All posts by Maintenance

Child Sex Abuse Gets the Spotlight at The Oscars 2016

Presenter Charlize Theron arrives at The 88th Oscars® at the Dolby® Theatre in Hollywood, CA on Sunday, February 28, 2016.

The beautiful and sexy Charlize Theron, always looking amazing, lands our front page here again this year,  as Presenter for The 88th Oscars® at the Dolby® Theatre in Hollywood, CA on Sunday, February 28, 2016.

Welcome to the new issue of The Hollywood Sentinel! The Hollywood Sentinel is the only free entertainment site that reports ‘only’ the good news, that is read by some of the biggest stars on the planet. With exclusive interviews with the stars, and covering all areas of the arts, The Hollywood Sentinel brings to the world each Monday, with breaking ‘daily news,’ its message of power, education, and spiritual messages, that is not mere political taglines, but rather, our way of life. Be sure to check out our daily Oscar coverage on our various pages. Congratulations to all of the Oscar nominees, and winners!

ELITE AD 2016

SPOTLIGHT WINS BEST PICTURE

Child sexual abuse has gotten the SPOTLIGHT in a big way this year, with the films win for BEST PICTURE.  The Hollywood Sentinel would like to the Thank The Academy for recognizing the importance of putting child sex abuse at the forefront of the minds of the world, with this brave, and landmark decision in acknowledging the importance of this film.

Winning Best Picture for the Oscar, The film Spotlight’s acceptance   speech was given by the films’ producers; Michael Sugar, Steve Golin, Nicole Rocklin and Blye Pagon Faust, with an excerpt as follows;

MICHAEL SUGAR stated,  “Thank you, hello everybody. I love you, Lauren, we did it. This film gave a voice to survivors, and this Oscar amplifies that voice which we hope will become a choir that will resonate all the way to the Vatican. Pope Francis, it’s time to protect the children and restore the faith. Thank you very much.” Amen!

BLYE PAGON FAUST stated,We would not be here today without the heroic efforts of our reporters. Not only do they effect global change, but they absolutely show us the necessity for investigative journalism.”  Thank you to that.

The filmmakers further gave a shout out to (…)the  brave survivors of abuse worldwide.

This content is Copyright 2016, The  Academy of Motion Picture Arts and Sciences, A.M.P.A.S.®, all world rights reserved.

Sexy Rooney Mara a Class Act at The Oscars

Rooney Mara attends the Academy’s 7th Annual Governors Awards in The Ray Dolby Ballroom at Hollywood & Highland Center® in Hollywood, CA, on Saturday, November 14, 2015.
The lovely Rooney Mara attends the Academy’s 7th Annual Governors Awards in The Ray Dolby Ballroom at Hollywood & Highland Center® in Hollywood, CA, on Saturday, November 14, 2015. Check out her full beautiful dress here in this issue.

Also, in this issue, we bring you our exclusive interview with rap star Chill E.B. Chill E.B’s message is vitally important, and in this feature, you will soon learn why. Click the page titled ‘subnormal’ at the table of contents tab to the left to read this story.

Enjoy that, visit the links, read the rest of this site, check back here often, contact us with ‘comments’ that we may choose to possibly publish via the ‘contact’ button at the left of this page, and share this article and site with everyone you know and everyone you are in contact with.

HOSTS ANNOUNCED FOR “THE OSCARS® BACKSTAGE” ON OSCAR.COM

This year’s “The Oscars® Backstage” on Oscar.com, which is the ultimate second screen experience for fans watching the show, will be hosted by a multi-talented group of TV personalities, including actor/writer/producer Orlando Jones, actress and TV personality Diane Mizota, actor Matt Shively, film critic and entertainment reporter Ben Lyons, and entertainment and sports reporter Chris Connelly. The director’s cut from the best of the live backstage cameras will also be available on ABCNews.com, AOL, Comcast Xfinity and Yahoo.

