More thoughts on the Peter Bart Comments

This whole post comes from reader Carol Morrison-

"Although this relates to areas other than the film industry, the point is valid -- until the ranks of leadership in every industry reflect the diversity of the country (and especially the diversity of college and professional grads), there is something other than meritocracy defining who gets the top jobs.

The question is, are the underprivileged unconsciously colluding with the privileged in buying into their formulas for success? Big house, fancy car, etc., in other words, employing the same toys to designate power? Do powerful women need to create their own power symbols and offer a different perspective on how power can express itself?"

This is from the Columbia Journal on Gender and Law (2007)

The statistics are sobering. In the United States, women are a majority of the electorate but hold only a quarter of upper-level state governmental positions and sixteen percent of congressional seats. (2) More than half of college graduates but less than a quarter of full professors and a fifth of college presidents are female. (3) In management, women account for about a third of M.B.A. classes, but only two percent of Fortune 500 CEOs, six percent of top earners, eight percent of top leadership positions, and sixteen percent of board directors and corporate officers. (4) In law, women constitute about half of new entrants to the profession, but less than a fifth of law firm partners and Fortune 500 general counsels, and less than a third of federal judges and law school deans. (5) The gap widens for women of color, who account for only about four percent of congressional legislators, three percent of full professors, and one to two percent of corporate officers, top earners, law firm partners, and general counsels. (6) The leadership pipeline plainly leaks; women are lost at every stage.

"Change begins with protest but expands by taking initiatives to create change.

Another point to add -- Why don't women create their own list of the top women in Hollywood and put up their own list of criteria for being at the top. Maybe begin by holding a debate among women leaders themselves as to what criteria should be used?

As long as women surrender to men the power to anoint them with recognition, they reinforce men's stature as the judges of, and power-givers to, women."

Awesome piece Carol- how about it- should we create our own list?

Deals and News

• Artistic License Films has acquired theatrical rights to director Pamela Tanner Boll's documentary "Who Does She Think She Is?" The film looks at the "mothering-versus-working choice" faced particularly by American women artists. (IndieWire)

• Balcony Releasing has announced its acquisition of the U.S. distribution of Abigail Disney and Gini Reticker's doc "Pray The Devil Back To Hell." The film, which was awarded Best Documentary Feature at the 2008 Tribeca Film Festival, tells the story of a small band of Liberian women who came together in the midst of a horrific civil war and successfully (and peacefully) took on the Charles Taylor regime. This Fork Films produced the film in association with Wide Angle 13/WNET. Balcony will release the film this fall. (Indiewire)

• Kimberly Johnson, writer of Benderspink's upcoming woman-in-peril screenplay "Curve," is set to pen another female-led thriller for Capacity Pictures. (HR)

• Hilary Swank's production company has picked up the rights to the best-seller "French Women Don't Get Fat," and the actress is eyeing the project as a potential starring vehicle. (HR)

• Natalie Portman's directorial debut will open the Venice International Film Festival's short-film sidebar. Portman's 17-minute "Eve," which Venice organizers called "a civilized comedy," stars Lauren Bacall and Ben Gazzara. It will screen in an out-of-competition slot. (HR)

• Mimi Leder will direct "Remember Their Names," a film about a young merchant marine's tour of duty in WWII alongside Woody Guthrie. (Variety)

• Sarah Jessica Parker's art competition reality show has found a home at Bravo. The show is a "Project Runway"-style competition series that takes on the art world. Aspiring artists compete to produce various styles of artwork (painting, sculpting, etc.), which is then judged by a panel of experts. (HR)
  

US Magazine is Crack

My subscription to US magazine just ran out and I am not renewing it. I made that decision for a variety of reasons but mostly because I don't want to encourage the paparazzi fueled world we live in where stars are made based on your underwear (or lack of underwear).

But I miss it. Oh boy do I miss it. I know it will get easier after I go through the withdrawal and stop thinking of having it. But this is tough. Tougher than I thought it would be.

Today I caught myself swiping a magazine from my local muffin joint (I will return it) just so I could get a fix. A couple of days ago at the gym I saw an issue lying on the ground and almost pounced on it (glad no one else went for it before me cause they would have been hurt.)

Wanting to read this crap so badly makes me feel like an idiot. Why am I so addicted? And why is it women that are more into it than guys?

Well, I guess I just answered my own question. Crap is the stuff we covet that's bad for us. So US magazine has joined yodels on the growing list of crap I have given up.

One point for me.

Hollywood Feminist of the Day: Christina Applegate

I know that breast cancer is all the rage, but for all the talk and races and charities it is still rare for people -- especially those in Hollywood -- to talk about the disease and how it effects them personally. It's even rarer to see a young woman's face on this disease.

Christina Applegate has put a face to this disease in a very powerful way. She has been so brave in talking about her double mastectomy (at 36) and her positive test for the breast cancer gene and her family's struggle with this disease since her mother's diagnosis.

While many women get fake boobs in Hollywood this is one woman who got fake boobs to save her life instead of trying to get a job. She's impressed me.

Christina Applegate cancer free after double mastectomy (Reuters)
photo: Chris Hatcher/ PR Photos

A Woman Breaks Into the Boys Club

Rachel Maddow is awesome. She is not the typical female TV commentator. Firstly, she's not blonde, secondly she's a dyke, and thirdly she's a lefty. She's also so frickin smart (a Rhodes scholar), interesting, and most important of all doesn't sound exactly like every other TV pundit.

