The data behind Hollywood's sexism | Stacy Smith

122,269 views ใƒป 2017-03-21

TED


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืชืจื’ื•ื: Yael Ring ืขืจื™ื›ื”: Ido Dekkers
00:12
Today, I want to tell you about a pressing social issue.
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ื”ื™ื•ื, ืื ื™ ืจื•ืฆื” ืœืกืคืจ ืœื›ื ืขืœ ื‘ืขื™ื” ื—ื‘ืจืชื™ืช ื“ื—ื•ืคื”.
00:16
Now, it's not nuclear arms,
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ื–ื” ืœื ื ืฉืง ื’ืจืขื™ื ื™,
00:18
it's not immigration,
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ื–ื• ืœื ื”ื’ื™ืจื”,
00:20
and it's not malaria.
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ื•ื–ื• ืœื ืžืœืจื™ื”.
00:22
I'm here to talk about movies.
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ืื ื™ ื›ืืŸ ื›ื“ื™ ืœื“ื‘ืจ ืขืœ ืกืจื˜ื™ื.
00:25
Now, in all seriousness, movies are actually really important.
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ืขื›ืฉื™ื• ื‘ืจืฆื™ื ื•ืช, ืœืกืจื˜ื™ื ื™ืฉ ื—ืฉื™ื‘ื•ืช ืจื‘ื”.
00:30
In film, we can be wildly entertained,
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ื‘ืกืจื˜ื™ื, ืื ื—ื ื• ื™ื›ื•ืœื™ื ืžืื•ื“ ืœื™ื”ื ื•ืช,
00:34
and we can also be transported through storytelling.
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ื•ืื ื—ื ื• ื™ื›ื•ืœื™ื ื’ื ืœื—ื•ื•ืช ื—ื•ื•ื™ื” ื“ืจืš ื”ืกื™ืคื•ืจ.
00:39
Storytelling is so important.
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ืกื™ืคื•ืจ ืกื™ืคื•ืจื™ื ื”ื•ื ื“ื‘ืจ ืžืžืฉ ื—ืฉื•ื‘.
00:41
Stories tell us what societies value,
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ืกื™ืคื•ืจื™ื ืžื’ืœื™ื ืœื ื• ืžื” ื”ื—ื‘ืจื” ืžืขืจื™ื›ื”,
00:44
they offer us lessons,
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ื”ื ืžืืคืฉืจื™ื ืœื ื• ืœืœืžื•ื“ ืœืงื—ื™ื,
00:46
and they share and preserve our history.
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ื•ื”ื ืžืฉืชืคื™ื ื•ืžืฉืžืจื™ื ืืช ื”ื”ื™ืกื˜ื•ืจื™ื” ืฉืœื ื•.
00:49
Stories are amazing.
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ืกื™ืคื•ืจื™ื ื”ื ืžื“ื”ื™ืžื™ื.
00:52
But stories don't give everyone
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ืื‘ืœ ืกื™ืคื•ืจื™ื ืœื ืžืขื ื™ืงื™ื ืœื›ื•ืœื
00:55
the same opportunity to appear within them,
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ืืช ืื•ืชื” ื”ื–ื“ืžื ื•ืช ืœื”ื•ืคื™ืข ื‘ื”ื,
00:59
particularly not stories
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ื‘ืžื™ื•ื—ื“ ืœื ืกื™ืคื•ืจื™ื
01:02
compartmentalized in the form of American movies.
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ื”ืžื’ื•ืœืžื™ื ื‘ืฆื•ืจื” ืฉืœ ืกืจื˜ื™ื ืืžืจื™ืงืื™ื.
01:06
In film, interestingly enough,
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ื‘ืกืจื˜ื™ื, ืœืžืจื‘ื” ื”ืขื ื™ื™ืŸ,
01:08
females are still erased and marginalized
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ื ืฉื™ื ืขื“ื™ื™ืŸ ื ืžื—ืงื•ืช ื•ื ื“ื—ืงื•ืช ืœืฉื•ืœื™ื™ื.
01:12
in a lot of our stories.
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ื‘ื”ืจื‘ื” ืžื”ืกื™ืคื•ืจื™ื ืฉืœื ื•.
01:14
And I learned this for the first time about 10 years ago
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ื•ืœืžื“ืชื™ ื–ืืช ืœืจืืฉื•ื ื”, ืœืคื ื™ ื‘ืขืจืš 10 ืฉื ื™ื
01:17
when I did my first study on gender role in G-rated films.
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ื›ืฉืขืจื›ืชื™ ืืช ื”ืžื—ืงืจ ื”ืจืืฉื•ืŸ ืฉืœื™ ื‘ื ื•ืฉื ืชืคืงื™ื“ื™ ืžื’ื“ืจ ื‘ืกืจื˜ื™ื ืœื›ืœ ื”ืžืฉืคื—ื”
01:21
Since then, we've conducted more than 30 investigations.
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ืžืื–, ืขืจื›ื ื• ื™ื•ืชืจ ืž-30 ืžื—ืงืจื™ื.
01:24
My team is tired.
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ื”ืฆื•ื•ืช ืฉืœื™ ืขื™ื™ืฃ.
01:26
And I've committed my life
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ื•ืื ื™ ื”ืงื“ืฉืชื™ ืืช ื—ื™ื™
01:29
as researcher and activist
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ื›ื—ื•ืงืจืช ื•ื›ืคืขื™ืœื” ื—ื‘ืจืชื™ืช
01:32
to fighting the inclusion crisis
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ื›ื“ื™ ืœื”ื™ืœื—ื ื‘ืžืฉื‘ืจ ื”ื”ื›ืœืœื”
01:35
in Hollywood.
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ื‘ื”ื•ืœื™ื•ื•ื“.
01:37
So today, what I'd like to do is tell you about that crisis.
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ืื– ื”ื™ื•ื, ืžื” ืฉืื ื™ ืจื•ืฆื” ืœืขืฉื•ืช ื–ื” ืœืกืคืจ ืœื›ื ืขืœ ื”ืžืฉื‘ืจ ื”ื–ื”.
01:40
I want to talk about gender inequality in film.
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ืื ื™ ืจื•ืฆื” ืœื“ื‘ืจ ืขืœ ื—ื•ืกืจ ืฉื•ื•ื™ื•ืŸ ืžื’ื“ืจื™ ื‘ืกืจื˜ื™ื.
01:43
I want to tell you how it is perpetuated,
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ืื ื™ ืจื•ืฆื” ืœืกืคืจ ืœื›ื ืื™ืš ื–ื” ืžื•ื ืฆื—,
01:45
and then I'm going to tell you how we're going to fix it.
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ื•ืื—ืจ ื›ืš ืืกืคืจ ืœื›ื ืื™ืš ืื ื—ื ื• ื ืชืงืŸ ืืช ื–ื”.
01:49
However, one caveat before I begin:
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ืขื ื–ืืช, ืื–ื”ืจื” ืื—ืช ืœืคื ื™ ืฉืืชื—ื™ืœ:
01:53
my data are really depressing.
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ื”ื ืชื•ื ื™ื ืฉืœื™ ืžืžืฉ ืžื“ื›ืื™ื.
01:56
So I want to apologize in advance,
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ืื– ืื ื™ ืจื•ืฆื” ืœื”ืชื ืฆืœ ืžืจืืฉ,
01:58
because I'm going to put you all in a really bad mood.
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ื›ื™ ืื ื™ ื”ื•ืœื›ืช ืœืงืœืงืœ ืœื›ื•ืœื›ื ืืช ืžืฆื‘ ื”ืจื•ื—.
02:02
But I'm going to bring it up at the end,
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ืื‘ืœ, ืื ื™ ืžืชื›ื•ื•ื ืช ืœืชืงืŸ ืื•ืชื• ื‘ืกื•ืฃ,
02:05
and I'm going to present a silver lining
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ื•ืื ื™ ืžืชื›ื•ื•ื ืช ืœื”ืฆื™ื’ ืืช ื—ืฆื™ ื”ื›ื•ืก ื”ืžืœืื”
02:08
to fix this mess that we've been in
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ืฉืชืชืงืŸ ืืช ื”ื‘ืœื’ืŸ ื‘ื• ืื ื—ื ื• ื ืžืฆืื™ื
02:10
for a very, very long time.
