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Image of actor Vin Diesel with director Justin Lin on the set of “F9: The Fast Saga.”Courtesy of Universal Studios

People of color helped keep movie business afloat during pandemic

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UCLA Hollywood Diversity Report emphasizes importance of minority audiences

Image of actor Vin Diesel with director Justin Lin on the set of “F9: The Fast Saga.”

Actor Vin Diesel, left, with director Justin Lin on the set of “F9: The Fast Saga.” The movie, which featured a cast that was more than 50% minority, was the year’s third highest-grossing film at the box office. Image Courtesy of Universal Studios

By Jessica Wolf |

A large percentage of the movie business’s box office revenue and home viewership was driven by consumers of color in 2021, according to UCLA’s latest Hollywood Diversity Report. The report examines the 252 top-performing English-language films — based on box office receipts and streaming data — during the second year that the COVID-19 pandemic forced movie studios to adopt unconventional release strategies.

The report tracks progress for women and minorities in acting, directing and writing roles, and analyzes audience segments by race and ethnicity, focusing on Asian American, Black, Latino and white audiences, and age, focusing on viewers 18 to 49.

Published twice a year — with one analysis of movies and another for TV — the Hollywood Diversity Report has consistently shown increases in the percentages of women and people of color in key jobs in front of the camera. Researchers have also tracked sustained, albeit stubborn, growth for women and minorities in Hollywood writing and directing jobs.

Chart showing that The largest single category of films considered in this report includes those that were released solely on streaming platforms12 (45.6 percent), which is down from the share of streaming-only films considered in the previous report for 2020 (54.6 percent). By contrast, only 17.9 percent of films were released solely in theaters in 2021.13 Meanwhile, 20.2 percent of films were released both on streaming platforms and in limited theaters,14 while 13.1 percent were released both on streaming platforms and widely in theaters.15 Finally, only 1.6 percent of films were released both theatrically and through transactional video on demand,16 and 1.6 percent were released on streaming after a modified theatrical release window (45+ days).17

The report’s authors noted that 2021 was the first year since they began tracking such statistics that the majority of Academy Awards went to films that were directed by people of color and featured minority actors in lead roles. And the year’s third highest-grossing film at the box office was “F9: The Fast Saga,” which featured a cast that was more than 50% minority and was directed by Taiwanese American filmmaker Justin Lin. Sixty-five percent of opening weekend ticket sales for “F9” were to minority audiences, the highest figure among all films in the top 10.

The report tracks the numbers of writers, directors and actors who identify as Asian American, Black, Latino, Middle Eastern/North African, multiracial and Native American. People in those groups make up 42.7% of the U.S. population, and they form an important consumer bloc for entertainment, including movies.

For six of the 10 top-grossing films that opened in theaters in 2021, people of color accounted for the majority of opening-weekend U.S. ticket sales.

The report also analyzed box office performance based on the diversity of the movies’ casts — whether minority actors made up less than 11% of the cast, 11% to 20%, and so on, up to 51% or more. The study revealed that films with 21% to 30% minority actors had higher median global box office receipts than films in any other tier. That echoed a pattern since the report began tracking box office performance in 2011.

The report also found that, as in previous years, films with the least diverse casts (11% or less minority) were the poorest performers at the box office.

Chart showing that Median global box office peaked for films with casts that were from 21 to 30 percent minority in 2021 ($107.4 million). Twenty-five films fell into this cast diversity interval, including Venom: Let There Be Carnage ($501.0 million), A Quiet Place Part II ($297.4 million), and Cruella ($233.3 million). In a year in which theater attendance began to rebound after a COVID-decimated 2020, theatrically released films with relatively diverse casts again outshined their less-diverse counterparts at the box office. Indeed, the 14 films with the least-diverse casts (less than 11 percent minority) were again the poorest performers in 2021. “Last year, every time a big movie exceeded expectations or broke a box office record, the majority of opening weekend audiences were people of color,” said Ana-Christina Ramón, a co-author of the report and the director of research and civic engagement for the UCLA College division of social sciences. “For people of color, and especially Latino families, theaters provided an excursion when almost everything else was shut down. In a sense, people of color kept studios afloat the past couple of years.

“Studios should consider them to be investors, and as investors, they should get a return in the form of representation.”