She filled in for Keith Olbermann on MSNBC this summer and was great. Now they are recognizing her talent and popularity and she's getting her own show on MSNBC starting on September 8.

It's a whole new world now. Rachel Maddow at 9 and the AC 360 at 10. What a great political season it will be.

Check out Rebecca Traister's profile of Maddow from earlier this summer.

Brain Needs Some Rest

Taking a break. Sporadic blogging for the next couple of weeks.

Hope you understand.

Melissa

Another One Bites the Dust

Paula Wagner partial co-owner (with Tom Cruise) and CEO of UA is leaving the studio. She will reportedly be returning to producing and will no longer be partnered with Tom Cruise who also recently left his long time agent Rick Nicita who happens to be Paula's husband.

Here's Wagner's statement.

"I’ve truly relished working with my longtime partner Tom Cruise to revitalize United Artists, and I am proud of all that we’ve accomplished in the past two years, reinvigorating the brand and developing such a strong slate of films," she said. "But I always tell my sons, ‘Follow your passion’ — and I’ve got to follow that advice myself. As much as I’ve enjoyed my time as an executive, I have longed to return to my true love, which is making movies, so that’s what I’ve decided to do. I still believe in our vision for UA, and I am confident that Harry Sloan and our colleagues at MGM will see that vision through to reality."

Here's the reporting on the issue

Paula Wagner leaves UA (Variety)
Paula Wagner departs United Artists studio (Hollywood Reporter via Reuters)

Judd Apatow's Enabler -- Shauna Robertson

Am I surprised that there is a woman on Judd Apatow's team who has produced most of his successful comedies? No. Those guys clearly need someone who can get shit done cause they seem totally stoned the whole time. She's a "guys girl", cute and seeming non-confrontational. (We all know those women and girls)

Shauna Robertson seems to be the perfect enabler for Judd Apatow's juvenile comedy team. She takes care of all the details as illuminated in Rachel Abramowitz' recent LA Times piece. (BTW Abramowitz doesn't do her any favors with her condescending tone describing her as "tiny and looking 12.")

Here's how Judd describes her value:

"She is the rare woman who always wants to take the joke farther than any man wants to go. All nudity in my films is a result of Shauna pushing me and calling me a wimp. If it wasn't for her I would be making 'Bratz 2.'"

I think that Judd would do great making Bratz 2.

Her thoughts on whether Knocked Up was sexist. (Why bother asking her the question, she works with Apatow.)

"I don't share that opinion. I feel like we have very strong women in our movies."

Has she seen any of these movies?

But it's this last quote that troubles me the most and illustrates why we need to continue to push for more women directors. (If I were a female producer I would give her smack down about she has completely demeaned the role of the producer.)

Robertson appears relatively ego-free about what she does except to say that it's essentially an extension of how she started out, as a director's assistant. The title has changed; the function has not. "I always do the same job. I don't always remember what the credit is."

It's great, now every director's assistant can dream of being a producer of misogynistic comedies.

Hollywood Feminist of the Day: Scarlett Johansson

Scarlett Johansson has criticised Hollywood's treatment of older women.

The 23-year-old actress and singer said that the movie industry was harder on women than men.

Johansson told Hello! magazine: "Women kind of wilt as men sort of achieve as they get older, like wine or whatever. It's like, 'Oh, she's past her prime and she can't play a sex symbol'."

The Girl With A Pearl Earring star, who is engaged to Canadian actor Ryan Reynolds, 31, added: "It's just a preconceived notion about women in general and particularly in this industry. It's a very vain, vain industry."

via The Press Association

Penelope Cruz and the Old White Jewish Guys

Penelope Cruz is a dynamic, exciting young actress. She's got fire in her, probably because she is not a cookie cutter American actress. But I must note with disdain that her two most recent films are written or based on material by narcissistic old white Jewish guys.

The first, Elegy, intrigued me because it is directed by the Spanish director Isabelle Coixet. It stars Ben Kingsley as a professor who loses it when he meets a young woman played by Cruz. But, as I read more about the film, I discovered that it was based on The Dying Animal a novel by Phillip Roth, and if I saw the film I would have to break one of my basic tenents -- I don't do Phillip Roth. I tried years ago but just couldn't do it. My ban on Roth was further confirmed when I read actress Claire Bloom's account of her marriage to him and it made me sick.

Penelope also stars in the new Woody Allen's Vicky Cristina Barcelona which is about two women obsessed with the same man (not Allen, thank goodness) and then to make it more titilating to the guys Woody throws a third woman into the mix. Sounds like a guy's fantasy -- not that I would expect any less from Woody Allen. Since Allen is basically a has been he threw in a girl on girl kiss between Scarlett Johansson and Penelope Cruz which is enough to get the film some buzz.

Woody is another one on my banned list since way back when he screwed Mia (and her daughter). I'm too young to revere Allen for his 1970s movies. I like Annie Hall (and I still can't believe WTF Diane Keaton saw in him) and Hannah and Her Sisters, but the fact that Woody Allen gets the money to make his narcissistic films each year makes my blood boil. Aren't they are all about the same thing?

