Scarlett Johansson, who encountered the Asian hero's reaction to the real live performance of Paramount The Ghost in Shell encountered such a great reaction after being transformed into a trans-character in the forthcoming biography of Tex Gill Rub & Tug that she has withdrawn from her role, has additional thoughts about what parts of people she should throw. In an interview with As If, the actress complains about political correctness in art and "As an actor I must be able to play every man or every tree or every animal because it is my job and the requirements of my work."
Johansson's comments have been taken from the Daily Mail and have already caused a lot of turmoil that the actress publishes a statement stating that the article is "edited for the click bait and is broadly out of context." the interview is not a standard profile. Instead, As If joins Johansson with contemporary artist David Sal, they both collaborate on a photo shoot of the actress with his work involved; Then Johansson and Saleh talked about the project. One part of the context Johansson is probably referring to is the picture itself, during which Saale asked Johansson to "play with the idea of living in a tree," according to photographer Tatiana Shaan, so the idea of being thrown as a tree was easy near at hand. But if the interview is not misinterpretable, its statement seems a little misleading. Johansson writes that "The question I was answering to my conversation with contemporary artist David Sal was about the confrontation between political correctness and art, as if Salah raised the subject. But as it is published, this part of the interview shows that Saleh is trying to get Johansson to talk about the mechanics of her craft while she directs the conversation to political honesty in casting. Johansson was asked about her acting role models and brought the actors from the method of the 1950s, describing them as follows:
With actors such as James Dean, Natalie Wood, and Marlon Brando, they showed some release, something like an irrepressible demonstration of emotions. You can even see him in writing time with playwrights such as Tennessee Williams and Arthur Miller. They will write these wonderfully dirty, complicated and ugly scenes for the actors and the audience to experience. It was a real gut.
"It was a time of real courage" seems like the moment the wheels jump off the track. Here is the complete exchange of information about the casting that followed, and it seems to be that Johansson is the one who runs the conversation:
Do you think this regime or this generation is still important today?
Do we see an actual trend today?  Hmm … We live in such a strange time, which is something like identity in a few ways. I do not know if there is a trend in performance, but there are certain trends at the moment. Today there is a lot of accent and talk about what works and who we want to introduce to the screen. The question now is, what does it do?
Right. Who can play what roles …
You know, as an actor, you have to let me play every man or every tree or animal, because that's my job and the requirements of my job.
Yes. Do you just have to represent yourself, your gender, your ethnicity, or can you actually play beyond these categories?
Many social lines are being done and much political correctness is reflected in art.
Is that boring? Are you irritated? To make you? To cheer you up? I know it's complicated, probably there's no answer.
Do you know I feel this is a trend in my business and it has to happen for various social reasons but there are times when it becomes unpleasant when it affects art because I think the art must be unlimited, what do you think about it, David?
Identity-less, by the way, is how Johansson describes his character in the Shell Ghost . Be sure to read the whole interview, but if there is no context, it is not obvious what might be. Johansson clarified the question he was trying to make in his statement:
I personally feel that in an ideal world, every actor must be able to play on anyone and the art, in all forms, be immunized against political correctness. That was the question I was doing, though it was not that way. I admit that there is a widespread inconsistency between my industry that favors Caucasian citizens and that not all actors have the same privileges that I have been privileged for. I continue to support and always have diversity in every industry and I will continue to fight for projects in which everyone is involved.
The result is that we have yet another round of inconclusive protections of problematic casting, although in this case, the fact that Johansson actually does not play a tree or a person of different gender or ethnicity in a particular forthcoming film must keep the cycle of the news is relatively short. That's okay, because when Johansson's next movie, Jojo Rabbit, came out in October, we'll want to have a slightly different casting call. Here is her co-star, screenwriter and director, Tayka Watieti, discussing her role in the film, adaptation of Christine Lewens's novel Kadeing Heaven and his general casting theory that is not as blind as Johansson's color :