Well, the whole big world has a lot of little girls in it, too. And not all of them are princesses — and the ones who are princesses have plenty of movies to watch.
And even many of them who do aspire to be princesses are mixing their princess tendencies with all manner of other delicious things. Their tiaras fall off when they skin their knees running at top speed; they get fingerpaint on their pink dresses; they chip their front teeth chasing each other in plastic high-heeled shoes.
— Linda Holmes, from her open letter to Pixar
What she said. Go read Linda Holmes’ entire “Dear Pixar” letter on the NPR website. Then come on back and let’s chat.
I’ve talked before about how much I want to write great roles for women, especially those of us who never see stories on screen in which people like us — over 40, not runway models or heiresses or sad lonely spinsters waiting for the right man, but simply smart, competent, interesting women — are the heroes. And in those stories, we won’t be heroes because we are tigress-mommies or loyal resolute spouses who suddenly kick ass to save our families. We’ll be heroes because we are human beings in a situation where heroism is required, and so we step up.
Why is that seemingly so hard for so many writers, producers, directors, and studio executives to imagine? Especially when we have a few shining examples of how much it rocks when a movie gets it right: Ripley in Alien, Sarah Connor in Terminator, Susan Sarandon and Geena Davis in Thelma and Louise, Geena Davis in The Long Kiss Goodnight (okay, she was a tigress-mommy too, but first she was an assassin, so she was by god no cliche).
And a hero is not only someone with killer biceps who leaves no bad guy standing. The hero is the person at the center of the story who must overcome challenges, face their deepest fears, lose their most precious things or people or dreams, strive and fail and still keep on going. Is it really true, as so many industry insiders seem to think, that men can only identify with those experiences if another man is having them? I am inside the hero all the time regardless of whether I’m watching Tom Cruise or Sarah Michelle Gellar. Does having a Y chromosome really restrict that kind of identification?
I don’t believe that. I think if a woman on screen is a compelling, non-cliched human being having big experiences, struggling with big feelings, making big choices, then any of us can identify with her.
This is a big screen issue for me. Television is a veritable paradise of Strong Women Characters in comparison to films. Buffy, Faith, Anya, Willow, Tara, Xena, Gabrielle, Callisto, Zoe, River, Kaylee, Sookie, Tara Thornton, Tara Gregson, Debra Morgan, the list goes on. All different, all with strengths and flaws and their own particular voice, and their own fabulous stories — complex and deeply human and universal.
So why can’t we do it big?
Well, let’s just imagine that we can. What would you like to see women characters doing on the big screen? I’d love to hear your wish list!
This is something I think about a lot (btw Geena Davis in “The Long Kiss Goodnight” is one of my favourite action heroines, among the others you list). There is a campaign going on in England at the moment in theatre circles to get more roles for women, particularly older women. A European-wide survey of actors proved there was a terrible paucity of roles for women over the age of 40.
This movement is getting some traction, and I can see signs of a definite response to the campaign. We need more women producers, directors, actors, crew, and playwrights/screenwriters. We need roles that aren’t just about hookers or mothers.
It’s hilarious, really. All evidence indicates that women make most of the economic decisions in households, plus they consume nearly every form of entertainment in equal or larger amounts than men (this is definitely the case in regards to books and movies). Yet, they are not considered a viable market by Hollywood! Last year everyone was all surprised that “Sex and the City” and “Mama Mia” did so well – women want to see themselves represented. If they can’t get decent material, they’ll go for what’s available.
I write screenplays, as well as prose, and I’m seeing a difficulty with stories that are female-centric. There is no obvious bias, and often they’re praised, but they don’t sell as well. In fact, I can already observe that if I only wrote stories (prose and screenplays) with male characters in action plots I would probably elevate my chances considerably of seeing these projects come to fruition.
What I really want to see are roles for girls in which they have career aspirations, and in which there is no boyfriend subplot. Women always seem to have to have men in their life (okay, so I’m not saying get rid of men entirely, but the centre of gravity in films needs to shift away from a woman not being a woman unless there is some male romantic interest, or a child, to verify that she’s a socially-acceptable female). I want to see art/philosophy films for women. I want women – and gay people, and people of colour – to have the diversity of roles that white men get.
I want more action films for women – but Hollywood is deathly afraid of this. It often markets such films badly, or more often, write a really shit film and then when it bombs uses that as evidence that “audiences don’t like action heroines.”
Nobody likes implausible, shallow stories populated by paper-thin characters (the execrable Cat Woman being the all-time recent low).
I want diverse, intelligent films, with characters that resonate as real. That shouldn’t be so difficult. If they can do this for men, they should be able to do it for women!
Maura, here’s something you might find interesting. It’s a good summary by Melissa Silverstein of Women & Hollywood of a recent study of women in American theatre, with some compelling (depressing, enraging) statistics.
Thanks Kelley. I’d read about Sands’s survey, but hadn’t seen this analysis of it. I cannot tell you how infuriating I find this information.