Give me a break.

Even the Young Guys Get it

Why Can't the Hollywood Suits?

Quote from filmmaker Benh Zeitlin (via Spout Blog) who was named on of Filmmaker Magazine's 25 New Faces of Indie Film.

Female characters in general have to be the most gaping disparity between life and cinema. Women are amazing, how come not in movies? I’m mean, look around you, women are friends with each other, I can count the number of believable female friendships I’ve seen on screen on one hand, and I’m not talking about that hackneyed faux-feminist Thelma and Louise shit. Minnie and Moskowitz has a great friendship, Days of Heaven has one, Rosie and Madonna in A League of their Own totally make it happen, Fucking Amal by Moodyson has one, and then I draw a blank.

I think the easiest way to make a good film is just to write three dimensional women, you’ll already be way ahead of 98% of movies these days. And it’s not just talking about art films, 10 or 15 years ago, in big movies you had great women, Die Hard, great, Point Break, Aliens, and its not like these ladies are such brilliantly rounded figures, but they at least have some spunk, some personality, a sense of humor, and a degree of humanity to them, unlike the cardboard cut outs they’re serving up today. Even in the better blockbusters, Spiderman, Pirates of the Caribbean, these women are total nonsense, even if you’re just going to write a damsel in distress to motivate your dude hero, you got to give him something to fight for with a little personality.

Love the quote but totally disagree with his thoughts on Thelma and Louise.

Peter Bart - Misogynist in Chief

I guess I should be thanking Peter Bart for his short-sighted, sexist, petty, pathetic editorial exposing a supposedly dirty secret about women in Hollywood - that they are competitive for jobs and recognition.

So thank you Peter Bart for illuminating the misogyny in Hollywood that women feel and sense but isn't always laid out in such clear fashion. I'm sure he thought it was cute making fun of the women who have fought their way to power, but what he has succeeded in doing is pissing women off. It might have taken a week (this is August after all) but in the last two days Bart's editorial has been ping ponging around town and hopefully the anger will create a call to action.

Here are some of his "brilliant" thoughts (my thoughts not indented):

Publications love to publish lists of power women, to be sure, not because publishers necessarily admire women but because women's lists spout money -- big money.

And here's the other dirty little secret about them: There is more competition -- ferocious competition -- among women to gain placement on these power lists than for any other feature in Variety. I'm talking petulant phone calls, veiled pleas (and threats) from male bosses, bottles of expensive wine -- and yes, yelling and screaming.

So it's not the men not the women making the threats -- shocker!

Sure, there's also some nudging and elbowing for placement on male power lists, but it's nothing compared to the women's issues.

Why do these women's lists generate so much "heat"? Here's one theory:

The "glass ceiling" preventing women from attaining top jobs has all but vanished -- especially in the media and entertainment business.

Can the editor in chief of Variety really believe that the glass ceiling has all but vanished when all the top decision makers except Amy Pascal at Sony are men? Doesn't he know who runs the studios?

As a result, the competitiveness of women has now surpassed that of their masculine counterparts. The guys these days have suddenly awakened to their "sensitive," huggy side. The women are keenly aware that they can compete with the guys, and win. And, by god, they're going for it.

The upshot: It's rough out there. And the prepping of the lists reflects it.

"You've got to include X on your power list," the esteemed chief of one top talent agency told me. "She's deserving. And if she's not included, she'll cut my balls off."

How can you ignore that urgent a request?

"I'm the one who made this network tick," urged one woman programmer. "What criteria are you using if I'm not on that list?"

Of course, lists are always dicey in the criteria department. Variety's list is intended to recognize women who have had a significant impact on the business during the past year. Forbes, to be sure, has it easier: They just add up the bucks. (J.K. Rowling had the biggest stash thanks to the "Potter" factory.)

Madelyn Hammond, Variety's chief marketing officer, who has presided over myriad women's events, both agrees and disagrees with these theories.

"Women are attaining more power these days, but the achievements of women over 40 still tend to be taken for granted. They become invisible. That's why a little recognition goes a long way."

Maybe she's right. We all suffer our moments of invisibility, male or female. Come to think of it, I haven't been on a power list lately.

It's hysterical that Bart is put in his place by his own own chief marketing officer clarifying for him the realities of women. I think he should be embarrassed. Here's my advice to Peter -- shut up and write about something you know, cause clearly you have no clue what's going on with women.

Dr. Martha Lauzen (the one who started the chain of sending this around) wrote a response that says it so much better than I ever could.

Letter to the Editor:

In last week's column (Variety, Aug 4-10) , Peter Bart described the "ferocious competition" among women seeking to gain a place on Variety's annual list of female power players. The column included a quotation from an unnamed talent agency chief who claimed that if his female client were not included on the list, she'd "cut (his) balls off." Hmmm, powerful women as cat fighting, castrating shrews. Not an original stereotype but certainly one with staying power.

Mr. Bart's characterization belies a worldview that categorizes ambitious women as overly competitive and puts women in a classic double bind. These observations smack of sexism just as those who criticize Barack Obama for his confidence and arrogance reek of racism. ... A woman willing and able to compete in a highly competitive business is a ballbuster, whereas a man exhibiting similar behavior is simply playing the game. It's a double standard, clear and simple. If women don't express an interest in being on the list, they don't gain the recognition they likely deserve. If they do lobby for a position as one of the most powerful women, they're ballbusters. Luckily, the women who occupy powerful positions aren't naïve enough to be cowed by this type of name-calling.

