A Quote by Jill Soloway
I've been playing with this idea in my mind that the hero's journey that we're all taught as screenwriters may resonate more specifically for male protagonists and maybe even male viewers.
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The film industry is driven by male narrative. Heads of studios are often men, teeming with male executives everywhere you look, and so the narratives we have the screenwriters usually for male leads. Women tend to be second string: the girlfriend of, the secretary who becomes.
I have often been asked why I am so fond of playing male parts. As a matter of fact, it is not male parts, but male brains that I prefer.
I was taught from a young age that as a teacher, especially a male, you are to never be alone with a female, or even a male student.
The bonding of women that is woman-loving, or Gyn/affection, is very different from male bonding. Male bonding has been the glue of male dominance. It has been based upon recognition of the difference men see between themselves and women, and is a form of the behaviour, masculinity, that creates and maintains male power… Male comradeship/bonding depends upon energy drained from women.
It would be ridiculous to talk of male and female atmospheres, male and female springs or rains, male and female sunshine....How much more ridiculous is it in relation to mind, to soul, to thought, where there is as undeniably no such thing as sex.
It's rare to see women in a film who are not somehow validated by a male or discussing a male or heartbroken by a male,or end up being happy because of a male. It's interesting to think about, and it's very true.
Las Vegas does have its fair share of males in the business. But the male sex trade is often more underground. There are escort services that specify in gay prostitution, although it may not be advertised for the public, but if you are a male calling for a male, or female calling for a female, you will get what you ask for as long as the money is right.
The human race sees with one eye, the male eye; hears with one ear, the male ear; and thinks with one half the human mind, the male mind. And the decisions we are making show we are not bringing to the agendas, and the questions and the problems of the world, all the resources of the world to solve them.
As a guy develops and practices his masculinity, he is accompanied by an invisible male chorus of all the other guys, who hiss orcheer as he attempts to approximate the masculine ideal, who push him to sacrifice more of his humanity for the sake of his masculinity, and who ridicule him when he holds back. The chorus is made up of all the guy's comrades and rivals, his buddies and bosses, his male ancestors and his male cultural heroes--and above all, his father, who may have been a real person in his life, or may have existed only as the myth of the man who got away.
I identify myself with the male gaze, I grew up with the male gaze, I've been excited by the male gaze. I'm a product of that culture.
As far as I've been alive, women have always been more or less the symbol of sexuality rather than the male. We don't see the naked male body, as the symbol of sex.
In Hollywood, an Angelina Jolie is paid a fee that is probably at par with her male colleagues, but we can't expect the same here in India. Universally, films have meatier roles for men. Most films are about male protagonists and their histrionics on screen; women are signed up for song sequences and to up the glam quotient.
It's predominantly a male society, predominately a male culture, predominantly a male theatre, and predominantly male critics, but that's changing, definitely.
My protagonists, male and female, are me.
I think there's always a way to bring something, even if it is just the girlfriend role, as long as you're playing it with an idea of who that person is on their own, away from the male character.
Visionary idealism is a male art form. The lesbian aesthete does not exist. But if there were one, she would have learned from the perverse male mind.
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