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ื‘ืžืฉืš ื–ืžืŸ ืจื‘ ืžืื•ื“.
02:13
So, let's start with the gravity of the situation.
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ืื– ื‘ื•ืื• ื ืชื—ื™ืœ ื‘ื”ื›ืจื” ื‘ื—ื•ืžืจืช ื”ืžืฆื‘.
02:17
Each year, my research team examines the top 100 grossing films
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ื‘ื›ืœ ืฉื ื”, ืงื‘ื•ืฆืช ื”ืžื—ืงืจ ืฉืœื™ ื‘ื•ื—ื ืช ืืช 100 ื”ืกืจื˜ื™ื ื”ื›ื™ ืจื•ื•ื—ื™ื™ื
02:20
in the United States.
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ื‘ืืจืฆื•ืช ื”ื‘ืจื™ืช.
02:22
What we do is we look at every speaking or named character on-screen.
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ืžื” ืฉืื ื—ื ื• ืขื•ืฉื™ื ื”ื•ื ืœื‘ื—ื•ืŸ ื›ืœ ื“ืžื•ืช ืžื“ื‘ืจืช ืื• ืฉื™ืฉ ืœื” ืฉื ืขืœ ื”ืžืกืš.
02:26
Now, to count in one of my investigations,
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ืขื›ืฉื™ื•, ืขืœ ืžื ืช ืœื”ื™ื›ืœืœ ื‘ืžื—ืงืจ ืฉืœื ื•,
02:29
all a character has to do is say one word.
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ื›ืœ ืžื” ืฉื“ืžื•ืช ืฆืจื™ื›ื” ืœืขืฉื•ืช ื–ื” ืœื”ื’ื™ื“ ืžื™ืœื” ืื—ืช.
02:33
This is a very low bar.
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ื–ื” ืจืฃ ื ืžื•ืš ืžืื•ื“.
02:36
(Laughter)
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(ืฆื—ื•ืง)
02:38
Thus far, we've looked at 800 movies,
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ืขื“ ื›ื”, ื‘ื—ื ื• 800 ืกืจื˜ื™ื,
02:40
from 2007 to 2015,
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ืžืฉื ืช 2007 ื•ืขื“ 2015,
02:42
cataloguing every speaking character on-screen for gender, race, ethnicity,
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ื•ืงื˜ืœื’ื ื• ื›ืœ ื“ืžื•ืช ืžื“ื‘ืจืช ืขืœ ื”ืžืกืš ืœืคื™ ืžื™ืŸ, ื’ื–ืข, ืžื•ืฆื ืืชื ื™,
02:47
LGBT and characters with a disability.
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ืœื”ื˜"ื‘ื™ื ื•ื“ืžื•ื™ื•ืช ื‘ืขืœื•ืช ืžื•ื’ื‘ืœื•ืช.
02:51
Let's take a look at really some problematic trends.
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ื‘ื•ืื• ื ืกืชื›ืœ ืขืœ ื›ืžื” ืžื’ืžื•ืช ืžืžืฉ ื‘ืขื™ื™ืชื™ื•ืช.
02:55
First, females are still noticeably absent on-screen in film.
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ื“ื‘ืจ ืจืืฉื•ืŸ, ื ืฉื™ื ืขื“ื™ื™ืŸ ื ืขื“ืจื•ืช ื‘ืื•ืคืŸ ืžื•ื‘ื”ืง ืžื”ืžืกืš.
03:00
Across 800 movies and 35,205 speaking characters,
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ื‘-800 ื”ืกืจื˜ื™ื ื•-35,205 ื”ื“ืžื•ื™ื•ืช ืฉื ื‘ื“ืงื•,
03:04
less than a third of all roles go to girls and women.
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ืคื—ื•ืช ืžืฉืœื™ืฉ ืžื›ืœ ื”ืชืคืงื™ื“ื™ื ื”ืŸ ืฉืœ ื™ืœื“ื•ืช ื•ื ืฉื™ื.
03:08
Less than a third!
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ืคื—ื•ืช ืžืฉืœื™ืฉ!
03:09
There's been no change from 2007 to 2015,
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ืœื ื”ืชืจื—ืฉ ื›ืœ ืฉื™ื ื•ื™ ืžืฉื ืช 2007 ืขื“ 2015,
03:13
and if you compare our results
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ื•ืื ื ืฉื•ื•ื” ืืช ื”ืชื•ืฆืื•ืช ืฉืœื ื•
03:14
to a small sample of films from 1946 to 1955,
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ืœืžื“ื’ืžื™ื ืงื˜ื ื™ื ืžืกืจื˜ื™ื ื‘ื™ืŸ ื”ืฉื ื™ื 1946 ืขื“ 1955,
03:19
there's been no change in over a half of a century.
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ืœื ื”ืชืจื—ืฉ ื›ืœ ืฉื™ื ื•ื™ ื‘ืžื”ืœืš ื™ื•ืชืจ ืžื—ืฆื™ ืžืื”.
03:23
Over half of a century!
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ื™ื•ืชืจ ืžื—ืฆื™ ืžืื”!
03:24
But we're half of the population.
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ืื‘ืœ ืื ื—ื ื• ื—ืฆื™ ืžื”ืื•ื›ืœื•ืกื™ื”.
03:27
Now, if we look at this data intersectionally,
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ืื ื ืกืชื›ืœ ืขืœ ื”ื ืชื•ื ื™ื ื‘ื”ืฆืœื‘ื”,
03:30
which has been a focus of today,
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ื›ืžื• ืฉืขืฉื™ื ื• ื”ื™ื•ื,
03:32
the picture becomes even more problematic.
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ื”ืชืžื•ื ื” ื ื”ื™ื™ืช ืขื•ื“ ื™ื•ืชืจ ื‘ืขื™ื™ืชื™ืช.
03:35
Across the top 100 films of just last year,
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ืžืชื•ืš 100 ืกืจื˜ื™ื ืจืง ื‘ืฉื ื” ืฉืขื‘ืจื”,
03:38
48 films didn't feature one black or African-American speaking character,
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ื‘-48 ืกืจื˜ื™ื ืœื ื”ื•ืคื™ืขื” ื“ืžื•ืช ืžื“ื‘ืจืช ืฉื—ื•ืจื” ืื• ืืคืจื•-ืืžืจื™ืงืื™ืช ืื—ืช,
03:43
not one.
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ืœื ืื—ืช.
03:44
70 films were devoid of Asian or Asian-American speaking characters
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ื‘-70 ืกืจื˜ื™ื ืœื ื”ื•ืคื™ืขื• ื“ืžื•ื™ื•ืช ืžื“ื‘ืจื•ืช ืฉืœ ืืกื™ืืชื™ื ืื• ืืžืจื™ืงืื™ื-ืืกื™ืืชื™ื
03:48
that were girls or women.
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ืฉื”ืŸ ื ืขืจื•ืช ืื• ื ืฉื™ื.
03:50
None.
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ื‘ื›ืœืœ.
03:51
Eighty-four films didn't feature one female character that had a disability.
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ื‘-84 ืกืจื˜ื™ื ืœื ื”ื•ืคื™ืขื” ื“ืžื•ืช ื ืฉื™ืช ืžื“ื‘ืจืช ืื—ืช ื‘ืขืœืช ืžื•ื’ื‘ืœื•ืช.
03:56
And 93 were devoid of lesbian, bisexual or transgender female speaking characters.
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ื‘-93 ืกืจื˜ื™ื ืœื ื”ื•ืคื™ืขื” ื“ืžื•ืช ืžื“ื‘ืจืช ืฉืœ ืœืกื‘ื™ืช, ื‘ื™ืกืงืกื•ืืœื™ืช ืื• ื˜ืจื ืกื’'ื ื“ืจ.
04:02
This is not underrepresentation.
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ื–ื” ืœื ืชืช-ื™ืฆื•ื’,
04:05
This is erasure,
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ื–ื• ืžื—ื™ืงื”.
