Forum - View topicNEWS: Live-Action Death Note Film's Producer Responds to Whitewashing Controversy
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howdwegethere
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This may just be me being nitpicky, but I don't know about you, but I have trouble understanding other English accents, including Welsh, Australian and certain British accents. So what is "broken English"? Is it just accented English? And i would think anyone auditioning for this role is well-aware that they will need to speak English and would have practiced or already been prepared. Putting that aside, I can understand why they would want someone who is a native English speaker since the character himself is an average American. But who's to say it can't be Asian-American? As an Asian-American, it is extremely disheartening because the current market does not have many films with Asian-American leads. Coming into Hollywood as an Asian actor, the reality of the business is that you have to be prepared to be typecast or otherwise ignored. And when something like Death Note or any movie with an original source featuring an Asian main character comes along, you start to have a little bit of hope that there is finally a chance for you or any other Asian actor to shine. And then they reject you, which is fine if based on talent, until you find out that this "opportunity for Asians" was not an opportunity at all when they eventually cast a non-Asian. (I have literally been told to my face "I can't hire you because you're Asian". So I know that feeling very well). I also haven't been behind a casting table, but I've worked in companies that make casting decisions for marketing, and I've heard things like, "Caucasian would be good if we want it to sell", so it's definitely a thing where casting decisions are made based on race and what people perceive to be "American".
I'm kind of tired of people making this equivalence. If I remember correctly, Japan is one of the most homogeneous countries in the world. While America is known as an immigration country with a far more diverse pool of citizens. Less than 2% of Japan's population are foreigners, and a large chunk of that includes other Asian countries. And Americans make up 2% of that percentage(I'm only using America because there is even less statistical data on other white-dominant countries). And the Japanese film industry is not exactly globally famous so there are even less white actors/actresses flocking to Japan to make a living. As opposed to every foreign performer's dreams of making it big in Hollywood. It would make sense that Japan casts all Asians because they just don't have that pool available. And I may be slightly biased, but I'm from Los Angeles and if you're looking for the largest Asian population in the United States, it's right here.
To add on to this, I also think another factor is that Asian actors are deterred by Hollywood's closed gates. You hear a lot of stories about Asian American stars in Asia having tried their hand in Hollywood to no avail and so they move abroad and become super successful. I have friends and their parents say things like, "If you want to be an actor/singer and you have the talent, go to Asia. Asians are at a disadvantage in America." It's sort of a toxic cycle of Hollywood not creating opportunities for Asian actors to shine, causing Asian actors to be deterred, and then saying things like, "We can't cast Asian actors because there aren't a lot of [talented enough] actors to choose from". And I think this is what is frustrating most people. [/quote] |
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IG
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I think the reason the person said We tried, but couldn't find one
You see not only you would have to speak english. I mean proper english with no accent , you would also need to act. You also need to fit the character. Their people who can act,but don't fit the character . Its not really asians , its acny character regardeless of race .There is not a lot asains in the Holly Wood. So I can see them having trouble . (Especialy the population of the Japanese people are only two million in america out of 350 million people) Also yes Japanese people do no like when other asian races play Japanese people. Lady Geisha comes in to mind . The film was ban from china for having a chinese actress play a Japanese woman. To add to this they said she was a disgrace to her homeland. Also Death Note Japanese fans would been upset with the cast . If they had Chinese or Korean people play the characters. |
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Kikaioh
![]() Posts: 1205 Location: Antarctica |
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Man, I empathize with your experience. I'm a first generation myself, and had aspirations for comics and animation growing up, but my parents pigeonholed my learning towards the sciences/medicine, threatening that they would only support me if I became a doctor, a lawyer, a scientist, etc. In their minds, they didn't sacrifice their lives just so their children could waste the opportunities they fought for. Unfortunately for me, I wound up sheepishly going into the sciences, which pays well enough, though I've intermittently quit working every so many years and focused on my art to try and keep the dream alive (it's incredibly difficult and frustrating though). Good luck with your aspirations in TV production, it's tough as it is trying to succeed in creative fields of work without having your loved ones undermining your passions too.
Casting is more complex than just finding a list of actors. They have to be the right age, live in the right area, have the right schedule, the right experience, and most importantly, the right ability that fits the spirit of the production that they're trying to make. I should point out too, Roy Lee (the producer speaking in this interview) is a Korean American. So, unless you think both Masi Oka and Roy Lee are discriminating against their own race/ethnicity, it's already been explained that they tried to find a good Asian American fit, and weren't able to.
