Friday 6 August 2010

Gender, Male Privilege & The Movies

Women tend to care about issues of gender in film, and the men don't. As men, we get the privilege of doing blog posts with titles like 'The Best Breasts In Hollywood' without really thinking of what we're contributing to, or how we're objectifying women, or how we could be making the most talented smaller breasted/no breasted/three breasted upcoming actress feel completely marginalized. Worse yet, it's incredible to think that we would be talking about breasts at all. After all - when writing about Robert De Niro, I never mention his genitalia.

Having the privilege of being male, it's easy for me to ignore the fact that women don't direct many films. It's even easier for me to cleverly list hundreds of films directed by women to prove that gender inequality is a myth. The hardest thing is to listen, to care, to consider the mere fluke of being born male actually gives me an unearned privilege in this industry.

It's hard for anyone to achieve anything in the movie biz. I know hundreds of men who are struggling to get their 'foot in the door' so to speak, so why should I care that women, also, are struggling to succeed? A fact that us men rarely consider is that nobody will ever compliment us for being the 'first' male to win any kind of directing award. There will never be articles about how many men were lucky enough to be working screenwriters. There will never be a debate about whether or not men can direct action films. When you consider these things, you begin to see the wider problem. It's not that women can't do anything or aren't allowed to do anything-- luckily society has moved forward. But the structure of the film industry, the inner beliefs of most people (men and women) and the way films are marketed all make the problem worse.

I watched Juno today; and whilst many, many people love it and think it was an inspired piece of magic, not many people realize that a lot of it is down to wonderfully talented women. Diablo Cody's razor sharp dialogue and cliche-breaking scenes were proof of her an incredible talent. The characters were something we rarely get to see; a pregnant teenage girl with bundles of intelligence who decides against abortion, a step-Mother who is instantly supportive; who is on the one hand a typical homely woman who loves dogs--- yet who also is fiercely principled and strong.
Character development like this is rare with female roles. Too often, female characters are used to help the male protagonist's story along. It becomes such a default, so ingrained; that young screenwriters unconsciously and consistently write male leads; with women being love interests, or parents, or cute neighbors. That's why it was so refreshing and freeing to see Ellen Page as Juno. She was a woman, but she didn't fall into any stereotype. She was as unique and as interesting a character as you could find-- and she was beautiful and compelling without looking like a model or being made to throw her breasts into a close-up.

The film industry has silently marginalized women in a variety of ways. It has become so normalized that nobody ever seems to notice. It is also very easy for us men to say "the audience don't want loads of Sex & The City's," without seeing how that statement is wrong and prejudice and ignorant on a heap of different levels. As I've said before, there is a missing voice in film, and it's the voice of women.

A problem that occurs when these types of articles are written; is that men get very defensive. We say, 'well actually, there are lots of studio heads who are female,' and 'look, Angelina Jolie just starred in Salt,' but these facts prove the problem, nobody could ever say 'men aren't discriminated against or given less opportunities,' because it would sound ridiculous. This industry is harder for women than for men. We need to start by taking accountability for that. We need to start by being aware of it. That awareness could go a long way.

As men - we can start to look at how we are a part of the problem, and how we can begin to make positive changes. As screenwriters, are the women in our scripts as unique, complex, disturbing, as 'cool' as the male characters? As directors, will we be open to working with a female director of photography? Are we aware that the female make-up artist is an artist and not just someone who throws make-up on a face? As producers, are we aware of the variety of outstanding female directors who have unique talent and vision? As viewers, would we be more interested in seeing more complex, truthful and diverse females on a more consistent basis?

Care to share?

LONDON SCREENWRITERS' FESTIVAL - 29-31 October 2010 - Buy Tickets Here

The London Screenwriters Festival is a brand new festival for screenwriters. Whether you're an experienced writer or just starting out, it promises to be a weekend full of inspiring speakers, innovative workshops and, of course, a great chance to network.

The most exciting speaker is TIM BEVAN, co-chairman and co-founder of Working Title Films, the company behind films such as 'Notting Hill,' 'Green Zone' and 'Frost/Nixon.'

As a rule, I don't recommend things without trying them. The London Screenwriters Festival 2010 is an exception, simply because; it's brand new. I can only go on instinct. With a variety of speakers; including Producers, Hollywood screenwriters, and British TV writers; there's going to be an incredible amount of knowledge, experience, and resources - all under one roof. Not only that, but writing can be lonely; getting out to rare events like these are wonderful opportunities to meet people like you.

Tickets to the event are £299, but if you order through this link and use the password 'frontrow' you will get a £37 discount. The organizers have been kind enough to make this offer to readers of KITFR.

http://www.eventbrite.com/event/730369555/scriptplusaffiliates/5457800027

Care to share?

