A Quote by Chris Pratt
The American audience has really opened up to women being A.) funny and B.) kinda crude. 'Bridesmaids' is R-rated, and I think it was a major coup for women to have an R-rated comedy that did really well. Same as 'Bad Teacher.'
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'Bridesmaids,' I think, opened up a door to allow women to show a bunch of different women in different ways of being funny. It was kind of like an arrival moment.
I think women have always been funny. But when Tina Fey became head writer at 'Saturday Night Live,' the culture shifted, and women gained a bigger voice in comedy. It's not as if Hollywood producers are feminists. It's more that Hollywood said, ''Bridesmaids' made us so much money, all we want now is funny women.'
With female-oriented movies, unless it's something like 'Bridesmaids' or a romantic comedy, you've got to really worry about your opening weekend. And I'm always telling stories about women, not younger women, and it's just a much tougher audience to get to the movie theater.
I think 'Mean Girls' was a kind of significant movie. It was a very successful comedy, and it was also before 'Bridesmaids,' and it really launched some of today's biggest women in comedy.
The letters I really love are from young actresses who were worried they had to fit a certain look. They say I've opened it up. And I don't just mean plus-size girls. You can push things now. With all the great performances in 'Bridesmaids', it changed how people see funny women.
Really good comedic roles for women are far and between, with the exception of 'Bridesmaids,' where everyone said it broke down so many doors for women - and it did. I would like to do something like that. I think it would be really great!
I'm one of those people who likes a good G-rated movie. So many of my favorite movies are G-rated. I think it's exciting to see a director really push the limits of how exciting a story can be told without ever crossing the G-rating line.
I don't want comedy to be Bridesmaids 2. I'm not denigrating Bridesmaids but, enough already, let's stop pretending women are incalculably different to us. Seeking out podcasts, listening on headphones, it's like an intimate, specific conversation. People respond if it feels from the heart. I'm as neurotic a human being as lives, and I have my faults. I'm a drunk. But people really like that.
I think we're in a really interesting moment for women globally just in terms of, like, historically, I think we're in an interesting moment for women. Because, it's important to remember, there have always been funny, funny women. Mae West was real funny. Marilyn Monroe was in one of the greatest comedies, Some Like It Hot, ever made. I mean, it's not like we're lacking. I just think the percentage of women in positions of power in all aspects of our culture is improving and women are standing up and demanding to be heard.
Comedy in the past hasn't spoken to women because it wasn't written by women, and male writers don't make women three-dimensional characters. Too often, women just facilitate the man's comedy: they're not crazy; they're not funny. But women are as vulgar as they are elegant, as stinky as they are smelling of eau de parfum.
There aren't really any 'American' grandmasters that are higher rated than me.
What's special with 'Corrie' is that they have the comedy element, women are funny as well - they might do the emotional stuff, they might do the drama, but they're really funny too.
Hot Fuzz in a strange way, for me, summons up the spirit of watching R-rated films that I was too young to watch. I was 14, 13 maybe, when Robocop came out. Seeing Robocop at my brother's friend's house, and not really supposed to be watching it, because it was [rated] 18 and I was 13. That mind-blowing experience, because not only is it a great film, but it feels illicit.
I think I'm always inspired by really, really funny, amazing women, but I'm also inspired by really funny, amazing men. I think there's more of a feminist voice, like with Amy Schumer being out right now, whom I adore.
In early 2005, I really studied the prospectuses of these mortgage pools that were tranched out into different-rated slices rated by agencies like S&P and Moody's. They had names like Park Place and People's Choice. It was clear to me that many of the buyers of these repackaged subprime mortgages were doing little analysis.
I grew up in a time when women didn't really do comedy. You had to be homely, overweight, an old maid, all that. You had to play a stereotype, because very attractive women were not supposed to be funny - because it's powerful; it's a threat.
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