Francis Gavelle a demandé à des participants du Cartoon Forum, marché de la production du long-métage, de répondre à deux questions, l’une sur l’importance de ce marché et la seconde sur les difficultés de produire autre chose … A lire ici

Un livre vient de sortir sur le Festival Anima qui se déroule en ce moment, il est signé Philippe Moins son créateur. Plus d’infos ici

Et il est toujours important de rappeler, contrairement en effet au texte de présentation du César de l’animation - enfin bon toute la cérémonie ou presque a été pathétique, de la présentation du César du court-métrage à celui du Meilleur film étranger (pour ne citer que ceux là …). Donc oui il est bon de rappeler, comme l’article de Marie-Claire le fait, que oui dans l’animation comme malheureusement dans la plus grande partie de la société le sexisme existe et la place de la femme dans ce monde est aussi un combat. Que ce soit dans la représentation sur l’écran ou bien au niveau des équipes … Rien de nouveau malheureusement j’avais déjà parlé de blogs ou article parlant de ça. Il est bien qu’un journal à plus grand tirage s’en intéresse enfin (malgré un titre à la con bien sur - mais bon ça c’est secondaire malgré tout face à l’enjeu principal de l’article bien sur).
A noter qu’Emma Thompson a décidé de ne pas faire la voix d’un film produit par Skydance - qui a récemment engagé John Lasseter à la tête de son secteur animation. Son texte est très fort, je le reproduit ci-dessous de l’article de Cartoon Brew

Le cinéma d’animation permet aussi peut-être plus facilement grâce à l’animation en donnant la parole à des victimes sans que celles-ci est besoin de se montrer. Comme ces vidéos mettant en scène des témoignages très durs par le studio Hornet à voir ici dans la news de 3DVF

La lettre d’Emma Thompson

As you know, I have pulled out of the production of Luck — to be directed by the very wonderful Alessandro Carloni. It feels very odd to me that you and your company would consider hiring someone with Mr. Lasseter’s pattern of misconduct given the present climate in which people with the kind of power that you have can reasonably be expected to step up to the plate.

I realise that the situation — involving as it does many human beings — is complicated. However these are the questions I would like to ask:

  • If a man has been touching women inappropriately for decades, why would a woman want to work for him if the only reason he’s not touching them inappropriately now is that it says in his contract that he must behave “professionally”?
  • If a man has made women at his companies feel undervalued and disrespected for decades, why should the women at his new company think that any respect he shows them is anything other than an act that he’s required to perform by his coach, his therapist and his employment agreement? The message seems to be, “I am learning to feel respect for women so please be patient while I work on it. It’s not easy.”
  • Much has been said about giving John Lasseter a “second chance.” But he is presumably being paid millions of dollars to receive that second chance. How much money are the employees at Skydance being paid to GIVE him that second chance?
  • If John Lasseter started his own company, then every employee would have been given the opportunity to choose whether or not to give him a second chance. But any Skydance employees who don’t want to give him a second chance have to stay and be uncomfortable or lose their jobs. Shouldn’t it be John Lasseter who has to lose HIS job if the employees don’t want to give him a second chance?
  • Skydance has revealed that no women received settlements from Pixar or Disney as a result of being harassed by John Lasseter. But given all the abuse that’s been heaped on women who have come forward to make accusations against powerful men, do we really think that no settlements means that there was no harassment or no hostile work environment? Are we supposed to feel comforted that women who feel that their careers were derailed by working for Lasseter DIDN’T receive money?

I hope these queries make the level of my discomfort understandable. I regret having to step away because I love Alessandro so much and think he is an incredibly creative director. But I can only do what feels right during these difficult times of transition and collective consciousness raising.
 

I am well aware that centuries of entitlement to women’s bodies whether they like it or not is not going to change overnight. Or in a year. But I am also aware that if people who have spoken out — like me — do not take this sort of a stand then things are very unlikely to change at anything like the pace required to protect my daughter’s generation.
 

Yours most sincerely,

Emma Thompson