Taking a break to rejuvenate the brain batteries. See you after Labor Day.
Monthly Archive for August, 2009
Here’s a great opportunity for all of you in the Bay Area to see these great movies on the big screen. Usually the only way to see Women Make Movies films is at a festival or if it gets picked up for TV. But this week at the Roxie in SF, these films are playing and if you around, you should check them out.
Catch 22 WMM films, including new releases and top favorites, at the Women Make Movies Film Festival at San Francisco’s Roxie Theater, from August 28 through September 3. This week-long festival kicks off with ELLA ES EL MATADOR (She is the Matador), a fascinating profile of two female bullfighters, and Kim Longinotto’s Sundance World Cinema Documentary Jury Prize-winning film ROUGH AUNTIES, about a group of fearless women fighting for abused and neglected children in South
Africa.
Other festival highlights include SAY MY NAME, a global tour of unstoppable female hip-hop lyricists; THE SARI SOLDIERS, an
extraordinary story of six women’s efforts to shape Nepal’s future in the midst of civil war; and TILLE OLSEN – A HEART IN ACTION by local filmmaker Ann Hershey, an inspiring homage to the renegade author andactivist.
On closing night, watch WHO’S AFRAID OF KATHY ACKER?, a thoughtful biography on the late outlaw writer and punk icon.
Get more info on the festival, as well as filmmaker and special guest appearances at here. Don’t miss this opportunity to see some of WMM’s best films on the big screen!
Screening dates and times:
Friday, August 28
7:00 pm – ELLA ES EL MATADOR (She is the Matador)
8:30 pm – ROUGH AUNTIES
Saturday, August 29
2:00 pm – THE GREATEST SILENCE: RAPE IN THE CONGO
4:00 pm – BLOODLINES with TO SEE IF I’M SMILING
7:00 pm – TILLIE OLSEN – A HEART IN ACTION
8:30 pm – TIGER SPIRIT
Sunday, August 30
2:00 pm – SISTERS IN LAW
4:00 pm – DIVORCE IRANIAN STYLE with ARUSI PERSIAN WEDDING
7:00 pm – SAY MY NAME
8:30 pm – IN SICKNESS AND IN HEALTH with SEARCHING 4 SANDEEP
Monday, August 31
7:00 pm – THE GRACE LEE PROJECT
8:30 pm – WE WANT ROSES TOO
Tuesday, September 1
7:00 pm – SHOOTING WOMEN
8:30 pm – FOUR WIVES, ONE MAN
Wednesday, September 2
7:00 pm – MRS. GOUNDO’S DAUGHTER
8:30 pm – THE SARI SOLDIERS
Thursday, September 3
7:00 pm – FILMING DESIRE with BLACK AND WHITE
8:30 pm – WHO’S AFRAID OF KATHY ACKER?
This looks like a don’t miss:
September 12 & 13 2009 9am to 5pm at the WGA how, what, where and why…
Meet top TV Writers, producers, creators and show runners for the inside scoop!
This seminar includes plenty of useful information for those looking to network, learn or work in drama and comedy TV.
GET THE PILOT SCRIPTS FROM: Hung- The Riches – Big Love – Nurse Jackie and more!
Sign up before Sept 1st for a $50 discount!
Five writers will be chosen to have their script read and have a 1/2-hour meet n’ greet with Elizabeth Sarnoff to discuss your work. A once in a life opportunity!
Sign up here. Questions? 323 463-3154
(from L-R) Megan Holley, Jason Spevack, Christine Jeffs
Sunshine Cleaning comes out on DVD today. I think that this is Amy Adams strongest and most interesting role of the year. She is way more interesting in this films than she is in Julie & Julia. Here’s my review. Before the film came out I interview the screenwriter Megan Holley, but idiot that I am I lost the interview. She very nicely agreed to do a second take for the DVD release.
Women & Hollywood: How did you come up with the story?
Megan Holley: It was a classic NPR driveway moment. I heard an interview with two women who started a bio hazard clean up business and was completely drawn in by what they were saying. They had such a refreshing attitude about their work. One of them actually called it a feel good job because they were helping people at their most vulnerable. This was in 2001 when CSI was first making a huge splash and everyone seemed fascinated with the gory details of death. It makes sense. Death is really freaking scary so of course we’re both drawn to it and repulsed by it. But there’s something about these shows that felt exploitive to me. I expected the interviews to head in this direction too, but it never did. These women were just so respectful of the lives that were lost and the families who were in pain. They seemed genuinely honored to be able to help. That was the thing that stuck with me and I tried to build a story around that central idea.
W&H: How did it get produced?
MH: When I finished the script I entered it into a local Virginia based screenwriting competition. Sunshine Cleaning was selected as one of the winners that year. That in itself was thrilling. But more importantly, Glenn Williamson (a University of Virginia alum) was on the panel of judges. After many years as an executive Glenn was looking to produce. He loved the script and set about to get it made. He joined forces with the New York based company Big Beach and together they got the director and cast on board. Basically, I’m one of the luckiest people on earth.
