, Takashi Miike)
- Phobia 2 (2009, anthology)
- The Aerial (2007, Esteban Sapir)
- Slither (2006, James Gunn)
- Shutter (2004, Banjong Pisanthanakun, Parkpoom Wongpoom)
- Gozu (2003, Takashi Miike)
- Ghostwatch (1992, Lesley Manning)
- Death Becomes Her (1992, Robert Zemeckis)
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2020.10.26 12:06 film-bookdotcom RUN (2020) Movie Trailer 2: Sarah Paulson plays a Mother from Hell in Aneesh Chaganty's Thriller Film

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2020.10.25 15:27 StraightFromAMovie Run Movie Official Trailer (2020) Aneesh Chaganty Sarah Paulson Ki...

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2020.10.22 18:41 lordDEMAXUS Official Poster for 'Run' - From 'Searching' Director Aneesh Chaganty; stars Sarah Paulson and newcomer Kiera Allen.

Official Poster for 'Run' - From 'Searching' Director Aneesh Chaganty; stars Sarah Paulson and newcomer Kiera Allen. submitted by lordDEMAXUS to movies [link] [comments]


2020.10.22 18:32 lordDEMAXUS Aneesh Chaganty’s 'Run' - Trailer (Official)

Aneesh Chaganty’s 'Run' - Trailer (Official) submitted by lordDEMAXUS to movies [link] [comments]


2020.09.26 00:53 sevohanian Available for download finally... the screenplay for our film SEARCHING!

Hey everyone,
This is something I've gotten asked for so many times here on reddit over the past 2 years. But unfortunately for a number of reasons, we have never been permitted to ever share the script for our movie SEARCHING.
But a few days ago it leaked online(!)
A bunch of my industry friends recently saw that a draft of it somehow ended up on the internet a few days ago. It's definitely not the final draft but it should still make for a good/educational read. I'm just bummed that it took so many years to happen but I'm glad folks here can finally check it out. I've pasted below the link someone shared with me.
(Also Sony if you're reading this I swear I wasn't the one who leaked it. Pinky promise.)
So without further ado, PLEASE SEE BELOW the script I wrote with my writing partner that we later made into an indie movie on a budget of $880k, shot in 13 days, premiered at Sundance, won awards, and made over $75M worldwide on a marketing budget which felt like approximately $3.50:
SEARCHING (2018)
Written by
Aneesh Chaganty & Sev Ohanian
https://www.scriptslug.com/script/searching-2018
PS: We just finished Week 1 of "PreViz" on SEARCHING 2 -- which sometimes feels like just about the only movie that can be safely made during the pandemic... Seriously can't wait to share more information about that one with you all one day.
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2020.09.23 22:36 nascentt ‘Run’ Teaser: Sarah Paulson Thriller From ‘Searching’ Director Aneesh Chaganty Heads to Hulu in November

‘Run’ Teaser: Sarah Paulson Thriller From ‘Searching’ Director Aneesh Chaganty Heads to Hulu in November submitted by nascentt to Slashfilm [link] [comments]


2020.09.22 20:12 rageofthegods Aneesh Chaganty’s Thriller ‘Run’ Starring Sarah Paulson Lands Release Date At Hulu

Aneesh Chaganty’s Thriller ‘Run’ Starring Sarah Paulson Lands Release Date At Hulu submitted by rageofthegods to boxoffice [link] [comments]


2020.09.22 19:02 chanma50 Aneesh Chaganty’s Thriller ‘Run’ Starring Sarah Paulson Lands Nov 20 Release Date At Hulu

Aneesh Chaganty’s Thriller ‘Run’ Starring Sarah Paulson Lands Nov 20 Release Date At Hulu submitted by chanma50 to movies [link] [comments]


2020.09.20 14:28 scriptslug Read the Searching (2018) script, written by Aneesh Chaganty and Sev Ohanian.

