发布时间: 2019-12-15 13:53:04|大仙马报 来源: 金程教育 作者: 柏仓勉


  When the filmmakers Joe Carnahan and his best friend, Ben Hernandez Bray, began showing around their script for a new superhero movie in early 2017, they said, studio honchos and moneymen lavished it with praise. The movie, “El Chicano,” offered an origin story with a fresh take: a Mexican-American cop who lost a brother to gang violence adopts the mantle of a masked avenger to take on a cartel.

  But a crucial part of the script gave prospective backers pause. All of the main characters were Latino, and virtually all of the minor characters were, too. In the eyes of potential investors, that made the film a risk.

  “Because we weren’t making ‘La Bamba’ or ‘Selena,’ I don’t think they could wrap their heads around an entirely Latino cast,” said Carnahan, whose movies include “Narc” and “The A-Team.” At least one executive told him that he needed to find a “Caucasian influence” in the film. Perhaps the grizzled veteran cop character could be a white guy, or maybe the hero’s partner on the police squad?

  But for Bray, who is Mexican-American, having an all-Latino cast was nonnegotiable.

  “I kept telling them, ‘As a filmmaker and storyteller, this is everything I was exposed to my entire life,’” he said. “There wasn’t any Caucasian people living in my neighborhood. Not even police officers.”

  Hollywood insiders said the resistance Carnahan and Bray faced remains, in many quarters, typical in the film industry. Darnell Hunt, dean of social sciences at the University of California, Los Angeles, and an author of the annual Hollywood Diversity Report, said he had fielded numerous complaints from filmmakers whose projects were passed over because they refused to compromise their vision of casting solely actors of color, or whose movies got made only because they inserted gratuitous white characters.

  “There’s this age-old truism that if you’re going to have a successful film largely featuring people of color, the powers that be have to have a major white character to provide access to white audiences,” Hunt said. “Often there’s a concern, which I believe is misguided, that there isn’t an audience for diverse films.”

  After hearing months of no, Carnahan eventually found backers: Canadian oil and gas investors who wanted to branch out into movies. The film was produced largely in Calgary for around million, and found a distributor in Briarcliff Entertainment, a production company headed by Tom Ortenberg, previously the chief executive of Open Road Films, which released “Spotlight.” On Friday, “El Chicano” is opening on about 600 screens, most in heavily Latino areas of California, Texas and New Mexico, and already has been nicknamed “Batman in the Barrio.”

  “It’s a great story, full of integrity and authenticity, representing a community that has been underserved to say the least,” Ortenberg said.

  Hollywood’s refusal to embrace the film isn’t surprising in an industry with a poor record of hiring Hispanics and putting Hispanic stories onscreen. Hispanics make up more than 18 percent of the population, and, according to the Motion Picture Association of America, are the most avid moviegoers of any ethnic group, yet held just 5 percent of movie roles in 2017.

  Through no fault of their own, Bray and Carnahan’s timing was also inadvertently off. They pitched “El Chicano” a year before the 2018 release of “Black Panther” and “Crazy Rich Asians,” both wildly successful films that showed that diverse casts and story lines can draw big audiences and deliver fat bottom lines.

  Benjamin Lopez, executive director of the National Association of Latino Independent Producers, said that since “Panther” and “Asians,” there has been an acceleration in demand for Latino stories, directors and writers. Still, he said, films with all-Latinx casts tend to take far longer to get made than films with majority white casts.

  “There’s more questions,” Lopez said, “You have to prove the concept 10 times more than anyone else with a similarly packaged project.”

  Investors are also more comfortable with projects that have star names attached, a preference that can result in missteps when famous white actors are cast as characters of color: In recent years the filmmakers behind “Doctor Strange” and “Aloha” were accused of whitewashing for casting Tilda Swinton and Emma Stone as characters of Asian descent. (The stars of “El Chicano” include Raúl Castillo, from the television shows “Looking” and “Atypical,” and the comedian George Lopez.)

  For Bray, the cast could only be all-Latino because it was so personal; equal parts exorcism, eulogy and revenge fantasy.

  He grew up in a crime-ridden pocket of the San Fernando Valley, in northwestern Los Angeles, the oldest of six children raised by a single mother who heckled neighborhood drug dealers. Bray went on to a successful career as a Hollywood stuntman — his credits include “Iron Man” and “Star Trek” — and then a television director. But his youngest brother, Craig, got caught up in gang life and died.

  To cope with the grief, Bray began working on a memoir about his brother. It later morphed into a script about a police officer who, facing down a cartel after his brother’s apparent suicide, adopts the persona of El Chicano, a.k.a. “the ghetto grim reaper.”

