我在25年前進(jìn)入娛樂(lè)行業(yè),。過(guò)去十年,，我曾在國(guó)際電視臺(tái)AMC從事劇本節(jié)目制作,，現(xiàn)在經(jīng)營(yíng)著自己的制作公司Assembly Entertainment,，與ITV Studios America建立了全面合作關(guān)系,。我曾監(jiān)制過(guò)多部電視劇，包括《廣告狂人》（Mad Men）,、《絕命毒師》（Breaking Bad）,、《紐約神探》（Copper），以及即將在Showtime電視臺(tái)播出的《含笑上臺(tái)》（I’m Dying Up Here）,。用“喜歡”都不足以代表我對(duì)這個(gè)職業(yè)的感情,。我熱愛(ài)我的工作，并愿意為之努力,。我非常幸運(yùn)，能夠把自己熱愛(ài)的事情變成謀生的方式,，并有機(jī)會(huì)與我敬佩和尊敬的人們共事,。

但這份工作并不輕松，而其中最困難的部分,，則要數(shù)這個(gè)行業(yè)內(nèi)嚴(yán)重的性別歧視。雖然金像獎(jiǎng)會(huì)表彰當(dāng)今最優(yōu)秀的男女演員,，但最近的娛樂(lè)界不平等現(xiàn)象調(diào)查給出的統(tǒng)計(jì)數(shù)據(jù)，卻令人感到擔(dān)憂(yōu),、震驚和憤怒。在“浮華城”的每一個(gè)工作崗位上,，女性都遠(yuǎn)遠(yuǎn)落后于男性,，這讓人覺(jué)得不可理喻,。

頂級(jí)女星的收入,，僅有男性同行的40%,。在當(dāng)今時(shí)代,，男女依舊沒(méi)有實(shí)現(xiàn)同工同酬，這確實(shí)非?；奶?。而更令人沮喪和困惑的是,，這個(gè)號(hào)稱(chēng)進(jìn)步的,、富有遠(yuǎn)見(jiàn)的行業(yè)竟然也會(huì)存在這種不合理的情況,。

曾經(jīng)斬獲奧斯卡“小金人”的女演員娜塔莉?波特曼,，與邁克?尼科爾斯,、達(dá)倫?阿羅諾夫斯基和呂克?貝松等大導(dǎo)演有過(guò)合作，但她最近公開(kāi)揭露,，在電影《愛(ài)情無(wú)線(xiàn)牽》（No Strings Attached）中,，她的片酬只有男主角艾什頓?庫(kù)徹的三分之一,。

2014年索尼（Sony）電子郵件被黑,，揭露出了更多不公平現(xiàn)象,，其中《美國(guó)騙局》（American Hustle）的男演員（克里斯蒂安?貝爾和布萊德利?庫(kù)珀）獲得了電影9%的后端利潤(rùn),，而女演員（詹妮弗?勞倫斯和艾米?亞當(dāng)斯）卻只能得到7%。

在《福布斯》的2016年收入最高的10位演員榜單中，僅有兩位女演員上榜： 分別是詹妮弗?勞倫斯（第6位,，4,600萬(wàn)美元）和梅麗莎?麥卡西（第9位,，3,300萬(wàn)美元）。排在榜首的是男演員道恩?強(qiáng)森,，收入6,400萬(wàn)美元,。但他甚至并不是票房最高的演員。獲得這一殊榮的是《美國(guó)隊(duì)長(zhǎng)3：內(nèi)戰(zhàn)》（Captain America:Civil War）和《凱撒萬(wàn)歲！》（Hail, Caesar）的主演斯嘉麗?約翰遜,。但很可惜，她并沒(méi)能進(jìn)入收入最高的10位演員排行,。

以千禧一代為核心的傳媒公司Mic對(duì)2006年至2015年,，每年票房最高的前25部電影的總票房進(jìn)行了研究,，得出的結(jié)論是,，女性主演的賣(mài)座影片平均票房為1.26億美元，而男性主演的賣(mài)座電影平均票房只有8,000萬(wàn)美元,。

至于為什么多數(shù)人并不會(huì)因?yàn)槟人?波特曼的片酬只有300萬(wàn)美元而不是900萬(wàn)美元感到不滿(mǎn),，原因是可以理解的,。但隨著波特曼和珍妮弗?勞倫斯等女演員勇敢站出來(lái)揭露電影界薪酬差距的問(wèn)題，為整個(gè)行業(yè)內(nèi)不同崗位的女性如何應(yīng)對(duì)這個(gè)問(wèn)題指明了方向。