Overall, 43.1% of actors in the movies analyzed by the report were minorities. That’s more than double the percentage from 2011, the first year of data collected by the authors, when 20.7% of actors were minorities. And 31.0% of the top-performing films in 2021 had casts in which the majority of the actors were minorities.

“Minorities reached proportionate representation in 2020 for the first time when it comes to overall cast diversity in films, and that held true again in 2021,” said Darnell Hunt, dean of the social sciences at UCLA and co-author of the report.

Hunt said the phenomenon is probably due in part to the greater number of movies that are initially released on streaming services: Of the films analyzed in the report, 45.6% were released on streaming services only.

Chart showing that During the second full year of the pandemic, the volume of major films released via streaming platforms continued to increase, from 87 films in 2020 to 164 in 2021. Again, for all groups, median ratings were highest for relatively diverse streaming films in 2021. That is, for viewers 18-49 (3.08 ratings points) and Black households (12.49 ratings points), ratings peaked for streaming films with majority-minority casts. Seventy-two films fell into this cast diversity interval in 2021, including: Raya and the Last Dragon, Coming 2 America, Vivo, and Mortal Kombat. For viewers 18-49, though, it should be noted that streaming films with casts that were from 21 percent to 30 percent minority came in a close second (2.94 ratings points). For White (5.10 ratings points), Latinx (7.34 ratings points), Asian (5.90 ratings points), and other-race households (5.48 ratings points), streaming films that were from 21 percent to 30 percent minority also enjoyed the highest ratings in 2021. Examples of the 36 films that fell into this diversity interval include: Don’t Look Up, The Boss Baby: Family Business, and The Suicide Squad.

“We do think this dual-release strategy is here to stay,” Hunt said. “And it could have a lasting impact on diversity metrics in front of and behind the camera as studios think about how to finance content for different platforms.”

For example, the report found that women and people of color were far more likely than white men to direct films with budgets less than $20 million.

“A small production budget usually means that there is also little to no marketing and studio support, unless it’s from a production company known for making art house films,” Ramón said. “And that makes it more difficult for filmmakers to get the next opportunity if their films have to fight for attention.”

Hunt said studios are likely to bank on big-budget tentpole movies and sequels as traditional box office drivers, even as they continue to experiment with release platforms and adjust the amount of time between films’ theatrical releases and their arrival on streaming services or on DVD or Blu-ray.

Among the 2021 films released to streaming services, those with casts in which a majority of actors were non-white enjoyed the highest ratings among viewers aged 18 to 49 and in Black households. Seventy-two films with majority-minority casts were released on streaming in 2021, including “Raya and the Last Dragon,” “Coming 2 America,” “Vivo” and “Mortal Kombat.”

Chart showing that Among the White,24 Black, Latinx, multiracial, and MENA directors helming 2021 films, women lagged far behind men. Only among Asian and Native directors did women approach or reach parity with their male counterparts in securing these important positions.

“In 2021, diversity in front of the camera did not equate to more opportunities behind the camera for filmmakers who are women and people of color,” Ramón said. “They continue to receive less financing, even when they make films with white lead actors. Most of these filmmakers are relegated to low-budget films. For women of color, directing and writing opportunities are really the final frontier.”

Of the filmmakers who directed the movies analyzed in the report, 21.8% were women and 30.2% were people of color. Among the screenwriters for those films, 33.5% were women and 32.3% were people of color. Diversity in both jobs increased incrementally from 2020.

Out of the 76 minority directors of 2021’s top films, just 23 were women. And among Black, Latino and multiracial directors, at least twice as many were men as women in each racial or ethnic classification.

Although there was gender parity among Asian American and Native American directors, the overall numbers of directors from those groups were very small: just 17 Asian American directors and and just two Native American directors were represented in 2021. Among white directors, 32 were women and 143 were men.

The authors counted one trans woman among the directors of the 2021 films they analyzed.

This article originally appeared in the UCLA Newsroom. For more news and updates from the UCLA College, visit college.ucla.edu/news.

