If Sigmund Freud died without knowing what women want, what makes Harvey Weinstein think he can figure it out? The recent debut of “Amelia” sparked a feature article in the Washington Post (10/25/09) about the lack of riotous support of lead female roles in the 21st century. As the article delves into the success and failures of films like "Silence of the Lambs" and "Erin Brockovich," it points out that we’re seeing less and less instead of more and more roles like these for women. The steady decline over the last decade has now officially culminated in an all-out mandate from the studio executives to put the kibosh on any female leads. Women, they are saying, don’t support strong female lead characters in the movies – box office numbers prove it.
If only the Post author read Nancy Gibbs' article in Time magazine, which (10/26/09) covered “The State of the American Woman.” Never before, it says, have women been working so hard for so little while taking on so much responsibility. As more men lose jobs than women in this economy, more families are turning to the females for their main source of income, support and care. When and how would they ever have time to go to a movie, much less one that they would prefer to see? The article shows charts and graphs of the more diverse roles women are playing in their careers. It also lists the number of ailing parents and growing children they are responsible for these days. Yes, men are co-equals in helping out. But women, it says, are making a majority of the financial decisions, of which there are a plethora of highly important items. With such tight purse strings, not many women (and this is my own assumption) see a $10 movie ticket as more important than $10 cough syrup or $10 birth control pills.
Ann Hornaday’s Post article suggests that perhaps women get enough of a strong female lead in their own real lives. A box office analyst for Hollywood.com states that when women go to a movie, they want romance – to escape to a story where the men take the lead. Melissa Silverstein, whose industry web site covers this topic, says in the article that “Figuring out how to reach women and young women is the challenge for this business.” Clearly this business has figured out how to reach men though. They’ve had about 70+ years to fine tune the art of pitching to men, who 9 times out of 10 want action or comedy – we’ll call it the Dude factor. Try quoting that law of averages for anything about women. What can 9 out of 10 women agree on? …good luck.
Should moms stay at home or go to work? Should women live with men before they marry them? Should there be a female President? Even that last question is more polarizing than you would think. Writer-director Rod Lurie is quoted in the Post piece about his show Commander-in-Chief saying, “we found that men supported the idea of a woman for president more than women did.” Hey, if Freud couldn’t figure us out, we really don’t expect Hollywood to, so don’t feel bad.
As women grow in profit sharing, though, someone might want to look into it. While films like “Whip It,” and “Jennifer’s Body” may not attract the same demographic as “Amelia” or “Obsessed,” there are women who want to see these movies and are willing to forgo a $14 lipstick one week to see them. Maybe Mel Gibson’s character could put his clairvoyant hat back on and understand that after all the equal achievements women have made in school, work, and home, what we’re really looking for is a well-told story that we can see on our schedule not the studios.
Showing posts with label women in film. Show all posts
Showing posts with label women in film. Show all posts
Monday, November 9, 2009
Tuesday, September 1, 2009
Women in Film 2009 International Showcase Filmmakers
When I interviewed these three women filmmakers for the Women in Film & Video e-newsletter, I quickly realized I was writing down more great quotes than would ever fit into the small 250-word allotment I was officially allowed. The article was intended to be a follow up with a few of the filmmakers who had popular entries in the annual International Showcase of women-made films, which usually occurs on International Women's Day. (the article can be found here on page 8: http://wifv.org/files/Sept09.pdf )
Their love of filmmaking and current sacrifices to achieve their goals called for more than just a brief mention in a 16-page PDF. Here are the outtakes, as it were, from those interviews (as well as a few corrections), and even this is edited down.
Jehan Harney:
1. Where did you get the inspiration for your film “Colors of the Veil”?
Everything involving the film was by chance. I knew the imam when I lived in Europe. When I came back to states, I met his family. I was able to chat with his wife, Kimberly King, and learned that she had an interesting story. You don’t hear this story often…a very unusual story. This is an interesting story for people in the Middle East, who think Islam and think of people who are usually dark skinned. You don’t see a former U.S. soldier converting. I found her very fascinating. She eventually gave in and let me film her. This film won the national award for best documentary from One Nation Many Voices…. You feel like people from different worlds can come together and become bigger than just themselves, extend their philosophy and you can see how people should treat each other…then to see it manifest itself in the community. Kimberly King and her husband have a great model.
2. What is your #1 rule in storytelling?
When I do a short film you just try to get point out. What I like is for the story to be in their voices, no narration. I like it to have a conflict, and see how we made it work. That’s why we’re curious about people’s stories anyway. I always look for [conflict] in my stories to make it advance forward, make people wonder what happened next. A longer film I’m working on now “Friends of America” captures the life of Iraqi refugees in the U.S. funded for PBS. It’s ironic that the country that supported liberation of Iraq, the only place the refugees could find safety, is in the U.S. And yet, it is the one country that took in the least number of Iraqis. This film follows two families who fall through the cracks of the U.S. system Their family’s story represents one-third of the refugees here. Their story is under represented because they are afraid to reveal their identities. Luckily I found a couple of families who trusted me wbc we share religion, city, culture. It’s always good when you tell a story in three acts. Their past, present future; its’ good to break up the story. Ask yourself, What’s unique about it? What else has been done on the same subject? Once you find yourself as interesting other people will too. How you lead to [the mystery of the story] can’t be always reveal everything up front; reveal a little, bit but not everything. Give the element of surprise once they think they see the resolution.
