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(单词翻译:双击或拖选)
MARY LOUISE KELLY, HOST:
In her Oscar acceptance speech last night Frances McDormand, who had just been handed the statue for best actress, asked every female nominee1 in the room to stand up.
(SOUNDBITE OF 90TH ANNUAL ACADEMY AWARDS)
FRANCES MCDORMAND: OK, look around, everybody. Look around, ladies and gentlemen.
KELLY: Look around, she told the crowd. We have stories to tell. We have projects we need financed. McDormand ended her speech with this.
(SOUNDBITE OF 90TH ANNUAL ACADEMY AWARDS)
MCDORMAND: I have two words to leave with you tonight, ladies and gentlemen - inclusion rider.
(APPLAUSE)
KELLY: Inclusion rider. So what is that? Well, let's put the question to Stacy Smith, who pioneered the idea. Stacy Smith is founder2 and director of USC Annenberg's Inclusion Initiative. Welcome to the show.
STACY SMITH: It's great to be here. I'm smiling listening to the lines from last night.
KELLY: Listening to it, did you know that Frances McDormand was going to sound that battle cry last night?
SMITH: No, I had absolutely no idea. But talk about being elated and thrilled to hear those two words broadcast around the world. It was amazing.
KELLY: Because this is a relatively3 new concept, tell us what it is. What is an inclusion rider?
SMITH: Inclusion writer is a stipulation4 that is put in a content creator's contract. We wrote it thinking really about A-list talent. And it specifies5 that for onscreen, supporting and small parts that the world in which the story exists should reflect the world we actually live in, which is in the U.S. roughly 50 percent female, 40 percent people of color, 20 percent people with disabilities, 5 percent LGBT.
KELLY: So basically if I'm an A-list movie star and I'm about to sign a contract for a new film, I can say part of my contract is you have to have a cast and also staff on this film that reflects diversity.
SMITH: Well, I think the goal really is to figure out, how do we move from all the lip service in Hollywood to actually seeing the numbers that we study every year move?
KELLY: Yeah. It was interesting. I saw Frances McDormand was interviewed backstage afterward6 and she said, this is something I only heard of just really recently. And she's been in the business in Hollywood for decades.
SMITH: Right. The op-ed I wrote where I came up with the idea first appeared back in 2014 in the Hollywood Reporter.
KELLY: OK.
SMITH: And the goal has really been to get it into the hands of notable people. And I can be really honest here. The Time's Up movement has really been the catalyst7 to see this spread in ways that it probably wouldn't have beforehand. But I think there's an appetite now to ensure that equity8 and inclusion are part of the process in telling these stories.
KELLY: What kind of pushback have you gotten? I can imagine, for example, that producers and directors would fight hard to make the casting decisions, the pay decisions that they think are the best ones for the film and not let a actor, no matter how A-list they might be, dictate9 that.
SMITH: It's a very low bar that we're asking to cross in terms of the typical feature film has 40 characters. Only about eight to 10 of those characters are really relevant to the storyline. And that leaves at least 30 that could easily be diversified10 and - in making sure that the ecosystem11 of that story looks like the world we live in.
KELLY: What is the difference, Stacy Smith, between an inclusion writer and a quota12? If you say has to be 50 percent women or has to be X percentage people of color, I mean, a quota is something that, you know, has an awful reputation, has been widely discredited13 in, say, college admissions.
SMITH: When you see these scripts - and you might have a role, let's say, as a plumber14, right? And the automatic go-to occupationally might be for a male actor to audition15 for that part or a firefighter or a police officer. So something is perpetuating16 a bias17 or an invisible quota year in and year out, and people don't seem to be complaining about that. So why not have tools to ensure that these biases18 that are clearly operating can be countered as well? And that's really the goal here, is to help have a tool to slow down the process and be more thoughtful.
KELLY: Stacy Smith, thanks very much.
SMITH: Thank you so much.
KELLY: Stacy Smith - she is director of USC Annenberg's Inclusion Initiative, and she's been talking to us about the inclusion rider.
(SOUNDBITE OF JOSE GONZALEZ'S "INSTRUMENTAL")
1 nominee | |
n.被提名者;被任命者;被推荐者 | |
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2 Founder | |
n.创始者,缔造者 | |
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3 relatively | |
adv.比较...地,相对地 | |
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4 stipulation | |
n.契约,规定,条文;条款说明 | |
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5 specifies | |
v.指定( specify的第三人称单数 );详述;提出…的条件;使具有特性 | |
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6 afterward | |
adv.后来;以后 | |
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7 catalyst | |
n.催化剂,造成变化的人或事 | |
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8 equity | |
n.公正,公平,(无固定利息的)股票 | |
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9 dictate | |
v.口授;(使)听写;指令,指示,命令 | |
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10 diversified | |
adj.多样化的,多种经营的v.使多样化,多样化( diversify的过去式和过去分词 );进入新的商业领域 | |
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11 ecosystem | |
n.生态系统 | |
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12 quota | |
n.(生产、进出口等的)配额,(移民的)限额 | |
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13 discredited | |
不足信的,不名誉的 | |
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14 plumber | |
n.(装修水管的)管子工 | |
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15 audition | |
n.(对志愿艺人等的)面试(指试读、试唱等) | |
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16 perpetuating | |
perpetuate的现在进行式 | |
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17 bias | |
n.偏见,偏心,偏袒;vt.使有偏见 | |
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18 biases | |
偏见( bias的名词复数 ); 偏爱; 特殊能力; 斜纹 | |
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