Read the Searching (2018) script, written by Aneesh Chaganty and Sev Ohanian. submitted by scriptslug to u/scriptslug [link] [comments]


2020.09.09 03:23 Misterellsworth Misconceptions of Hollywood from an insider and what you can do.

I see a lot of blanket statements around how performance on [some Asian project] will lead to more opportunities. While well-meaning, I want to bring some caution to the (misplaced) optimism. As a bit of background, I'm a former finance and tech professional with a Harvard MBA that gave it up to work for a president of a major Hollywood studio. I'm been privy to how the industry operates across different entities - production company, writers, studios, streaming, etc.
The Claim:"If [Mulan or Crazy Rich Asians] does well, it will open doors!" or the vice versa " If [Mulan or CRA] does not do well, then it will give execs excuses to not rep Asians!"
The Reality:While it is true that success of CRA did "open doors", what it actually did was two things:
  1. CRA elevated incumbent Asians. Those folks are booked for days - e.g. Adele Lim, Henry Golding, etc. But unknowns trying to break-in are overshadowed by incumbents. Projects are shepherded by creative execs, who basically help out their inner circles. Not surprisingly, these execs are overwhemingly cut from the same cloth. Not too mention since the path starts off low pay, only certain people are afforded opportunity to start. So even if they are Asian, they are not too different than their white counterparts.
  2. The BULK of what happened is a bunch of white writedirectors/producers trying to cash in on the "Asian trend". The number of incumbent Asians are just too few. For every 10 "Asian" projects, 8 or so were from non-Asian creators. I saw way too many "Southeast Asian Narcos" scripts. Creators? All non-white. There are also projects trying to cash in on both "feminist" and "Asian", such as infamous pirate Ching Shih. There are at least a dozen k-pop projects in development right now. Only 3-4 have Asian backing behind it. As an example, take a look at the production company behind Crazy Rich Asians - Ivanhoe Pictures. The claim that poor performance will deter Asian projects is only partly true. While yes, comparables ("comps") are used for rationale, it's a tiny tiny piece of the equation. The BIGGER piece is how powerful the sponsor (main decision maker) is and the main creative aspects (e.g. story, script, budget, etc). So until there are pro-Asian execs at senior levels, be careful of "Asian" projects out there.
But what about money from Asia? Hollywood is largely based on relationships and leverage. Marty Adelstein's Tomorrow Studios or Erik Feig's Picturestart cashing in on Japanese anime will have more leverage than Toho, Tencent or Alibaba. CJ Entertainment has greatly improved their profile since Parasite, but they were trying to break in since Miky's investment into Dreamsworks in the 90s. Hollywood largely looks at Asian money as "dumb money" (e.g. Tencent, Alibaba, and Sony). Sony Pictures is operated very independently from Sony Japan - they have very little sway as what gets made.
What we can do: This is not at all meant to be a defeatist post. Here are five tangible ways to sway the tide:
  1. Support Asian-grown media and help elevate those to global successes as Parasite did.
  2. Support projects from pro-Asian Hollywood/Netflix creators. Help them get into power. This means support their projects that are not Asian related too.E.g.: Dan Lin (Lego movie, It), Albert Cheng (COO Amazon Studios), James Wan (Aquaman), Justin Lin ( Fast and Furious), Ali Wong, Aneesh Chaganty (Searching).
  3. Make the talented pro-Asian Tiktokers and Youtubers go viral. Creative execs are often looking at alternative media for talent. One of our execs saw a fan-film of My Hero Academia and immediately called up the creator to collaborate.E.g. Brandon Chen, Ashwin Suresh.
  4. Don't get decry "Hollywood is racist". Call out the individuals. Unfocused frustrations rarely gets anywhere. The #timesup movement really took off when Harvey Weinstein got brigaded, despite it being rampant in the industry forever.
  5. Lastly, if you have any relevant creative skill - drawing, writing, music,etc - please come help. Nurture it. Develop it. Become undeniable. Contribute to a short film.
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