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(单词翻译:双击或拖选)
ARI SHAPIRO, HOST:
This week Oscar nominations1 came out and, like many years, several of the films had something in common. "Arrival," "Jackie," "Manchester By The Sea" and "Hell Or High Water" all appeared on Hollywood's Black List. This Black List is actually a good thing. It's an anonymous2 survey, and Alex Wagner writes about it in The Atlantic. Hi, Alex.
ALEX WAGNER: Hi, Ari.
SHAPIRO: Briefly3 explain what this Black List is.
WAGNER: Well, so The Black List is not the blacklist that a lot of Americans may be familiar with, a sort of witch hunt that took place in Hollywood in the '40s and '50s. It is the...
SHAPIRO: The anti-communist - yeah.
WAGNER: Exactly. It is the invention of a former - young - film industry executive named Franklin Leonard, who on a whim4 decided5 to ask his Rolodex the central question that is asked in Hollywood - what scripts have you read that are good? It doesn't mean the most bankable scripts in Hollywood, but the scripts that had the most compelling character-driven plots, the ones they couldn't put down, and the ones that also weren't yet being made into movies.
SHAPIRO: To what extent can this list really be an antidote6 to the overwhelming flood of blockbuster, action, comic book, superhero, sequel-based, et cetera, et cetera, et cetera movies?
WAGNER: A surprising number of scripts from The Black List actually get made into movies, about a third of them. And a lot of the Oscar nominees7 that we see every year come from The Black List, so it's definitely a talent clearinghouse, if you will. But the thing that I realized in the course of reporting this story, Ari, is that this does not account for the majority of Hollywood's output.
In this day and age, the lion's share of films made by Tinseltown are tent pole franchises8 that will do well overseas, but The Black List is really powerful and can change the careers of young writers or people who are new to Hollywood. Once you have a script on The Black List, even if that script isn't turned into a movie, your writing career definitely has juice. And that's an important thing as we talk about the American narrative9 and who gets to tell these stories and the ways in which we bring people into the Hollywood talent pool.
SHAPIRO: Right, there has been so much conversation about diversity in Hollywood. And to some extent I'm sure the scripts in The Black List do better than Hollywood in general, and yet the people vetting10 those scripts on The Black List are still, you know, the agents, the managers, the Hollywood people. Is it really a solution to the problem?
WAGNER: Yes and no. So Franklin Leonard set out to hopefully grab a more diverse pool of writers on The Black List, that hasn't really been the case. Sort of as a rejoinder to that or maybe to compliment the survey itself, he's developed a Black List screenwriting - scriptwriting service, and that allows anybody anywhere in the world to post their screenplay to the website for a small fee and have it reviewed by a number of industry professionals. In that way it sort of changes the power paradigm11, it changes the gatekeeping.
And more fundamentally, it doesn't necessitate12 that screenwriters move to Los Angeles and work in an industry mailroom. That is a livelihood13 and a move that very few Americans can make, and they tend to be wealthier and better educated Americans that have either the family resources to support their meager14 salaries or the networks to get in with the studios.
SHAPIRO: She did a ton of interviews for this piece in The Atlantic, people on the inside and the outside all over Hollywood, and I wonder if at the end of the day you took away that The Black List is a good solution to the problems that plague Hollywood or just evidence of how huge those problems are that even something as influential15 as The Black List really can't change the direction of this massive steamship16?
WAGNER: So I guess I was a little bit heartened and a little bit despondent17, if you will. It's - Hollywood's a huge machine, and the people that are still greenlighting the majority of films tend to be overwhelmingly white and overwhelmingly male. "The Hunger Games" almost didn't really get made because people didn't believe in a film that had a female teenage protagonist18. "The Butler" barely got made, it was basically crowdsource funding from 40 people because no studio would fund it.
SHAPIRO: And that was even after Oprah was on board. This was not some little-known project.
WAGNER: Exactly. I mean, "Slumdog Millionaire" very nearly went straight to DVD because the people who are deciding whether to get behind a movie are coming from a very specific place, and that is problematic and that requires systemic change. And as far as anyone in the industry being really very invested in creating that change and that disruption and allocating19 resources towards it, I just didn't see it.
SHAPIRO: That's Alex Wagner of CBS News and The Atlantic. Her new article is called "The Hollywood list Everyone Wants To Be On." Thanks, Alex.
WAGNER: Thanks, Ari.
(SOUNDBITE OF DEVENDRA BANHART SONG, "BABY")
1 nominations | |
n.提名,任命( nomination的名词复数 ) | |
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2 anonymous | |
adj.无名的;匿名的;无特色的 | |
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3 briefly | |
adv.简单地,简短地 | |
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4 whim | |
n.一时的兴致,突然的念头;奇想,幻想 | |
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5 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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6 antidote | |
n.解毒药,解毒剂 | |
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7 nominees | |
n.被提名者,被任命者( nominee的名词复数 ) | |
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8 franchises | |
n.(尤指选举议员的)选举权( franchise的名词复数 );参政权;获特许权的商业机构(或服务);(公司授予的)特许经销权v.给…以特许权,出售特许权( franchise的第三人称单数 ) | |
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9 narrative | |
n.叙述,故事;adj.叙事的,故事体的 | |
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10 vetting | |
n.数据检查[核对,核实]v.审查(某人过去的记录、资格等)( vet的现在分词 );调查;检查;诊疗 | |
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11 paradigm | |
n.例子,模范,词形变化表 | |
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12 necessitate | |
v.使成为必要,需要 | |
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13 livelihood | |
n.生计,谋生之道 | |
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14 meager | |
adj.缺乏的,不足的,瘦的 | |
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15 influential | |
adj.有影响的,有权势的 | |
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16 steamship | |
n.汽船,轮船 | |
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17 despondent | |
adj.失望的,沮丧的,泄气的 | |
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18 protagonist | |
n.(思想观念的)倡导者;主角,主人公 | |
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19 allocating | |
分配,分派( allocate的现在分词 ); 把…拨给 | |
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