The part that slays me is the profitability issue: Broadway is showing an utter lack of sense about the matter.
I can kind of see the logic that women are harder on women because they know the business is just tougher for women, but that’s a vicious circle. If we don’t have faith in each other then why should we expect men to have faith in us?
I work for the Irish Playwrights and Screenwriters Guild as a blogger/newsletter editor/web wrangler. We did a survey of the industry last year, and showed, quite clearly, that in Ireland if a woman manages to get her film script into development she has a 50% less chance than a man of seeing it made. I felt like someone kicked me in the stomach when I heard that.
Sure, I knew that there was bias in the industry, but it was the first time it was underlined to me, starkly, that my gender (over which I have no control) was a barrier to my career. And there are few men with whom you can have a conversation about this before they starting getting wild-eyed because they feel like they’re being accused of something. And who wants to be labelled as the “angry woman”. So often we have to choke on our frustration and speak in bullshit terms because we don’t want to antagonise or alienate men (i.e. those in control of the system)!
What I’m really sick of seeing of seeing movies about is the Daddy issue. Sons who are after vengeance/etc. because it’s about their father. The standard template for superhero movies.
Just have your opening scene in which a father is killed (Star Trek), and we are expected to row behind the hero’s actions for the rest of the film. If you swap the roles: say Uhura’s mother is killed while Uhura is being born the concept changes utterly. Why? Because a woman can’t be a Captain *and* be delivering a child. Uhura would have to be an infant for it to work – and that changes the dramatic nature of the opening scene.
It’s absurd to me that technology would allow for faster than light speed and yet not have artificial womb technology… or it is? What’s more useful? Perhaps it’s an accurate reflection of society’s priorities. (Gah, I’ll stop now. I enjoyed ST as a fun spectacle, but it didn’t bear up to out-of-the-moment analysis.)
To be positive, here’s an article about a change that has come about because of the campaign in England to get more roles for women:
http://thestage.co.uk/news/newsstory.php/24740/mosse-inspired-by-stage-campaign-to-write
I observed to a friend of mine that most writers require champions of their work in order to succeed. I’ve seen it happen again and again – with men. Men are very good at helping one another. Women… I’m not convinced. I think men might be better champions of women if you can get them to take off the blinders and notice your work. Women are always holding each other up to higher standards. What’s that about?
Paradise Road a brilliantly cast movie with Glenn Close, Frances McDormand, Pauline Collins, Cate Blanchett, and Julianna Marguilies (among others). I consider this one of the most heroic movies ever . . . set during WWII. Loosely based on a true story.
I really liked it and when the credits were rolling at the end I remember thinking “if this had been a male cast it would have been a block-buster”. Instead, I don’t think I’ve ever talked with someone else who’d seen it.
Anger and frustration don’t begin to scratch the surface of the feelings I have about this issue. Generations of repression.
I recall watching Thelma and Louise with my mother. When Louise shot the rapist my mother, in the most vitriolic tone I’d ever heard, said : “Good.” There is a hunger in women of all ages and backgrounds to be shown as we are – fully capable in every way.
Not to hijack your blog or anything Kelley, but just to mention some more pieces in relation to this subject. There’s an interesting letter in response to the Salon article about the story. I think that’s a great insight about the fact that women often don’t project confidence about their work in the same forthright way as men. Plus, it highlights the huge importance of networking.
Also, I wanted to mention the Alcyone Festival 09, which is going on in Chicago at the moment. It’s an inspiring line-up of drama written by women (there’s also one science fiction piece in the group).
Finally, check out the last study (from 2002) on women’s participation in theatre. Some of it makes very familiar reading.
I belong to a local (Twin Cities) women’s film professional networking group, Women in Film and Television, which is part of a national network of similar groups. They host regular educational events, many of them aimed at teaching women the “hustling” skills normal filmmaking and screenwriting classes/ workshops don’t really focus on, and developing that confidence. They’ve covered things like branding yourself in the industry as well as the technical side, like getting a chance to handle expensive lighting and sound equipment, cranes, etc.
It seems like their positive but also realistic attitude, a chance to practice things like pitching and networking in a supportive environment, and the ties that develop between members, really make a difference for many members, many of whom are early in their education and careers. (They’ve involved local teens in events as well, showing their work and advertising their screenings. We have a couple good programs for girls to work in TV and make short films.) Things aren’t great in Hollywood, but for young women just starting out, there are a lot more resources than there used to be to learn how to deal with that fact and do what it takes to build a career.
Hi everyone,
Maura, no worries, this is all very interesting.
I’ve got a bunch of Things To Do right now but will respond for real as soon as I can to all the comments.
Yes, yes, and yes! I cried when I saw A League of Their Own, because it was the first time I’d seen a movie like that with women. And when I watched Xena for the first time, holy cow. We need MORE. I’ve got a two year goddaughter and I want so desperately for her to have models that are interesting and inspiring and not about shutting up and making babies.
