“Never think the world owes you anything because it doesn’t. The world owes you nothing,” says Joy Mangano, Jennifer Lawrence’s character in Joy (2015), directed by David O’Russell — the subject of this article.
Based on a true story, Joy follows an inventor-turned-entrepreneur as she faces challenges in her career and personal life, involving a turbulent home and complicated family relationships. Despite many setbacks, she creates, patents, manufactures and promotes her one-of-a-kind “miracle mop” for business success. Overall, it’s a truly inspiring and emotional story of a single mother navigating the male-dominated realm of commerce. While critics considered it a weaker O’Russell entry, praise was unanimous for the lead performance and the “compelling fact-based narrative”.
Unfortunately, O’Russell continued to create and promote his other films to critical acclaim despite a long history of allegations of sexual assault and on-set abuse, documented by testimonials and evidence. This brings up an important question:
Can you still enjoy and enjoy a movie starring your favorite actors while knowing about the problematic and irredeemable behavior of its director?
O’Russell’s past has resurfaced following the release of the trailer for his next film, amsterdam (2022). Due to the particularly incendiary nature of the internet news, this meant that the film’s actors, including Christian Bale, Robert De Niro, Margot Robbie and Taylor Swift, understandably faced criticism for deciding to collaborate with a director with such a track record. notorious. .
Mary Sue aptly summed up the ongoing controversy surrounding the film: “Russell is perhaps better known for his horrible behavior on the job than his actual films at this point”.
Still, the cast’s critique, while perhaps necessary, shouldn’t put the blame entirely on their shoulders. Those in positions of authority in film production companies, namely the executive producers who hire directors, should arguably bear the most blame. While actors, as high-profile personalities, bring directors’ projects to fruition, directors are the “captains of the ship.” To absolve alleged abusers of their offenses and the stain of reputation that accompanies them, in any home, workplace or institution, sets a poor public standard. Unfortunately, when the public begins to hold them accountable for allegedly unscrupulous behavior, artists fall on the useful crutch of shouting “cancel culture,” blurring the public discourse on the need for accountability.
Many audiences have been particularly disappointed by the hypocrisy of stars who preach justice and gender equality in deciding to support a project overseen by O’Russell, especially in the post-#MeToo era.
Feigning ignorance is also a poor defense when these accusations are supported by leaked emails and reports, including:
- O’Russell’s 19-year-old transgender niece has sued for groping her ten years ago. O’Russell confirmed this, justifying her action as a response to her “very provocative act towards him” – in other words, she asked for it.
- His abusive behavior on three kings (1999), led to the abandonment of the second assistant director.
- O’Russell allegedly put Christopher Nolan in a headache to force him to let go of Jude Law in Memento (2000) in favor of his own project.
- Video evidence shows him swearing and demoralizing Lily Tomlin, with an unidentified crew member hiding in the corner, as O’Russell violently threw objects across the room.
- It also reduced Amy Adams to tears until fellow actor Christian Bale intervened, who tracked down Russell to amsterdam. Journalist Jonathan Alter confirmed this incident to Sony Entertainment CEO Michael Lynton.
Tomlin has since responded that she and O’Russell “reconciled” after that fight, which, while a personal decision, potentially demonstrates that senior crew members can get away with it. with abuse.
Adams’ response was different and she hasn’t worked with Russell since. “I was really devastated on set. I mean, not every day, but most. Jenifer [Lawrence] don’t take anything. It is Teflon. And I’m not Teflon. But I don’t like seeing other people mistreated either. It’s not OK with me. Life to me is more important than movies,” she said in a 2016 GQ interview with Stuart McGurk.
Russell didn’t direct another film for six years after the Tomlin incident, but ended up making it anyway. The fighter (2010), Silver Linings Playbook (2012), and american hustle (2013). His first project after Joy was to be an Amazon series with the Weinstein Company, but Amazon only pulled out after Harvey Weinstein’s widespread sexual abuse was discovered; O’Russell’s abusive behavior played no part in the cancellation.
While the film industry “owes us nothing”, many people choose to separate the art from the artist due to the ever-growing list of controversial figures, especially directors. While this is a valid argument, when a director has not faced or accepted the consequences of their behavior, the fact that they continue to receive compensation and reward for their work becomes shocking to the viewers.
So, can you still appreciate and enjoy a movie starring your favorite actors, knowing the director’s problematic and irredeemable behavior?
Although a simple answer to the question posed above seems unlikely, the one thing that is certain is that in any workplace, those in senior positions should be held to higher standards regarding their behaviour. Filmmakers should be no exception.
When I saw Joy, I found myself thinking about the director’s reputation and how that changed the meaning of what was happening on screen. I love Jennifer Lawrence’s performance, but I’d rather enjoy one of her other iconic performances minus the controversy attached to her director.
I believe it is up to personal discretion to consume a work of art, but if your opinion of the people involved in its creation suffers, chances are your admiration for the work suffers as well. After all, it’s up to the public to support an artist’s success, and rightly so.
Finally, I will modify the quote from Joy at first: “Never think an artist should owe you anything because they don’t. The artist owes you nothing, but you owe him nothing if he constantly lets you down.