In addition, Mr. Bart surmised that the reason women have become more competitive is that the glass ceiling that once prevented them from attaining top positions has "vanished -- especially in the media and entertainment business." Sadly, this reasoning is simply inconsistent with reality. Do women hold high-profile positions in television and film? Absolutely. Is there any evidence that women have shattered the glass ceiling by achieving employment parity with their male counterparts? Not a shred.

Let's consider the facts. Only one woman, Amy Pascal, currently serves as chairman of a major film studio. Two women hold the position of president of entertainment at the broadcast networks, Dawn Ostroff at the CW and Nina Tassler at CBS. ...According to the latest Boxed In study, women comprised only 22% of executive producers working on primetime television programs airing on the broadcast networks during the 2007-08 season. According to the latest Celluloid Ceiling study, women comprised a scant 6% of directors working on the top 250 domestic grossing films of 2007.

Perhaps a more accurate explanation for women's competitiveness regarding inclusion on the power list is that they know the glass ceiling remains firmly in place -- especially in the media and entertainment industries. I suspect that the women Mr. Bart hears from recognize that the Hollywood myth-making machinery continues to lionize the careers of men who direct and produce films or reside in executive suites at the studios and networks. Positive press helps enable men who perform at even average levels to get booted up the corporate ladder or get their next directing deal. In contrast, when women perform well they are considered somewhat unattractive exceptions in a world still dominated by men.

In the business of show, the visibility-creating apparatus of power lists -- and even talkshows focusing on the film industry ("Shootout," for example) --can be integral to one's success. If women contact Variety regarding inclusion on the power list, they simply recognize the importance of being seen in a business that rewards such recognition.

-- Dr. Martha M. Lauzen, executive director, Center for the Study of Women in Television and Film, School of Theatre, Television and Film, San Diego State U.

Hollywood Feminist of the Day: Jessica Alba

This comes off of a Jessica Alba fan site, the Jessica Alba Story but looks real. Can't tell where the quotes are from though.

“I’m not competitive with them (actresses). I root for all of them because we definitely don’t have equality with men in this business,” Jessica said. “There are a lot more men making a lot more money and headlining movies than women, and the more of us who can come up and do that the better. I want my friends to produce, direct, act, write, all of it. I think being competitive defeats the whole female movement. I want to be encouraging to my girlfriends. Totally,” she added.

photo: Chris Hatcher/ PR Photos

Interview with Gina Ravera of The Closer and ER

Gina Ravera is an anomaly in Hollywood today, a woman of color who stars in not one, but two hit TV series -- ER and The Closer. Her film credits, among many others, include The Great Debators opposite Denzel Washington, director George Tillman’s award-winning Soul Food, Kiss The Girls with Morgan Freeman and Ashley Judd, Spike Lee’s Get On The Bus and Paul Verhoeven’s cult classic Showgirls. She also is the founder of Project Reina, which educates young African American and Latina girls about HIV/AIDS prevention.

Women & Hollywood: Most actresses have trouble getting one job on a TV series and you have two. How is that possible?

Gina Ravera: Both shows are done by Warner Brothers. It's a real blessing to have two jobs. The character I play on ER (Bettina DeJesus) is a lot closer to me. She's a lot of fun. The development of Detective Daniels on The Closer has been fascinating. Her character didn't really exist in the pilot. She's been evolving as the years go on.

W&H: I think it's fascinating that Daniels is the only other woman on the squad except for Deputy Chief Brenda Lee Johnson (played by Kyra Sedgwick).

GR: People wonder why there isn't more solidarity between Daniels and Brenda and the truth from the writer's perspective is that it is difficult for a woman in any industry, especially something as male dominated as the LAPD to be seen as an equal to men. The women have to prove that they are not going to come together just because they are women. It's not that the women aren't threatened, but if you align yourself with a woman in a male dominated profession, the men are suspicious. They want to be perceived as a legitimate cops, as tough and as strong as their male counterparts.

W&H: The first couple of seasons of The Closer were spent trying to get the men of the squad to trust Brenda as their leader. Now that trust has been established the show is moving into a whole new area where personal lives are revealed, especially with your character who happens to be dating a person on the squad.

GR: Having a relationship at work is sticky. If it doesn't work out how do you come back and not have that color how effective you are. That was Brenda's main concern about Daniels and Sgt. Gabriel (Corey Reynolds). The relationship has been pretty quiet onscreen but in the episode that aired last week all of Brenda's fears came to pass. This season is about power, the loss of power, the acquisition of power and also about finding out how little power one has.

W&H: One of the things I've noticed is how few women of color we see in positions of power and as characters on TV shows and here you are you playing a detective and a doctor.

GR: I was talking to a friend of mine and said (whatever your politics are) I look forward to seeing the Condoleeza Rices on TV. I hope that she exists in Hollywood. I want to see the Michelle Obamas in Hollywood because until this day we have yet to see her. I think those images are important because not every young kid reads the paper, but seeing that it is a possibility is of the utmost importance. I think that it is from fiction that we learn to dream, and if we don't have images in fiction that we aspire to be then we're robbed. It's sad when fiction fails to embrace reality. I too look forward to seeing those images of women in power. I feel so fortunate to be able to play a doctor and a detective - there are so many powerful women of color. I hope to see Hollywood embrace real women and characters.