04:07
and I call this the epidemic of invisibility.
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ืื ื™ ืงื•ืจืืช ืœื–ื” "ืžื’ื™ืคืช ื”ื‘ืœืชื™ ื ืจืื•ืช".
04:12
Now, when we move from prevalence to protagonist,
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ื›ืฉืื ื—ื ื• ืขื•ื‘ืจื™ื ืžืชืคืงื™ื“ื™ ืจืงืข ืœืชืคืงื™ื“ื™ื ื”ืจืืฉื™ื™ื
04:16
the story is still problematic.
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ื”ืžืฆื‘ ืขื“ื™ื™ืŸ ื ืฉืืจ ื‘ืขื™ื™ืชื™.
04:18
Out of a hundred films last year,
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ืžืชื•ืš ืžืื” ืกืจื˜ื™ื ื‘ืฉื ื” ืฉืขื‘ืจื”,
04:20
only 32 featured a female lead or colead driving the action.
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ืจืง ื‘-32 ืžื”ื ื”ื•ืคื™ืขื” ืืฉื” ื›ื“ืžื•ืช ื”ืจืืฉื™ืช ืื• ืื—ืช ืžืฉืชื™ ื”ื“ืžื•ื™ื•ืช ื”ืžื•ื‘ื™ืœื•ืช ืืช ื”ืขืœื™ืœื”.
04:25
Only three out of a hundred films
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ืจืง ื‘-3 ืžืชื•ืš 100 ืกืจื˜ื™ื
04:27
featured an underrepresented female driving the story,
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ื”ื•ืคื™ืขื” ื“ืžื•ืช ื ืฉื™ืช ื‘ืœืชื™ ืžื™ื•ืฆื’ืช ื”ืžื•ื‘ื™ืœื” ืืช ื”ืขืœื™ืœื”,
04:31
and only one diverse woman
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ื•ืจืง ืื™ืฉื” ืื—ืช ืžืจืงืข ืฉื•ื ื”
04:33
that was 45 years of age or older at the time of theatrical release.
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ืฉื”ื™ืชื” ื‘ืช 45 ืื• ื™ื•ืชืจ ื‘ื–ืžืŸ ื”ืงืจื ืช ื”ืกืจื˜.
04:38
Now let's look at portrayal.
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ืขื›ืฉื™ื• ื‘ื ื ืกืชื›ืœ ื‘ื™ื™ืฆื•ื’.
04:40
In addition to the numbers you just saw,
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ื‘ื ื•ืกืฃ ืœืžืกืคืจื™ื ืฉืจืื™ืชื ืขื›ืฉื™ื•,
04:42
females are far more likely to be sexualized in film
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ื™ืฉ ืกื‘ื™ืจื•ืช ื”ืจื‘ื” ื™ื•ืชืจ ื’ื‘ื•ื”ื” ืฉื ืฉื™ื ื™ื•ืฆื’ื• ื‘ืื•ืคืŸ ืžื™ื ื™ ื‘ืกืจื˜
04:46
than their male counterparts.
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ื‘ื™ื—ืก ืœืขืžื™ืชื™ื”ื ื”ื’ื‘ืจื™ื.
04:48
Matter of fact, they're about three times as likely
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ืœืžืขืฉื”, ื”ืกื‘ื™ืจื•ืช ื”ื™ื ืคื™ ืฉืœื•ืฉ
04:50
to be shown in sexually revealing clothing,
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ืฉื”ืŸ ื™ื•ืคื™ืขื• ื‘ื‘ื’ื“ื™ื ื—ื•ืฉืคื ื™ื™ื ื•ืžื™ื ื™ื™ื,
04:52
partially naked,
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ื‘ืขื™ืจื•ื ื—ืœืงื™,
04:53
and they're far more likely to be thin.
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ื•ื”ืกื‘ื™ืจื•ืช ื”ืจื‘ื” ื™ื•ืชืจ ื’ื‘ื•ื”ื” ืฉื™ื”ื™ื• ืจื–ื•ืช.
04:56
Now, sometimes, in animation, females are so thin
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ืœืคืขืžื™ื, ื‘ืื ื™ืžืฆื™ื”, ื ืฉื™ื ื›ืœ ื›ืš ืจื–ื•ืช
05:00
that their waist size approximates the circumference of their upper arm.
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ืฉื”ื™ืงืฃ ื”ืžื•ืชื ื™ื™ื ืฉืœื”ืŸ ืงืจื•ื‘ ืœื”ื™ืงืฃ ื”ื–ืจื•ืข ื”ืขืœื™ื•ื ื” ืฉืœื”ืŸ
05:04
(Laughter)
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(ืฆื—ื•ืง)
05:06
We like to say that these gals have no room for a womb
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ืื ื—ื ื• ืื•ื”ื‘ื™ื ืœื•ืžืจ ืฉืœืื•ืชืŸ ื ืฉื™ื ืื™ืŸ ืžืงื•ื ืœืจื—ื
05:09
or any other internal organ.
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ืื• ื›ืœ ืื™ื‘ืจ ืคื ื™ืžื™ ืื—ืจ.
05:12
(Laughter)
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(ืฆื—ื•ืง)
05:14
Now, all joking aside,
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ืขื›ืฉื™ื• ื‘ืจืฆื™ื ื•ืช,
05:16
theories suggest, research confirms,
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ืชื™ืื•ืจื™ื•ืช ืžืฆื™ืขื•ืช ื•ื”ืžื—ืงืจ ืžืืฉืจ
05:18
exposure to thin ideals and objectifying content
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ืฉื—ืฉื™ืคื” ืœืื™ื“ื™ืืœื™ื–ืฆื™ื” ืฉืœ ืจื–ื•ืŸ ื•ืชื•ื›ืŸ ืžื—ืคื™ืฅ
05:20
can lead to body dissatisfaction, internalization of the thin ideal
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ื™ื›ื•ืœื” ืœื”ื•ื‘ื™ืœ ืœื“ื™ืžื•ื™ ื’ื•ืฃ ื‘ืขื™ื™ืชื™, ื”ืคื ืžื” ืฉืœ ืื™ื“ื™ืืœ ื”ืจื–ื•ืŸ
05:24
and self-objectification among some female viewers.
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ื•ื”ื—ืคืฆื” ืขืฆืžื™ืช ื‘ืงืจื‘ ื—ืœืง ืžืงื”ืœ ื”ืฆื•ืคื™ื ื”ื ืฉื™.
05:28
Obviously, what we see on-screen
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ื‘ืจื•ืจ ืฉืžื” ืฉืื ื—ื ื• ืจื•ืื™ื ืขืœ ื”ืžืกืš
05:30
and what we see in the world,
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ื•ืžื” ืฉืื ื—ื ื• ืจื•ืื™ื ื‘ืขื•ืœื,
05:32
they do not match.
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ืœื ืชื•ืืžื™ื ื–ื” ืœื–ื”.
05:34
They do not match!
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ื”ื ืœื ืชื•ืืžื™ื!
05:35
Matter of fact, if we lived in the screen world,
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ืœืžืขืฉื”, ืื ื”ื™ื™ื ื• ื—ื™ื™ื ื‘ืขื•ืœื ื”ืกืจื˜ื™ื,
05:38
we would have a population crisis on our hands.
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ื”ื™ื” ืœื ื• ืžืฉื‘ืจ ืื•ื›ืœื•ืกื™ืŸ.
05:42
So, as soon as I recognized these patterns,
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ืื–, ื‘ืจื’ืข ืฉื–ื™ื”ื™ืชื™ ืืช ื”ื“ืคื•ืกื™ื ื”ืืœื”,
05:44
I wanted to find out why,
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ืจืฆื™ืชื™ ืœื’ืœื•ืช ืœืžื”,
05:45
and it turns out that there are two drivers to inequality on-screen:
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ื•ืžืกืชื‘ืจ ืฉื™ืฉื ื ืฉื ื™ ื’ื•ืจืžื™ื ืœื—ื•ืกืจ ื”ืฉื•ื•ื™ื•ืŸ ืขืœ ื”ืžืกืš:
05:49
content creator gender and misperceptions of the audience.