Presented again this year by Samsung, “The Oscars® Backstage” allows fans to choose from four channels that will pull from more than 20 live cameras strategically placed on the red carpet and backstage at the Dolby Theatre®, providing fans with insider views into the most memorable moments of the night. Pre-show channels include: Director’s Cut, Arrivals, Fashion and Red Carpet. During the show, the channels are Director’s Cut (including the popular Thank You cam), Audience, Backstage and Press Rooms.

Jones (“Sleepy Hollow,” “The Devil and the Deep Blue Sea,” “MadTV”) and Access Hollywood Live’s #MyStyleFinds Mizota will host “The Director’s Cut” feeds during both the pre-show and awards telecast. Shively (ABC’s “The Real O’Neal’s”) will report from the fan bleachers on the red carpet with The Players’ Tribune Chief Correspondent Ben Lyons reporting from behind-the-scenes. “Good Morning America” and ESPN contributing editor Chris Connelly is returning as the official greeter of The Oscars red carpet, which includes welcoming nominees, presenters and performers to the show.

From Left to Right: Oscar® nominees Leonardo DiCaprio and Sylvester Stallone at the Oscar® Nominees Luncheon in Beverly Hills Monday, February 8, 2016. The 88th Oscars®, hosted by Chris Rock, will air on Sunday, February 28, live on ABC.
From Left to Right: Oscar® nominees Leonardo DiCaprio and Sylvester Stallone at the Oscar® Nominees Luncheon in Beverly Hills Monday, February 8, 2016. The 88th Oscars®, hosted by Chris Rock, will air on Sunday, February 28, live on ABC.

Pictured above, Oscar® nominees Leonardo DiCaprio and Sylvester Stallone at the Oscar® Nominees Luncheon in Beverly Hills Monday, February 8, 2016. The 88th Oscars®, hosted by Chris Rock, will air on Sunday, February 28, live on ABC. We’re glad Sly has that name tag on, otherwise we might not know who he is. (Yeah right)!

Are the Oscars Black Enough?

The recent uproar against the Oscars for not having any Oscar nominated stars this year in 2016, is a sign of the cultural sensitivity of our times. I had the pleasure to see in person the head of the Academy of Motion Picture Arts and Sciences– Ms. Cheryl Boone Isaacs, a number of years ago at the Memorial for A.C. Lyles; Paramount Pictures Producer, who was also publicist for the studio at one time, and repped some of the biggest stars of all time including Marilyn Monroe and James Dean among many more. Ms. Boone Isaacs– President of the Academy (who is African American), is a lovely and very intelligent woman, who A.C. always spoke very highly of to me. She and others at the Academy have sadly been the brunt of certain hostilities toward this legendary institution, which fortunately seems to have simmered down.

With that said, The Academy took the heat from Spike Lee (who they recently hired for a job), Will Smith (a regular Oscar presenter), and others, and then decided to make some changes. They then recently announced new policy. Witness;

ACADEMY TAKES HISTORIC ACTION TO INCREASE DIVERSITY

Lifetime voting rights re-framed; new governor seats added and committees restructured, with goal to double number of diverse members by 2020

In a unanimous vote on January 21st, 2016, the Board of Governors of the Academy of Motion Picture Arts and Sciences approved a sweeping series of substantive changes designed to make the Academy’s membership, its governing bodies, and its voting members significantly more diverse. The Board’s goal is to commit to doubling the number of women and diverse members of the Academy by 2020.

“The Academy is going to lead and not wait for the industry to catch up,” said Academy President Cheryl Boone Isaacs. “These new measures regarding governance and voting will have an immediate impact and begin the process of significantly changing our membership composition.”

Beginning later this year, each new member’s voting status will last 10 years, and will be renewed if that new member has been active in motion pictures during that decade. In addition, members will receive lifetime voting rights after three ten-year terms; or if they have won or been nominated for an Academy Award. We will apply these same standards retroactively to current members. In other words, if a current member has not been active in the last 10 years they can still qualify by meeting the other criteria. Those who do not qualify for active status will be moved to emeritus status. Emeritus members do not pay dues but enjoy all the privileges of membership, except voting. This will not affect voting for this year’s Oscars.