On the kids front, several of the Barbie movies are actually surprising. Since the Barbie toys are so poorly handled I wasn’t expecting too much from the movies but several of them have impressed me.
In the Princess and the Pauper, one of the girls get proposed to at the end by the Prince but decides to follow her dream to travel and sing instead. Fairytopia has a prince who is interested in the main Fairy character but defeats the villain (also female) herself and they don’t get married in the end.
The others are more in the meet the prince and get married vein but the lead woman handles many of the problems on her own.
On the adult front, what does everyone think of Oliver Stone’s Heaven and Earth? I thought that was a really powerful female-centered story.
Maura, I’ve been through all the links now. Great information, thank you very much indeed.
Carrie, I’ve been investigating Women and Film here in Seattle. So far, I haven’t seen anything like what you’re describing in terms of marketing/pitching skills training or technical stuff, although I’m probably just not looking hard enough. It’s a tough call for me — I’m also looking into the Northwest Screenwriters Guild, and both organizations are expensive to join. NWSG offers regular events with film peeps, private pitch meetings, yadda yadda…. and is more tempting in the purely professional sense. But we’ll see. At some point soon, I need to attend both groups as a guest and see what they feel like.
Cat, thanks for reminding me about A League of Their Own. You’re right — it was a first for me too.
I am really proud that my screenplay has two great roles for women. There’s a boyfriend too, because, well, it’s Hollywood. And he’s a sweet guy (grin). And the men’s roles are as 3D and non-stupid-about-women as I can make them. And we have smart women on the production team and a fabulous woman attached to direct, who is just as interested as I am in putting strong women characters on the screen.
John, I haven’t seen Heaven and Earth. To be honest, it’s probably not a movie that I ever will see. I think it’s important to tell women’s stories, absolutely, and I am also personally very tired of stories of the abuse, rape, brutalization, alienation, and othering of women. I get that it happens, you know? I don’t need yet another lesson in it. That’s my personal stance: everyone else’s mileage may/will vary hugely.
Interesting about the Barbie movies! What did the Prince say when she turned him down?
Maura, I also meant to respond to your comment (#3) about champions. The champion of my film is my producer, who is a man, and who has been tireless about building a team of people to get behind a female-driven SF thriller. He’s also been increasingly sensitized to the gender bullshit that gets thrown around in Hollywood. We’ve had conversations about The Bechdel Rule, the different rules for men and women on screen and behind the camera, the difference between “likeable” (I know, don’t get me started) and “undistinguishable from a doormat,” etc.
Sometimes he really doesn’t get it. But he understands that it’s a part of the bigger picture, and so he always listens. The more people I talk to about their experiences in the business, the more I realize my good fortune in this regard.
I’ve just attended the Galway Film Fleadh, which is one of the important dates in the Irish film industry’s calendar. I’ve been talking to a lot of screenwriters, men and women, and it’s tough at the moment for everyone. However, I am seeing again and again that writers need champions to succeed. Be it a producer, agent, or a more senior filmmaker.
And they probably need to be male. This is not just because there are more men in position of power, but because male voices are heard better, and taken more seriously, than female voices in this industry.
I’m delighted that you have such a person helping you in your career, Kelley. Men need to not only observe the power imbalance, they also need to do something about it. Thankfully, there are some of them out there doing just that.
Here’s a new story today on NPR about the work of women directors appearing at the box office this year.
We need to get to the point where women don’t have to scrabble for financing under every rock, and by calling in every favour. Women’s work is just not trusted. That won’t change until we have a more visible representation on every level, and have a stronger body of successful work.
Unfortunately, it’s also a terrible pressure for women to bear in the industry: to feel that if their films fail they are making it harder for other women to get their work greenlit.
Still thinking about all this, especially now that I’m working on a new screenplay. It’s a spec script to show to agents etc., and I know that one of my obstacles even before I write “FADE IN:” is that it’s a script about a woman and a teenage girl, written by a woman (and just wait until they find out I’m on the other side of 40), that’s not a rom-com or a hard-but-heartwarming family story or Juno. A harder sell. I should have learned my lesson from the current project, which everyone who reads loves, but is a harder sell because it’s a science fiction thriller with a female lead, a woman writer, a woman director… If a man had written it, I’m guessing many people would be praising his genius understanding of women characters and lining up to get him to write more of that “real woman” stuff. But perhaps I’m just being cynical today.
And I shouldn’t be entirely cycnical. I have people in the business that like the work I’ve done so far, and (I think) have mostly liked the experience of working with me — I can get a bit Oh, look, shiny! during revisions and run off in directions that people didn’t ask for, which occasionally annoys the shit out of them, which I understand completely. But I’m hopeful some of them will help me.
Those first steps — getting some relationships, some grounding, someone in one’s corner, the first assignment, a film on the screen — are so daunting. I don’t know if visual artists and photographers and sculptors and dancers need champions, but I’m convinced that they are essential to the success of many authors and screenwriters and directors.
Thanks for the link to the NPR story. I heard it on the radio as well, and sent it to my producer.