W&H: I love the fact that at the beginning of the film it seems that Rose peaked in high school like we see time and again with high school jocks. Why was it important to make her the “popular girl”?
MH: Rose is constantly looking for validation outside of herself. It trips her up constantly and I think her stint as the ‘popular girl’ has only made the situation worse. She’s constantly jonesing to get that approval fix again. It’s not until Rose develops a sense of pride in her work and an understanding of its value that she’s able to let go of that self defeating neediness.
W&H: What’s your day job? Ar you still working with crack addicted rats?
MH: I no longer work with crack addicted rats. After years and years of assorted day jobs, I’m happy to report that I am now a full time screenwriter. I still get a kick out of saying that. I love it when I’m filling out a form and it asks for my profession and I get to put ‘Screenwriter’. How awesome is that?
W&H: Your producers call you the real deal. What does that mean to you?
MH: I have no idea what that means. I like it. I think it must be something good.
W&H: How did Christine Jeffs get involved in the film and were you happy to have a female director?
MH: Glenn had worked with Christine on Sylvia at Focus Features and thought she would be a good fit for the material. It was great having a female director. Christine has a sister and understood that complicated relationship is a very personal way. The care she took presenting the sister’s relationship is one of the most engaging aspects of the movie.
W&H: What are you working on now?
MH: I’m currently writing a pilot for Showtime based on Sunshine Cleaning. It’s been a blast taking these characters and spinning them in different directions.
W&H: The film had a very successful run in the theatres this spring. Why do you think it resonated with the audiences in the way it did?
MH: I think it’s a really positive portrayal of a family. Sure, they’re each kind of screwed up, they’re wounded and they make mistakes. But there’s no question that these people love each other. And the performances were fantastic! Amy Adams and Emily Blunt are amazing. They brought so many layers and nuances to those characters.
W&H: Any advice for female writers?
MH: My advice to female writers would be the same as advice to male writers. Write what moves you. Try not to get defensive with notes. That’s a tough one but so, so important. I’m still working on it myself. Keep learning. Surround yourself with the smartest people you can find. Don’t pass up a good idea just because it hit you in the face. Don’t get caught up with all the industry bullshit. It’s a big waste of energy and it makes it harder to hear your own voice. Don’t forget to exercise. Okay, that last one makes me a total hypocrite because I always forget to exercise. Still, I think it’s good advice.
It’s been over 20 years since Thirtysomething went on the air and 18 years since it departed and now finally the first season will be released on DVD today. What I find so interesting about the show is how far reaching into TV and films — but mostly TV — that the participants of the show have had on our lives.
In the LA Times, Marshall Herskovitz said that their goal was to make movies and they thought that the show would be something that they did for a little while until they could get their movies made. Hershkovitz and his co-creator Ed Zwick are both incredibly creative men and the show proved to be a training ground for an entire generation of creative people. (Many of the cast members were able to direct episodes) They created two other amazing series, My So-Called Life and Once and Again that were thoroughly underappreciated. (It still makes me angry when I think about it.) They’ve also done some great movies
The female writers on the show included Winnie Holzman who co- created My So-Called Life. She also wrote the book for the musical Wicked which is still playing to sold out audiences on Broadway. She will also be writing the script for the film adaptation of the show. Other women writers who have gone onto significant careers beyond Thirtysomething include: Ann Lewis Hamilton who worked on Party of Five and Grey’s Anatomy among others and Jill Gordon who worked on Doogie Howser, M.D. The Wonder Years, and the 90210 reboot.
But looking at the cast the men and the women shows exactly where women and men stand in the TV business creatively. I’m not saying the women of Thirtysomething haven’t had incredible careers. They have. Patricia Wettig has continued to act and is so good as Holly of Brothers and Sisters. Melanie Mayron still also acts but she is more well known now as a director having worked on shows including: Dawson’s Creek, Tell Me You Love Me, In Treatment among many others. Mel Harris has also been acting over the years but has not had another breakout series. Polly Draper has a huge hit with the creation of the show The Naked Brothers Band which she writes and directs and produces.
But with all due respect to the accomplishments of the women, the guys have been incredibly successful producers and are some of the dominant voices of their generation. The success of the male cast members illuminates the routes and opportunities men get vs. the opportunities women get.
Think about it. These guys are everywhere. Acting, directing and producing.
Timothy Busfield acts and directs all the time but he also has also been a director and executive producer (top job on a TV show) on several series including: Ed, The West Wing, Without a Trace and Lipstick Jungle.
Peter Horton also acts and directs and has been an executive producer on Grey’s Anatomy, Dirty Sexy Money, The Philanthropist and the upcoming Body Politic.
Ken Olin is one of the dominant producing voices in TV today. He acts and directs and his resume as an executive producer includes Alias, and Brothers and Sisters.
I just think it’s really interesting to see that this show has bred such important voices in the business.
Melanie Mayron identifies with Melissa, her ‘thirtysomething’ role (LA Times)
‘thirtysomething’ twentysomething years later (LA Times)
In a no shit sherlock moment, The NY Times took a look at who has been in the director’s seat for the major studio releases this year.