At the same time, the Academy will supplement the traditional process in which current members sponsor new members by launching an ambitious, global campaign to identify and recruit qualified new members who represent greater diversity. In order to immediately increase diversity on the Board of Governors, the Academy will establish three new governor seats that will be nominated by the President for three-year terms and confirmed by the Board.

The Academy will also take immediate action to increase diversity by adding new members who are not Governors to its executive and board committees where key decisions about membership and governance are made. This will allow new members an opportunity to become more active in Academy decision-making and help the organization identify and nurture future leaders. Along with Boone Isaacs, the Board’s Membership and Administration Committee, chaired by Academy Governor Phil Robinson, led the efforts to enact these initiatives. (source: The Academy)

As host, Chris Rock’s opening speech ranged from a few mild laughs, to poignant, as he discussed at length his feeling on how ridiculous it was to boycott the Oscars, and how he was glad just to be working in this day and age. Others I spoke with, wondered why other ‘minorities’ have not been the focus of so called ‘diversity,’ such as Native Americans, who were here before us all. This is obviously a broad ranged and touchy subject, which we will not digress here upon now, but will save for a future online ‘radio’ conversation, here at The Hollywood Sentinel .

The 88th Oscars were held on Sunday, February 28, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and were televised live by the ABC Television Network at 7 p.m. ET/4 p.m. PT. The Oscar presentation was also televised live in more than 225 countries and territories worldwide.

This content is copyright, The Hollywood Sentinel, and AMPAS 2016, all world rights reserved.

How to Succeed As A Screenwriter

trumbo image

Trumbo

A blacklisted Hollywood screenwriter fights back after being jailed for his political beliefs in Trumbo, now on DVD and Digital HD, from Universal Pictures Home Entertainment. Inspired by the colorful life and legacy of the brilliant Oscar®-winning screenwriter Dalton Trumbo (Roman Holiday, Spartacus), Trumbo is an astonishing portrait of an often forgotten chapter of American history. A sharp and timely true Hollywood story, the riveting biographical drama is directed by Emmy Award® winner Jay Roach (HBO’s “Recount,” “Game Change”) and features Emmy and Tony®-winning actor Bryan Cranston.

In 1947, Dalton Trumbo (Bryan Cranston) was Hollywood’s top screenwriter until he and other artists were jailed and blacklisted for their political beliefs. Trumbo (directed by Jay Roach) recounts how Dalton used words and wit to win two Academy Awards and expose the absurdity and injustice of the blacklist, which entangled everyone from gossip columnist Hedda Hopper (Helen Mirren) to John Wayne, Kirk Douglas and Otto Preminger. The film also stars Diane Lane, John Goodman, Louis C.K., Elle Fanning, and Michael Stuhlbarg.

Corporate Prophet Ad

Trumbo is a critically acclaimed film, nominated for an Academy Award® for Best Actor (Bryan Cranston), as well as two Golden Globes®, three SAG Awards, and three Critics Choice Awards.

ELITE AD 2016

Star Wars

Star Wars: Episode VIII, began principal photography at Pinewood Studios in London on February 15, 2016. Star Wars: Episode VIII, which is written and directed by Rian Johnson and continues the storylines introduced in Star Wars: The Force Awakens, welcomes back cast members Mark Hamill, Carrie Fisher, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Lupita Nyong’o, Domhnall Gleeson, Anthony Daniels, Gwendoline Christie, and Andy Serkis. New cast members will include Academy Award® winner Benicio Del Toro, Academy Award® nominee Laura Dern, and talented newcomer Kelly Marie Tran.

FRANCESCA

Star Wars: Episode VIII is produced by Kathleen Kennedy and Ram Bergman and executive produced by J.J. Abrams, Jason McGatlin and Tom Karnowski. Joining the production crew will be some of the industry’s top talent, including Steve Yedlin (Director of Photography), Bob Ducsay (Editor), Rick Heinrichs (Production Designer), Peter Swords King (Hair and Make-Up Designer), and Mary Vernieu (US Casting Director). They will be joining returning crew members Pippa Anderson (Co-Producer, VP Post Production), Neal Scanlan (Creature & Droid FX Creative Supervisor), Michael Kaplan (Costume Designer), Jamie Wilkinson (Prop Master), Chris Corbould (SFX Supervisor), Rob Inch (Stunt Coordinator), Ben Morris (VFX Supervisor), and Nina Gold (UK Casting Director).

