It's an admittedly dire state of affairs when a one-of-a-kind Oscar-winning icon has to print out her actual resume to grab the attention of one of the industry's most sought-after auteurs, however humorously intended the gesture. Two weeks ago, The View co-host Whoopi Goldberg slyly hijacked an interview with Jason Schwartzman to call out the notoriously ivory-inclining casting choices of the actor's frequent collaborator Wes Anderson, whose Moonrise Kingdom has already received the Every Single Word treatment to embarrassing effect.

However, none of this should necessarily come as a surprise to audiences who are even relatively familiar with these aforementioned directors' bodies of work. Russell's American Hustle, Josh Boone's The Fault in Our Stars, Noah Baumbach's Frances Ha, Will Gluck's Friends with Benefits, and Aronofsky's Noah, the latter of which is a notoriously white-washed re-envisioning of Noah's Ark whose two hour-plus runtime features nary a word from any actors of color.

It's of course telling that, regardless of their individual quality, the bulk of the movies highlighted so far are the products of white, male directors: Marc Webb's (500) Days of Summer, David O. These newly-edited short films often run for less than a minute, but the point is startlingly clear: these roles are shit and these actors are virtual props whose allotted screen time is pitiful if not non-existent, as is the case in Rob Marshall's 2014 musical Into the Woods: & amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp lt br /& amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp amp gt

The results are, unsurprisingly, brief, as in this freshly-cut version of Spike Jonze's Her, whose futuristic Los Angeles was partly shot in Shanghai: The project's creator Dylan Marron cuts out the Caucasian actors in films ranging from Darren Aronofsky's Black Swan to Nicole Holofcener's Enough Said in order to narrow down each movie to only the parts in which people of color speak.

A new Tumblr project entitled Every Single Word is cleverly condensing some of our favorite mainstream and indie movies of recent years to call out Hollywood's enduring representation biases when it come to people of color.

Her spike jonze tumblr