As reported in SHOOT, an increasing number of ad agencies and clients have instituted vendor diversity initiatives, a prime example being GSD&M, Austin, Texas, which is actively seeking and in some cases hiring qualified minority and/or woman-owned production houses. Estimates are that some 90 percent of major U.S. advertisers have formal supplier diversity programs. And recently clients have begun requesting that their suppliers–including ad agencies–look to increase diversity spending among their own vendors such as production, editorial and music houses.
During the week of its lead story (8/19) on the agency/client push for vendor diversity, SHOOT posed a survey question to its readers, asking them about their viewpoints. Some 55 percent of respondents characterized the vendor diversity initiative as being “an ill-advised application of affirmative action that will adversely affect deserving companies that aren’t owned by minorities or women.” In sharp contrast, nearly 45 percent described vendor diversity as being “a positive development that potentially could open up opportunities for deserving minority and/or woman-owned companies.”
Finding common ground seems a daunting task. Yet many opponents of diversity measures aren’t opposed to qualified artisans getting a chance–minority or not. In that spirit, an overwhelming percentage of industry respondents would likely view favorably any initiative that trains future generations of capable talent, bringing new blood into the workforce and strengthening industry infrastructure. So no matter what your stance on vendor diversity, a strong consensus can be reached on education and training for those who have the aspiration and aptitude.
In that vein, consider two organizations–Streetlights and Inner-City Filmmakers, which were both born out of the Los Angeles riots in 1992. Founded by producer Dorothy Thompson, Streetlights is a nonprofit job training, job placement and mentoring program which provides industry employment opportunities for economically or socially disadvantaged young minority men and women. Streetlight participants gain experience in entry-level capacities, with many moving up the industry ladder over time. Meanwhile Inner-City Filmmakers was launched in ’93 by editor Fred Heinrich and producer Stephania Lipner to make a positive difference in the lives of youngsters who might not otherwise get the chance to become part of the film community. Inner City Filmmakers has since provided training and experience in different aspects of filmmaking to hundreds of graduates of different ethnic backgrounds and from financially disadvantaged families.
The purpose of Inner-City Filmmakers hit home for Heinrich during its inaugural year when several students brought in their high school video yearbook, which included five obituaries. “That underscored,” related Heinrich, “the need to help create opportunities for underprivileged young people in the inner city.”
“Mufasa: The Lion King” and “Sonic 3” Rule Box Office For 1st Weekend Of 2025
The Walt Disney Co.'s "Mufasa: The Lion King" claimed the No. 1 spot on the North American box office charts over the first weekend of 2025.
The photorealistic "Lion King" prequel earned $23.8 million in its third weekend, according to studio estimates Sunday. Paramount's "Sonic the Hedgehog 3," which has dominated the past two weekends, wasn't far behind.
"Sonic 3" stayed close with a 3-day estimate of $21.2 million, bringing its total domestic earnings to $187.5 million and helping the overall franchise cross $1 billion worldwide. "Mufasa's" running total is slightly less, with $169.2 million.
In third place, Focus Features' "Nosferatu" remake defied the fate of so many of its genre predecessors and fell only 39% in its second weekend. Horror films typically fall sharply after the first weekend and anything less than a 50% decline is notable. "Nosferatu," which added 140 screens, claimed $13.2 million in ticket sales, bringing its running total to $69.4 million since its Christmas debut. The film, directed by Robert Eggers, already surpassed its reported production budget of $50 million, though that figure does not account for marketing and promotion expenses).
No new wide releases opened this weekend, leaving the box office top 10 once again to holdovers from previous weeks. Several have been in theaters since Thanksgiving. One of those, "Moana 2," claimed the No. 4 spot for Disney in its sixth weekend in theaters. The animated sequel earned another $12.4 million, bumping its global total to $960.5 million.
The Bob Dylan biopic "A Complete Unknown," dipped only slightly in its second weekend, bringing in $8.1 million. With $41.7 million total, it's Searchlight's highest grossing film since Disney acquired the company in... Read More