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ืžื™ืŸ ื™ื•ืฆืจ ื”ืชื•ื›ืŸ ื•ืชืคื™ืกื•ืช ืฉื’ื•ื™ื•ืช ืฉืœ ื”ืงื”ืœ.
05:53
Let's unpack them really quick.
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ื‘ื ื ืคืจืง ืื•ืชื ื‘ืžื”ื™ืจื•ืช.
05:54
If you want to change any of the patterns I just talked about,
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ืื ืืชื ืจื•ืฆื™ื ืœืฉื ื•ืช ื›ืœ ืื—ื“ ืžืŸ ื”ื“ืคื•ืกื™ื ืฉื”ืขืœืชื™ ื›ืืŸ,
05:57
all you have to do is hire female directors.
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ื›ืœ ืžื” ืฉืฆืจื™ืš ืœืขืฉื•ืช ื”ื•ื ืœืฉื›ื•ืจ ื‘ืžืื™ื•ืช.
06:00
Turns out, the female directors
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ืžืกืชื‘ืจ, ืฉื‘ืžืื™ื•ืช
06:02
are associated with, in terms of short films and indie films,
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ื’ื•ืจืžื•ืช, ื‘ืžื•ื ื—ื™ื ืฉืœ ืกืจื˜ื™ื ืงืฆืจื™ื ื•ืกืจื˜ื™ ืื™ื ื“ื™,
06:06
more girls and women on-screen,
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ืœืขืœื™ื” ืฉืœ ื ื•ื›ื—ื•ืช ื ืฉื™ื ื•ื‘ื ื•ืช ืขืœ ื”ืžืกืš,
06:08
more stories with women in the center,
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ื™ื•ืชืจ ืกื™ืคื•ืจื™ื ื”ืžืชืจื›ื–ื™ื ืกื‘ื™ื‘ ื ืฉื™ื,
06:11
more stories with women 40 years of age or older on-screen,
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ื•ื™ื•ืชืจ ืกื™ืคื•ืจื™ื ื”ืžืขืจื‘ื™ื ื ืฉื™ื ื‘ื’ื™ืœ 40 ื•ืžืขืœื” ืขืœ ื”ืžืกืš,
06:15
which I think is good news for this crowd.
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ืžืฉื”ื• ืฉื”ื•ื ื—ื“ืฉื•ืช ื˜ื•ื‘ื•ืช ืขื‘ื•ืจ ื”ืงื”ืœ ื”ื–ื”.
06:18
More underrepresented --
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ื™ื•ืชืจ ืชืช-ื™ื™ืฆื•ื’
06:20
(Laughter)
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(ืฆื—ื•ืง)
06:22
Sorry.
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ืžืฆื˜ืขืจืช.
06:23
(Laughter)
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(ืฆื—ื•ืง)
06:25
Sorry but not sorry.
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ืžืฆื˜ืขืจืช ืื‘ืœ ื‘ืขืฆื ืœื ืžืฆื˜ืขืจืช.
06:26
More underrepresented characters in terms of race and ethnicity,
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ื™ื•ืชืจ ื“ืžื•ื™ื•ืช ื‘ืœืชื™ ืžื™ื•ืฆื’ื•ืช ื‘ืžื•ื ื—ื™ื ืฉืœ ื’ื–ืข ื•ืืชื ื™ื•ืช,
06:30
and most importantly,
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ื•ื”ื›ื™ ื—ืฉื•ื‘,
06:31
more women working behind the camera
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ื™ื•ืชืจ ื ืฉื™ื ืฉืขื•ื‘ื“ื•ืช ืžืื—ื•ืจื™ ื”ืžืฆืœืžื”
06:33
in key production roles.
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ื‘ืชืคืงื™ื“ื™ ื”ืคืงื” ืžืจื›ื–ื™ื™ื.
06:35
Easy answer to the problems that we just talked about.
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ืคืชืจื•ืŸ ืงืœ ืœื‘ืขื™ื•ืช ืฉื”ืขืœื™ื ื•.
06:39
Or is it?
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ืื• ืฉืœื?
06:40
It's actually not.
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ืœืžืขืฉื” ื–ื” ืœื.
06:42
800 films, 2007-2015,
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800 ืกืจื˜ื™ื, 2007-2015,
06:45
886 directors.
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886 ื‘ืžืื™ื
06:47
Only 4.1 percent are women.
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ืจืง 4.1 ืื—ื•ื– ืžื”ื ื ืฉื™ื.
06:51
Only three are African-American or black,
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ืจืง ืฉืœื•ืฉื” ื”ื ืืคืจื•-ืืžืจื™ืงืื™ื ืื• ืฉื—ื•ืจื™ื,
06:54
and only one woman was Asian.
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ื•ืจืง ืื™ืฉื” ืื—ืช ื”ื™ืชื” ืืกื™ืืชื™ืช.
06:57
So why is it so difficult
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ืื– ืœืžื” ื›ืœ ื›ืš ืงืฉื”
07:00
to have female directors
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ืœืฉื›ื•ืจ ื‘ืžืื™ื•ืช
07:02
if they're part of the solution?
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ืื ื”ืŸ ื—ืœืง ืžื”ืคืชืจื•ืŸ?
07:05
Well, to answer this question,
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ื•ื‘ื›ืŸ, ื›ื“ื™ ืœืขื ื•ืช ืขืœ ืฉืืœื” ื–ื•,
07:07
we conducted a study.
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ืขืจื›ื ื• ืžื—ืงืจ.
07:08
We interviewed dozens of industry insiders
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ืจืื™ื™ื ื• ืขืฉืจื•ืช ืื ืฉื™ ืชืขืฉื™ื™ื”
07:11
and asked them about directors.
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ื•ืชื—ืงืจื ื• ืื•ืชื ืขืœ ื‘ืžืื™ื.
07:13
Turns out, both male and female executives,
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ืžืกืชื‘ืจ, ืฉืžืคื™ืงื™ื, ื”ืŸ ื’ื‘ืจื™ื ื•ื”ืŸ ื ืฉื™ื,
07:17
when they think director,
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ื›ืฉื”ื ื—ื•ืฉื‘ื™ื ืขืœ ื‘ืžืื™
07:19
they think male.
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ื”ื ื—ื•ืฉื‘ื™ื ืขืœ ื’ื‘ืจ.
07:20
They perceive the traits of leadership
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ืชื›ื•ื ื•ืช ื”ืžื ื”ื™ื’ื•ืช ืžื‘ื—ื™ื ืชื
07:23
to be masculine in nature.
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ื”ืŸ ื’ื‘ืจื™ื•ืช ื‘ืื•ืคื™ื™ืŸ.
07:25
So when they're going to hire a director
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ืื– ื›ืฉื”ื ืจื•ืฆื™ื ืœืฉื›ื•ืจ ื‘ืžืื™
07:29
to command a crew, lead a ship,
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ืฉื™ื ื”ืœ ืฆื•ื•ืช, ื™ื•ื‘ื™ืœ ืกืคื™ื ื”,
07:31
be a visionary or be General Patton,
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ื™ื”ื™ื” ื‘ืขืœ ื”ื—ื–ื•ืŸ ืื• ื’ื ืจืœ ืคืื˜ื•ืŸ,
07:33
all the things that we've heard --
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ื›ืœ ื”ื“ื‘ืจื™ื ืฉืœืžื“ื ื• --
07:36
their thoughts and ideations pull male.
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ื”ืžื—ืฉื‘ื•ืช ื•ื”ืจืฆื•ื ื•ืช ืฉืœื”ื ื“ื•ื—ืคื™ื ืœื›ื™ื•ื•ืŸ ื”ื’ื‘ืจื™.
07:39
The perception of director or a leader
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ื”ืชืคื™ืกื” ืฉืœ ื‘ืžืื™ ืื• ืžื ื”ื™ื’
07:42
is inconsistent with the perception of a woman.
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ืื™ื ื” ืชื•ืืžืช ืœืชืคื™ืกื” ืฉืœ ืื™ืฉื”.
07:45
The roles are incongruous,
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ื”ืชืคืงื™ื“ื™ื ืื™ื ื ื”ื•ืœืžื™ื ื–ื” ืืช ื–ื”,
07:47
which is consistent with a lot of research in the psychological arena.