Of the 85 or so live action films to be released by the big studios in 2009 — Paramount Pictures, Sony Pictures Entertainment, 20th Century Fox, Universal Pictures, Walt Disney Studios and Warner Brothers –93% are directed by white men with an average age of 45 years.
Though Hollywood’s power structure remains heavily white, it has opened the ranks to far more women in recent years. But that shift does not yet appear to have changed the makeup of the studio directing pool.
The article puts out the point that having a homogenized pool of directors might actually make business sense because box office has been growing (of course they are charging more) so venturing outside of the boys club is too nerve racking cause who knows if women or people of color can deliver a big box office hit. This is such bunk.
But there is an obvious minus. Directors who are overwhelmingly of the same sex and ethnicity can hardly be expected to tap all of the cinematic potential in a rich and roiling humanity. Uniformity would seem to shut out potential viewers and revenue. But there is really no way to be sure whether sales would go up or down if the studio directing pool were more diverse.
I really hate the sentence: “there is really no way to be sure whether sales would go up or down if the studio directed pool were more diverse.” That sentence reeks of discrimination. Same shit was said before women got the right to vote. Same shit was said before African Americans got the right to vote. Same shit was said before we had a women Supreme Court justice. Sane shit was said before we got an African American president.
The fact that in this business it’s ok to say you know we are making money now with only white guys who cares about the rest of the people with fresh ideas and vision. Fuck um. Let’s make another movie about a toy.
It’s time this regressive philosophy got an update.
See Any Similarities in These Directors? (NY Times)
Patricia Riggen
Cool piece in Newsweek about women directors gaining prominence in Mexico.
They may live in the shadows of their more famous male countrymates like Guillermo del Toro, Alejandro Iñárritu, and Alfonso Cuarón, but women directors like Eva Aridjis, Mariana Chenillo, Andrea Martinez, Eva Lopez Sanchez, Maria Novaro, Patricia Riggen and Issa Lopez and finally getting some recognition and funding to get their films made.
The reality is that it is really hard to get a film made by a woman in Mexico. Mexico does have government support of the films, yet stats show that only between 2 and 4% of films made in the country are directed by women. Grants last year were made to 20 men and 5 women.
Catherine Bloch who runs the Mexican chapter of Women in Film and TV said to Newsweek:
Women feel that the doors are open, but for some the productions don’t come through.
But hopefully things are changing Patricia Riggen’s 2007 film La Misma Luna grosses $23 million and now she has a Hollywood gig with Columbia Pictures. She feels things have changed in even the short time since she made Luna: “It’s a great moment, our boundaries and borders are more open than ever.”
It’s interesting to note that the movies by the women described in the piece are more gritty and realistic and about life in Mexico whereas most of the film made by the prominent Mexican men and more fantasy and action drive.
Women on the Verge (Newsweek)
Casi Divas tells the story of four very different women vying in a contest to become the next big telenovela star. It is a story infused with dreams of changing your life and desires for celebrity and success but if you think it is all gloss you will miss the real point of the film.
This film manages to do what so many others miss — it manages to tell important stories and be entertaining. Francisca (Maya Zapata) is a poor Indian woman from Oaxaca who deals with race issues in the Mexican culture; Ximena Lizarraga (Ana Layevska) is a rich girl who has remade her body to fit into the culture but is miserable and really, really hungry; Catalina (Diana Garcia) works in the factories of Ciudad Juarez and uses her platform to raise awareness about young girls who continue to go missing in her community; and Yesenia (Daniela Schmidt) is struggling with issues of gender identity.
Film opens tomorrow in San Diego, Miami, NY and LA.
Mexican Writer and Director Issa Lopez answered some questions for Women & Hollywood
Women & Hollywood: Why were you drawn to writing and directing this story?
Issa Lopez: Two things were immediately very interesting to me. First, this global obsession with celebrity that plagues us. As if the simple fact of being on a screen, any screen, could wipe away all of our worries. This need to become public, and being massively recognized, accepted, admired. As if the only true proof of our existence could be through celebrity.
Second, the chance to portray the radically different ways to be a woman in Mexico. The radically different struggles that women face in a maddeningly contrasting nation. And the very different motives that can lay behind this search for the spotlight. From finding love, to survival.
W&H: You manage to make a fun story and infuse it with many important political issues including issues of weight, class, gender and race as well as the important topic of young women who are kidnapped. Why was it important to include these elements and how were you able to keep it light while making sure that people really also thought about important issues?
IL: This was the main challenge in Casi Divas. From the start, the producer of the film, Gabriel Ripstein, and I, realized that if we were going to talk about young women in Mexico, we had to address these huge, vital issues. And in that case, could we bring such serious business to the Mexican middle class, pop consuming culture that goes for Hollywood fare, romantic comedies and telenovelas? Because that is your movie ticket buyer in Mexico. Could we make these things the subject of coffee talk? We had to. Because it is increasingly urgent to bring back the eye of that Mexican and Latino middle class, that decision making group, to look back into these issues. And the one way to do it, was to make it… entertaining. And engaging. And fun. Without taking the finger out of the wound. The way that I describe this movie, is a cake with a blade inside. It was a constant fear, and a very fine line to tread. So we worked carefully together on the script, on the casting, on the general tone to keep this very fine balance between fun and content.