My broader point was more towards how the sense of identity that manifests in Japan is more cultural than it is racial. Odd as it may sound, a Japanese American born and culturally raised in the United States isn't considered to be "true" Japanese to the nativist mentality in Japan, particularly if the person is of mixed blood. Utada Hikaru was a first-generation Japanese-American born to Japanese parents, who were also known figures in Japan's music industry, so I think that helped with Japanese people being able to identify with her on a certain level, although as you mentioned, she still has the sense of being a foreigner regardless of her race. In any case, for this discussion, if you try to broaden the potential acting pool wider to include Asian Americans in general, the casting becomes incongruous with Japanese identity. In my experience speaking with Japanese people while learning the language in college, having done a homestay in Japan and studied at a Japanese University, many feel a bit ways uncomfortable speaking with other Asians, largely because of Japan's terrible imperialist history during WWII. The reality is that Japanese people get along much better with White Westerners than with many of their Asian neighbors (hence the prominence of White people in Japanese media and even anime). So in some ways, they would actually be more comfortable having a White person portray a role in an adaptation, than they would with non-Japanese Asian Americans. That's part of why I feel it's odd to push for Asian Americans to try and lay claim to Japanese roles, when Japanese people don't really view themselves as being "the same" just because they're Asian.
I'm not perpetuating false stereotypes --- many people suggested Rinko Kikuchi for the role of The Major in Ghost in the Shell, because she looked the part and was the right age. Unfortunately, her English is very choppy, which was the case for some other suggestions for performers that people were making at the time. Japanese people in general speak English fairly poorly (despite "learning" it growing up), so when people point out actual Japanese actors/actresses for taking on these roles, it doesn't always seem to take their language ability into consideration.
TBH, I don't think it's an entirely different discussion. White people are being put into an odd position right now, where it seems to be okay for other cultures to draw from their 'collective' accomplishments, but not okay for them in turn to draw from other cultures as well. As a result, it seems to hollow out a sense that White people can even have a shared identity, a situation where it's okay for other races/ethnicities to remain culturally insular, while White people have to forego any sense of community. When you have a situation where people can be proud to be Black, or proud to be Asian, but can't be proud to be White, that seems like a weird double standard. Now I'm not saying that people should be proud to be White --- quite the opposite actually. Personally speaking (coming from an incredibly mixed racial and ethnic background) I view the solution to ending cultural appropriation in a much broader context: for all groups to mingle and share their cultures openly with one another, instead of continuing with separatist identities. I'm egalitarian --- I think we're all equal, and the longer we divide ourselves into groups saying "this group owns this" or "that group can only do that", the longer we continue unnecessary cultural schisms.
Actually, not quite. I saw a chart a few years ago that actually showed a breakdown of actors in Hollywood, and it did seem to suggest that the overall demographics in recent years seem to align with national statistics. Now, I'm not saying that that's how actors/actresses should be hired --- I'm just saying that you can't escape population realities affecting overall representation in Hollywood. You can push for having equal representation in film, but if there isn't an equal population to actually fill the roles, then you just have to face the reality that that's a natural consequence of the population numbers.
Again, you can't have an even playing field when the population numbers are inherently uneven.
But the producer's point was in regards to white-washing. L is a black actor. So how is that white-washing? How can the complaint only apply to Light, but not to L? Why is it only a problem when White actors are cast into Asian roles, but not when Black actors are? Your explanation almost seemed to suggest that his presence in the cast was as a token Black character to help in shielding against such criticism, but I personally doubt they would cast him in such an important role if he didn't have the ability to properly realize it.
So would you then complain about "Black-washing" if Light and L were both Black?
I think here is where we really start to see into the foundation of your perspective --- almost a sort of vindictive vendetta against White people. First, by saying that White people should never be allowed to take on adaptation roles. And two, for suggesting that they're stealing roles from Asian Americans.
1) I'm not making generalizations about Asian-American people. Again, I brought up the point of Engrish when discussing suggestions of prominent Japanese actors/actresses taking on Hollywood roles. I'm Asian American, and as you can surely tell, I speak English just fine. Speaking fluent English is a pre-requisite for this sort of role, though, and that has nothing to do with race. 2) I don't know much about Nat Wolff, though he does seem to have been in a number of TV series and movies over the last decade. And I'm not sure where you're reading that the Producers favored casting white people for the role --- again, look at the producers for Death Note that we've seen so far. Roy Lee is a Korean American, and Masi Oka is a Japanese American. Are you saying that they're both working against their own race?
