Actor Richard Dreyfuss Says Oscar Diversity Rules “Make Me Vomit”

  Actor Richard Dreyfuss shared, in a recent interview on  Firing Line with Margaret Hoover, that the new diversity rules imposed by the Oscars for films to be eligible for the “Best Picture” award “make me vomit.” The policies, set for 2024,  requires  eligibility for the “Best Picture” category will dependent upon meeting two of four stipulated diversity benchmarks.

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Actor Richard Dreyfuss shared, in a recent interview on  Firing Line with Margaret Hoover, that the new diversity rules imposed by the Oscars for films to be eligible for the “Best Picture” award “make me vomit.”

The policies, set for 2024,  requires  eligibility for the “Best Picture” category will dependent upon meeting two of four stipulated diversity benchmarks. His remarks surrounding the requirements begins at 19:40.

Hoover:  What do you think of the new inclusion standards for films?

Dreyfuss: They make me vomit.

Hoover: Why?

Dreyfuss: Because, this is an art form.  It is also a form of commerce, and it makes money. But it’s an art.  No one should be telling me, as an artist, that I have to give in to the  most current idea of what morality is.

And what are we risking? Are we really risking hurting people’s feelings? You can’t legislate that. And you have to let life be life.

And I’m sorry.  I don’t think there is a minority or a majority in the country that has to be catered to like that.

You know, Laurence Olivier was the last white actor to play Othello.  And he did it in 1965. And he did it in blackface. And he played a Black man brilliantly.

Am I being told that I will never have a chance to play a Black man? Is someone else being told that if they’re not Jewish, they shouldn’t play The Merchant of Venice?

Are we crazy?

Do we not know that art is art?

This is so patronizing. It’s so thoughtless and treating people like children.

Hoover: Do you think there is a difference between the question of representation and who is allowed to represent other groups? For example, as you said, somebody representing The Merchant of Venice, and the case of blackface explicitly in this country given the history of slavery and the sensitivities around Black racism. Do you think there is a difference between those?

Dreyfuss: There shouldn’t be.

Hoover: Why?

Dreyfuss: Because it’s patronizing.  Because it says we’re so fragile that we can’t have our feelings hurt. We have to anticipate having our feelings hurt, our children’s feelings hurt.

We don’t know how to stand up and bop the bully in the face.

The benchmarks required for ‘Best Picture’ are:

For the 96th Oscars (2024), a film must meet TWO out of FOUR of the following standards to be deemed eligible:

STANDARD A:  ON-SCREEN REPRESENTATION, THEMES AND NARRATIVES
To achieve Standard A, the film must meet ONE of the following criteria:

A1. Lead or significant supporting actors

At least one of the lead actors or significant supporting actors is from an underrepresented racial or ethnic group.
• Asian
• Hispanic/Latinx
• Black/African American
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• Other underrepresented race or ethnicity

A2. General ensemble cast

At least 30% of all actors in secondary and more minor roles are from at least two of the following underrepresented groups:
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

A3. Main storyline/subject matter

The main storyline(s), theme or narrative of the film is centered on an underrepresented group(s).
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD B: CREATIVE LEADERSHIP AND PROJECT TEAM
To achieve Standard B, the film must meet ONE of the criteria below:

B1. Creative leadership and department heads

At least two of the following creative leadership positions and department heads—Casting Director, Cinematographer, Composer, Costume Designer, Director, Editor, Hairstylist, Makeup Artist, Producer, Production Designer, Set Decorator, Sound, VFX Supervisor, Writer—are from the following underrepresented groups:
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

At least one of those positions must belong to the following underrepresented racial or ethnic group:
• Asian
• Hispanic/Latinx
• Black/African American
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• Other underrepresented race or ethnicity

B2. Other key roles

At least six other crew/team and technical positions (excluding Production Assistants) are from an underrepresented racial or ethnic group. These positions include but are not limited to First AD, Gaffer, Script Supervisor, etc.

B3. Overall crew composition
At least 30% of the film’s crew is from the following underrepresented groups:
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

STANDARD C:  INDUSTRY ACCESS AND OPPORTUNITIES
To achieve Standard C, the film must meet BOTH criteria below:

C1. Paid apprenticeship and internship opportunities

The film’s distribution or financing company has paid apprenticeships or internships that are from the following underrepresented groups and satisfy the criteria below:
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

The major studios/distributors are required to have substantive, ongoing paid apprenticeships/internships inclusive of underrepresented groups (must also include racial or ethnic groups) in most of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

The mini-major or independent studios/distributors must have a minimum of two apprentices/interns from the above underrepresented groups (at least one from an underrepresented racial or ethnic group) in at least one of the following departments: production/development, physical production, post-production, music, VFX, acquisitions, business affairs, distribution, marketing and publicity.

C2. Training opportunities and skills development (crew)

The film’s production, distribution and/or financing company offers training and/or work opportunities for below-the-line skill development to people from the following underrepresented groups:
• Women
• Racial or ethnic group
• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing
STANDARD D: AUDIENCE DEVELOPMENT
To achieve Standard D, the film must meet the criterion below:

D1. Representation in marketing, publicity, and distribution

The studio and/or film company has multiple in-house senior executives from among the following underrepresented groups (must include individuals from underrepresented racial or ethnic groups) on their marketing, publicity, and/or distribution teams.
• Women
• Racial or ethnic group

• Asian
• Hispanic/Latinx
• Black/African American
• Indigenous/Native American/Alaskan Native
• Middle Eastern/North African
• Native Hawaiian or other Pacific Islander
• ​Other underrepresented race or ethnicity

• LGBTQ+
• People with cognitive or physical disabilities, or who are deaf or hard of hearing

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