  The script was still unfinished when, a few years ago, Bray’s daughter died at birth. At Carnahan’s urging, and as a way to bear the pain, Bray resolved to finish “El Chicano,” holing up for a month in a friend’s apartment in New York — with his wife’s blessing, he said. He and Carnahan then spent another four weeks polishing the manuscript at Carnahan’s home outside Palm Springs. “We hugged, we cried, we did tequila shots,” Bray said.

  Carnahan thought the film would be a slam dunk and was stunned that Hollywood backers would not climb aboard.

  “Everybody agreed the script was great, no one wanted to make it,” he said. Other executives voiced concerns that the film’s focus on gang violence involved stereotypes, a criticism Carnahan found perplexing. “I said, ‘Guys, when you’ve got all Latino actors in the film, who plays the good guy and the bad guy is immaterial,’” he said.

  For Bray, the cold shoulders were less of a surprise. Besides “Coco,” Pixar’s animated smash hit from 2017, there have been vanishingly few English-language Latino movies, let alone hits, released in recent decades, giving would-be investors little to measure the film’s prospects against.

  “People are scared,” Bray said. “If the numbers aren’t there, they’re like, ‘We’re going to keep the mainstream going. If something falls into our laps that happens to be brown, cool. And, if not, we’re not going to try and push it.’”



  大仙马报【离】【京】【那】【日】,【声】【势】【浩】【大】,【凌】【殊】【羽】【特】【意】【着】【了】【一】【身】【宫】【装】【随】【凌】【惊】【鸿】【上】【了】【早】【朝】。【在】【下】【朝】【后】,【乾】【丰】【帝】【亲】【自】【送】【她】【和】【诚】【王】【出】【了】【金】【銮】【殿】。 【凌】【殊】【羽】【驾】【马】【随】【军】【出】【城】【的】【时】【候】,【不】【少】【百】【姓】【夹】【道】【送】【行】。【不】【是】【凌】【殊】【羽】【或】【者】【诚】【王】【有】【多】【么】【得】【民】【心】,【而】【是】【他】【们】【心】【中】【都】【知】【道】【些】【批】【灾】【银】【的】【重】【要】【性】。 【大】【齐】【再】【难】【凑】【出】【第】【三】【笔】【灾】【银】,【江】【南】【也】【已】【经】【等】【不】【住】【了】。【若】【是】【这】【批】

  “【你】【爸】……” “【里】【面】【有】【我】【爸】?【哈】【哈】【哈】,【别】【逗】【了】。【等】【我】【打】【开】【瞧】【瞧】。” 【当】【阿】【布】【打】【开】【盒】【子】【的】【时】【候】,【店】【员】【就】【必】【须】【让】【她】【买】【了】。 “【为】【什】【么】?【我】【又】【没】【喝】。” “【不】【行】【的】,【小】【姐】,【店】【里】【有】【规】【定】,【只】【要】【奶】【粉】【被】【打】【开】,【那】【客】【人】【就】【需】【要】【买】【了】。” “【不】【公】【平】,【我】【又】【没】【有】【瘟】【疫】,【只】【是】【好】【奇】【里】【面】【有】【什】【么】【罢】【了】,【打】【开】【一】【下】【又】【怎】【么】【了】?【为】

  【话】【音】【未】【落】,【就】【在】【叶】【小】【强】【说】【完】【了】,【要】【斩】【起】【来】【了】【的】【时】【候】,【下】【路】【的】【大】【嘴】【晃】【晃】【悠】【悠】【的】【走】【了】【过】【来】,【他】【们】【打】【团】【的】【地】【方】【是】【对】【面】【的】【蓝】Buff【区】【域】,【这】【大】【嘴】【点】【了】【蓝】【背】【后】【的】【爆】【炸】【果】【实】【跳】【过】【来】,【恰】【好】【诺】【克】【在】【一】【个】Q【消】【耗】【大】【虫】【子】【的】【血】【量】【呢】。 【大】【虫】【子】【是】【一】【个】【随】【便】【出】【点】【装】【备】【就】【能】【撑】【起】【血】【量】【和】【护】【甲】【的】【英】【雄】,【但】【是】【大】【嘴】【可】【不】【是】【啊】,【于】【是】【这】【个】Q【下】【去】,【大】