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ืžื” ืฉืžืชืื™ื ื’ื ืœืžื—ืงืจ ื”ืจื‘ ื‘ืชื—ื•ื ื”ืคืกื™ื›ื•ืœื•ื’ื™.
07:52
Second factor contributing to inequality on-screen
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ื”ื’ื•ืจื ื”ืฉื ื™ ืฉืชื•ืจื ืœื—ื•ืกืจ ื”ืฉื•ื•ื™ื•ืŸ ืขืœ ื’ื‘ื™ ื”ืžืกืš
07:55
is misperceptions of the audience.
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ื”ื•ื ืชืคื™ืกื•ืช ืฉื’ื•ื™ื•ืช ืฉืœ ื”ืงื”ืœ.
07:57
I don't need to tell this crowd:
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ืื ื™ ืœื ืฆืจื™ื›ื” ืœืกืคืจ ืœืงื”ืœ ื”ื–ื”:
07:59
50 percent of the people that go to the box office and buy tickets
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50 ืื—ื•ื–ื™ื ืžื”ืื ืฉื™ื ืฉื”ื•ืœื›ื™ื ืœืงื•ืœื ื•ืข ื•ืงื•ื ื™ื ื›ืจื˜ื™ืกื™ื
08:02
are girls and women in this country.
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ื”ืŸ ื ืฉื™ื ื•ื‘ื ื•ืช ื‘ืžื“ื™ื ื” ื”ื–ืืช.
08:04
Right?
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ื ื›ื•ืŸ?
08:05
But we're not perceived to be a viable or financially lucrative target audience.
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ืื‘ืœ ืื ื—ื ื• ืœื ื ืชืคืกื•ืช ื›ืงื”ืœ ื™ืขื“ ื‘ืจ ืงื™ื™ืžื ืื• ื‘ืขืœ ืคื•ื˜ื ืฆื™ืืœ ื›ืœื›ืœื™.
08:11
Further, there's some misperceptions
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ื™ืชืจื” ืžื›ืš, ื™ืฉื ืŸ ื›ืžื” ืชืคื™ืกื•ืช ืฉื’ื•ื™ื•ืช
08:13
about whether females can open a film.
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ืœื’ื‘ื™ ื”ืื ื ืฉื™ื ื™ื›ื•ืœื•ืช ืœื›ื›ื‘ ื‘ืกืจื˜.
08:16
Open a film means that if you place a female at the center,
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ืœื›ื›ื‘ ื‘ืกืจื˜ ืžืฉืžืขื•ืชื• ืฉืชืฆื™ื‘ ืื™ืฉื” ื‘ืžืจื›ื–,
08:19
it doesn't have the return on investment
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ืื™ืŸ ืœืžื”ืœืš ื–ื” ืืช ื”ื—ื–ืจ ื”ื”ืฉืงืขื”
08:21
that if you place a male at the center of a story does.
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ื›ืžื• ื‘ืกืจื˜ ื‘ื• ื”ื’ื‘ืจ ื‘ืžืจื›ื– ื”ืกื™ืคื•ืจ.
08:25
This misperception is actually costly.
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ืชืคื™ืกื” ืฉื’ื•ื™ื” ื–ื• ื”ื™ื ื™ืงืจื”.
08:28
Right?
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ื ื›ื•ืŸ?
08:30
Especially in the wake of franchise successes
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ื‘ืžื™ื•ื—ื“ ืื—ืจื™ ื”ื”ืฆืœื—ื” ื”ืžืกื—ืจืจืช ืฉืœ ืกื“ืจื•ืช ื”ืกืจื˜ื™ื
08:32
like "The Hunger Games,"
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ื›ืžื• "ืžืฉื—ืงื™ ื”ืจืขื‘"
08:34
"Pitch Perfect"
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"ืคื™ืฅ' ืคืจืคืงื˜"
08:35
or that small little indie film, "Star Wars: The Force Awakens."
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ืื• ืื•ืชื• ืกืจื˜ ืื™ื ื“ื™ ืงื˜ืŸ, "ืžืœื—ืžืช ื”ื›ื•ื›ื‘ื™ื: ื”ื›ื•ื— ืžืชืขื•ืจืจ".
08:41
Our own economic analyses show that gender of the lead character
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ื”ื ื™ืชื•ื— ื”ื›ืœื›ืœื™ ืฉืœื ื• ืžืจืื” ืฉื”ืžื™ืŸ ืฉืœ ื”ื“ืžื•ืช ื”ืจืืฉื™ืช
08:45
doesn't play a role in economic success in the United States.
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ืœื ืžืฉืคื™ืข ืขืœ ื”ืฆืœื—ืชื• ื”ื›ืœื›ืœื™ืช ืฉืœ ื”ืกืจื˜ ื‘ืืจืฆื•ืช ื”ื‘ืจื™ืช.
08:48
But what does?
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ืื‘ืœ ืžื” ื›ืŸ ืžืฉืคื™ืข?
08:49
Production costs alone
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ืขืœื•ื™ื•ืช ื”ืคืงื” ื‘ืœื‘ื“
08:51
or in conjunction with how widely a film is distributed in this country.
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ืื• ื‘ื ื•ืกืฃ ืœื”ื™ืงืฃ ื”ื”ืคืฆื” ืฉืœ ื”ืกืจื˜ ื‘ืžื“ื™ื ื”.
08:58
It's not the gender of the lead character.
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ื–ื” ืœื ืžื™ืŸ ื”ื“ืžื•ืช ื”ืจืืฉื™ืช.
09:00
So at this point, we should all be sufficiently depressed.
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ืื– ื‘ื ืงื•ื“ื” ื–ื•, ืขืœ ื›ื•ืœื ื• ืœื”ื™ื•ืช ืžื“ื•ื›ืื™ื ืœื—ืœื•ื˜ื™ืŸ.
09:05
No change in 50 years,
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ืœื ื”ืชืจื—ืฉ ื›ืœ ืฉื™ื ื•ื™ ื‘50 ื”ืฉื ื™ื,
09:06
few female directors working behind the camera
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ืžืขื˜ ื‘ืžืื™ื•ืช ืขื•ื‘ื“ื•ืช ืžืื—ื•ืจื™ ื”ืžืฆืœืžื”
09:09
and the entertainment industry does not trust us as an audience.
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ื•ืชืขืฉื™ื™ืช ื”ื‘ื™ื“ื•ืจ ืœื ืกื•ืžื›ืช ืขืœื™ื ื• ื›ืงื”ืœ ื™ืขื“.
09:14
Well, I told you there would be a silver lining,
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ื•ื‘ื›ืŸ, ืืžืจืชื™ ืœื›ื ืฉื™ื”ื™ื” ื ื™ืฆื•ืฅ ืฉืœ ืชืงื•ื•ื”,
09:16
and there is.
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ื•ื”ื•ื ืงื™ื™ื.
09:18
There are actually simple and tangible solutions
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ื™ืฉ ืœืžืขืฉื” ืคืชืจื•ื ื•ืช ืคืฉื•ื˜ื™ื ื•ื‘ืจื™ ื”ืฉื’ื”
09:21
to fixing this problem
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ืœืชื™ืงื•ืŸ ืฉืœ ื”ื‘ืขื™ื” ื”ื–ืืช
09:23
that involve content creators,
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ืฉืงืฉื•ืจื•ืช ื‘ื™ื•ืฆืจื™ ืชื•ื›ืŸ,
09:25
executives and consumers
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ืžื ื”ืœื™ื ื•ืฆืจื›ื ื™ื
09:27
like the individuals in this room.
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ื›ืžื• ื”ืžืฉืชืชืคื™ื ื‘ื—ื“ืจ ื–ื”.
09:29
Let's talk about a few of them.
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ื‘ื ื ื“ื‘ืจ ืขืœ ื—ืœืง ืžื”ื.
09:31
The first is what I call "just add five."
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ื”ืจืืฉื•ืŸ ื”ื•ื ืžื” ืฉืื ื™ ืงื•ืจืืช ืœื• "ืคืฉื•ื˜ ืชื•ืกื™ืฃ ื—ืžืฉ".