But that's assuming that that's what's happening here.
Again, why would two of the Producers, who are both Asian American, use a racist model against their own ethnicity?
No, but it does mean that the talent pool for White and Black people is going to skew about 20 times larger in comparison. The chances of finding a good fit for the role naturally leans towards White people just on sheer numbers alone.
Right. But in this case, the most important aspect for the role was acting ability, not race.
What about Nick Fury? Or Cat Woman? Or Johnny Storm? It's not as one-sided as you're painting it out to be, and the fact that we've gotten more diversity in comics of late too, what with Amadeus Cho, Simon Baz, Jessica Cruz and Miles Morales, things have been changing a lot in recent years. You shouldn't take these movements entirely for granted. |
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leafy sea dragon
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There is most definitely a vicious cycle happening here, and it is indeed quite annoying, especially in that it’s not even intentional. I am all for wanting to see more Asian-Americans in acting roles, as well as behind-the-scenes roles, such as screenwriting, directing, producing, photography, design, and so forth (which, frankly, there’s even less of than in acting). For acting, one can say that there aren’t many roles calling specifically for Asians because the writers never gave many opportunities, but theoretically, if you’re not out in front of the camera, the positions should be open to all races, so it’s harder to find a reason for that. Based on my attempts, I found out that in Hollywood (and Burbank), it’s based on who you know, and I think that’s the heart of the issue in the lack of racial diversity in the industry beyond acting. If the people currently working there don’t know many Asian people, there won’t be a lot of Asian people hired.
I went directly against my parents and majored in film at university. But because of the bridges they burned (my father in particular was very skilled at burning bridges; he was an electrical engineer and wanted me to follow in his footsteps, cutting off other avenues in attempts to force me into it), I’m currently stuck in a limbo of sorts, where my degree isn’t really that useful. It is frustrating to remember being distinguished in school, winning art contests and creative writing contests, only to then get stuck in the doldrums after graduation because the opportunities I created for myself were subsequently destroyed, and I also graduated at a time of intense disruption in mass media as people started getting their entertainment online, meaning what I learned at college wound up being worthless to employers, and it also happened at the same time as the Great Recession, with unemployment being sky-high in the United States. Hence, I’m in the process of starting from scratch and going into digital media, where I’m far more likely to achieve something as an independent creator.
I definitely see plenty of the reverse, with people striving to preserve other people’s cultures and prevent them from being radically changed by western culture. This is referred by them as “cultural imperialism,” the idea that westerners, particularly Americans with their huge entertainment presence everywhere in the world, are taking over other people’s cultures, assimilating them like the Borg from Star Trek. Personally, I think that people of other cultures should be able to choose what they want or don’t want to adopt, and they don’t need any outside assistance for that. If they don’t want something in their culture, they’ll just reject it. No one’s forcing them. |
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aalleeyyee
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This!! If they wanted to make something set in america, they could've used the BB Murders novel, it was set right in LA. Then maybe people wouldn't be as upset as they are now. |
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Alexis.Anagram
![]() Posts: 278 Location: Mishopshno |
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None of these factors precludes casting Asian-American actors.
I don't feel I'm qualified to speak to this specific dynamic within Asian-American communities, but suffice to say, being of a specific race or ethnicity does not preclude one from enacting racist models and practices, especially when living and working in an inherently racist environment. Masi Oka and Roy Lee did not invent this trend, but they are certainly capable of perpetuating it even if they bear no ill will: their actions speak louder than their intentions (or their PR).
Which doesn't jive with their insistence that altering the cultural framing of the story was essential to establishing an "English-language" audience. Frankly, I don't believe them.
OK, I get this and agree with you, but again, it lacks contextual precedence. BoA is Korean, sings in Japanese, wildly popular in Japan (and there are plenty more examples). What you're talking about may be true in face-to-face interactions and the manner in which Japanese history is politicized (not really qualified to speak to this either, myself), but where entertainment media is concerned I really don't think Japanese people at large, especially young folks, are hung up about it. It's also beside the point, as I said. The idea that we should be referencing native Japanese ideas about the cultural "otherness" of a Japanese-American experience from which they are so far removed is an unhelpful inversion of the issue at hand. I'm not advocating that every U.S. adaptation of a Japanese property find a "real" Japanese person from Japan and fly them over. On the contrary, I'm a lot more concerned with the ways in which Japanese people living in America are affected by these power structures.
