A Quote by Gillian Armstrong
When I was a young filmmaker starting out, I was really snobby about all the affirmative action for women filmmakers because I felt it should be about your talent, and I made a film that won awards, and people wanted me.
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Roger Ebert was such a champion of underrepresented filmmakers. He was a very big deal to me. It shows the power of critics. People who write about film, like you, can really affect the confidence of a young filmmaker. He did that for me, so it was such a pleasure to have an opportunity to talk about Roger in the movie.
For me, whether or not a film has some kind of massive budget or is an independent film, or however it's getting made, it's always about the filmmaker and, hopefully, being a vessel for the filmmaker's vision. That's what really attracts me to projects.
Affirmative action was designed originally for "women and other minorities" but the phrase has become just another tortured euphemism. Female conscientiousness and eagerness to please have always made women good students and natural test takers. Jews have gloried in scholarship throughout the ages, and Asians of both sexes score so high on SATs and IQ tests that they regard affirmative action as an impediment. Affirmative action really means favoritism for blacks for the sake of racial peace, but the favor is pure chimera, and so, increasingly, is the peace.
Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.
Alejandro Amenábar is a very interesting filmmaker. I had really liked The Others, which was a movie he made with Nicole Kidman a few years ago. He made a very compelling case about how much he wanted me to be in this movie. Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
When industry people see something different they don't know what to do with it, so filmmakers who make films about women, they kind of fall through the cracks. If a woman filmmaker makes film about war, like [Kathryn] Bigelow, they say "Okay, this is a war film, it has ninety percent men in it, we know what to do with it." But then she still gets attacked for not doing it properly. [...] But even though it bothers me I don't want to dwell on the sex and gender thing.
I was always the tallest girl in my class, and it made me have really bad posture because I wanted to seem shorter than I really was. It really reflected how I felt about myself. I spent most of my youth in school feeling really insecure about the way I looked because I was different.
Affirmative action has been generally cast in terms of race. I think women themselves are not as cognizant of the role affirmative action has played in opening the doors for women.
I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.
Since a very young age, my mother made sure to tell me about the plight of women... As she raised my awareness about women's issues, she also made sure to ingrain in me the importance of being strong and independent and not to let anybody define me by their images of what women should be.
I got very self-conscious about the way I look. So I, especially with young people coming into the industry and young actors, I feel it's really terrible to start with their looks. Right? Because especially for women, it just puts you in your head at a time when you should really be focused on your work and what you're saying and doing and not how you look.
When I call myself an affirmative action baby, I'm talking about the essence of what affirmative action was when it started.
I think that we need more economic-based solutions to the problems afflicting the Black community, and I think that that's a way to redefine affirmative action. I grew up with poor white people in West Virginia, and I know there's a culture of poverty. I know that I've seen white people perform exactly the same pathological forms of behavior as Black people do when they're systematically deprived, whether it's getting pregnant, doing drugs, dropping out of school, whatever we're talking about. I think that we should have affirmative action for poor white people too.
When I started I did not know I wanted to be a filmmaker. I started - I made a film. Then when I finished I said, Oh my god it's so beautiful - I should be a filmmaker!
Affirmative action is not going to be the long-term solution to the problems of race in America, because, frankly, if you've got 50 percent of African-American or Latino kids dropping out of high school, it doesn't really matter what you do in terms of affirmative action. Those kids aren't going to college.
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