09:34
Did you know if we looked at the top 100 films next year
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ื”ืื ื™ื“ืขืชื ืฉืื ืชืกืชื›ืœื• ื‘ืจืฉื™ืžืช 100 ื”ืกืจื˜ื™ื ื”ื˜ื•ื‘ื™ื ื‘ื™ื•ืชืจ ื‘ืฉื ื” ื”ื‘ืื”
09:37
and simply added five female speaking characters on-screen
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ื•ืคืฉื•ื˜ ืชื•ืกื™ืคื• ื—ืžืฉ ื“ืžื•ื™ื•ืช ื ืฉื™ื•ืช ืžื“ื‘ืจื•ืช ืขืœ ื”ืžืกืš
09:40
to each of those films,
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ืœื›ืœ ืื—ื“ ืžื”ืกืจื˜ื™ื ื”ืืœื”,
09:41
it would create a new norm.
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ืชื™ื•ื•ืฆืจ ื ื•ืจืžื” ื—ื“ืฉื”.
09:43
If we were to do this for three contiguous years,
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ืื ื”ื™ื™ื ื• ืขื•ืฉื™ื ื–ืืช ื‘ืžืฉืš ืฉืœื•ืฉ ืฉื ื™ื ืจืฆื•ืคื•ืช,
09:46
we would be at gender parity
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ื”ื™ื™ื ื• ืžื’ื™ืขื™ื ืœืฉื•ื•ื™ื•ืŸ ืžื’ื“ืจื™
09:48
for the first time in over a half of a century.
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ื‘ืคืขื ื”ืจืืฉื•ื ื” ืžื–ื” ืžืขืœ ื—ืฆื™ ืžืื”.
09:53
Now, this approach is advantageous for a variety of reasons.
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ื’ื™ืฉื” ื–ื• ืขื“ื™ืคื” ืžื›ื” ืกื™ื‘ื•ืช.
09:56
One? It doesn't take away jobs for male actors.
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ืื—ืช? ื”ื™ื ืœื ื’ื•ื–ืœืช ืžืงื•ืžื•ืช ืขื‘ื•ื“ื” ืžื”ืฉื—ืงื ื™ื ื”ื’ื‘ืจื™ื.
10:00
Heaven forbid.
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ื—ืก ื•ื—ืœื™ืœื”.
10:02
(Laughter)
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(ืฆื—ื•ืง)
10:04
Two, it's actually cost-effective. It doesn't cost that much.
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ืฉืชื™ื™ื, ื”ื™ื ืœืžืขืฉื” ื™ืขื™ืœื” ื›ืœื›ืœื™ืช. ื”ื™ื ื“ื™ ื–ื•ืœื”.
10:08
Three, it builds a pipeline for talent.
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ืฉืœื•ืฉ, ื”ื™ื ื‘ื•ื ื” ื’ื™ืฉื” ืœื›ื™ืฉืจื•ืŸ.
10:10
And four, it humanizes the production process.
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ื•ืืจื‘ืข. ื”ื™ื ืžืขื ื™ืงื” ืื ื•ืฉื™ื•ืช ืœืชื”ืœื™ืš ื”ื”ืคืงื”.
10:13
Why? Because it makes sure that there's women on set.
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ืœืžื”? ื›ื™ ื”ื™ื ืžื•ื•ื“ืืช ืฉื™ื”ื™ื• ื ืฉื™ื ืขืœ ื”ืกื˜.
10:17
Second solution is for A-list talent.
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ื”ืคืชืจื•ืŸ ื”ืฉื ื™ ื”ื•ื ืขื‘ื•ืจ ืฉื—ืงื ื™ื ืžื“ืจื’ื” ืจืืฉื•ื ื”.
10:20
A-listers, as we all know, can make demands in their contracts,
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ืฉื—ืงื ื™ื ืืœื”, ื›ืคื™ ืฉื›ื•ืœื ื• ื™ื•ื“ืขื™ื, ื™ื›ื•ืœื™ื ืœื”ืฆื™ื‘ ื“ืจื™ืฉื•ืช ื‘ื—ื•ื–ื™ื ืฉืœื”ื.
10:24
particularly the ones that work on the biggest Hollywood films.
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ื‘ืžื™ื•ื—ื“ ืืœื” ืฉืขื•ื‘ื“ื™ื ืขืœ ื”ืกืจื˜ื™ื ื”ื”ื•ืœื™ื•ื•ื“ื™ื ื”ื’ื“ื•ืœื™ื ื‘ื™ื•ืชืจ.
10:27
What if those A-listers
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ืžื” ื”ื™ื” ืงื•ืจื” ืื ืื•ืชื ืฉื—ืงื ื™ื
10:29
simply added an equity clause or an inclusion rider
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ืคืฉื•ื˜ ื”ื™ื• ืžื•ืกื™ืคื™ื ืกืขื™ืฃ ืฉื•ื•ื™ื•ืŸ ืื• ืชื ืื™ ื”ื›ืœืœื”
10:33
into their contract?
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ื‘ื—ื•ื–ื” ืฉืœื”ื?
10:35
Now, what does that mean?
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ืžื” ื–ืืช ืื•ืžืจืช?
10:37
Well, you probably don't know
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ืืชื ื‘ื˜ื— ืœื ื™ื•ื“ืขื™ื ืืช ื–ื” ืื‘ืœ
10:39
but the typical feature film
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ื‘ืกืจื˜ ืขืœื™ืœืชื™ ื˜ื™ืคื•ืกื™
10:40
has about 40 to 45 speaking characters in it.
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ื™ืฉ ื‘ื™ืŸ 40-45 ืชืคืงื™ื“ื™ื ืขื ืžืœืœ.
10:44
I would argue that only 8 to 10 of those characters
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ื”ื™ื™ืชื™ ื˜ื•ืขื ืช ืฉืจืง 8-10 ืžืื•ืชืŸ ื“ืžื•ื™ื•ืช
10:47
are actually relevant to the story.
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ื”ืŸ ืžืžืฉ ืจืœื•ื•ื ื˜ื™ื•ืช ืœืกื™ืคื•ืจ.
10:50
Except maybe "Avengers." Right?
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ืœืžืขื˜ ืื•ืœื™ "ื”ื ื•ืงืžื™ื", ื ื›ื•ืŸ?
10:52
A few more in "Avengers."
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ืžืขื˜ ื™ื•ืชืจ ื‘"ื”ื ื•ืงืžื™ื".
10:55
The remaining 30 or so roles,
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ืฉืืจ ื”ืชืคืงื™ื“ื™ื, ื›30 ื•ืžืฉื”ื•,
10:57
there's no reason why those minor roles
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ืื™ืŸ ืฉื•ื ืกื™ื‘ื” ืœืžื” ืื•ืชื ืชืคืงื™ื“ื™ื ืžื™ื ื•ืจื™ื™ื
11:00
can't match or reflect the demography
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ืœื ื™ื›ื•ืœื™ื ืœื”ืชืื™ื ืื• ืœืฉืงืฃ ืืช ื”ื“ืžื•ื’ืจืคื™ื”
11:03
of where the story is taking place.
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ืฉืœ ื”ืžืงื•ื ื‘ื• ื”ืกื™ืคื•ืจ ืžืชืจื—ืฉ.
11:06
An equity rider by an A-lister in their contract
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ืชื ืื™ ืฉื•ื•ื™ื•ืŸ ืฉืœ ืฉื—ืงืŸ ืžื“ืจื’ื” ื' ื‘ื—ื•ื–ื” ืฉืœื•
11:10
can stipulate that those roles
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ื™ื›ื•ืœ ืœื”ืชื ื•ืช ืฉืื•ืชื ืชืคืงื™ื“ื™ื
11:12
reflect the world in which we actually live.
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ื™ืฉืงืคื• ืืช ื”ืขื•ืœื ื‘ื• ืื ื—ื ื• ื—ื™ื™ื.