I can totally get behind what you're saying here, so I'll just clarify that I was adopting the frame of reference provided by the producers themselves (because I was initially refuting their stance on the issue). I definitely agree that Japanese characters in American media ought to be portrayed by Japanese-American folks in every instance where that's manageable: I would otherwise defer to the rationale of Japanese-American communities.
OK but they cast Beat Takeshi and he doesn't even speak English in the film, so I'm not sure why that's justifiable but Rinko Kikuchi is totally out of the question when her English is perfectly understandable. So she has an accent, America's full of them.
Then I guess cut through all this loaded vernacular nonsense (as if English is characterized by a totally homogeneous sound even locally) and cast a Japanese-American person who speaks the "standard" English all these nerds want to hear except when they're watching Doctor Who. I'm fairly confident that it is easier and cheaper to find Japanese-American actors looking for work than it is to fly Japanese actors in from Japan so this is a moot point.
White people put themselves in this position by colonizing most of the known world and enforcing Eurocentric power dynamics of manifest destiny, subjecting people to slavery and authoritarian rule by proxy, forcing assimilation where they didn't successfully commit outright genocide, so quit it with the false equivalencies. I don't want white people touching my culture because it is the only piece of me that is mine in a society dominated by white values, and I don't feel the least bit worrisome that white people will be left in a poorer position because they couldn't steal the cultural resources I am absolutely entitled to by right of heritage.
What world are you living in? White people are the absolute standard of communal insulation, insulating themselves in the richest neighborhoods with the best schools, insulating themselves in the upper class elitism of academia (originally insulating themselves as land and slave owners) and when they have become so well insulated their communities are bursting at the seams they spill over into black and brown neighborhoods (and countries!) and gentrify them. It has never been a problem for white folks to build stable, self-concentrated communities: even poor white people have always been allotted the basic privilege of drinking white water and eating white food: they always have a seat at the white table. White people are not othered in modern society: they hold unmatched sway in global politics, media, warfare, you name it. This position that white people have been somehow disprivileged because they are being held accountable for the specific historical vantage point which singularly benefits them is totally bizarre and untenable, not mention insidious in how it undermines the capacity of truly marginalized populations to meaningfully oppose existing power structures.
But actually, you're working from a false premise where the same standard can be applied to communities with wildly different levels of access to power and influence, and with wildly different historical relationships to existing systems of power.
Personally, I would love it if white people would fall so in love with themselves they'd all immigrate back to Europe and be Druids and Wiccans.
That's nice but my spirituality, my medicine and my ceremony are private, and they are sacred because they are private and practiced specifically within that framework. When your idealism encroaches upon my spiritual, cultural, and social sovereignty and right to self-determination that's theft, not sharing.
The longer white society continues to interact with culture-specific symbols using entitled, assimilationist models the more important it becomes to close the cultural circle in order to prevent the total destruction of its integrity.
When you have a 2-to-1 ratio of male vs female speaking roles in a society that is 50% female you can't tell me this is about "population realities;" a fantastic cop out but it simply doesn't hold water. This study from just this year analyzing both film and television found that, "No platform presents a profile of race/ethnicity that matches proportional representation in the U.S." And the argument itself is loaded and inadequate to begin with: we don't understand or interact with other human beings according to their polling in a U.S. Census and art is intended to be reflective of our lived experiences, not our statistical proportions. Right now, we need stories about queer lives which supersede the relative presence of queer populations because we as a larger society are struggling with an ongoing deficit of meaningful conceptual interactions with queer identities: the demand is a compassionate, not statistical, one. The same can be said for representation of other minority peoples.
Your idea of reality is increasingly selective, maybe you should touch base with the reality where white folks are wildly over-represented in every facet of Western society. Or the reality where movies are made by people who make explicit decisions about what kind of stories they want to tell and who they want to cast.
Sure makes it a lot harder when white people tell you to your face, "We won't hire you because you're Asian."
The term is not semantic it's functional, if the model of thinking/intention/impact is the same then it's derivative and deserves to be called out regardless of the race of the person.
See above.
It's not, but the connotation that comes with a white person occupying space which ought to be held for minority representation makes it especially problematic.
I'm not suggesting that he was cast as L in the film specifically to be a token black guy, I'm referencing the actual statements of the producer in this interview and challenging the ideas and attitudes which are present between the lines. Regardless of why L was cast, Lee does use his casting to defend against criticisms regarding whitewashing, with or without a clear comprehension of just how broken and racist that line of reasoning is. I don't know how else to make this clear: the producer made a statement, I confronted that statement in quoted form: I do not need to prove the case that L's blackness is being capitalized upon as a form of racial scapegoating, that is the actual version of reality that took place according to these articles. If you think it would be racist to cast a black actor as L for that specific reason, surely it's just as racist to actually do that regardless of whether that was the producer's original intention???