2002年,，南加州大學(xué)（University of Southern California）受圣丹斯協(xié)會(huì)（Sundance Institute）和女性電影人（Women in Film）委托,，對(duì)前100部票房最高的影片中由女性執(zhí)導(dǎo)的電影數(shù)量進(jìn)行了研究。研究結(jié)果,？只有7.3%,。他們還發(fā)現(xiàn)，在2014年票房最高的影片中,，由女性執(zhí)導(dǎo)的電影僅占1.9%,。女性工作機(jī)會(huì)的日益惡化，以及電影行業(yè)男女之間的薪酬不平等,，使許多人意識(shí)到,，好萊塢出現(xiàn)了嚴(yán)重的問(wèn)題，女性進(jìn)入娛樂(lè)業(yè)面臨著顯而易見(jiàn)的障礙,。

約一年前,，一批制片人、演員,、電影公司老板,、導(dǎo)演和編劇共同創(chuàng)建了REFRAME，其前身是由圣丹斯協(xié)會(huì)和女性電影人聯(lián)合成立的“系統(tǒng)性改變項(xiàng)目”（Systemic Change Project）,。這個(gè)行業(yè)組織旨在增加臺(tái)前幕后的女性就業(yè)機(jī)會(huì),，并確保她們得到與男性平等的報(bào)酬。REFRAME的成員一直在參加各種研討會(huì)，了解為什么電影行業(yè)會(huì)存在如此巨大的差距,，以及不同公司如何從各個(gè)層面解決這個(gè)問(wèn)題,。該組織會(huì)對(duì)成員進(jìn)行培訓(xùn)，指導(dǎo)如何創(chuàng)建導(dǎo)師項(xiàng)目和增加女性招聘,。這無(wú)疑是朝著正確方向邁出的重要一步,。

但最重要的問(wèn)題是，為什么在這樣一個(gè)創(chuàng)造性的行業(yè)會(huì)存在性別歧視,。我并不認(rèn)為行業(yè)內(nèi)的人們某天早上醒來(lái),，突然決定要實(shí)行性別歧視，視其他女性都低人一等,。事實(shí)上,，我相信多數(shù)人都認(rèn)為在招聘和做生意方面，自己是公平的,，開(kāi)明的,。問(wèn)題出在潛意識(shí)層面，源于我們所處的性別歧視的社會(huì),，使所有人都暴露于持續(xù)的性別歧視的信息當(dāng)中,。這些信息深深植根于我們的思維方式，我們甚至沒(méi)有意識(shí)到它對(duì)我們的影響,。這種情況被稱(chēng)作“無(wú)意識(shí)偏見(jiàn)”,。

第一次聽(tīng)到這種說(shuō)法和知道它的含義時(shí)，我的第一反應(yīng)是抗拒,。我怎么可能有性別歧視,？我本身就是女性，是一位自稱(chēng)的女權(quán)主義者,，而且經(jīng)營(yíng)著自己的公司,。我聘用了許多女性，支持她們成長(zhǎng),，為她們提供上升的空間,。但后來(lái)我開(kāi)始發(fā)現(xiàn)了自己的某些思想，這讓我意識(shí)到,，我也未能幸免,，正在做出性別歧視的決定。我知道自己在工作中存在無(wú)意識(shí)偏見(jiàn),，于是開(kāi)始了解它如何影響我的招聘決策或者我做生意的方式,。

舉個(gè)例子：當(dāng)我需要為正在制作的一部電視劇列出一份編劇或?qū)а菝麊螘r(shí)，我會(huì)在寫(xiě)完之后甚至經(jīng)常在一位同事的提醒下,，才會(huì)意識(shí)到，我寫(xiě)的名單里全是白人男性的名字。我是有意漏掉那些同樣才華橫溢,、經(jīng)驗(yàn)豐富的女性或少數(shù)族裔嗎,？當(dāng)然不是,，但在考慮編劇或?qū)а輹r(shí),，我的大腦習(xí)慣于首先想到白人男性，因?yàn)槲颐刻炜吹交蚵?tīng)到的從事這些職業(yè)的都是白人男性,。

所以,，在對(duì)自己的無(wú)意識(shí)偏見(jiàn)有更清楚地了解之后,，現(xiàn)在我的編劇和導(dǎo)演名單中會(huì)包括同樣具有才華的男性和女性。我會(huì)確保關(guān)于招聘和做生意的決定,，純粹基于能力和是否適合項(xiàng)目，不會(huì)被成長(zhǎng)過(guò)程中所接收的信息影響,。更清楚地了解自己的偏見(jiàn),，還幫助我在面對(duì)事關(guān)自己的問(wèn)題時(shí)，勇敢說(shuō)出自己的不滿(mǎn),。