An image of the Madrigal family from the Walt Disney Animation Studios’ “Encanto”Courtesy of The Walt Disney Studios

UCLA botanist Felipe Zapata brings Colombia’s biodiversity to Academy Award winner ‘Encanto’

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An image of the Madrigal family from the Walt Disney Animation Studios’ “Encanto”

The outside walls of Colombian homes are commonly adorned with magenta-colored bougainvillea vines like those on the Madrigals’ house. Image courtesy of The Walt Disney Studios.

Felipe Zapata taps into his life’s work, as well as childhood memories, to give the animated film its distinctive flora

By Madeline Adamo

Image of Felipe Zapata, Assistant Professor of Ecology and Evolutionary Biology at UCLA

Felipe Zapata, Assistant Professor of Ecology and Evolutionary Biology at UCLA

Felipe Zapata can vividly recall driving from Bogota, where he grew up, to Colombia’s Cocora Valley as a child to spend holidays and summers with family. He remembers crossing the rugged terrain of the Andes mountains as well as the descent into the warmer valleys marked by coffee plantations and greener tropical plants with blooms of many colors. The sudden appearance of wax palms, the tallest palm tree in the world, would signal to Zapata and his family that their destination was near.

It was those drives and the beauty of Colombia’s biodiversity — which includes staples such as the platanilla, a close relative of the banana tree; guadua, a neotropical bamboo; the guayacán, a tree with yellow flowers similar in form to the purple jacaranda tree; the yarumo, an umbrella-like tree with impressive leaves; and the presence birds like the great kiskadee and the parrot — that inspired Zapata, an assistant professor of ecology and evolutionary biology in the UCLA College, to become a botanist.

What he didn’t expect was that his research and lived experiences would influence the distinctive landscapes of Walt Disney Animation Studios’ “Encanto,” a film that tells the tale of an extraordinary family, the Madrigals, who live hidden in the mountains of Colombia in a magical house adjacent to a vibrant town.

“Initially, it was going to be mainly about the wax palm,” said Zapata of his early advising on the film. But it quickly sprouted into much more. “All of a sudden it became an exploration of basically all the ecosystems in Colombia, and looking for key plants that you can identify and that they can easily draw.”

Image from “Encanto” of the character Mirabel standing in front of cloud forests

“There’s a kind of magic in these places,” said Felipe Zapata of the wax palms and cloud forests characteristic of the region where “Encanto” takes place.

Zapata, who specializes in the evolution of biological diversity, was soon bringing in his old field guides to familiarize filmmakers and artists with the region (also known as the country’s coffee region) and identifying birds, and native plants that people there would eat. Zapata enjoyed seeing some of his suggestions come to life in the film, from the herbs such as yerba buena and guasca that the character Julieta, who has the power to heal through food, wears in her apron, to the rendering of hummingbirds and toucans that frequent the vivid landscapes that provide part of the visual lushness of the film.

Zapata said he can’t choose one thing he’s most proud of, but that it might be how the representations of the wax palms and cloud forests set the tone for the film’s fantastical theme.

“There’s a kind of magic in these places,” said Zapata, whose Zoom background is wax palms and cloud forests on a cascading Colombian mountainside.

Zapata, who is also on the advisory committee of the UCLA Mildred E. Mathias Botanical Garden, said that he was initially contacted by Disney Animation after the garden’s former assistant director mentioned his name to Disney. The studio had asked if a Colombian researcher at UCLA could consult on biodiversity for the film.

Fast-forward about three years, and Zapata found himself sitting in the Hollywood premiere for “Encanto” among the filmmakers and stars such as Stephanie Beatriz (“Brooklyn Nine-Nine”), Diane Guerrero (“Orange is the New Black”), John Leguizamo (“Ice Age”) and María Cecilia Botero (“Enfermeras”). Also in the audience were members of the Colombian Cultural Trust, a group of Colombian experts who advised the filmmakers throughout the production.

“That was the first time that I saw the movie from beginning to end on a big screen, with the loud music and with multiple people from Colombia,” said Zapata, who is also a member of the UCLA Latin American Institute. “It was really, really exciting to see it.”

Members of the trust consulted on culture, anthropology, costume design, botany, music, language and architecture, as well as many other aspects of the film; the setting was inspired by the Cocora Valley in the early 20th century. Amongst the trust’s 10 members, Zapata was the only botanist.

“Encanto,” which has nabbed three Academy Award nominations, has made quite an impression on Zapata’s family back in Colombia, who went to see it in theaters after its November 2021 release, he said.