No, but the film would be just as problematic in its diminished representation of Japanese-American performers.
And this is the part where I get called an angry minority. Yes, I just hate personally white people so much, that is clearly the running thread of this conversation. ![]()
I never said that.
I'm not just suggesting it, that's what happened here. A role which is Japanese in origin was rewritten so that a Japanese person can no longer play it with the specific intention of casting a white actor.
I agree.
Yeah, his resume is just...super stellar.
I was saying that white actors are given preferential treatment in Hollywood such that even in cases like this where the producers insist every effort was made to get culturally authentic talent, whoops, they still ended up casting a white guy! Funny how that works.
Yes. Whether they intend to or not, that's what they're doing.
This is just the same thinly veiled argument for centering white narratives which always prefaces these controversies. They said the same thing about Ghost in the Shell and that movie just happened to have a white lead. And The Last Airbender which...just so happened to have white leads. It's not a new thing.
Because they get paid a lot to do it? Best guess.
No matter how many white people you stick in a room, I am not going to be persuaded that a single one of them is Japanese, so no, there is no manner in which to effectively skew a "natural fit" for an Asian character towards a non-Asian actor unless you do what they did here and rewrite the role, which is the whole problem.
Asians are not inherently worse at acting than white people so unless that's what you're implying there's no argument to be made here. It's like you think Asian-American actors live in Alaska and casting directors have to go on a forty day trek into the deep, snowy wilderness to find them: dude, they're all hanging out in Los Angeles waiting tables and maybe doing some modeling to get by. Put out an open casting call or send notices to local community theaters or just I don't know talk to their agents and you will have plenty of people show up. It's just laughable that the producers want to convince people Nat Wolff was the absolute BEST actor for the part and there was nobody of Japanese heritage who wanted the part and could match his acting chops or their ~vision~ for the film. Just like they insisted it had to be SJ in GiTS and it was just a match made in heaven: I guess it's just more proof that god has a sense of humor.
Jeez, take me literally why don't you. OK, once in a long every-decade sort of while they'll toss folks an Annie, but it's the handful of exceptions which prove the rule. Audience response to these changes are invariably volatile (usually from the same crowd of folks who are like whitewashing is A-OK) and reinforce the demand for a status quo of white Iron Man black sidekick.
I don't take them for granted, but I have a healthy fear of complacency in light of what I mentioned above. |
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Gwiazdeczka
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If Netflix was smart enough, they would make a movie that would be liked the series fans and people who don't know about original DN,
would also like it. Just like "Death Note: Light Up The New World"? New characters, new story and references to first story. But... no. -.- OK. I was sure, that they will change Tokio on USA and hire American actors, but I had hope they will be like original characters. I don't get why Light looks like emo. There are movies where rich, smart teenagers kill others. This wouldn't be strange if rich kid "dating" popular model? Eh, Americans again make something original and change it with another typical action movie to "make it more appealing to the US or to the English-language market." Also, I don't get why they compare "Ring" to "Death Note"? "Ring" isn't on the same level of popularity like "Death Note" Who heard about "Ring" before movie was made? O.o Oh, and in one interview I read they say "they should watch movie first, before judging" Hahahaha! Good joke! You will never get my money. |
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leafy sea dragon
![]() Posts: 7163 Location: Another Kingdom |
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For the most part, I can see where you're coming from, but this I don't really understand. Do you mean that you are a proponent of cultural isolationism, for people of various cultures to remain where they are and not pick up traits of other people's cultures? Because the way I see it, mixing and mingling happens among all cultures and all people simply through geographical proximity, and from the 20th century onwards, large amounts of communication through electronic means (mass media, social media). It's unavoidable short of being in a remote part of the world and attacking any outsiders. And not everyone wants to be like the Sentinelese. For the record, the culture of my family's country is one that's had a lot of stuff adopted by white culture. Its cuisine is the most well-known one, as it became trendy in the 90's that resulted in a lot of such restaurants dotted around the country as well as big-name chefs. This also resulted in a lot more tourism to the country and tourism to the temples, both there and in North America (which the people who run the temples really appreciate because it's a huge source of money they can use for maintenance and improvements). I've never seen anyone in this culture particularly upset about any of it, and most don't really care how white people have interpreted it. The most there's ever been was a critical thrashing of a certain major stage play about a king, but that's in the past now. I'm not sure if we're talking about the same things though...while there are some things holy and sacred in my family's culture, there really isn't anything off-limits to outsiders. If they're doing it wrong, there's always someone they can turn to who can show them how to do it right. And if it's not holy and sacred, it's always worth a good laugh. |
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TarsTarkas
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I love this new world we live in, where everyone is evil. Enjoy.