3. What else have you been doing?
I got to sit in on class for proposal writing…Paul Taylor is amazing with words. He dissected my proposal. He is The Proposal Doctor! …The whole point is to stretch your imagination; have distance from you material; look at it analytically. It can be a great eye opener to see other people’s work and build a network.
Vanya Rose:
1. Where did you get the inspiration for the Montreal Stories?
It was my master’s degree thesis... I was studying history/fiction and how to combine them, the urban history/fiction… Lon Walter Benjamin philosophy, theoretical stuff. Composition. (Editor’s note: When this story ran in the WIFV e-newsletter I wrote that the little girl’s character in 1944 was French Canadian. She was not. The girl is the daughter of recently emigrated Polish Jews. There is not much in the way of dialogue in the film.)
2. What is your #1 rule in storytelling?
A [film] has to come from the heart, even if you haven’t written it. I don’t think you can make a film if you don’t feel the attachment. It’s not a question of technique. I think you can tell a story around anything, even the most banal plots…Edith Wharton says there’s no originality… it’s about the ways of saying things. It’s having new eyes. I think that’s why women are on the frontier of [film]. There are a massive amount of men’s stories, which are great, but I think there are so many untold women’s stories, so keep a fresh eye on your own way of seeing the word and telling stories…not falling into the trap of all those rules because of story editors, etc. Naturally stories tell themselves a certain way. When you look at Asian cinema you see different ways of telling stories….
3. Can you tell us about "As the Night the Day"?
It’s really different. There is a male central character who is interesting. It’s much more traditional story telling because Mansfield lends itself to that. I felt like I was telling her story, ways I want to depict it. She was such a brilliant short story writer. When she died [Virginia] Wolf said “I have no one else to write for anymore.”….When it comes to directing, being an architect, instances where creative and control go together, women face a huge challenge. It’s the biggest issue for society….Women get less funding. People don’t mind women telling everyone what to do [in the case of running a corporation or a school]. What they mind is someone creative on set telling them what to do, expressing how they see the world. That’s really hard for people. As a straight women, I find it even more controversial.
Kat Candler:
1. How great is Jon Hamm?!?! (sorry, I saw your blog and could not resist):
I've only seen one episode of MAD MEN. Isn't that horrible? I've been making my way through WEEDS, EASTBOUND AND DOWN ... So I'm a little slow in getting to MAD MEN. I don't have cable so I only get an opportunity in a hotel room or parent's house to catch an episode not on DVD. But I've seen Jon Hamm on 30 ROCK and SNL and he's pretty awesome. And I just love his MAD MEN look. It's too perfect. He's what I envision for the lead in a family comedy I'm writing called CAPTAIN DYNAMO AND THE BOY RANGERS. (Editor’s note: In the WIFV article in the e-newsletter “Rangers” was misspelled.)
2. Where did you get the inspiration for “Quarter to Noon”?
I actually made QUARTER TO NOON the same month I quit that day job and went freelance full time as a filmmaker and film teacher. Very cathartic. For me, the short is about doing what you love.
3. What is your #1 rule in storytelling?
Every choice that you make should always be dictated by story. Music, sound design, costume colors, dialogue, it all goes back to the story and the bigger picture. I always tell my students, think long and hard about each choice you make. Don't do a camera move because it's cool, do it because it says something about a character, emotion, the tone or moves the story along…My #1 rule of filmmaking is to be nice. I don't work with mean or egotistical people. It ruins the experience and I think ultimately can ruin the film. I feel like a lot of hearts and hands go on a screen. And there's so much joy in the process of getting there.
Editor’s note: Check back later for a follow up on how these women’s films are progressing.
Their love of filmmaking and current sacrifices to achieve their goals called for more than just a brief mention in a 16-page PDF. Here are the outtakes, as it were, from those interviews (as well as a few corrections), and even this is edited down.
Jehan Harney:
1. Where did you get the inspiration for your film “Colors of the Veil”?
Everything involving the film was by chance. I knew the imam when I lived in Europe. When I came back to states, I met his family. I was able to chat with his wife, Kimberly King, and learned that she had an interesting story. You don’t hear this story often…a very unusual story. This is an interesting story for people in the Middle East, who think Islam and think of people who are usually dark skinned. You don’t see a former U.S. soldier converting. I found her very fascinating. She eventually gave in and let me film her. This film won the national award for best documentary from One Nation Many Voices…. You feel like people from different worlds can come together and become bigger than just themselves, extend their philosophy and you can see how people should treat each other…then to see it manifest itself in the community. Kimberly King and her husband have a great model.