11:16
Now, there's no reason why a network,
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ืื™ืŸ ืฉื•ื ืกื™ื‘ื” ืฉืจืฉืช ื˜ืœื•ื™ื–ื™ื”,
11:18
a studio or a production company
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ืกื˜ื•ื“ื™ื• ืื• ื—ื‘ืจืช ื”ืคืงื”
11:21
cannot adopt the same contractual language
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ืœื ื™ื•ื›ืœื• ืœืืžืฅ ืืช ืื•ืชื” ืฉืคื” ื—ื•ื–ื™ืช
11:24
in their negotiation processes.
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ื‘ืชื”ืœื™ืš ื”ืžืฉื ื•ืžืชืŸ ืฉืœื”ื.
11:27
Third solution:
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ืคืชืจื•ืŸ ืฉืœื™ืฉื™:
11:29
this would be for the entertainment industry,
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ืคื•ื ื” ืœืชืขืฉื™ื™ืช ื”ื‘ื™ื“ื•ืจ
11:31
Hollywood in particular,
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ื•ื”ื•ืœื™ื•ื•ื“ ื‘ืžื™ื•ื—ื“,
11:32
to adopt the Rooney Rule
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ืฉืชืืžืฅ ืืช ื—ื•ืง ืจื•ื ื™
11:35
when it comes to hiring practices around directors.
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ื›ืฉืžื“ื•ื‘ืจ ื‘ื ื”ืœื™ ืฉื›ื™ืจื•ืช ืฉืœ ื‘ืžืื™ื.
11:39
Now, in the NFL, the Rooney Rule stipulates
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ื‘ืœื™ื’ืช ื”ืืœื•ืคื•ืช ื‘ืคื•ื˜ื‘ื•ืœ, ื—ื•ืง ืจื•ื ื™ ืงื•ื‘ืข
11:42
that if a team wants to hire a coach from outside the organization,
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ืฉืื ืงื‘ื•ืฆื” ืจื•ืฆื” ืœืฉื›ื•ืจ ืžืืžืŸ ืžื—ื•ืฅ ืœืืจื’ื•ืŸ,
11:45
what they have to do is interview an underrepresented candidate.
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ื”ื ืฆืจื™ื›ื™ื ืœืจืื™ื™ืŸ ืžื•ืขืžื“ ื‘ืœืชื™ ืžื™ื•ืฆื’.
11:49
The exact same principle can apply to Hollywood films.
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ืื•ืชื• ื”ืขืงืจื•ืŸ ืฆืจื™ืš ืœื—ื•ืœ ื’ื ื‘ืกืจื˜ื™ื ื”ื•ืœื™ื•ื•ื“ื™ื™ื.
11:54
How?
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ืื™ืš?
11:55
Well, on these top films,
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ื‘ืื•ืชื ืกืจื˜ื™ื ืžืฆืœื™ื—ื™ื,
11:56
executives and agents can make sure
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ืžื ื”ืœื™ื ื•ืกื•ื›ื ื™ื ื™ื›ื•ืœื™ื ืœื•ื•ื“ื
12:00
that women and people of color are not only on the consideration list,
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ืฉื ืฉื™ื ื•ืื ืฉื™ื ื‘ืขืœื™ ืฆื‘ืข ืœื ืจืง ื™ื•ืคื™ืขื• ื‘ืจืฉื™ืžื•ืช ื”ื”ืชื—ืœืชื™ื•ืช,
12:05
but they're actually interviewed for the job.
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ืืœื ื’ื ื™ืจื•ืื™ื™ื ื• ืœืชืคืงื™ื“ ืžืžืฉ.
12:08
Now, one might say,
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ืืคืฉืจ ืœืฉืื•ืœ,
12:10
why is this important?
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ืœืžื” ื–ื” ื—ืฉื•ื‘?
12:11
Because it exposes or introduces executives to female directors
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ื›ื™ ื–ื” ื—ื•ืฉืฃ ืื• ืžืฆื™ื’ ื‘ืคื ื™ ื”ืžื ื”ืœื™ื ื ืฉื™ื ื‘ืžืื™ื•ืช
12:17
who otherwise fall prey to exclusionary hiring practices.
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ืฉืื—ืจืช ื”ื™ื• ื ื•ืคืœื•ืช ื‘ืคื— ืฉืœ ื ื”ืœื™ ืฉื›ื™ืจื•ืช ืžืคืœื™ื.
12:22
The fourth solution
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ื•ืคืชืจื•ืŸ ืจื‘ื™ืขื™
12:23
is for consumers like me and you.
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ื”ื•ื ืขื‘ื•ืจ ื”ืฆืจื›ื ื™ื ื›ืžื•ื ื™ ื•ื›ืžื•ื›ื.
12:27
If we want to see more films by, for and about women,
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ืื ืื ื—ื ื• ืจื•ืฆื™ื ืœืจืื•ืช ื™ื•ืชืจ ืกืจื˜ื™ื ืฉื”ื•ืคืงื• ืขืœ ื™ื“ื™, ืขื‘ื•ืจ ื•ืขืœ ื ืฉื™ื,
12:30
we have to support them.
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ืขืœื™ื ื• ืœืชืžื•ืš ื‘ื”ื.
12:32
It may mean going to the independent theater chain
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ื–ื” ื›ื•ืœืœ ืœืœื›ืช ืœืจืฉืช ื‘ืชื™ ื”ืงื•ืœื ื•ืข ืฉืœ ืกืจื˜ื™ื ืขืฆืžืื™ื™ื
12:34
instead of the multiplex.
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ื‘ืžืงื•ื ื”ืจืฉืช ื”ื’ื“ื•ืœื”.
12:36
Or it might mean scrolling down a little further online
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ืื• ืื•ืœื™ ื–ื” ื›ืจื•ืš ื‘ื’ืœื™ืœื” ืฉืœ ื”ืขื›ื‘ืจ ื™ื•ืชืจ ืœืžื˜ื” ื‘ืขืžื•ื“
12:40
to find a film by a female director.
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ื›ื“ื™ ืœืžืฆื•ื ืกืจื˜ ืฉื‘ื•ื™ื ืขืœ ื™ื“ื™ ืื™ืฉื” ื‘ืžืื™ืช.
12:42
Or it may be writing a check and funding a film,
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ืื• ืื•ืœื™ ืœืฉืœื•ื— ืฆ'ืง ื•ืœืžืžืŸ ืกืจื˜,
12:45
particularly by a female director from an underrepresented background.
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ื“ื•ื•ืงื ื–ื” ืฉืžื‘ื•ื™ื ืขืœ ื™ื“ื™ ืื™ืฉื” ืžืจืงืข ื‘ืœืชื™ ืžื™ื•ืฆื’.
12:50
Right?
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ื ื›ื•ืŸ?
12:51
We need to write, call and email companies
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ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœื›ืชื•ื‘, ืœื”ืชืงืฉืจ ื•ืœืฉืœื•ื— ืื™ืžื™ื™ืœื™ื ืœื—ื‘ืจื•ืช
12:54
that are making and distributing films,
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ืฉืžืคื™ืงื•ืช ื•ืžืคื™ืฆื•ืช ืกืจื˜ื™ื,
12:56
and we need to post on our social media accounts
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ื•ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœืคืจืกื ื‘ื—ืฉื‘ื•ื ื•ืช ื”ืžื“ื™ื” ื”ื—ื‘ืจืชื™ืช ืฉืœื ื•
12:59
when we want to see inclusive representation,
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ื›ืฉืื ื—ื ื• ืจื•ืฆื™ื ืœืจืื•ืช ื™ื™ืฆื•ื’ ืžื›ืœื™ืœ,
13:02
women on-screen,
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ื ืฉื™ื ืขืœ ื”ืžืกืš,
13:03
and most importantly, women behind the camera.
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ื•ื”ื›ื™ ื—ืฉื•ื‘, ื ืฉื™ื ืžืื—ื•ืจื™ ื”ืžืฆืœืžื”.
13:07
We need to make our voices heard and our dollars count.
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ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœื”ืฉืžื™ืข ืืช ืงื•ืœื ื• ื•ืœื“ืจื•ืฉ ืชืžื•ืจื” ื‘ืขื“ ื›ืกืคื™ื ื•.
13:13
Now, we actually have the ability to change the world on this one.