This topic is a fool's errand. |
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Redbeard 101
Oscar the Grouch
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Then why bother to comment with a bait post instead of just ignoring it and moving on? As for the discussion at hand it's straying from the actual topic and many of you are simply talking in circles. We've let this thread go as it has remained mostly civil but now with neither side giving ground it's time to reel it back in some. Thank you. |
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Alexis.Anagram
![]() Posts: 278 Location: Mishopshno |
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I have no investment in how other cultural communities manage and maintain their social boundaries, so not really: when a relationship has been established which permits cross-cultural influence to occur organically and without threatening the independent right of any participating agent to keep certain elements of their society closed, I think that this sort of interaction can be really healthy. That's why I felt compelled to cite my own cultural boundaries when confronted with Kikaioh's vaguely colorblind philosophy, which is in and of itself a product of a great mistake of Eurocentric worldviews, this idea that everything not central to white society (i.e. foreign) somehow orbits white society in anticipation of becoming involved with it: the mistake is in not recognizing or not acknowledging that in the vast majority of cases, these cultural transactions with the dominant culture are just an extended function of the one-way street known as imperialism, that is to say involuntary and with little benefit to such "foreign" peoples. So while I can't speak for any other group, as an Indigenous person, I can reference those elements of my religion which are essential to me both as an individual and in understanding my place in community: they draw their meaning and their significance from this manner of selective attribution because they draw from a well of lived cultural experience which doesn't extend to outside peoples. As far as I'm concerned, that is one of the only ways for marginalized groups of people (particularly if we understand people not in the sense of "individual" but as members of community, where that community is the people) to successfully survive in an occupied, hostile landscape. So yeah, thank you for sharing your own experience and perspective: I don't think it's an all-or-nothing question, but I'm determined to defy this unfortunately careless theory of solving society's woes by simply deciding to make friendly with our abusers, especially as it pertains to abandoning our only power to self-identify and resist through established cultural markers. As with any human relationship lacking equivalent status and agency, that's not friendship, it's exploitation. |
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Spawn29
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We have the Japanese Death Note movies, so people can watch those if they want a full Japanese Death Note movie. I mean you could view this as another universe of the Death Note characters. When comic book movies do changes, people are like "They are their own thing" or "They are their own movies set in their own world". So why is it okay for Marvel & DC to do things differently, but not a live action movie based on a Anime & Manga? They are comics too.
Not to mention with movie settings, people get upset if the movie is not set in Japan. However people are okay with movies like The Ring, The Grudge and the last two American Godzilla movies not set in Japan. |
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Lord Oink
Posts: 876 |
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Plenty of people did. I really wish people would stop trying to revise history and always act like the latest controversy is the first time it's ever happened. The first American Godzilla is considered a total insult to Godzilla fans. Plenty of comic fans hate the pointless changes to the movies, and the comics too for that matter. Let's stop acting like GITS or DN is the first time this subject has ever come up with race changes. Comic book fans are especially vocal with the controversy of race/genderswapping characters. You're confusing the casual mainstream audiences that eat these movies up with the fans, the only difference is anime adaptions do poorly with mainstream audiences compared to comic ones. The only other difference is nerds like myself don't care about 'minority representation' in this subject, we care about accuracy to source material. Adapt a western setting anime at the very least, but they never do. |
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leafy sea dragon
![]() Posts: 7163 Location: Another Kingdom |
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And thank you for your stance on this. I understand where you're coming from now--maybe not completely, but enough for it to make sense. |
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Kadmos1
![]() Posts: 13590 Location: In Phoenix but has an 85308 ZIP |
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Asians have actually been doing work in the Hollywood film industry from almost the very start. It was in 1910 that "In Old California" became the 1st movie filmed in Hollywood. The first Asian stars in Hollywood was a married couple: Sessue Hayakawa (6/10/1889-11/23/1973) and Tsuru Aoki (9/9/1892-10/18/1961). His 1st Hollywood movie was a 1914 silent short and hers was a 1913 film.
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