A Quote by Reed Morano
There are obviously issues in our industry. That starts at the top with studio execs who - not just men - don't believe a woman could handle a huge franchise or big action movie.
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I'd love to be some sort of villain in a big-budget action movie. Or a superhero franchise. That'd be rad.
I think everyone respects Rock. He's obviously been in our industry his entire life in some form or fashion. He's a guy that works really hard, and most of our performers can appreciate that one way or another, whether it's in the movie industry or our industry.
I wholeheartedly believe that we can't organize just as women. There has to be specific messaging and an issue prioritization based on identity groups. Because when you ask a black woman what her top priority issues are versus a white woman versus a Muslim woman versus an undocumented woman, you're going to get... different answers.
If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.
I took a complete year off the road, but a big part of that year was making 'The Big Revival.' I needed that down time just so I could concentrate. The one thing that starts it all for us is the music. That's what you create in the studio. That's where the magic happens.
I'm such an action movie junkie that as an action fan, because action scenes are so heightened, we could never really picture ourselves in that scene. So when you're watching an action movie, you experience an action movie more outside of the aquarium: you know you're out of the aquarium looking in at all the swimming fish that are in there.
One of my first films was Zebrahead. I remember the producer asking me, "Can you handle the big lights?" And I thought, Do I want to be sarcastic, or do I want the job? So I said, "I don't handle the big lights, I just tell big men where to put the big lights and they do it."
I liked 'Robocop' because of the director, and it was an intelligent, big-action studio movie.
With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.
What I wanted to do was put a woman of color, front and center, in my movie combining a lot of themes that were relevant to both men and women. I actively wanted her to carry the weight of this movie because I'm a woman. And I actively wanted to explore many of the issues that affected her as a woman of color. That was very important to me. And although these issues affect some women of color, I don't think they're only of interest to women of color. They're of universal interest.
I think these are such different films that it's hard to compare, because with Quentin we were all just like, it was like a party every day, you know, it was like that film was just like silly, it was just really for fun, it was really, it wasn't, you know, to make a huge impact. I t was just we wanted to have fun and go to work every day and do a fun movie. And this is like huge, I mean, this is like huge studio film, there's a ton of action, it's like really hard work.
I always wanted to make big action movies as a kid, and that was my dream. In a way, 'Swingers' was the thing I suffered through the most doing because of all that dialog, so I could eventually be allowed to do a big dumb action movie, honestly.
Medicine really matured me as a person because, as a physician, you're obviously dealing with life and death issues, issues much more serious than what we're talking about in entertainment. You can't get more serious than life and death. And if you can handle that, you can handle anything.
When we wrapped Resident Evil, we were a 3D movie, but it was no big deal. And then, Avatar came out and the whole of Hollywood was like, "Look at these grosses! 3D is huge. Let's all be 3D!" We just got on with doing what we were doing, which was making what we think is a really quality, kick-ass 3D movie, and we'll really be the first live-action 3D movie of the year.
Graphic novels and comic books offer an easy foothold into that world, and screenwriters and studio execs gravitate toward those, because I think they can see it all right there. It's like, "Here's what the movie looks like."
I grew up loving X-Men, Spider-Man and Batman. Those are obviously the key big ones, but there's always something kind of cool about Aquaman still, the idea of creating a huge world that is on our planet.
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