W&H: Can you give a hint about what's going to happen to Betttina this season on ER?

GR: The power of love is mighty. Bettina rejected Pratt (Mekhi Phifer) through so much for their relationship because he didn't stand up. He didn't come to her in the way that she needed which was to really cherish and adore her. She demanded that because she felt she deserved nothing less and she gets that.

W&H: Any last thoughts?

GR: It is absolutely our responsibility to create more opportunities for ourselves and we only get that by tuning in and by speaking up.

The Closer airs Monday nights on TNT. ER returns for its final season this fall on NBC.

Women & Hollywood Featured in USA TODAY

USA Today has several great stories featuring women's power in film. The first, Hollywood's power women shed light on movies this summer, talks about the successes of Sex and the City and Mamma Mia and what that could mean for the future.

For these two pictures, having female talent calling at least some of the shots made all the difference.

"It absolutely matters who's behind the scenes," says Martha Lauzen, executive director of the Center for the Study of Women in Television and Film at San Diego State University. "When you have at least one woman in a position of power, such as an executive producer or director, you not only get more female characters, but more dimensional and powerful female characters."

If Sex and the City and Mamma Mia! have proved anything, it's that it makes no difference to the bottom line if most men decide to steer clear. Women did it all by themselves.

And if female moviegoers want more of the same, they will have to continue to take a break from their busy routines and buy a ticket again.

"Go see a movie about women on the opening weekend, that is what matters to Hollywood," says Melissa Silverstein, who blogs on the Women & Hollywood site and contributes to the Huffington Post. "We need to build our economic power and prove we're a market."

Cash, at least, doesn't have a gender bias.

"The only thing that makes anyone pay attention is money," says Diane English, the creator of TV's Murphy Brown whose update of the 1939 Joan Crawford-Norma Shear classic The Women arrives Sept. 12.

"Anyone who thinks otherwise shouldn't be in this business. Young men under 25 keep seeing comic-book and slasher films, and that's why Hollywood makes them. If women want to change things, they can't wait for the DVD."

Ok, how cool is it that they have my quote and then Diane English's quote. Could I be any more psyched? It's true that we have to build a market but the only way we can build the market is that if there are quality movies out there for us to see.

Women won't go see a piece a shit movie like a 25-year-old boy, its just not going to happen, so the quality of films and the marketing of these films is key. Hollywood really needs to figure out how to market to women. They spend so much money on research but can't figure out how to get our butts in the seats except for the biggest, most high profile films. I think that even the smaller films could find an audience if Hollywood cared enough to market to us properly. Their marketing kind of reminds me of not too long ago when all medical testing was done on men and then all the findings were extrapolated to include women. Women are not just smaller men, we are different. Why is that so hard to understand?

Fashioning a future for women in Hollywood
These ladies got the moves at the box office

Interview with Allison and Tiffany Anders co-creators of Don't Knock the Rock Film and Music Festival

Indie film director Allison Anders (Gas, Food, Lodging) and her daughter musician Tiffany Anders co-created and co-curate the Don't Knock the Rock Film and Music Festival in LA. The festival continues through this month.

Women & Hollywood: Why did you start the Don't Knock the Rock Film and Music Festival and how long has it been in existence?

Allison Anders: This is our 4th year! I had created a class at UCSB where I teach one quarter a year called "Don't Knock The Rock" which was a history of rock n roll told through movies. I enjoyed teaching it so much, that I wanted to create a festival. I had also been inspired by a short-lived festival like this in Sheffield England back in 1999, when I was an honored guest there. They screened several of my music based movies and I had the best time, cause I was surrounded by music films, which – when they're good, for me there's nothing better!

But I wanted to add a live music element to our festival, so I asked Tiffany who was about to move back to LA from living in New York, if she'd be into curating the music for the festival. So we have been doing it that way ever since – I curate the films, she puts together the music line-ups. The very first year her LINE-UPS were reviewed, beautifully I might add – I had never seen line-ups reviewed!

Tiffany always has her ear to the ground for new music, and she is a master at predicting who will take off. She also has great love and rich knowledge of often more obscure artists who are on the verge of re-discovery.

We work together pairing the movies with live music (and DJs!). We have very similar sensibilities, and we don't shy away from stuff that may seem too marginal – cause somehow between the two of us we know how to reach the people who are avid fans of some obscure artist and get them out to see a movie about them!

We moved this year to our new home The Silent Movie Theater and it's a partnership made in movie and music nerd heaven!

W&H: What films and bands are you most proud of from this year?

AA: Well of course, we are thrilled with ALL of our films and bands! But we have been pretty stunned by how many films this year were directed or co-directed by women! Over HALF – that's quite a record! Last month we screened an incredible film by Ava DuVernay, our very first hip hop movie called "This Is The Life", and the week before that a film by Pamela Valente called Rock 'N' Tokyo about the punk and rockabilly scene in Japan.