Star Wars: Episode VIII is scheduled for release December 15, 2017.

How to Succeed In Hollywood

Bruce Edwin is CEO of the A-list firm Starpower Management LLC, publisher of The Hollywood Sentinel, and also a film producer. His services, based on his years of expertise and success in the music and film industry are sought out and used by some of the most powerful companies and stars in entertainment. This ongoing article series, a precursor to his upcoming book, is his way of giving back to models, actors and bands, with free education- that in its totality and with its unabashed honesty- cannot not be found anywhere else. Free.

How to Succeed As A Screenwriter

1, Know your place and pay your dues by showing respect until you make it big. Until you are an Oscar nominated or Golden Globe nominated or winning screenwriter, realize that the production companies and producers, directors don’t need you, you need them. Don’t act like you are doing them a favor by sending your material or trying to get them to receive it.

2, Be prepared and follow directions given. When a producer or production company has agreed to look at your work, don’t argue or delay. Have ready exactly what they want, which may include a logline, a 1 page synopsis, a 10 page or more treatment, or the full script. Don’t ask them if you can send more than what they ask for, and definitely do not send something not asked for without the OK. This is a good way to get rejected before you even get your material read. Have everything ready right away, so that when they ask for it, you are prepared to send it and send it quickly. I had one screenwriter send me a full script, after I told him to only send me a one page synopsis. That is a quick way to get rejected. If one cannot follow directions on a simple document to send, one can not be expected to follow directions on a more serious and detailed matter like revising a script to someone’s specifications that is paying them. Follow directions.

3, Don’t ask questions before you are hired. After they are looking, or even before they agree to look, don’t ask them questions, which could waste their time and annoy them. A writer recently asked me– when I was going to read some of his work, what the difference was between an agent and a manager, in addition to about a half a dozen other questions, which I simply had no time for. Had he actually researched The Hollywood Sentinel ‘Archives,’ section, or even done a search to this answer online, he would have found the answer to this first question without attempting to waste our time. This is not a question to bother a producer, agent, or manager with. We don’t work on commission for no money down to educate people for free. Although I do educate people for free, when one is trying to get us to rep them, that is not the time to ask questions that one can easily find out on their own. Until you have a contract offer, don’t even hit people up with questions or you could kill the deal.

Can you imagine a guy meeting a girl, and wanting to ask her out, and then saying to her, so, “Will you make out with me a lot?” “Are you a good cook?” “Are you going to treat my children well?” No, she has not even said she will go out with him yet! Don’t do that! it’s too early.

So, when someone is looking or considering looking at your deal, it is not the time to ask them about their percentages, films funded, etc. If you don’t trust their expertise, don’t contact them to begin with, and when you do contact them, asking money questions prior to them even saying they are interested in not appropriate, unless again, you are already a top winning or top nominated screenwriter, in which case you will already have a top agent or top manager, which would mean you would not be asking the wrong questions, the agent or manager would be asking the questions for you, in the right manner.

4, When opportunity knocks, answer the freaken’ door and don’t send them running. One writer had a handful of scripts I was strongly considering representing. I sent him a short contract, and he told me that he needed over month to get back with me to ‘consider’ our deal. He claimed he needed several weeks for his attorney to look it over, and at least several weeks for him to film a webisode, which would include an extra week or so for camping. I told him that was fine, but that I would probably not be interested in giving him more than 10 business days, and that if he considered our business a priority, he could rush his attorney a bit, get a faster one, or cut his camping trip short, if he got no reception in the woods. He refused, and so I rescinded any and all future interest since he did not jump at the huge opportunity we were giving him. He was shocked, even though I gave him ample time to change his mind and move quicker. Over a year has passed, and no one has heard of this guy since, and my guess is, probably never will. When you have an A-list deal fall on your lap, do all you can to make it happen as fast as you can, and show them that you are eager, and appreciative. If you delay, you may delay your success for ever.