W&H: How did you get started in directing?
IL: I attended film school and directing was my primary passion from the beginning. I had to learn to direct – writing has always been natural to me. But after film school I had to write telenovelas. Very few films were made in Mexico. Slowly and very painfully I squeezed myself into film making, in the beginning as a writer. I was successful as a writer, but I wanted to direct and it was very hard to convince an industry that has accepted and labeled you as a writer, (or as anything, for that matter) that you can be something else. It’s funny that these days it’s quite hard for me to sell a script without committing to direct it, too.
W&H: This is a film done by a studio clearly trying to break into the spanish speaking market. What is the goal for the film in the US?
IL: I think we ended up with a movie that addresses Latino issues but also universal issues. We’ve had very powerful responses from latino and non-latino audiences. Right now, it’s core target is the latino community. But celebrity obsession, media manipulation, women abuse, racism, and above all, women dreaming, can appeal to all audiences, I believe.
W&H: What are you doing next?
IL: I am both writing a comedy for the US, and a comedy for Mexico, with Gabriel Ripstein, with whom I worked on Divas. The one for the US is about men. The one for Mexico, about women. Let’s see which one moves faster!
W&H: What type of advice would you offer a female writer and director in the business?
IL: To be incredibly stubborn. If you are doing this it is because you believe you have something to say. And if that’s the case, stay put until you’ve said it.
Film info: Casi Divas
Sandra Laing and Sophie Okonedo
Interesting story out of England about how director Anthony Fabian is resorting to guerrilla type outreach tactics to raise awareness and get an audience to see his new film Skin starring Oscar nominated actress Sophie Okonedo. The film premiered at Toronto last year and won awards at last winter’s Pan African film festival in LA. Here is my piece from last winter with a link to the trailer.
But it can’t get distribution here in the US and is in very limited distribution in London because as Fabian says, it is a story about black people. I would also venture to guess that because it is about a woman it makes it even harder.
Here’s what he was told:
“I was told by a respectable distributor in Britain that it would not distribute a film with a black cast,” he said. “That appears to be the attitude in the industry. These films are perceived not to make money. So [because we didn't have a major distributor] we did not have any trailers in cinemas, or posters on the underground, or posters on the sides of buses,” he said.
Here’s a description:
It tells the story of Sandra Laing, played by Okonedo, who was born to white parents but was classified as “coloured” during the Apartheid era. The biopic depicts the struggle of her parents – who were white with black ancestry – to have her re-classified in order to provide her with a formal education in a “whites-only” school.
Director Anthony Fabian refuses to allow his film to go away and he has literally taken to the streets, as have other members of the film’s team and a few people from the public, to let people know that the film is playing.
Those of you in London should get out there and support this film. If I was working on the film I would have them reach out to women’s film organizations like The Bird’s Eye Film Festival and Women in Film and TV in London and have them organize their members. I have a sneaking suspicion that if it fails to get any type of audience in London we will never see it here.
An apartheid story no one would screen (The Independent)
Update- In EW fall preview they have Skin opening in the US on October 30.
You can’t but help feel good watching this documentary by Sarah Knight about the blues band Saffire. These are older women who want to make music and have been on the road for years bringing their brand of blues to people all over the country.
Director Sarah Knight answered some questions about the film. You can purchase it here. The film is also availalbe on Amazon and on the band’s website.
Women & Hollywood: What drew you to make this film?
Sarah Knight: My fascination with Saffire-The Uppity Blues Women began in the early ’90s after the release of their second album, “Hot Flash.” They caught my eye because, at that time, they were receiving a great deal of national press including features in “The New York Times” & “People Magazine,” and on “Entertainment Tonight” & CNN’s “Showbiz Today.”
It was their story that first intrigued me -- that of three middle-aged women quitting their jobs and hitting the road to pursue their dreams. Their witty lyrics (in songs like, “I Gotta a Silver Beaver” and “Middle Aged Blues Boogie”) provided a further hook, but it was their stellar musicianship that converted me into a permanent fan. In addition, I was lucky enough to catch one of their electrifying live shows when they performed at the 1997 Seattle Bumbershoot Music & Arts Festival, where one of my short films was being screened.
Some time later I contacted their manager, Bonnie Tallman, only to find their life rights had been under option by another film company for many years. Fortunately for me, nothing was ever realized and the band decided to grant the rights to me when the former option expired in 2006.
The project was originally envisioned as a narrative feature film with actresses playing the three women (a project I am continuing to pursue). But as I went about my research, it occurred to me that, apart from brief TV segments, no one had ever conducted interviews of any real depth with the band. Furthermore, other than some VHS tapings, professional footage of their wonderful concerts did not exist. I wanted to correct that and bring these sassy dynamos to an audience beyond their loyal fan base.