最近,，一家電視網(wǎng)邀請(qǐng)我與一位沒(méi)有經(jīng)驗(yàn)的制片人合作,，因?yàn)樗岩徊侩娨晞〉膭?chuàng)意賣(mài)給了這家電視網(wǎng),。在即將簽署項(xiàng)目協(xié)議的時(shí)候我才注意到,，這位男性制片人每集的薪酬遠(yuǎn)遠(yuǎn)高于我的薪酬，雖然他們之所以聘請(qǐng)我參與這個(gè)項(xiàng)目是因?yàn)槲以陔娨晞≈谱鞣矫娓薪?jīng)驗(yàn),。這位男性制作人之前從沒(méi)有過(guò)制作一小時(shí)電視劇的經(jīng)驗(yàn)，而我已經(jīng)制作過(guò)九部電視劇,。如果是在過(guò)去，我可能會(huì)選擇默不作聲,，不會(huì)糾葛于這種不公平,，但現(xiàn)在我為自己勇敢地站了出來(lái)，告訴他們我們的報(bào)酬應(yīng)該相同,。最后這家電視網(wǎng)和電視臺(tái)都同意了我的要求。

要始終支持自己認(rèn)為正確的事情,，并希望其他人會(huì)同意你的觀點(diǎn)。下一次,，當(dāng)你發(fā)現(xiàn)自己拒絕了一位女同事的建議或意見(jiàn),，但后來(lái)你卻同意了一位男同事的相同言論時(shí),；當(dāng)你排斥一位與團(tuán)隊(duì)中的男性水平相當(dāng)甚至更為出色的女性,，卻沒(méi)有正當(dāng)理由時(shí),；或者當(dāng)你需要填補(bǔ)某個(gè)職位空缺或者需要談判某項(xiàng)交易,，但有人認(rèn)為其中存在性別歧視或不公平時(shí),，請(qǐng)盡量不要有抵觸心理,。你應(yīng)該認(rèn)真思考一下在你的思維方式中根深蒂固的無(wú)意識(shí)偏見(jiàn)，然后努力弄清楚如何作出決策,。思考之后的結(jié)果,，或許會(huì)讓你大吃一驚，就像當(dāng)初的我一樣,。（財(cái)富中文網(wǎng)）

譯者：劉進(jìn)龍/汪皓

本文作者克里斯蒂娜?韋恩是Assembly Entertainment的創(chuàng)始人兼CEO,。她將在2017年春?jiǎn)?dòng)Televisionschool.com在線(xiàn)課程。

I began my career in the entertainment industry over 25 years ago. Over the last decade, I’ve run scripted programming at AMC, an international TV studio, and I’m currently running my own production company, Assembly Entertainment, with an overall deal at ITV Studios America. I’ve overseen and produced shows including Mad Men, Breaking Bad, Copper, and the upcoming Showtime series, I’m Dying Up Here. To say I love my job is an understatement. I work hard and am passionate about what I do. I’m very fortunate that I get to make a living doing something I love with people whom I admire and respect.

What I do is hard, though, and the hardest part is navigating the tricky waters of sexism that exists in the business. As the Academy honors today's tip actors and actresses, recent findings about inequality in the entertainment business show statistics that are grim, shocking, and infuriating. Women lag absurdly far behind men in every Tinseltown gig.

Top actresses make about 40 cents on the dollar compared with their male counterparts. Of course it’s absurd in this day and age that women and men aren’t paid the exact same amount for the same job. It’s even more frustrating and confusing when it occurs in an industry that claims to be progressive and forward-thinking.

Academy-Award-winning actress Natalie Portman, who has worked with directors such as Mike Nichols, Darren Aronofsky, and Luc Besson, recently went public with the fact that she was only paid a third of what Ashton Kutcher was paid for the film they co-starred in, No Strings Attached.

The Sony email hacks of 2014 revealed more of the same, with American Hustle's male stars (Christian Bale and Bradley Cooper) getting 9% of the backend profits on the film, while the female stars (Jennifer Lawrence and Amy Adams) got only 7%.

