Kathryn Bigelow
This is a story that I have written numerous times but it just seems that nothing changes. I will keep on keeping on until we get more women directors. NPR did an interesting piece on women directors and their films this summer and how in order for them to get their movies made they need to work outside the studio systems.
YUP. Since only Nancy Meyers, Nora Ephron and now Anne Fletcher can get studio jobs.
It’s great that Kathryn Bigelow and Lynn Shelton are being noticed for their work this summer. I think both their movies are great and I enjoyed them both. I do think it’s interesting that both these films keep getting talked about in the context of the fact that they are women directing movies about men making it seem that this is such a freaky occurrence. It’s shouldn’t be that big a deal. I’ll say it again: nobody makes a big deal about guys directing movies about women yet we continue to be shocked that women can make movies about men. Even NPR.
But NPR basically answers its own question with the following quote:
When women direct, they’re in control. And major Hollywood studios cannot exactly bask in their legacies of female empowerment: Historically, female directors tend to work outside the traditional studio system.
Lynn Shelton
Control. What is the fear of women being in control of a film? Women can be producers, but control and, of course, vision seems to make everyone go nuts. The issue regarding women directors is so hard to document as blatant discrimination because the hiring process is not like hiring a receptionist or a manager. A producer or a studio head has to hire someone they trust with their money, someone they trust to get the job done on time, someone they trust to be able to command a crew. Women can be trusted to do many jobs in our society yet getting studio chiefs to trust that a female director is right for the job seems to be too far a leap. Yet everyone knows it is discrimination but they also know it is near impossible to prove.
From the piece:
Bigelow says she has no idea why even now so few women are trusted to direct major films.
“You’d have to sit somebody down here and ask them,” she says, with the slightest edge to her voice.
By “somebody,” Bigelow means a studio head, a Hollywood mogul. Ask Lynn Shelton the same question — Why aren’t there more go-to female directors? — and she likewise points to the studio bosses.
I wish one of those somebodys would sit down and give someone a real answer. The problem is there is no real answer and they all know it.
Female Directors, Still a Scare Movie Commodity (NPR)
{ 5 comments… read them below or add one }
“t’s shouldn’t be that big a deal. I’ll say it again: nobody makes a big deal about guys directing movies about women yet we continue to be shocked that women can make movies about men. Even NPR.”
EXACTLY. This bothers me so much that everyone were *impressed* that a woman, Kathryn Bigelow, managed to direct a war film, The Hurt Locker. And many people were even more shocked that a woman, Mary Harron, directed American Psycho, a movie about a mysogynistic, deranged serial killer.
Then the media (and many people) make fun of chick flicks and say that women can’t act or carry a movie… and those movies were directed by MEN!
And before that Claire Denis made another war film, BEAU TRAVIL. I guess us women are only good for ironing shirts.
I saw The Hurt Locker a few weeks ago and Kathryn Bigelow deserves to be nominated for Best Director. Through a brilliant combination of camerawork, sound and astounding performances, she managed to manifest the characters inner life onscreen with very little dialogue. From a technical standpoint, the film is a masterpiece. It takes a long time and many films to get that good. I’ve been closely watching how this film is rolled out and marketed. From day one, it had huge daily screen averages. The distributor is slowly widening the release, but they probably should have opened wider sooner. Far from being dissuaded from seeing an action film directed by a woman, most men (including soldiers) seem to think it’s pretty cool. Maybe because it’s the year 2010, not 1950. The general public couldn’t care less whether a film is directed by a man or a woman. They just want to see a good film, one that doesn’t make them feel robbed of $12 dollars and two hours of their lives.
I think it’s an excellent idea to ask the studio execs why they won’t hire women to direct films. Melissa, perhaps you can send out an e-mail asking people to anonymously post the reasoning behind these decisions (there have to be a few women behind scenes that will answer you). I suspect there is a belief that films directed by women are risky and don’t make money. Is this a false perception or reality? If these movies don’t make money, my question is: Do the films made and targeted toward woman bear any resemblance to our lives in the 21st century? And from a business perspective, are the studios alienating 51% percent of their potential customers with a parade of insulting and outdated stereotypes.
Gender roles have changed significantly in the past 40 years. I like action films, my father who carried a gun his whole life watches romantic comedies and a male contractor who finishes floors for a living told me he only goes to see independent art films…they make him feel alive.
Maybe The Hurt Locker is so good because the story isn’t about him, it’s about her. And all of those “male” qualities are inside of her.
I have Produced, I have Directed, not at that level yet, getting there though!
As a Producer I am nurturing, supporting, managing, working to make sure the job stays within certain boundaries. The producer is in the middle of the exec prod. (often limiting budget and vision) and the director (limitless creative space). A Creative Producer can guide and assist a vision if it needs that, but, for the most part, her work is overseeing all aspects of Prod. and problem solving problems that dept. heads/ keys can’t handle on their own. She is bringing the team together, scheduling (prod. manager) and making sure everyone in the team has what they need to do their jobs. She budgets and makes sure that it doesn’t go over budget (line producer).
She makes sure everything is where it is when it needs to be there (prod. coordinator).
The whole production office supports the production- support support support, but, not in a creative way.
As a Director, I am creating from vision from what the writer gave me, that I am likely to change, working with my DP, casting, prod. design and wardrobe, m/u and hair. I go to them and tell them what I would like to see; they help shape that with their talent and skill. When choosing the actors, it is who I see in the character that works. I’m guiding or allowing their best performance to come thru (if they’re great, you just get out of the way) as I see fit for the vision. As a director, EVERYONE is collaborating to support the vision coming through me primarily. It’s a huge responsibility. It’s not even close to the responsibility of giving birth and raising children~ which is something we are expected, encouraged and told we are good at as a group.
SO it’s not the responsibility or the authority.
As Director it’s my creative choices that guide the film.
That level of creativity is like orgasm.
And remember how long it took for people to accept that most women can and do and love to orgasm~ oh, and we often excel at it (multiple)?
Writers get away with being so creative and in control of a story (till the director gets it) because writing is solitary and quiet.
The only other “last word” on vision is the Exec. Producer and/or studio (sometimes limiting the directors creativity), hence, the directors cut.
Executive Producers are usually men. Studio’s are patriarchal.
The Female Eye Film Festival
“always honest, not always pretty”
The Female Eye Film Festival is only one among many international women’s film festivals around the globe that celebrate films directed by women. Over 90% of the films directed by women are also written by the directors.
Great films, terrific stories and always compelling, complex female protagonists. It’s an honour to celebrate women directed films, many of which would not be seen outside of these dedicated femme centric showcases that serve to promote, applaud and celebrate women in film, and women of story.
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