W&H: There is a great message in the film which is it’s never too late to follow your passion. Why are these women such great examples of that?
SK: The notion of changing careers and pursuing new passions in midlife may seem a bit less audacious now than did in the mid-80s when Saffire tried it. Nonetheless, it is still inspiring to watch them realize their ambitions. I think Andra Faye sums it up best in the film when she says, “I always dreamed of being a musician for, you know, to make music my life and living but it just didn’t seem real. That must just be some dream that other people can do.” This is especially true for the arts, which is so often discounted as a viable professional pursuit.
W&H: Explain the title of the film-Hot Flash?
SK: “Hot Flash” is the title of one of Saffire’s most successful early albums. It also reflects their style of putting an empowering, humorous spin on taboo subjects.
W&H: You had to wait several years to get the rights to tell these women’s story. What lessons can you share with other women filmmakers of your experience during that time?
SK: By the time I approached the band, the other company’s option was set to expire within a few months. Even so, it took roughly another year for my contract with Saffire to be fully executed. During that time I was able to attend several concerts and spend time with the band members. The good news was this eventually led to a higher comfort level in the on-camera interviews. So, I would say to always keep track of a project you love, even if it is not available at the time. Options often change hands several times over many years before a project comes to fruition. And, of course, given the glacial pace of indie filmmaking, always have as many projects percolating as possible.
W&H: What do you want people to think about as they learn these women’s stories?
SK: In an age where it is rare to see women past their forties portrayed as sexual beings in the media, I hope the audience can appreciate seeing these women openly embracing their sexuality and other passions well into their sixties. This is real in life, but not often reflected on tv, in film and commercials, etc. But overall, Saffire transcends the issue of gender. As they often say, “We’re more than just feminists, we’re humanists. We are strong women but we like to think of ourselves as strong humans.”
Check out the trailer for the doc:
The Academy of Motion Pictures Arts and Sciences, the folks who bring you the Academy Awards, have elected themselves a new president and not surprisingly, it’s a guy. But I dug a little deeper and the numbers of women in leadership at the Academy is abysmal.
Tom Sherak was elected last night to succeed Sid Ganis as president. The only woman in leadership is Kathleen Kennedy who will be serving as a vice-president.
Only two women have been president of the Academy. They include Bette Davis in 1941 for 2 months; and Fay Kanin from 1979-1983. (They are only allowed to serve a maximum of 4 one year terms.) So really, only one woman has been president since 1927.
Pathetic.
This year there are a couple of women on the board of governors including:
Annette Bening
Martha Coolidge
Lynne Litmann
Dede Allen
Rosemary Brendenberg
So including Kennedy, women have 6 slots out of 43. That’s a woefully pathetic 14%.
No wonder they don’t give a shit about women.
I’ve always been a fan of Army Wives. I know, it’s a bit sappy. But I like it. One reason why is because on ocassion they handle an issue really well.
That happened this past Sunday with a subplot about a young girl and body issues. The overview: Pamela Moran (Brigid Brannagh)the mom is a former cop, talk show host and wife of a Delta Force soldier who is never around. She is basically a single mom. She is also very sports oriented and is the assistant football coach of her son’s team.
Here’s the breakdown of several scenes in the show:
The scene starts with a 10 year old girl (Chloe J. Taylor as Kathleen Eileen “Katie” Moran) looking in the mirror calling herself a fat cow. Her mother on the way to freaking out says she is is a “young lady who is healthy and strong and looks great just the way she is.”
Later in the show Katie asks Pamela if she could get a new outfit for the dance. Mom says no but Katie responds “I want to look hot.” Mom looks panicked. Daughter asks if she can wear heels? No. Makeup. No. Bra? No. “Where is this coming from” she asks?
Peer pressure mom.
Mom: “you don’t need those things to make you look pretty. Pretty comes from the inside.”
Daughter: “That’s what ugly people say to feel better.”
Mom seethes.
Daughter: “You don’t understand because you don’t care how you look.”
Ouch.
Later, Katie gets ready for the dance wearing a short shirt and short skirt.
Mom enters room. “You are not going to the dance looking like that.”
Daughter: “But I look sexy.”
Mom: “And what does sexy mean to you?”
Daughter: “Being popular.”
Mom: “Being popular has nothing to do with being sexy or what you wear…”
Mom in desperation to keep her daughter a girl a little while longer.
“You are smart, creative, funny and someone is kind to others. Who you are, how you treat people that’s what matters. Not that other stuff. Please believe me. I know this is hard but I am telling you the truth.”
Daughter: “So can I wear this to the dance?”
Mom: “Yes, but with a t-shirt over you belly shirt, leggings under your skirt and a ponytail in your hair.”
Busted.
Post-dance scene:
Mom: “How was it? Did you dance? With boys?”
Katie: “Mom, they are so immature all they cared about is who could make the loudest fart noises with their arms. Gross.”