5, Thank the person! If you get an call or visit or e-mail from a top producer, agent, manager, or director, thank them for their time! My first test of whether or not I will deal with someone, is their manners or lack thereof. I have major investors– worth millions to sometimes even billions of dollars, that graciously thank me for my time, simply because they are classy ladies and gentleman, and are highly cordial and polite, when in fact, I should be the one thanking ‘them,’ and I always do. So when a writer hears from me, and does not thank me for my time, or show gratitude, I automatically lose all respect and interest.

6, Use the persons name, and address them as Mr. or Ms. unless they tell you to otherwise. Show respect. Just when I think I’ve seen it all, I often experience some other scenario that tops the rest in all manners of ridiculousness. As an example, another writer recently contacted me with no thank you, and actually instead of calling me by any part of my name, addressed me as the letter ‘B’! Not only is this lazy, it’s foolish. Pretend you are communicating with the person face to face. Show respect, and use their name.

7, Don’t give orders. If you are trying to get someone to do something for you, or to communicate with you, or return your communication, ask them, don’t order. Most rich or powerful people have worked very hard to get where they are at, and a part of that freedom they enjoy is not having to take orders from anyone. So, if someone gives them an order, especially when that person is trying to get a favor out of ‘them,’ they can generally forget a deal ever happening. Ask, don’t demand! And that’s an order! (LOL).

8, Answer your phone, and answer blocked calls. Any time someone that wants me to do something spends their time telling me about how they did not answer my call, because they don’t answer blocked calls, not only wastes my time, but sends me the signal that they are either A, control freaks, B, paranoid, or C, have bill collectors after them. I have told this story over and over, but unfortunately, it is one that needs repeating. Atlantic Records called me one time from New York, and the publicist there told me, “Bruce, record labels and film studios, we all call from private, blocked, or even dummy numbers. So if you want to be successful working in Hollywood in the music and film biz, answer private calls!”

I told this story about the blocked line and dummy number to an actress I represented once who was not answering our blocked line, and she asked me if I was calling her a dummy. I had to think about that one. I thanked this person at Atlantic Records for that advice, and always took it, and it was true. Every film studio lot I have had an office at, has phones that we had to use through the studio that had automatically programmed private or dummy numbers. The record labels are no different. This has been this way for ages, and is to protect producers and top level industry people from stalkers, and is also so we can better control our communication and ‘roll calls’ without interruptions we don’t want, controlling communication on our terms. So, answer your phone, and always answer private calls or numbers you don’t know and don’t complain about it. Complaining about this does not impress anyone, on the contrary, it will only show that you have no experience in dealing with the entertainment industry.

9, Don’t describe your film as a cross between one film and another, unless you are asked to compare it. One writer I know just emailed me a synopsis and described his film as when one title meets another certain film. The first film he mentioned I had never even seen, not liking the actor in the film, and the second film he compared his script to, I had seen, and after reading his script, found this comparison totally wrong, being nothing like the film mentioned. Further, why be ‘like’ another film anyway? Be original, and don’t compare your script to anything else unless you have to.

10, Don’t send producers you are working with or want to work with countless re-writes! One writer I am dealing with is constantly sending me revised versions of his script, which I simply have no time to read. Then, one funding source will have one version, and another funding source ends up with another version, then when we go back to discuss it, it has totally changed, and is a complete mess. This is a sign of an unprofessional screenwriter. turn in a final draft, and stick to it, unless you are asked to change it otherwise.

11, Proofread! I got another writer that sent me a script in with a ton of typographical errors. He had the audacity to tell me I could clean them up. No! That is not a producers job, it’s the screenwriters. Make sure that your script is perfect, and error free.

12, Don’t try to act like a producer on a film when you are not the producer, and are the screenwriter only. Your job is essential and important. I am not demeaning that job whatsoever. Just don’t try to overstep your boundary and act like a line producer or producer unless you actually are one, and have been retained by the owner or producer of the deal to work in this additional capacity.

I hope this has helped many of you. As always, if you have any questions, you are invited to contact me at the front page of this site.

