A Quote by Gus Van Sant
If it were up to the executives, they probably wouldn't have directors at all.
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During the years I was on the board of directors of the National Organization for Women in New York City, the most resistant audiences I ever faced in the process of doing corporate workshops on equality in the workplace were not male executives - they were the wives of male executives. As long as her income came from her husband, she was not feeling generous when affirmative action let another woman have a head start vying for her husband's (her) income.
The greatest thing about having done 'Orange' are the doors that have opened for me, and people have been able to see me, like the executives and the casting directors - also, all of the fantastic directors and writers for independent films.
I wrote 'Thelma & Louise' in 1988, and we shot it in 1990. Everyone kept saying, 'This is so groundbreaking... this is going to change the landscape,' but I don't see that result at all. When we saw some female studio executives, we were hopeful that more women would be hired as directors, but that didn't really seem to happen.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.
What I learned was it does not matter how much support you have in the boardroom, from the directors, the executives: you have to get results, and you have to win.
I think a lot of people have a vision of L.A. in which TV executives and movie directors plan their latest productions by the swimming pool.
How will I become Meryl Streep if I can't even get in the door with Jennifer Lawrence for the same role? I think that it starts with casting directors and executives and studio heads opening up their minds, and really putting an effort into being trans inclusive in their projects, whether they're trans-specific or not.
Directors don't get to see other directors at work - they're the only one on the set. I've met directors who've asked me what another filmmaker is like. So, there's probably nobody better placed to make all the comparisons and to pick up stuff than an actor.
Much of the work legal executives do has to be supervised by a solicitor, irrespective of the experience or ability of the individual. In practice, this is a major disincentive to legal executives setting up their own high street practices. Even when they can do the work, they are still tied to solicitors.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
I want to work with great directors. I've picked films based on the script or the character and seen them collapse because the directors were not strong visionaries.
I certainly hope that we will get more women in power, when it comes to executives and producers and directors, because the problem is not a shortage of females who are qualified to do the job. It's just that women are not favoured or chosen.
Businessmen... were not born chief executives. They were often people first.
The role of a board of directors is to be a sounding board for the vision of the company - to hold executives accountable in executing that vision and to ensure a management succession plan is in place.
In animation, the directors are part of a huge team of animators who all have opinions, too. It's a much more democratic process. Also, the animation executives oversee things more.
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