Hard day for mom. Shows usually don’t write things this well. Karen Maser is credited as the writer on the episode. Kudos to Army Wives for dealing with an important issue and not with the same stupid pat answers.
Here’s the link to the episode.
The Toronto Film Festival has added more films including Emily Blunt as Queen Victoria in The Young Victoria as the closing night film. (description from indiewire)
Set between 1836, the year before her ascension, to 1840, the year she married Prince Albert, “The Young Victoria” presents a contrasting image of the woman whose image is widely held as an elderly widow dressed in black. According to a TIFF description, in addition to being a love story and family drama, the film explores the idea of instant celebrity – one minute Victoria is living under virtual house arrest, the next she is the most famous woman in the world.
Here are some other films that focus on women or are women directed: (descriptions from Indiewire)
Cairo Time by Ruba Nadda, Canada/Ireland, World Premiere
Juliette (Patricia Clarkson), a magazine editor, arrives in Cairo to meet her husband Mark (Tom McCamus), a UN official in Gaza. When he is unavoidably delayed, Mark sends his friend and former security officer Tareq (Alexander Siddig) to show her around the city. As she gets used to the customs and rhythm of life in Cairo, Juliette finds herself falling not only for the city’s charms, but for Tareq as well.
Chloe by Atom Egoyan, France/Canada, World Premiere
Catherine (Julianne Moore), a successful doctor, suspects her husband David (Liam Neeson), a handsome music professor, is cheating on her. To lay her suspicions and fears to rest, she hires an irresistible young woman, Chloe (Amanda Seyfried), to test David’s fidelity. Chloe’s torrid tales of her encounters with David lead Catherine on a journey of sexual and sensual re-discovery. But by opening the door to temptation, she puts her family in great danger.
Cooking with Stella by Dilip Mehta, Canada, World Premiere
A warmhearted social satire about a Canadian diplomat (Lisa Ray) and her chef husband Michael (Don McKellar) who are posted to New Delhi. Upon arrival they inherit a household of Indian servants headed by the charming, totally inspiring – and wily – cook, Stella (Seema Biswas). When Stella agrees to become Michael’s cooking guru, to teach him traditional Indian dishes, little does he know that she’s cooking up a scheme of her own.
Agora
Alejandro Amenabar, Spain North American Premiere
In the fourth century, while Egypt was under the Roman Empire, violent religious upheaval in the streets of Alexandria spills over into the city’s famous library. Trapped inside its walls, the brilliant astronomer Hypatia (Rachel Weisz) and her disciples fight to save the wisdom of the ancient world. Among the group are the two men competing for Hypatia’s heart: the witty, privileged Orestes and Davus, Hypatia’s young slave, who is torn between his secret love for her and the freedom he knows can be his if he chooses to join the unstoppable surge of the Christians.
Love and Other Impossible Pursuits
Don Roos, USA World Premiere
Emilia Woolf (Natalie Portman) is a Harvard law school graduate and a newlywed, having just married Jack, her high-powered New York lawyer boss (Scott Cohen). Her life takes an unexpected turn when the couple loses their newborn daughter. Emilia struggles through her grief to connect with her precocious new stepson William (Charlie Tahan), overcome a rift in her relationship with her father caused by his infidelity, and cope with the constant interferences of Jack’s angry, jealous ex-wife (Lisa Kudrow). An adaptation of an Ayelet Waldman novel, this tearful and terrific tale by writer-director Don Roos proves that even with a pursuit like love, nothing is impossible.
Mother and Child
Rodrigo Garcia, USA World Premiere
This moving drama follows the story of three women (Annette Bening, Naomi Watts and Kerry Washington) and the power of the unbreakable bond between mother and child. From writer-director Rodrigo Garcia (Nine Lives), executive producer Alejandro Gonzalez Inarritu (Babel) and producers Lisa Falcone and Julie Lynn, the film also stars Samuel L. Jackson, Jimmy Smits, Shareeka Epps, Cherry Jones and S. Epatha Merkerson.
The Waiting City
Claire McCarthy, Australia World Premiere
An outwardly happy Australian couple (Radha Mitchell, Joel Edgerton) journey to Kolkata, India to collect their adopted baby, but on arrival finds that the arrangements at the agency have yet to be finalized. They have no option but to wait in this place that, to them, is chaotic and foreign. But as the intoxicating mystic powers of the Indian city pull them each in separate and unexpected directions, the vulnerability of their marriage begins to reveal itself.
and for the YUCK factor (please tell me why women are drawn to make films about misogynist creeps.)
Hugh Hefner: Playboy, Activist and Rebel by Brigitte Berman, Canada, World Premiere
An intimate look at the outspoken, flamboyant founder of the Playboy empire. With humour and insight, the film captures Hefner’s fierce battles with the government, the religious right and militant feminists. Rare footage and compelling interviews with a remarkable who’s who of 20th Century American pop culture, present a brilliant and entertaining snapshot of the life of an extraordinary man and the controversies that surrounded him.