“They were so excited. My little cousins were looking for me in the movie — they thought that I was in it,” said Zapata, who was not able to talk about his role with the movie or in the Colombian Cultural Trust until after the film’s release.

Zapata said that filmmakers portrayed Colombia accurately, so much so that he got nostalgic when he saw the film for the first time. One of his favorite parts of the film, besides the complex narrative of the family, was seeing the small detail of the bamboo support beams within the walls of the Madrigals’ home. For Zapata, it evoked memories of the old houses he frequented during his memorable summers in the Cocora Valley.

Zapata, who was able to return home to Colombia last November, says that he’s happy to be able to share his line of work on such a creative platform.

“I always wanted to be able to engage the public and people who are not necessarily biologists,” Zapata said. “I was always looking for opportunities to do it, and this was amazing.”

This article originally appeared in the UCLA Newsroom. For more news and updates from the UCLA College, visit college.ucla.edu/news.

Photo of Urban oil drilling in Inglewood. Photo Credit: Ty Woodson/KLCS

UCLA environmental experts featured in PBS series about sustainability

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Faculty and others play a major role in shaping stories of accountability in ‘Sustaining US,’ whose second season debuts Oct. 6

By Madeline Adamo 
Photo of Urban oil drilling in Inglewood. Photo Credit: Ty Woodson/KLCS

Urban oil drilling in Inglewood. Photo Credit: Ty Woodson/KLCS

Browse all episodes of “Sustaining US” here.

As climate change and other environmental threats continue to harm and threaten people’s daily lives, the United States remains politically and ideologically divided. KLCS PBS show “Sustaining US” has partnered with the UCLA Institute of the Environment and Sustainability to foster earnest discussion — informed by top research and perspectives.

The weekly half-hour program highlights topics related to green buildings and cities, climate change, health care, homelessness and transportation. UCLA faculty, alumni and students represent many of the experts on the program.

Content producer David Colgan said that the focus of the show is to approach environmental issues with science and to present solutions, not fearmongering. Colgan, who is the director of communications at the institute, works with the PBS producers to help identify topics and experts.

“I get to talk to brilliant people at UCLA, and many of them are great at breaking down issues in a conversational way,” Colgan said. “I want viewers of ‘Sustaining US’ to have that same access.”

Colgan says UCLA’s collaboration in the project began when investigative journalist David Nazar contacted the university for a source on a story about wildfires. During the conversation, both recognized the need for more rigorous news reporting about climate change and sustainability, and realized a partnership between PBS and the nation’s top-ranked public university could help inform and educate viewers.

“What sets ‘Sustaining US’ apart from other news programs is that we don’t just focus on the doom and gloom of environmental issues,” said Nazar, host and reporter of the program. “We bring people from all walks of life together to explore each issue and find solutions.”

KLCS is a multiple Emmy Award–winning, noncommercial PBS affiliate station, broadcasting to more than 15 million viewers in Los Angeles and throughout Southern California. KLCS is licensed to the Los Angeles Unified School District’s Board of Education, the second-largest school district in the nation, educating more than 673,000 students. Ty Woodson directs and co-produces the program for the station.

The Radio & Television News Association of Southern California awarded “Sustaining US” two Golden Mikes in 2020 for its first season, which went beyond traditional sustainability topics to talk about social issues such as homelessness and technology.

Topics and respective UCLA experts in season two include:

  • – The Los Angeles River: Stephanie Pincetl, founding director of the California Center for Sustainable Communities at UCLA
  • – Ancient cities: Monica Smith, professor of anthropology
  • – Solar decathlon: UCLA student team
  • – Desalination: Zack Gold, alumnus
  • – Urban heat islands: Alan Barreca, associate professor at the UCLA Institute of the Environment and Sustainability, and graduate student Edith De Guzman
  • – Los Angeles aquarium/high-level discussion of environmental issues: Peter Kareiva, UCLA adjunct professor
  • – Culver City oil drilling: David Colgan

Season two premiers Wednesday, Oct. 6, and will air weekly on Wednesdays at 10 p.m. and the following Mondays at 5:30 p.m. Viewers can watch on the following channels in Southern California or livestream on KLCS PBS.

This article originally appeared in the UCLA Newsroom.