Tiffany Anders: I have been very pleased with every performance we've had this year.One of my happy moments was 2 years ago when I received an email from Gary Wilson who said he had read about DKTR and was interested in it and that he currently had a film being made about him and that he would love to be involved. I didn't miss a beat and asked if he would like to "cover" (and I certainly knew Gary Wilson would not deliver a straight version) of a Daniel Johnston song to play after the dvd release party of " The Devil and Daniel Johnston". He agreed and since then we kept in touch. It was great to have him come back with the completed film and play live, and needless to say the audience was just as ecstatic as I was.

W&H: What's coming up that you want people to know about?

AA: Yesterday, we had 2 Punk Rock Premieres – one about the Chicago punk scene (You Weren't There) and one about the Dallas Fort Worth scene (DFW PUNK) – one directed by a woman and one co-directed by a woman. These are both fabulous looks at regional punk scenes during the same block of years.

August 14 we have a BBC documentary on Stiff Records, with an amazing Stiff Tribute Concert by the cream of the local crop of music talent after the movie with some special treats for Stiff fans!

TA: August 14th is going to be amazing fun. I have put together a Stiff tribute band that includes myself on guitar, Jessica Espeleta (ESPS) on guitar, Chet Bently on Bass and Terry Graham ( Gun Club, The Bags) on drums.

We also have amazing guest vocalists Dante ( Starlight Desperation), Jade Gordon (from art performance troop "My Barbarian", and Ian Marshall.

We have been rehearsing for that and it has been SO fun. It really makes you appreciate Stiff Records, they just had so many great artists who wrote such fun songs!

AA: On August 16 we have a Sonic Youth Concert film shot entirely by high school students called "Sleeping Nights Awake". We also have a BMI sponsored roundtable chat on getting your music into Films, TV And New Media and on clearing music for your work.

On August 21 we have a film called "Under The Covers" a fascinating look at the collaboration between photographer Henry Diltz and artist Gary Burden who created some of the most iconic album covers of the classic rock era. And after that a look at the eccentric world and music of one man bands!

On August 28, a beautiful film by New Zealand director Briget Sutherland on musician David Kilgour.

TA: David Kilgour was also in one of my favorite bands The Clean. Also we screened Steve Hanfts film "Return of the Rub a Dub style" and there was a scene where someone was being interviewed in a club and there was a flyer for a David Kilgour show in the background. I got a real kick out of that!

And we come back on Sept 6 for the DVD release party for riot girl favorite "Ladies And Gentlemen The Fabulous Stains" starring a young Diane Lane and Laura Dern from 1982.

W&H: What makes this festival unique?

AA: We show music movies that are for the informed and music savvy. We don't try to get the huge music films because they are really better served by the big festivals. Consequently, we cooperate with other festivals rather than compete. It's so great having that kind of support, cause these bigger festivals can sometimes alert us to films they can't take, but that would be better served by us.

And because we're an intimate, niche hand-made festival, we can take the time to find the obsessive fans and music nerds. And I think we do things in a personal way that is hard for larger festivals to do. And no one programs music line-ups the way Tiffany can – she just KNOWS!

TA: I feel strongly that both underground film and music does not get the support it needs to flourish and clearly from the success of DKTR it is obvious that people are very much interested in these films and these bands.

I think since my mother and I are both non- commercial, non corporate artists we are very sensitive to this. I have a lot of friends who are visual artists and it always blows my mind how much support there is for the arts, people get flown to different countries, get residencies, get grants.....and yet film and music is still sorta looked down upon, even if it is not exploring commercial avenues, so I'm happy that we are creating a place for these films and musicians to get their voices heard and people are listening.

W&H: Tiffany, what are you working on?

TA: I just finished an album that will be released in the UK through Poppydisc, which is run by the great Joe Foster who also does the AMAZING re-issue label Rev- Ola, so I'm very happy that I will be in such great company. As for the U.S., I am still searching for someone to release it.

W&H: Allison, we haven't seen a film from you in a while. What are you working on?

AA: I've been developing a western with my partner Terry Graham and we're also about to embark on a documentary film on 60s garage music with another filmmaker Ian Marshall.

W&H: You've been at the forefront of the movement to raise awareness of the lack of opportunities for women directors. The situation has not been improving in fact its getting worse. Do you have any theories? Do you have any advice for women who want to be directors?

AA: Well I think there was more room for everyone when the economy was better, and the indie world wasn't over-saturated and dead. Movies are hard for everyone right now. And in lean times, women will always be the first sent back home and out of the work force.

But now more than ever it's possible to make your films and get them seen without waiting for permission from the movie studio gods. Keep writing, keep focused and don't for a second lose the faith. We're here to stay.

More Info: Don't Knock the Rock Festival

Would a Young Woman Be Able to Say This?

Seth Rogen on The Daily Show promoting his new stoner action movie Pineapple Express



He actually said that kids should drop out of high school smoke a lot of pot and write a movie about it. Aside from that being the stupidest advice EVER, I don't think if a young female actress said this it would be looked at as funny. I think she would get her ass kicked. Me thinks I smell the "double standard."

Heaven: Meryl Streep Teaming up with Nancy Meyers

Variety is reporting that Meryl Streep is in advanced negotiations to star in the next Nancy Meyers film as a professor caught in a romantic triangle. Meyers has written the script and will direct. Scott Rudin will produce. Filming starts in February. This pairing is so exciting. Meyers is the best female wirter/director and Meryl, well, is Meryl.