2. What is your #1 rule in storytelling?
When I do a short film you just try to get point out. What I like is for the story to be in their voices, no narration. I like it to have a conflict, and see how we made it work. That’s why we’re curious about people’s stories anyway. I always look for [conflict] in my stories to make it advance forward, make people wonder what happened next. A longer film I’m working on now “Friends of America” captures the life of Iraqi refugees in the U.S. funded for PBS. It’s ironic that the country that supported liberation of Iraq, the only place the refugees could find safety, is in the U.S. And yet, it is the one country that took in the least number of Iraqis. This film follows two families who fall through the cracks of the U.S. system Their family’s story represents one-third of the refugees here. Their story is under represented because they are afraid to reveal their identities. Luckily I found a couple of families who trusted me wbc we share religion, city, culture. It’s always good when you tell a story in three acts. Their past, present future; its’ good to break up the story. Ask yourself, What’s unique about it? What else has been done on the same subject? Once you find yourself as interesting other people will too. How you lead to [the mystery of the story] can’t be always reveal everything up front; reveal a little, bit but not everything. Give the element of surprise once they think they see the resolution.
3. What else have you been doing?
I got to sit in on class for proposal writing…Paul Taylor is amazing with words. He dissected my proposal. He is The Proposal Doctor! …The whole point is to stretch your imagination; have distance from you material; look at it analytically. It can be a great eye opener to see other people’s work and build a network.
Vanya Rose:
1. Where did you get the inspiration for the Montreal Stories?
It was my master’s degree thesis... I was studying history/fiction and how to combine them, the urban history/fiction… Lon Walter Benjamin philosophy, theoretical stuff. Composition. (Editor’s note: When this story ran in the WIFV e-newsletter I wrote that the little girl’s character in 1944 was French Canadian. She was not. The girl is the daughter of recently emigrated Polish Jews. There is not much in the way of dialogue in the film.)
2. What is your #1 rule in storytelling?
A [film] has to come from the heart, even if you haven’t written it. I don’t think you can make a film if you don’t feel the attachment. It’s not a question of technique. I think you can tell a story around anything, even the most banal plots…Edith Wharton says there’s no originality… it’s about the ways of saying things. It’s having new eyes. I think that’s why women are on the frontier of [film]. There are a massive amount of men’s stories, which are great, but I think there are so many untold women’s stories, so keep a fresh eye on your own way of seeing the word and telling stories…not falling into the trap of all those rules because of story editors, etc. Naturally stories tell themselves a certain way. When you look at Asian cinema you see different ways of telling stories….
3. Can you tell us about "As the Night the Day"?
It’s really different. There is a male central character who is interesting. It’s much more traditional story telling because Mansfield lends itself to that. I felt like I was telling her story, ways I want to depict it. She was such a brilliant short story writer. When she died [Virginia] Wolf said “I have no one else to write for anymore.”….When it comes to directing, being an architect, instances where creative and control go together, women face a huge challenge. It’s the biggest issue for society….Women get less funding. People don’t mind women telling everyone what to do [in the case of running a corporation or a school]. What they mind is someone creative on set telling them what to do, expressing how they see the world. That’s really hard for people. As a straight women, I find it even more controversial.
Kat Candler:
1. How great is Jon Hamm?!?! (sorry, I saw your blog and could not resist):
I've only seen one episode of MAD MEN. Isn't that horrible? I've been making my way through WEEDS, EASTBOUND AND DOWN ... So I'm a little slow in getting to MAD MEN. I don't have cable so I only get an opportunity in a hotel room or parent's house to catch an episode not on DVD. But I've seen Jon Hamm on 30 ROCK and SNL and he's pretty awesome. And I just love his MAD MEN look. It's too perfect. He's what I envision for the lead in a family comedy I'm writing called CAPTAIN DYNAMO AND THE BOY RANGERS. (Editor’s note: In the WIFV article in the e-newsletter “Rangers” was misspelled.)
2. Where did you get the inspiration for “Quarter to Noon”?
I actually made QUARTER TO NOON the same month I quit that day job and went freelance full time as a filmmaker and film teacher. Very cathartic. For me, the short is about doing what you love.
3. What is your #1 rule in storytelling?
Every choice that you make should always be dictated by story. Music, sound design, costume colors, dialogue, it all goes back to the story and the bigger picture. I always tell my students, think long and hard about each choice you make. Don't do a camera move because it's cool, do it because it says something about a character, emotion, the tone or moves the story along…My #1 rule of filmmaking is to be nice. I don't work with mean or egotistical people. It ruins the experience and I think ultimately can ruin the film. I feel like a lot of hearts and hands go on a screen. And there's so much joy in the process of getting there.
Editor’s note: Check back later for a follow up on how these women’s films are progressing.
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