#MeToo en de val van Harvey Weinstein

“The fat guy from Queens had used his power to exploit the dreams of woman who had come to Hollywood to search for fame.”

De #MeToo-beweging begon met de val van de machtige filmproducent Harvey Weinstein, een karikatuur van het type filmbons dat niet meer bestaat. Weinstein is de afgelopen 30 jaar als producent betrokken is geweest bij veel van mijn favoriete films. Met name alle Tarantino’s en The Lord of the Rings.

Iedereen was het erover eens: hij was briljant. Hij had oog voor talenten, deed risicovolle investeringen en wist enorm veel publiciteit te genereren voor zijn projecten. Maar behalve filmmaken was hij nog op een ander vlak actief: seksueel misbruik van vrouwen. In de documentaire Untouchable komen verschillende van zijn slachtoffers aan het woord. De misbruik-tactieken van Weinstein komen in de verhalen steeds overeen: Eerst over carrière praten en dan de actrice alleen op een hotelkamer krijgen. ‘Iedereen doet het. Wil je me echt tot vijand maken?’

Waarom heeft het zo lang geduurd voordat hij werd gepakt? Simpel, door de machtsverhoudingen. De vrouwen die hij misbruikte wilde het allemaal maken in Hollywood. Weinstein kon ze rollen geven en ze introduceren bij de juiste mensen. In het geruchtencircuit kreeg de vrouw meestal de schuld: “Zij heeft Harvey gepijpt voor een rol.” De enkele keren dat hij beschuldigd werd, stuurde hij er een leger advocaten op af die de zaak snel in de doofpot stopte. En zo kon hij 30 jaar lang ongestoord doorgaan met zijn praktijken.

De emotionele schade voor de vrouwen is groot. “Het is moeilijk te geloven dat mij dit overkwam. Ik snijd dit eruit; het lijkt een scene uit een slechte film.”
En: “Het ontneemt je iets in relaties met anderen. En zij weten niet waarom.”

Uiteindelijk heeft een groep actrices zich verenigd en met behulp van onderzoeksjournalist Ronan Farrow hebben ze getuigenissen verzameld en een belastende geluidsopname. Toen dit naar buiten kwam barstte de bom en verspreidde het #MeToo-vuur zich binnen de kortste keren over de hele wereld.

#MeToo heeft een keerzijde: het kan voor eeuwig de reputatie ruïneren van mensen die het eigenlijk niet verdienen. Maar in het geval van Weinstein is het fijn om te zien dat machtsmisbruik niet ongestraft blijft. Op 6 januari, 2020, zal de rechtszaak tegen de gevallen filmbons plaatsvinden.

Update 11 maart 2020

De uitspraak: Harvey Weinstein’s Stunning Downfall: 23 Years in Prison

Book: Peter Jackson & the Making of Middle-Earth

The Lord of the Rings trilogy has been the biggest movie event of my generation. By far. Strange to think that it almost didn’t happen. An initial 200 million dollar budget for the director of splatter horror Bad Taste (one of my favorites), was too much of a risk for any Hollywood studio to take. Then Bob Shaye, CEO of New Line Cinema, took a giant leap of faith….

Ian Nathan’s Anything You Can Imagine describes Peter Jackson’s heroic quest that started more than 20 years ago. After he had completed Heavenly Creatures – a critical success that showed he could handle an emotional story – and ghost movie The Frighteners – that lead to the foundation of special effects houses Weta Digital and Weta Workshop in New Zealand – the now hot director selected Rings as one of his new projects to pursue (the others were new versions of two ape classics: King Kong and Planet of the Apes).

Development of The Lord of the Rings started off at Miramax, together with the notorious Weinstein brothers who approached the project with numerous Tony Soprano tactics. Especially Harvey. Problems arose when the Weinsteins couldn’t raise more than 75 million dollars for the initial plan of a two movie adaptation which wasn’t nearly enough. After Jackson understandably refused to make it into one large movie, the Hollywood mogul and Kiwi director had a fall out. Then Jackson’s US manager Ken Kamiss negotiated with Harvey Weinstein and they got four weeks to strike a deal with another studio. This became the now legendary deal with New Line Cinema, who gambled the studio’s future on the project. It was New Line’s Bob Shaye who suggested they make it into three rather than two movies. The Weinsteins got a great bargain out of it: big time profits and their names on the movies’ credits.

So began the longest and most exhaustive production in the history of motion pictures. No studio had ever attempted to shoot a whole trilogy in one go, for good reasons. “Had we known in advance how much we would have to do, we would have never done it”, said Jackson. But a strong passion and drive by the entire cast and crew to bring Tolkien’s world to the big screen in the best possible way they could, eventually lead to a glorious result. Nobody expected it to become that good.

I remember being completely blown away at every screening back in 2001, 2002 and 2003. These movies are absolutely perfect. The first time I saw the fellowship march on Howard Shore’s brilliant score. The wondrous Gollum crawling into frame in the beginning of The Two Towers. The Rohirrim’s epic assault at the Pelennor Fields… And so many other magic moments forever branded in the collective cinematic consciousness. Jackson gave me and my generation a cinematic experience that could match, or even exceed, the excitement of the original Star Wars trilogy.

In The Two Towers, when Gandalf returns from death, he explains to his baffled friends: “I have been sent back until my task is done.” These words are not directly from Tolkien, but from screenwriters Fran Walsh, Peter Jackson and Philippa Boyens. They emphasized fate as one of the core themes of the story: “Bilbo was meant to find the ring. In which case you were also meant to have it. And that is an encouraging thought.” However pragmatic these New-Zealanders may be, fate was their compass in making those movies. Many chance encounters paved the way, major obstacles arose during production, but they overcame them all. It took the toughness of the bravest of hobbits to drive this one home. Even the conservative Academy didn’t fail to notice what they accomplished, and The Return of the King was awarded 11 major Oscars (except those for acting, the outstanding ensemble cast made it tough to single out any one actor).

Years later, fate lead to Jackson directing The Hobbit and so he had the ‘once in a lifetime experience’ twice (but there won’t be a third time, he has said). Jackson and his loyal team never expected to make better movies than Rings. They made The Hobbit to satisfy the fans. And they did for most part. To them, Jackson is a hero. A maverick filmmaker with an unique vision and the drive and mental toughness to accomplish things previously undreamed of. Jackson and his fellowship of collaborators reminded Hollywood on how to make really major cinema. They also put New-Zealand firmly on the map as country where movies and special effects are dreamt up.

Because special effects are Jackson’s big thing. He discovered the magic of filmmaking when he was nine years old and saw the original King Kong on television. Since that moment, he worked non-stop on creating special effects in his garage and eventually he completed a whole movie (Bad Taste) which became a cult hit. However successful his career got since, he never stopped aiming to satisfy that nine year old boy. In making The Lord of the Rings, he focused on making movies that he would enjoy himself. Even though he is a brilliant, technical craftsman and storyteller, his youthful energy is what really catapults his films from merely good to terrific.

With The Lord of the Rings, he wrote movie history. Anything you can imagine perfectly captures this history of how an outsider succeeded wildly in Hollywood. Much like the heroes of his story, he did it by staying true to himself. He may not have had to face the horrific challenges Frodo had, but at times it certainly came close. Sometimes you need an unlikely hero to change the course of history. And very much like his protagonist Frodo Baggins, Peter Jackson certainly fits that bill.