I CAN'T WAIT.
Streep in deep with Meyers (Variety)
photo credit: Sylvain Gaboury/PR Photos

Guest Post: Feminist Mom Approved by Rachel Feldman

A few days before my 12-year-old son left for sleep-away camp, we wanted to do something special so we treated ourselves to a double feature of Journey To The Center Of The Earth and The Mummy - Tomb of the Dragon Emperor.

As a professional filmmaker, I absorb a film with a complex set of eyes, but when I watch with my son, the feminist mom in me dominates, and I can’t help but evaluate the experience as a woman raising a boy who will become a man.

There is a lot of talk in our culture about the impact of sex and violence in the media on our children. For me, issues of vulgarity and misogyny are far more important. The way a woman is depicted in a story and how men treat her are more relevant to me than the wielding of guns or the expression of desire. I want my son to grow up with an image of women as powerful creatures who are equals, not side-kicks, enablers or fluff girls.

I didn’t have high expectations for either film, so I was surprised to see that both films depicted women in extraordinary ways, without nary a bimbo in sight.

In Journey, the character of Hannah, played by Anita Briem, is smart and tough. She is the physically adept one; the powerful one who guides the journey. She rows the boat, she runs the train, she knows the way, and the guys trust her confidence absolutely. She wears little make-up has un-enhanced body parts and is beautiful in a completely organic, natural way.

Of course, my son’s pleasure of the film focused on the action and adventure, but I was delighted to see a woman depicted in a mainstream Hollywood film characterized in such an enlightened fashion. I would imagine that having a writer like Jennifer Flackett would have helpful in creating such a progressive character, but however she got there, I was happy.

Overall, I didn’t think The Mummy was as good as Journey but I was thrilled to see three solid female characters who play characters pivotal to the plot in the genre where women traditionally play secondary roles.

Maria Bello plays Brendan Fraser’s wife. There are a few moments where she used her feminine whiles in a clichéd manner, but by in large, this talented woman is multifaceted with a successful career, marriage and family life. She is the model of a woman I approve of. I very much enjoyed my son seeing a marriage that was full of fun and fire.

Michelle Yeoh plays an ancient wise-woman whose power ultimately vanquished the evil force of the Dragon Emperor. She sacrifices her immortality for supreme good, and is another example of an older woman full of grace, dignity and strength.

Isabella Leong plays her dutiful, warrior daughter. She is a great fighter who can wield a sword while falling in love. She does not suffer fools gladly, and fights demons fearlessly.

All in all for an afternoon of popcorn fluff, these two films surprisingly, showed my son some strong female characters. My son enjoyed them, and so did his feminist mom.

________
Rachel Feldman is a screenwriter and film director who lives and works in Hollywood. She has lived with her college boyfriend for 30 years and is the mother of a 20 year old daughter and a 12 year old son.

Hollywood Feminist of the Day: Connie Neilsen

Neilsen is a woman who could probably play any part she wants cause she's so tall and gorgeous. But that doesn't interest her. (Could this be something about women who grow up outside the US?) She rejects fame and money. Her films choices remind me a bit of Nicole Kidman - brave and not always commercial.

It's much harder for women to be brave and outside the box in their film choices because they have shorter careers than their male peers because of ageism and sexism. Two films of Neilsen's the I recommend checking out are The Situation where she plays a reporter in Iraq, and Brothers a Danish film directed by Susanne Bier. She co-stars in the upcoming Battle in Seattle.

"I absolutely refuse the fame part of my business," she says. "I refuse even the money side of my business. I try to do as good work as I can do, I try to grow in my art and reach for truth," she says.

Nielsen has in the past been critical of Hollywood for its lack of female roles, saying "you think once you've shown what you can do, and your movies have been successful, that snap, you work. So to discover the difference between guys' roles and girls' roles made me plain mad. It's unjust."

Neilsen proves she's no Hollywood eye candy (CNN)
photo credit: Glenn Harris/Photorazzi

Keke Palmer Stars in New Nickelodeon Show

Keke Palmer starred in the the under seen Akeelah and the Bee and now will have her own show on Nickelodeon where she plays a high schooler running the youth division of a major fashion label. This young woman clearly has her head on straight knowing that young girls look up to her. Impressive.

She's always wanted to do inspirational projects and be a beacon for other kids.

Her priority now is being a role model.

Look for the show later in 2008.

Keke Palmer stars in True Jackson, VP (NY Daily News)
photo credit: Nickelodeon

Why Batman Sucked

I might be the only one in the universe not to have LOVED Batman. Hollywood wanted and needed a big, big hit, but had Heath Ledger (who was really good and creepy) not unexpectedly passed away would it really be knocking on Titanic's door for the highest grossing film ever?

Here are my reasons why I thought it sucked:

1- Way too long- could have cut the last hour and it would have been way more enjoyable.

2- Christina Bale's voice. Is he a cyborg? That voice creeped me out.

3- That a talented actress like Maggie Gyllenhaal had to slum it in a very underwritten and basically unessential role. That sounds familiar.

4- The whole Aaron Eckhart becoming Harvey Two Face would have been better in the next installment. It felt forced and stupid.

5- Gary Oldman who play baddies better than most was the most sympathetic character in the film.

Oh, and did I say too long!

