Concerning James Bond.
Bond is supposed to be ~40. He also went to some Eton type school. I can’t remember the name or even if it’s real, but it’s a defining characteristic of the character.
In the Roger Moore era that would have meant that Eton had a Black student in the 1950s. That seems unlikely and, even if it happened, would be so distinctive as to make him unsuited for work as a secret agent. In short, in the 1980s a Black bond would have been unsuitable simply because it required to much explaining.
Today, Bond would have been at Eton in the 1980s. While I’m sure that Black students are rare even now, I’m equally sure there are a handful in every year. So a Black bond today is about as remarkable as a Scottish bond in the 1960s.
So as far as that goes, who cares if Bond is played by a Black bloke? Bond isn’t defined as being White. Bond is meant to be an upper-middle class orphan with an upper class upbringing. In 1960 that meant White. In 2016, that character could as easily be Black as White and could probably be more easily Asian than White. So a Black Bond? Sure.
Concerning Makoto Kusanagi.
Basically, what Miller and Kamino Neko said.
The character is masquerading as a woman with a Japanese name living Japan. The idea that the character might not be Japanese in appearance is as jarring as a Black Bond in the 1980s: unsuitable simply because it required to much explaining. Sure it can be fanwanked (scriptwanked?) away, but that is adding an element to the character that wasn’t in the original source, and done for no better reason than to allow the character to be played by a White woman.
And as Miller said, there are literally millions of Hollywood roles each year for White actors and thousands of starring roles in big budget productions. Rewriting a minority character to allow it to be played by a White person is stealing food from beggars. It’s really is mean and hurtful and insensitive.
I get why the studio is doing it. Johansson is a really bankable star right now. But she’s bankable because she got a break as a young actress in a big name films with big name stars based on big name novels and comic books: Ghost World, Horse Whisperer, Virgin Suicides etc. By casting Johansson the studio is denying exactly the same opportunity to an Asian actress. This project is much a sure fire hit as Ghost World or The Horse Whisperer, and they are depriving some Asian up-and-comer of her chance.
This is a classic example of the circularity of the system. Young minority starlets are locked out of the good projects because “nobody wants to see them”. But nobody wants to see them because they are never given a chance to gain recognition as young stars. Minority actresses likes of Thandie Newton or Halle Berry have to spend years garnering a reputation before they are given a shot at a major role at the age of 30, while White actresses like Johansson are given major roles as teenagers. For actresses, stardom at 30 allows at best allows a career of 10 years before they are ‘too old’.
So of course nobody wants to see minority actresses: minority actresses aren’t stars. And minority actresses can’t be stars because nobody will cast them in safe movies as teenagers or twenty-somethings. And nobody will cats them because nobody wants to see minority actresses.
There’s a hole in the bucket , dear Liza.
To then take one of the very few roles that could be a vehicle for a minority actress and hand to to a White woman is mean and hurtful and insensitive. It just perpetuates the cycle of not allowing minorities into the movie industry.