The office of Bruce Edwin and Starpower Management accepts screenplays from Academy Award or Golden Globe winning or nominated screenwriters only.

This content is © 2016, The Hollywood Sentinel, Bruce Edwin, all rights reserved. Special thanks to Universal Studios and Skywalker Ranch.

Diversity, Professionalism, and Inclusion

By Moira Cue

Does your organization practice diversity, professionalism, and inclusion? I would argue that each of these values represents a level of commitment to the same core principal, in ascending order of ethical strength and subtlety. While each value has its place in the contemporary work world, I believe that inclusion is the most important goal to strive for.

Diversity and professionalism can be stepping stairs on the upward path to inclusion, but only if leadership is self-motivated to engage in constant questioning of the status quo. The danger in the “step-by-step” approach is that each step can become a plateau, wherein the organization becomes comfortable at one level and doesn’t go any farther.

Title: "Sojourner Truth," Other Title, "I sell the shadow to support the substance" Summary: Photograph shows Sojourner Truth, head-and-shoulders portrait, facing slightly left. Created / Published c1864. Subject Headings - Truth, Sojourner,-- 1799-1883. Format Headings, Albumen prints--1860-1870. Cartes de visite-- 1860-1870. Portrait photographs--1860-1870. - Copyright 1864 by Sojourner Truth. - Purchase;--William A. Gladstone;--1995;--(PR 13 CN 1995:113)
Title: “Sojourner Truth,” Other Title, “I sell the shadow to support the substance.”  Summary: Photograph shows Sojourner Truth, head-and-shoulders portrait, facing slightly left. Created / Published c1864. Subject Headings – Truth, Sojourner,–1799-1883. Format Headings, Albumen prints–1860-1870. Cartes de visite–1860-1870. Portrait photographs–1860-1870. – Copyright 1864 by Sojourner Truth.-Purchase;–William A. Gladstone;–1995;–(PR 13 CN 1995:113)

An organizational commitment to diversity often focuses on hiring and retention statistics and avoiding legal liability. Adopting policies such as mandatory sexual harassment training for managers, hiring targets for minorities, participation in surveys, and official diversity committees out of fear reduces diverse people, including women, to statistical targets at best; and potential fires to be handled with caution, at worst. It seems true that you can’t improve what you don’t measure. It is also true that quantifiable results, such as the number of African-Americans on your Board of Directors, or the presence or absence of discrimination lawsuits, are the fruits of a particular work culture, leadership attitude, and environment. The root of the problem is deeply held, even subconscious, beliefs of not only the people “in charge,” but the people who come to work for your organization with prior experiences of victimization or discrimination based on their identity. If the main reason you or your leadership engage in a particular course of action is to not get sued, or to decrease future financial loss after a successful suit, than that action is reactive rather than proactive, and your organization should consider moving up the ethics ladder to review and address matters of professionalism from a more holistic vantage point.

On the other hand, there are cases wherein a formal investment in diversity programs signifies progress. Is if your organization refuses to review its own diversity metrics (at least internally); has been the subject of an EEOC disciplinary action or investigation; or has problems retaining women and diverse people at upper levels or with retention in general, then looking at the metrics is a good place to start. If there is no prominent member of your organization who is not white and male and/or from an Ivy League school, certainly you might want to bring in a consultant to ask why that is, and keep an open mind. Don’t assume there is a lack of qualified people applying for jobs with your organization. Upper management or HR may not realize that compared to other organizations of your same size and industry, you have a higher or lower percentage of various ethnicities, so when you analyze the numbers you might see patterns that lead to more important questions. Is diversity not only a product of the organization, but of the industry itself? If so, what factors favor parity in one industry and not another?

