A Quote by Michael Lehmann
I've made movies that are real boy movies - but I've had so much fun over the years working with women and getting good performances with women and with strong female characters.
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Internationally and in foreign markets, movies starring women don't make as much money as movies starring men. And then you can blame filmmakers, especially in comedy, which is my bread and butter, because it's become a bit of a boys' club over the years. With the boys in charge you get these takes on women which are either the girlfriend or the mean wife or the girl who appears in a romantic comedy. You're just getting either men's fantasies about women or what they think is the reality about women instead of men just having a healthy attitude about women.
I like strong women. Strong women characters have always existed in the movies of directors such as K. Balachander and Mani Ratnam.
I've done movies that have mostly feminine characters and elements, and I think that both 'Heathers' and 'Truth About Cats and Dogs' are, in their own weird ways - they're different ends of the girl movie spectrum, but they're very much centered around the female characters, and I like those movies, and I like working with good actresses.
One of our jobs is to keep women working, which we do by keeping women coming to the movies. And doing that means making good, smart, often funny movies that women can identify with-with terrific dialogue we all remember and cherish, and stories that illuminate our lives and decisions and turning points.
Here are examples of real women who have done real things: good, bad, and in between. We're expanding not just the definition of the female or feminine hero, but also villains and more complex, nuanced female characters. Too often I hear men say, "I don't know how to write women." Here you go, here are five incredible women you can use to inspire your own stories.
We need more female directors, we also need men to step up and identify with female characters and stories about women. We don't want to create a ghetto where women have to do movies about women. To assume stories about women need to be told by a woman isn't necessarily true, just as stories about men don't need a male director.
There aren't enough good roles for strong women. I wish we had more female writers. Most of the female characters you see in films today are the 'poor heartbroken girl.'
I'm just hoping that as I get older, and as more and more movies get made by female directors, what we start to see is how, in the same way good male directors get a shot at creating interesting male and female characters, women do as well.
When it comes to writing characters, whether men or women, I think a good writer writes good characters. I know many men who, for years, have written strong, progressive women characters.
I wanted to do serious movies. I had a certain idea of what good acting was. That's since changed, and I love doing comedies now. I don't like a lot of those movies now, but I thought those were movies that I could do real, serious performances in.
Economics drive the creative, and for a long time, movies about men were just considered 'movies,' whereas movies about women were considered niche and only appealing to women. This is to an extent still true, and what it does is represent movies about women as less profitable.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
Apparently, six women claim that Arnold Schwarzenegger groped them while working on his movies. Hats off to these women who admit they worked on Arnold's movies.
'That's What She Said' is not Hollywood's standard picture of women: preternaturally gorgeous, wedding obsessed, boy crazy, fashion focused, sexed up 'girl' women. These are real women, comically portrayed, who are trying to wrestle with the very expectations of womanhood that Hollywood movies set up.
You can point to a lot of women showrunners that have had long and successful careers. In terms of the kinds of movies that women can get made, as long as the business operates under this model of the first-weekend [box office] focus, with huge movies aimed at super-young audiences, it will be really tough for women to do something that really changes the landscape. Because honestly, until they figure out how to get grown women into the theaters on the first weekend, it won't change.
It's sad that women characters have lost so much ground in popular movies. Didn't 'Thelma and Louise' prove that women want to see women doing things on film? Thelma and Louise were in a classic car; they were being chased by cops; they shot up a truck - and women loved it.
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