  【慕】【曦】【玥】【一】【边】【欣】【赏】【雪】【景】,【一】【边】【眼】【观】【六】【路】【耳】【听】【八】【方】【的】【寻】【找】【她】【的】【猎】【物】,【还】【一】【边】【暗】【暗】【琢】【磨】【七】【巧】【玲】【珑】【戒】【的】【化】【形】【方】【法】。 【一】【心】【三】【用】,【一】【点】【不】【耽】【搁】。 …… 【大】【屏】【幕】【前】。 【众】【人】【望】【着】【那】【唯】【一】【一】【块】【突】【然】【黑】【下】【去】【的】【屏】【幕】,【都】【还】【有】【些】【愣】【神】。 “【怎】【么】【回】【事】?【屏】【幕】【怎】【么】【突】【然】【黑】【了】?” “【难】【道】【是】【出】【什】【么】【故】【障】【了】?【主】【管】【大】【人】【呢】?【快】【去】【告】大仙马报【是】【不】【是】【太】【自】【恋】【了】? 【昨】【天】【我】【和】【宝】【宝】【分】【别】【出】【院】【了】,【但】【是】【出】【院】【以】【后】【的】【情】【况】【不】【是】【特】【别】【乐】【观】。【主】【要】【是】【我】【情】【绪】【特】【别】【易】【低】【落】【哭】【泣】【和】【自】【责】。【甚】【至】【莫】【名】【其】【妙】【迁】【怒】【孩】【子】,【然】【后】【陷】【入】【深】【深】【自】【责】。【我】【在】【努】【力】【调】【整】,【只】【有】【听】【冥】【想】【才】【会】【好】【些】。 【等】【待】【与】【你】【们】【的】【相】【会】!

  【面】【对】【这】【个】【发】【现】,【景】【辰】【的】【心】【情】【却】【异】【常】【平】【静】。 【以】【前】【在】【叶】【翕】【音】【身】【上】【所】【有】【的】【不】【解】【和】【疑】【团】,【因】【为】【这】【本】《【大】【明】【实】【录】》【全】【部】【都】【解】【开】【了】。 【这】【样】【的】【解】【释】,【反】【倒】【让】【景】【辰】【一】【颗】【原】【本】【疑】【虑】【重】【重】【的】【心】,【彻】【底】【安】【放】【下】【来】。 【只】【要】【叶】【翕】【音】【的】【身】【世】【与】【其】【他】【势】【力】【没】【有】【牵】【扯】,【其】【他】【的】【都】【不】【重】【要】。 【此】【刻】,【景】【辰】【只】【剩】【下】【对】【叶】【翕】【音】【浓】【浓】【的】【心】【疼】。 【如】【果】

  【唤】【尸】【瞳】【是】【当】【初】【与】【叶】【家】【同】【为】【越】【窑】【城】【四】【大】【家】【族】【的】【贵】【族】【的】【秘】【法】,【这】【种】【秘】【法】【也】【是】【可】【以】【寻】【墓】【所】【用】,【不】【过】【却】【用】【的】【不】【是】【灵】【识】。 【所】【以】【只】【有】【二】【乾】【的】【寻】【墓】【决】【是】【世】【界】【上】【独】【一】【无】【二】【的】【功】【法】【而】【且】【修】【炼】【的】【条】【件】【也】【十】【分】【的】【苛】【刻】,【世】【上】【也】【为】【二】【乾】【一】【人】【具】【备】【这】【样】【的】【条】【件】。 【天】【机】【堂】【总】【部】,【月】【使】【者】【对】【面】【前】【的】【黄】【君】【骁】【说】【道】:“【堂】【主】【给】【你】【的】【时】【间】【已】【经】【够】【多】【了】,【天】

  【进】【化】【和】【重】【置】【的】【道】【路】【都】【是】【曲】【折】【的】。——【旁】【白】【君】 【杨】【毅】【军】【带】【着】【他】【的】【人】【搬】【去】B【市】【也】【就】【是】【他】【们】【一】【行】【人】【从】N【市】【回】【来】【后】【的】【一】【周】【内】,【再】【之】【后】,B【市】【的】【防】【守】【线】【中】【陆】【续】【换】【进】【了】【他】【的】【人】,B【市】【周】【围】【也】【弄】【上】【了】【大】【大】【小】【小】【的】【路】【障】【关】【卡】。 【市】【内】【的】【居】【民】【同】【往】【常】【一】【样】,【邻】【里】【互】【相】【帮】【助】,【接】【取】【简】【单】【任】【务】,【憧】【憬】【着】【美】【好】【未】【来】。 【街】【道】【上】【还】【会】【有】【三】【两】【个】【手】

  【不】【过】…… 【现】【在】【他】【还】【有】【些】【用】【处】,【就】【暂】【时】【先】【放】【过】【他】,【待】【他】【无】【用】【之】【日】,【他】【家】【的】【人】,【他】【一】【个】【都】【不】【会】【放】【过】! 【老】【者】【自】【是】【不】【知】,【他】【一】【时】【心】【生】【怜】【悯】,【会】【搭】【进】【去】【自】【己】【的】【一】【生】。 【连】【家】【人】【同】【样】【也】【受】【到】【了】【牵】【连】。 …… 【天】【涯】【府】【内】,【张】【灯】【结】【彩】,【连】【门】【上】【都】【高】【高】【挂】【着】【红】【灯】【笼】。 【谁】【都】【知】【道】【天】【涯】【府】【里】【有】【人】【要】【成】【亲】【了】,【却】【没】【有】【人】【知】【道】【是】