There are entire industries that need to start with diversity: Look at the overall numbers in engineering (http://www.nsf.gov/statistics/wmpd/2013/tables.cfm). Or, closer to home for this author: Look at the numbers of contemporary (i.e. living) female artists exhibiting solo shows in major museums globally compared to the number of women who go through art schools (http://www.artnews.com/2015/05/26/taking-the-measure-of-sexism-facts-figures-and-fixes/). Worse yet, look at a historical list of the highest sales prices for paintings. There are no women artists represented in the top 65 individual sales, and only two men who are not European or American descent (both are Chinese). The most obvious answer to this question could be that one of these industries (engineering) enculturates its own with so called “left-brain,” solutions-based, rational thinking that tends to emphasize the calculating areas of our brains over the care and connectivity centers—so “leveling the playing field” is an alien concept when participants are less aware of the “field” as a sphere of human interaction and more aware of direct, concrete objectives. But art, which traditionally engages the “human story,” is simply a field (much like Hollywood) wherein there is no traditional employer-employee relationship for the makers of individual works of art (or music or entertainment), hence a field wherein threat of litigation plays little to no deterring role for exploitation, and individual personalities battle for “celebrity” status.

A culture that thrives on professionalism (or civility, if you prefer) would exclude cultural appropriation at the expense of the minority. It isn’t professional to boost yourself over others while trampling them under your feet. It isn’t professional to take credit for others accomplishments, pay a person less than she is worth because she lets you get away with it, use racial or sexual slurs, or make someone so uncomfortable that she drops out of your school or company. I’ve had the pleasure of working in organizations led by men, who happened to be white and well compensated, who had this kind of class. Because these leaders saw their subordinates as professionals first, it was easier to do my best work than in other environments where unprofessional and gendered comments were the norm.

But there’s still a higher plane of organizational virtue: inclusion. I often hear the words “diversity and inclusion” brandied about as painter Hedda Sterne famously heard the phrase “great artist,” as if one word. To me this is a pity, as I feel we lose so much of the value of inclusion when we look for diversity reductively or mechanistically. When we strive for diverse work forces, or to give diverse voices cinematic exploration, rather than inclusive work forces or works of art, we only go skin deep. There is an assumption that if a person isn’t a member of a protected class, he or she has never experienced discrimination. There’s an assumption that you can take a snapshot or run your metrics, and know if you are certifiably diverse. There’s an assumption that traditionally excluded people are being “let in” that smacks of paternalism. An inclusive approach throws all assumptions about identity out the window. It’s not management that defines the beingness of their employees by checking off boxes. An inclusive approach is one where real differences, as experienced by the Self, rather than culturally or politically constructed sociology of difference, are given room to be. A progressively inclusive workplace, for example, might create dim, quiet spaces for employees who are disturbed by bright lights or too much noise or accept an introvert’s desire to avoid the company picnic (regardless of disclosure or existence of a formal autism diagnosis). A progressively inclusive workplace would hire art school graduates or creative consultants and ask “how can we be more creative” during Board meetings. You would see not just different skin colors or sexual orientations, but different personalities, different politics, different religions, working together.

My personal working hypothesis regarding inclusion, perhaps due to indoctrination in, first, empiricism, and secondly, a “post-” everything ethos, is that the differences we don’t see—arbitrary epistemological boundaries—are more individualistic and profound than differences attributed to diverse variables. Though there is so much overlap that diverse variables become the simplest way of pre-judging others. By “arbitrary epistemological boundaries” I mean the invisible hierarchy of values which are unique to every field of knowledge as historically defined, without elimination of Western or ‘civilized’ bias. (Two excellent books exploring gender and nature, Carolyn Anne Merchant’s The Death of Nature, and Leonard Shlain’s The Goddess Versus the Alphabet, were key to my early inspiration in this regard as well.) Historical divisions between commercial activity and the academy, art and science, ethics and all other fields of endeavor, have created poly-fragmentated dissociation en masse. We go to work exclusively to make money. We go to school exclusively to learn. We make art exclusively to express ourselves. If we question the impact of any of these activities on non-human life, we have stepped outside of all -ologies other than ecology. Competition and cooperation have prescripted dominant-subordinate relationships in various settings.

Both in your individual success and the success of the organizations you influence, identifying the “invisible walls” more clearly and including ideas, modalities, and people “outside” those boundaries can yield adventure, discovery, and original ideas and combinations.

This story is ©2016, The Hollywood Sentinel, Moira Cue, all world rights reserved.