The Sisterhood of the Traveling Pants 2

What I liked best about the first Sisterhood of the Traveling Pants was the great relationship between four different and not typically Hollywood looking actresses, America Ferrara, Amber Tamblyn, Blake Lively and Alexis Bledel. These young women came across as really truly loving and supporting one another. But, sadly, what was so evident in the first film was missing in the second as the young women departed their home town for college and the sisterhood was tested by distance.

I applaud the women power from director Sanaa Hamri to screenwriter Elizabeth Chandler to producers Debra Martin Chase and Denise Di Novi, I just wished there were more scenes with the young women together. What I did love is that each of the young women is undeniably a unique spirit. Tibby (Amber Tamblyn) is a filmmaker, Lena (Alexis Bledel) is an artist, Bridget (Blake Lively) is a soccer player and Carmen (America Ferrara) works in the theatre. Not very typical for young women in the movies today.

Since the film is targeted at young women and tweens, I felt it could have better handled the condom "malfunction" situation when Tibby has sex for the first time with her boyfriend. This young woman who moments before had self-identified as a feminist completely loses it and goes to a deep dark place assuming the worst. Now I know she's young and emotional but this was an opportunity to educate young women, so instead of availing herself of all her options, this strong smart, self-confident woman spends half the movie in a state when every time she sees a baby she looks like she wants to die. This storyline made me quite angry. It could have been handled in a more responsible manner without even having to utter the word abortion or heaven forbid having her get a morning after pill. Now I know I live in progressive "Melissaland" but they could have done something, anything but they decided to have her pout and freak out for much of the movie.

Other than that lapse which most people probably won't care about as much as me, the strong female friendships that survive and thrive even through long distance is still a big plus and what makes this film worthy for young women and girls.

photo credit: Phil Caruso

Anne Bancroft Films on TCM Tonight

The House Next Door brings a Anne Bancroft Film Festival on Turner Classic Movies to my attention and I am psyched. I haven't seen hardly any of them. I miss her.

Airing today are:
The Miracle Worker
The Pumpkin Eater
7 Women
The Graduate
84 Charing Cross Road

Here's their write up. Thanks for the tip.
Photo credit: BH Impact

Hollywood Feminist of the Day: Greta Scacchi

For speaking out about the lack of opportunities for older actresses.

I just wish there could be a little more movement towards encompassing the older woman."

Maggie Smith and Eileen Atkins, she argues, look like energetic Bohemian girls in real life, "vibrant, passionate, expressive and fun". But in character they have to conform to the stereotype of the old lady.

Greta Scacchi is currently co-starring in Brideshead Revisited
Greta Scacchi: 'I'm done with taking off my clothes on screen' (The Telegraph)
Photo: InsideFoto/PR Photos

Joan Allen - What Were You Thinking?

I couldn't believe my eyes when last week at the X-Files (don't see it, it's so bad and homophobic) I saw the preview for Death Race a very violent looking prison drag racing movie. The reason why my eyes were popping out of my head was that Joan Allen (who won my devotion years ago when I saw her on Broadway in a Wendy Wasserstein play) plays the prison warden who makes inmates drive cars in a "death race" which is broadcast around the world on some type of pay per view channel. (Forgive me for not understanding WTF was going on in the preview since there were very few words used.) She is eeevil. The movie looks so bad and unbelievably violent.

I hope they paid her a lot of cash for this because it makes me so sad that an actress of her caliber who was robbed of an Oscar nomination three years ago for The Upside of Anger (if you haven't seen it rent it), is stuck making these crappy boy centric films to pay the rent because there are no good roles for women.

Will someone please write this woman a part and not another crappy part like she had in Bonneville. I am beyond disgusted.

Top Female Screewriter to Pen Sarah Jessica Parker Movie

Aline Brosh McKenna is the hottest female screenwriter having written The Devil Wears Prada adaptation as well as her original screenplay of 27 Dresses that starred Katherine Heigl and has grossed over $150 million worldwide.

She was recently signed to adapt The Ivy Chronicles based on the novel by Karen Quinn which will star Sarah Jessica Parker. Here's the plot according to the Hollywood Reporter: "The plot centers on an upper-middle-class New York mother is forced to start over after getting divorced and losing her high-powered job in one fell swoop."

Devil writer to pen The Ivy Chronicles (Hollywood Reporter)

Success - The First Women & Hollywood Film Club

Thanks to everyone who showed up at the launch of the Women & Hollywood Film Club. We had about 30 people in the theatre and about 20 or so of us went for a drink afterwards.

Next time I'll get some pictures to post. Frozen River did well at the box office this weekend with an average of $10,475 on each of the seven screens for a total of $73,322.

Keep telling people about this great film.

Trailer for Rachel Getting Married

Another dysfunctional family wedding drama starring Anne Hathaway, Rosemarie DeWitt and Debra Winger (yeah!) written by Jenny Lumet. Directed by Jonathan Demme



Opens October 3

Hollywood Feminist of the Day: Annie Lennox

I know that she's not technically a Hollywood person...

This week in Mexico City 25,000 people are attending the International AIDS conference. Lennox has been raising attention to HIV and AIDS issues especially related to women in Africa. She organized other women singers and put together a single SING to raise money for drug treatments for women to prevent maternal transmission of HIV.

Check out this site for more information and ways to get involved: SING