“Never think the world owes you anything because it doesn’t. The world owes you nothing,” says Joy Mangano, Jennifer Lawrence’s character in Joy (2015), directed by David O’Russell — the subject of this article.
Based on a true story, Joy follows an inventor-turned-entrepreneur as she faces challenges in her career and personal life, involving a turbulent home and complicated family relationships. Despite many setbacks, she creates, patents, manufactures and promotes her one-of-a-kind “miracle mop” for business success. Overall, it’s a truly inspiring and emotional story of a single mother navigating the male-dominated realm of commerce. While critics considered it a weaker O’Russell entry, praise was unanimous for the lead performance and the “compelling fact-based narrative”.
Unfortunately, O’Russell continued to create and promote his other films to critical acclaim despite a long history of allegations of sexual assault and on-set abuse, documented by testimonials and evidence. This brings up an important question:
Can you still enjoy and enjoy a movie starring your favorite actors while knowing about the problematic and irredeemable behavior of its director?
O’Russell’s past has resurfaced following the release of the trailer for his next film, amsterdam (2022). Due to the particularly incendiary nature of the internet news, this meant that the film’s actors, including Christian Bale, Robert De Niro, Margot Robbie and Taylor Swift, understandably faced criticism for deciding to collaborate with a director with such a track record. notorious. .
Mary Sue aptly summed up the ongoing controversy surrounding the film: “Russell is perhaps better known for his horrible behavior on the job than his actual films at this point”.
Still, the cast’s critique, while perhaps necessary, shouldn’t put the blame entirely on their shoulders. Those in positions of authority in film production companies, namely the executive producers who hire directors, should arguably bear the most blame. While actors, as high-profile personalities, bring directors’ projects to fruition, directors are the “captains of the ship.” To absolve alleged abusers of their offenses and the stain of reputation that accompanies them, in any home, workplace or institution, sets a poor public standard. Unfortunately, when the public begins to hold them accountable for allegedly unscrupulous behavior, artists fall on the useful crutch of shouting “cancel culture,” blurring the public discourse on the need for accountability.
Many audiences have been particularly disappointed by the hypocrisy of stars who preach justice and gender equality in deciding to support a project overseen by O’Russell, especially in the post-#MeToo era.
Feigning ignorance is also a poor defense when these accusations are supported by leaked emails and reports, including:
- O’Russell’s 19-year-old transgender niece has sued for groping her ten years ago. O’Russell confirmed this, justifying her action as a response to her “very provocative act towards him” – in other words, she asked for it.
- His abusive behavior on three kings (1999), led to the abandonment of the second assistant director.
- O’Russell allegedly put Christopher Nolan in a headache to force him to let go of Jude Law in Memento (2000) in favor of his own project.
- Video evidence shows him swearing and demoralizing Lily Tomlin, with an unidentified crew member hiding in the corner, as O’Russell violently threw objects across the room.
- It also reduced Amy Adams to tears until fellow actor Christian Bale intervened, who tracked down Russell to amsterdam. Journalist Jonathan Alter confirmed this incident to Sony Entertainment CEO Michael Lynton.
Tomlin has since responded that she and O’Russell “reconciled” after that fight, which, while a personal decision, potentially demonstrates that senior crew members can get away with it. with abuse.
Adams’ response was different and she hasn’t worked with Russell since. “I was really devastated on set. I mean, not every day, but most. Jenifer [Lawrence] don’t take anything. It is Teflon. And I’m not Teflon. But I don’t like seeing other people mistreated either. It’s not OK with me. Life to me is more important than movies,” she said in a 2016 GQ interview with Stuart McGurk.
Russell didn’t direct another film for six years after the Tomlin incident, but ended up making it anyway. The fighter (2010), Silver Linings Playbook (2012), and american hustle (2013). His first project after Joy was to be an Amazon series with the Weinstein Company, but Amazon only pulled out after Harvey Weinstein’s widespread sexual abuse was discovered; O’Russell’s abusive behavior played no part in the cancellation.
While the film industry “owes us nothing”, many people choose to separate the art from the artist due to the ever-growing list of controversial figures, especially directors. While this is a valid argument, when a director has not faced or accepted the consequences of their behavior, the fact that they continue to receive compensation and reward for their work becomes shocking to the viewers.
So, can you still appreciate and enjoy a movie starring your favorite actors, knowing the director’s problematic and irredeemable behavior?
Although a simple answer to the question posed above seems unlikely, the one thing that is certain is that in any workplace, those in senior positions should be held to higher standards regarding their behaviour. Filmmakers should be no exception.
When I saw Joy, I found myself thinking about the director’s reputation and how that changed the meaning of what was happening on screen. I love Jennifer Lawrence’s performance, but I’d rather enjoy one of her other iconic performances minus the controversy attached to her director.
I believe it is up to personal discretion to consume a work of art, but if your opinion of the people involved in its creation suffers, chances are your admiration for the work suffers as well. After all, it’s up to the public to support an artist’s success, and rightly so.
Finally, I will modify the quote from Joy at first: “Never think an artist should owe you anything because they don’t. The artist owes you nothing, but you owe him nothing if he constantly lets you down.