It’s too bad the Meryl Streep’s movies don’t come with action figures or a McDonald’s tie-in…because the woman has the midas touch way beyond the box office.
Here’s some other things that can be attributed to the Streep effect:
- The bump in Greek marriages the month after the release of Mamma Mia (flights were up 13%),
- Increase in cookware sales, cookbooks, and French cooking classes since Julie & Julia.
- Sales of Abba albums soared after Mamma Mia
- The books My Life in France and Julie & Julia are on the NY Times best selling list
- Tourism in Kenya increased after Out of Africa was released in the 80s
- Mrs. Dalloway by Virginia Woolf made it to the best seller list for the first time after the release of The Hours.
I just love the fact that we are talking about a 60 year old woman with ancillary economic power. Remember boomer women have money and time and LOVE Meryl Streep. If she continues to pick films that are diverse and interesting and continues to show us all how she is enjoying her work and her life she will be successful.
The Streep effect: Why economists love her (The Independent)
Saving Grace is ending its run after after only three seasons. Honestly, I am surprised. From what I read, TNT still wanted the show but its production company FOX TV studios declined the pickup based on money.
Strange. Canceling a show with an Emmy Nominated lead actress — Holly Hunter and decent ratings (3.5 million per episode). From the Variety article it seems that the show hasn’t done well in overseas sales and because of the short amount of episodes per season good syndication sales were not in the cards.
I’m wondering why it didn’t do so well overseas. Was it the bawdiness of Hunter’s character? The midwestern feel? The religious overtones?
Here’s what the head of TNT programming Michael Wright said:
It’s been a fantastic beacon for the network which has both challenged and entertained viewers in ways few other shows on television ever dare…
Seems like there has to be more to this story. You don’t just cancel shows that the network loves and supports. Usually the network is the one to cancel the show.
Saving Grace to Wrap Next Summer (Yahoo)
TNT Cancels Grace (Variety)
I have to preface my thoughts on this film by saying that my eyes exploded in a huge allergic reaction during the second half of the film. Weirdly, even though I could barely see I liked the second half better but for a epic type romance there was something vital missing from the film- passion.
I am a huge fan of Rachel McAdams and like Eric Bana, but as a real lover of the book, I found the chemistry between McAdams and Bana sorely lacking. Granted this must not have been an easy book to adapt. It is the story of a guy with a gene anomaly which causes him to time travel regularly in different intervals. He shows up and meets Clare (McAdams) when she was a little girl and she of course, falls in love with him and waits for him until he enters her life at the right time for them to be together. Complicated, I know. But it really, really works in the ok and don’t take my word for it, it’s sold million of copies. I could be very forgiving if I would have felt some of the heat that McAdams had for Ryan Gosling in The Notebook but there was none of that here.
I think this film will have a hard time especially because it is opening so close to Julie & Julia and that has great word of mouth.
Rachel McAdams is an actress of great potential. I don’t think that any of the roles she has played have showcased her talent enough. I believe she has some great roles in her. Sadly, this is not one of them. But on a positive note there is nothing offensive in this film like a recent romantic comedy which will not be named, so if you are looking for something light…you might enjoy it.
PS- the two friends that I saw the movie with liked it much more than I did. One had read the book and one had not.
Family Guy creator Seth MacFarlane is clearly trying to gin up some talk to get his show some heat as the Emmys approach (the show is nominated for best comedy) so he held a public table read for the now infamous abortion episode. The episode will not air on FOX, but will be included in the DVD of the season.
Here are some clips from the table read which took place at the Academy of Arts and Sciences with an audience and an orchestra. Very different from a normal table read. For what it’s worth they actually use the word abortion in the script which doesn’t EVER get said on TV.
The premise of the episode is the Lois agrees to be a surrogate for a friend and her husband and then the couple dies in a car crash. She then has to decide what to do about the fetus.
‘Family Guy’ Channels Controversy Onstage (Washington Post)
Elisabeth Moss as Peggy Olson
Last week the Wall Street Journal published a piece The Women Behind Mad Men hailing basically hailing the show as being dominated by women writers.
I’m a big fan of Mad Men and am looking forward to the new season starting this Sunday. But, one of the things I have learned since I started writing this site is to play close attention to titles because they mean a lot in Hollywood. So while I give props to Matthew Weiner the creator, showrunner and dominant writer and voice on the show for hiring women (cause there are shows out there that don’t have any women writers like Conan O’Brien and David Letterman), it is important to keep straight the roles these women play in the Hollywood writer food chain.
(We all know it is very bad out there for women writers in Hollywood. Look at my piece from earlier this week. Women make up about a quarter of all writers in Hollywood.)
Everyone knows this show is all about Matthew Weiner. It’s his baby. He first pitched it to HBO since he worked on The Sopranos and they passed. (I am sure they are kicking themselves now.) So it went to AMC and it was that network’s first original series and it put them on the map.
While on the big screen the writer gets the credit for actually writing the script, TV is very different. What all writers and producers on TV want is to get their names on an episode. That becomes their calling card and enables them to use it for their next gig.