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ื™ืฉ ืœื ื• ืืช ื”ื™ื›ื•ืœืช ืœืฉื ื•ืช ืืช ื”ืขื•ืœื ื‘ื ื•ืฉื ื”ื–ื”.
13:19
The US and its content,
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ืืจืฆื•ืช ื”ื‘ืจื™ืช ื•ื”ืชื•ื›ืŸ ืฉืœื”,
13:21
films in particular,
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ื•ื”ืกืจื˜ื™ื ื‘ืžื™ื•ื—ื“,
13:23
have captured the imaginations of audiences worldwide.
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ืฉื‘ื• ืืช ื“ืžื™ื•ื ื ืฉืœ ืงื”ืœื™ื ื‘ื›ืœ ืจื—ื‘ื™ ื”ืขื•ืœื.
13:28
Worldwide.
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ื‘ื›ืœ ื”ืขื•ืœื.
13:30
So that means that the film industry has unprecedented access
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ื›ืœื•ืžืจ ืฉืœืชืขืฉื™ื™ืช ื”ืกืจื˜ื™ื ื™ืฉ ื’ื™ืฉื” ื—ืกืจืช ืชืงื“ื™ื
13:35
to be able to distribute stories about equality
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ืœื”ืคื™ืฅ ืกื™ืคื•ืจื™ื ื‘ื ื•ืฉื ืฉื•ื•ื™ื•ืŸ
13:40
all around the world.
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ื‘ื›ืœ ืจื—ื‘ื™ ื”ืขื•ืœื.
13:42
Imagine what would happen
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ื“ืžื™ื™ื ื• ืžื” ื”ื™ื” ืงื•ืจื”
13:44
if the film industry aligned its values
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ืื ืชืขืฉื™ื™ืช ื”ืกืจื˜ื™ื ื”ื™ืชื” ืžื™ื™ืฉืจืช ืืช ืขืจื›ื™ื”
13:47
with what it shows on-screen.
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ืขื ืžื” ืฉื”ื™ื ืžืฆื™ื’ื” ืขืœ ื”ืžืกืš.
13:50
It could foster inclusion
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ื–ื” ื™ื›ื•ืœ ืœื”ื•ืœื™ื“ ื”ื›ืœืœื”
13:52
and acceptance for girls and women,
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ื•ืงื‘ืœื” ืขื‘ื•ืจ ื ืฉื™ื ื•ื™ืœื“ื•ืช,
13:55
people of color,
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ืื ืฉื™ื ื‘ืขืœื™ ืฆื‘ืข ืขื•ืจ,
13:57
the LGBT community,
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ืงื”ื™ืœืช ื”ืœื”ื˜"ื‘ื™ื,
13:58
individuals with disabilities,
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ื‘ืขืœื™ ืžื•ื’ื‘ืœื•ื™ื•ืช,
14:00
and so many more around the world.
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ื•ื›ืœ ื›ืš ื”ืจื‘ื” ืื—ืจื™ื ื‘ื›ืœ ื”ืขื•ืœื.
14:05
The only thing that the film industry has to do is unleash its secret weapon,
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ื”ื“ื‘ืจ ื”ื™ื—ื™ื“ ืฉืชืขืฉื™ื™ืช ื”ืกืจื˜ื™ื ืฆืจื™ื›ื” ืœืขืฉื•ืช ื”ื•ื ืœืฉื—ืจืจ ืืช ื”ื ืฉืง ื”ืกื•ื“ื™ ืฉืœื”,
14:11
and that's storytelling.
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ื•ื–ื” ืกื™ืคื•ืจ ืกื™ืคื•ืจื™ื.
14:15
Now, at the beginning of this talk,
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ื‘ืชื—ื™ืœืช ื”ื”ืจืฆืื”
14:17
I said that films --
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ืืžืจืชื™ ืฉืกืจื˜ื™ื --
14:19
that they can actually transport us,
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ืฉื”ื ื™ื›ื•ืœื™ื ืœืชืช ืœื ื• ื—ื•ื•ื™ื”,
14:22
but I would like to argue that films, they can transform us.
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ืื‘ืœ ืื ื™ ืจื•ืฆื” ืœื˜ืขื•ืŸ ืฉืกืจื˜ื™ื, ื”ื ื™ื›ื•ืœื™ื ืœืฉื ื•ืช ืื•ืชื ื•.
14:28
None of us in this room
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ืืฃ ืื—ื“ ืžืืชื ื• ื›ืืŸ ื‘ื—ื“ืจ
14:30
have grown up or experienced a storytelling landscape
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ืœื ื’ื“ืœ ืื• ื—ื•ื•ื” ืขื•ืœื ืกื™ืคื•ืจื™
14:34
with fully realized female characters,
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ื‘ืขืœ ื“ืžื•ื™ื•ืช ื ืฉื™ื•ืช ื ื•ื›ื—ื•ืช ื‘ืื•ืคืŸ ืžืœื,
14:38
none of us,
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ืืฃ ืื—ื“ ืžืืชื ื•,
14:39
because the numbers haven't changed.
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ื›ื™ ื”ืžืกืคืจื™ื ืœื ื”ืฉืชื ื•.
14:42
What would happen if the next generation of audiences
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ืžื” ื™ืงืจื” ืื ื”ื“ื•ืจ ื”ื‘ื ืฉืœ ืงื”ืœื™ื
14:46
grew up with a whole different screen reality?
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ื™ื’ื“ืœ ืขื ืžืฆื™ืื•ืช ืžืกืš ืฉื•ื ื” ืœื—ืœื•ื˜ื™ืŸ?
14:51
What would happen?
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ืžื” ื™ืงืจื”?
14:52
Well I'm here to tell you today
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ืื ื™ ื›ืืŸ ื”ื™ื•ื ื›ื“ื™ ืœืกืคืจ ืœื›ื
14:54
that it's not only possible to change what we see on-screen
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ืฉื–ื” ืœื ืจืง ืืคืฉืจื™ ืœืฉื ื•ืช ืืช ืžื” ืฉืื ื—ื ื• ืจื•ืื™ื ืขืœ ื”ืžืกืš
14:58
but I am impatient for it to get here.
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ืืœื ืฉืื ื™ ื—ืกืจืช ืกื‘ืœื ื•ืช ืฉื–ื” ื›ื‘ืจ ื™ื’ื™ืข.
15:03
So let's agree to take action today
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ืื– ื‘ื ื ื—ืœื™ื˜ ืœืคืขื•ืœ ื›ื‘ืจ ื”ื™ื•ื
15:07
to eradicate the epidemic of invisibility.
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ืœืžื—ื•ืง ืืช ืžื’ืคืช ื”ื‘ืœืชื™ ื ืจืื•ืช.
15:11
And let's agree to take action today
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ื•ื‘ื ื ืกื›ื™ื ืœืคืขื•ืœ ื”ื™ื•ื
15:14
to agree that US audiences and global viewers
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ืœื”ืกื›ื™ื ืฉื”ืงื”ืœ ื‘ืืจืฆื•ืช ื”ื‘ืจื™ืช ื•ื‘ืขื•ืœื ื›ื•ืœื•
15:18
demand and deserve more.
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ื“ื•ืจืฉื™ื ื•ื–ื›ืื™ื ืœื™ื•ืชืจ.
15:21
And let's agree today
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ื•ื‘ื ื ืกื›ื™ื ื”ื™ื•ื
15:24
that the next generation of viewers and audiences,
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ืฉื”ื“ื•ืจ ื”ื‘ื ืฉืœ ืฆื•ืคื™ื ื•ืงื”ืœื™ื
15:29
that they deserve to see the stories
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ืฉืžื’ื™ืข ืœื”ื ืœืจืื•ืช ืืช ื”ืกื™ืคื•ืจื™ื
15:32
we were never able to see.
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ืฉืื ื—ื ื• ืžืขื•ืœื ืœื ื™ื›ื•ืœื ื• ืœืจืื•ืช.
15:35
Thank you.
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ืชื•ื“ื” ืจื‘ื”.
15:37
(Applause)
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(ืžื—ื™ืื•ืช ื›ืคื™ื™ื)
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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