A Quote by Lynda Obst
The lack of women directors is a sad fact of life. Kathryn Bigelows thrilling Best Director win may help turn things around.
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I like working with directors because I'm really opinionated about what things work and may not work, what audiences like and may not like, (not really) but I do have opinions about things. I like to be able to say them and then have them acted on. The director who responds to me like that, always gets my appreciation. I do appreciate it. What I find is the best directors, no matter what kind of name they have, are like that.
When we say there's a dearth of women directors, it's not that there's a lack of women who direct: it's a lack of opportunities and access for women to direct and be supported in that.
I feel that more women should turn directors as they are more sensitive and emotional than men - that's a crucial factor in being a good director.
I love the idea of coming into a struggling franchise and seeing if I can help them win. First off, I hate to lose. At anything. Secondly, who doesn't want to be the guy to help turn something around?
You develop relationships with people, and suddenly a family of actors and crew that you became so close to are now not around anymore. I'm not too sad about it because I got to move on to something else, but it's sad the way these things turn out.
I don't really consider myself a female director, and I don't want to do so for other women. Female directors are just directors.
I feel that directors at times are like the janitors on the set. I am the secretary, I am the organizer, I am the maid, and I ask if they have eaten or rested. The best things are always out of your control. It's those moments that surpass the imagination that are thrilling.
At the snowy summit of all these things, however, is the fact that you simply cannot go about locking your siblings in towers when they misbehave. It is unseemly and betrays a sad lack of creativity.
To win Best Director at Sundance was beyond anything I could have imagined for myself. It's still an incredible feeling to know I won. But as happy as I am about winning, I also know many other women of color have directed amazing films over the years that were equally deserving and didn't win.
Most directors, I discovered, need to be convinced that the screenplay they're going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'—because you look at a list of directors, it's all boys. It certainly was when I started as a screenwriter. So I thought, 'I'm just gonna become a director and that'll make it easier.'
My teammates and I are best known for our penalty kick victory against China to win the 1999 Women's World Cup. But a lot of people don't realize that when we were first playing soccer on the Women's National Team, the Women's World Cup didn't exist. In fact, Women's Soccer wasn't even in the Olympics.
I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
It's sad to me we can't be in a place where we can acknowledge we're all doing our best and respect the decisions other women make and even offer to help out.
I felt a great sense of indebtedness and responsibility to use the help that other people had given me to in turn help others and to use the opportunities that I had had in my life to really turn that around and to make an impact and to carry forth some of the issues that I believe are important to the future of our society.
You have to understand that people feel threatened by a writer. It's very curious. He knows something they don't know. He knows how to write, and that's a subtle, disturbing quality he has. Some directors without even knowing it, resent the writer in the same way Bob Hope might resent the fact he ain't funny without twelve guys writing the jokes. The director knows the script he is carrying around on the set every day was written by someone, and that's just not something that all directors easily digest.
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