In TV the most important writing job is executive producer. Here’s the rest of the hierachy: co-executive producer; supervising producer; consulting producer; producer, co-producer, associate producer, executive story editor, story editor, and staff writer.
So let’s look at the women featured in the story and their titles:
Lisa Albert – Supervising producer
Marti Noxon – Consulting Producer
Maria Jacquemetton- Consulting Producer
Dahvi Waller- Co-Producer
Robin Veith- Executive Story Edior
Cathryn Humphris- Executive Story Editor
Kater Gordon- Staff Writer
There are no women executive producers or co-executive producers on Mad Men. Those are the top jobs. For example on Grey’s Anatomy aside from Shonda Rhimes the creator and Betsy Beers the non writing executive producer, there is another female c0-executive producer (Krista Vernoff) and a female co-executive producer (Joan Rater.) Granted, Grey’s is a network show and has more writers and money.
I’m still not sold on Mad Men being a bastion a women’s influence. I never felt that while watching the show. Even though the article says 7 out of 9 writers are women (the list I have has 5 male writers but one might be a non-writing executive producer and 8 women), Weiner writes a lot and gets writing credit on most episodes of this show. In season 1 he has a writing credit on 7 out of 13 episodes. The women have writing credits in season 1 are: Maria Jacquemetton (3 episodes), Bridget Bedard, Lisa Albert and Robin Veith.
In season 2 he has a credit on 10 out of 13 episodes. The women with writing credits in season 2 are: Lisa Albert (2 episodes), Maria Jacquemetton (3 episodes), Robin Veith (3 episodes), Jane Anderson, Marti Noxon, Kater Gordon. Robin Veith is the only woman who has a singular writing credit on an episode.
So as we go into season 3 I will be looking at the writing credits and hoping that these women have an influence onscreen, but if the story is to be believed and women are leading the way in the writing of the show they should have the appropriate credits on the episodes and in their job titles.
When I went to graduate school way back in the dark ages I remember that we needed to read the best plays of the 1920s, 1930s, 1940s etc before we started classes. I remember distinctly that there were very few plays written by women in those books and actually also remember saying something about it on my first day.
While I haven’t kept track of the recent editions to the best plays series, I got a release for the best plays of 2008-2009 and was happy to read that half the plays included are by women.
Here is the list:
Becky Shaw by Gina Gionfriddo
Blasted by Sarah Kane
God of Carnage by Yasmina Reza
The Good Negro by Tracey Scott Wilson
Ruined by Lynn Nottage
The plays were picked by editor Jeffrey Eric Jenkins after consulting with an editorial board consisting of the following individuals: Misha Berson, Christine Dolen, Sylviane Gold, Robert Hurwitt, John Istel, Chris Jones, Charles McNulty, Julius Novick, Christopher Rawson, Alisa Solomon, Jeffrey Sweet, Anne Marie Welsh, Linda Winer and Charles Wright. Robert Brustein is consulting editor to the series.
The book is available in stores and on-line. The introduction can be downloaded from here.
The NYFF released the lineup for its 47th edition earlier this week. Of the 29 films listed on its main slate only 4 (actually 3 and a half) are directed by women. Unacceptable. The list of women directed and women centric films is below.
The dates of the festival are September 25-October 11.
Women Directed (All summaries form the NYFF site)
Bluebeard / La Barbe Bleue
Catherine Breillat, France, 2009, 78m
Two sisters reading Charles Perrault’s 17th century tale of perhaps the first “serial killer” becomes a meditation on the enduring fascination with a character who has served as inspiration for countless novels, plays and films.
Everyone Else / Alle Anderen
Maren Ade, Germany, 2009, 119m
The ups and downs, joys and jealousies, frustrations and fulfillments of a young couple on a summer holiday provides the premise for this brilliant meditation on modern coupling.
Sweetgrass
Ilisa Barbash, Lucien Castaing-Taylor, USA, 2009, 105m
This breathtaking chronicle follows an ever-surprising group of modern-day cowboys as they lead an enormous herd of sheep up and then down the slopes of the Beartooth Mountains in Montana on their way to market.
White Material
Claire Denis, France, 2009, 100m
A handful of Europeans try to make sense of-and survive-the chaos happening all around them in an African country torn apart by civil war.
About Women
CENTERPIECE
Precious: Based on the Novel Push by Sapphire
Lee Daniels, USA, 2009; 109m
Precious is sixteen and living a miserable life. But she uses all the emotional energy she possesses to turn her life around. Director Lee Daniel’s audacious tale features unforgettable performances by Mo’Nique, Mariah Carey and newcomer Gabourey Sidibe. A Lionsgate release.
Hadewijch
Bruno Dumont, France, 2009, 105m
A young woman searches for an absolute experience of faith-and in the process grows increasingly distant from the world around her.
Mother/ Maedo
Bong Joon-ho, South Korea, 2009, 128m
Convinced that her son has been wrongly accused of murder, a widow throws herself body and soul into proving his innocence. Kim Hye-ja in the title role gives perhaps the performance of the year.
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