On Forbes' list of the 10 highest-paid actors of 2016, only two women were listed: Jennifer Lawrence (No. 6) at $46 million and Melissa McCarthy (No. 9) at $33 million. The highest-paid actor, Dwayne Johnson, came in at $64 million. He wasn’t even the actor with the highest-grossing movie. That was Scarlett Johansson, who starred in both Captain America: Civil War and Hail, Caesar. But nowhere is she on the list.

Mic, a millennial-focused media company, looked at the box office grosses of the top 25 highest-earning films each year from 2006 to 2015, and concluded that box office hits with female protagonists grossed on average $126 million, while box office hits with male protagonists only made on average $80 million.

It’s understandable why most people wouldn’t cry a river over Natalie Portman making $3 million instead of $9 million for a film. But with actresses like her and Jennifer Lawrence finally speaking out about the pay gap issue for those on the big screen, a light is beginning to shine on how women across all jobs in the industry are dealing with the issue.

In 2002, the University of Southern California was commissioned by the Sundance Institute and Women in Film to look at how many of the top-100-grossing films were directed by women. Their findings? Just 7.3%. Then, they found that, in 2014, only 1.9% of the top-grossing films were directed by women. The worsening job opportunities for women, and the pay disparity between men and women in the industry, have prompted many to realize that something is seriously wrong in Hollywood, and that there are definite barriers for women entering the entertainment business.

About a year ago, a group of producers, actors, studio heads, directors, and writers got together and created REFRAME, formerly called the Systemic Change Project, which was founded by Sundance and Women in Film. It’s an industry group committed to getting more women hired in front of and behind the camera, and ensuring they're paid equally to men. Members of REFRAME have been attending workshops to learn why such a vast divide exists and how to address it on all levels at different industry companies. It trains members on how to create mentorship programs and increase female hiring. It’s certainly a step in the right direction.

The biggest question of all is why this sexist dynamic exists in the first place in a creative business. I don’t think men or women who work in the industry wake up in the morning and decide to be sexist and treat other women as their inferiors. In fact, I believe most people think they are being fair and open-minded when it comes to hiring and making deals. The issue happens on a more subconscious level and begins with being raised in a sexist society that exposes people to consistent sexist messaging. These messages are so engrained in our way of thinking that we aren’t even aware of how it affects us. It’s called unconscious bias.

When I first heard this term or began to understand what it meant, my first reflex was to be defensive. How could I be sexist? I’m a woman, a self-professed feminist, who runs my own business. I’ve hired lots of women, supported their growth, and promoted them. But then I started to catch myself doing things—thinking things that made me realize I was falling into the trap of making sexist decisions. I became aware of my own unconscious bias at work and began to understand how it has affected my hiring decisions or the way I approach deals.

Here’s an example: When I need to come up with a list of writers or directors for a TV series I’m producing, I write out the list only to realize afterward—or, more likely, am alerted of it by one of my colleagues—that the list is entirely made up of white male names. Did I intentionally leave off equally talented and experienced women or minorities? No, but my brain is conditioned to think of white males when the idea of a writer or director comes up, because that is who I see and hear about working in the business.

So now, as I’m becoming more aware of my own unconscious bias, I make lists of writers and directors who are equally talented men and women. I make sure my decisions on hiring and deal-making are based purely on talent and the right fit for the project, and are not tainted by vestiges of messaging I grew up with. Being more aware of my own bias has helped me speak up when it comes to my own deal-making.

Recently, I was asked by a network to partner with an inexperienced producer, who had sold them an idea for a TV series. As the deal was closing for the project, it was brought to my attention that the male producer was going to receive substantially more per episode than I was, despite the fact that I was hired for the project because I was the more experienced producer. In fact, this producer had no previous experience making one-hour series, when I had nine TV series under my belt. In the past, I might have just let this inequality go without saying anything, but I stood up for myself and made it clear that we had to be paid the same fee. The network and studio agreed.

Always stand up for what you believe is right, and hopefully others will agree. And, the next time you find yourself dismissing a suggestion or a comment by a female colleague, when moments later you agree with the exact same sentiment said by a male colleague; you marginalize the woman on a team who is the same level or superior to the men on the team, and there's no good reason why; or a job needs to be filled or a deal is being negotiated and someone suggests that it’s sexist or unequal, try not to get defensive. Instead, take a moment and think of all of the unconscious bias that has been ingrained in your way of thinking, and try to understand how it shapes your decision-making. You might be surprised, like I was, by what you find.

Christina Wayne is the founder and CEO of Assembly Entertainment. She is launching Televisionschool.com, online classes, in the spring of 2017.