Thursday 5 August 2010

The Touching End Of 'Katyń'

'Katyń' is a film about the Katyń disaster; the mass murder of thousands of Polish nationals by the Russian Secret Police, the NKVD, between April & May, 1940. Russia did not take any form of accountability for what happened until as late as 1990, and even now relationships are still strained. I previously wrote 'There are still things to be answered about Katyn. Bodies to be found, acts to be accounted for and compensation sought, more than 70 years later." It still cuts deep with the Polish people. Even more so after the heartbreaking death of the Polish Prime Minister, Lech Kaczynski, and many other politicians and military personnel, who died in a tragic plane accident when en route to Katyn, to commemorate the seventy years since their fellow countrymen were killed, in April this year. That event, and the investigation about the accident, has caused even more stress on the relationship between the two nations.

The truth about what happened in 1940, the magnitude of the cover-up by numerous nations in the years that followed, and the complexity of the event politically, and even more so for thousands of people, personally, could never be taken care of in one feature film. In fact; an event like this makes you realize the extreme limitations of the medium. 'Katyń' (the film) was an important film, it had to be made, and it has to be seen, but it is still just a small spec of dust in the vast sea of multi-layered complexity; that we will never know about.

We don't see the mass execution until the very end of the film. When it finally arrives on screen it is harrowing, fast-paced, and deeply upsetting.


'Katyń' ended in a way I've not seen in a film before. It faded to black, and then stayed on black, for exactly one minute - and then the credits rolled. The blackness was accompanied by a beautiful piece of music. Whether you'd call it a minute's silence, a minute's reflection, or a minute to recover yourself--- it was definitely needed.

When I say the touching end of Katyń, I'm just talking about the movie. Because for Poland, it looks like Katyń will never end. It is with them, and with us in the rest of the world, forever. And unfortunately, all that most of us can really do, is watch movies about it.

Care to share?

Film Watching Guilt

The key to this business, aside from having a rich Uncle with a Jewish surname who lives in LA, is to watch a lot of movies. The more you watch, the more you understand storytelling. The more you watch, the more you get what it truly is to be a truthful actor. The more you watch, the more you understand what makes a truly great scene great. There is no end to this --- literally, if you watch three films today instead of two, you're going to learn more. We should be clambering to watch films all the time... waking up early to watch a DVD, glancing down at videos on your iPhone during long train journeys, and staying up two hours late to watch 'Shawshank Redemption' for the 9th time in two months. In fact, there was a time we were like this. But then, we started listening to this.

UNCLE FRED
Is that all you do, sit around watching movies all day?

GIRLFRIEND JENNY
Couldn't you do something more productive instead? Like WORK?

JED
You've seen that already.

MICHAEL THE FLORIST
How's it going sitting at home watching your little movies?

BERT WHO HATES HIS JOB
Stop watching movies and actually do something with your life.


Before you know it -- every time you watch a film, you hear a voice saying "get up! do something! write a script! earn some money! be productive!" Despite all of your youth being incredibly enlightening and productive and inspiring and driving you towards your SOLE GOAL in life - to CREATE, instead; you start smashing up against it--- building a giant wall the size of a giant wall which stops you from ever settling. You start to sneak past the wall late at night, when it's late enough to not be 'the time people do productive things' but not so late that you look like 'someone who can stay up late because they're a waster' and you sneakily watch a film. But even then, you struggle, because this voice in your head is saying "is that all you do, watch movies? you waster!"

So now your Uncle and the florist and the guy who hates his job and his life and his wife; they all are in your head and they're telling you to stop watching movies. So you have this big giant wall the size of a big giant wall and you keep climbing over it onto both sides... every time you're watching a movie the voice says "BE PRODUCTIVE! DO SOMETHING!" so you climb over to the other side. And every time you're on that side there's a part of you that says "I love movies! I need movies! Movies are my everything!" -- so you climb to the other side. But you keep climbing and you keep feeling TIRED because somehow you've got caught between who you are, where you're going, and where everyone thinks you need to be.

If you write, or direct, or produce, or act, or dream, or design, or want to take a different route in life; then watching movies is absolutely essential. We are here, precisely, to WATCH movies, LEARN from movies and then CREATE movies. That's why we're here. Stop denying it, celebrate it. To watch movies is to be productive. To watch movies is to jump fifty steps towards your ultimate goal in life. Don't let anyone tell you otherwise.

"It enters through a different opening in your body. For instance, in order to be a jazz musician, you have to listen and listen and listen to a lot of Jazz. And that's an act of love. You don't think, I'm listening to study it. You just listen because you love it. And you love it, and love it... and gradually you learn. You really learn everything valuable through osmosis. It's the same with play-writing or movie-directing or acting. You love either reading or watching films or plays or listening to music. And in some way, over the years, without making any attempt, it gets into your blood, into the fibre of your body or something. If you want to teach someone film-directing, you could almost say, 'just keep going to the movies, and it will pass into your body."

-Woody Allen

Writer/Director
Three Time Academy Award Winner.

Care to share?

Wednesday 4 August 2010

LARRY CROWNE - Written By, Directed By and starring TOM HANKS - Coming Soon

Over a year ago I wrote an article about Tom Hanks in which I broke down his career into what I felt were three distinct sections. The early comedies (The Burbs, Big,) his masterpieces (Forrest Gump, Saving Private Ryan,) and the average period (The Da Vinci Code, The Terminal.) At the end, I said, "Whatever happens, I feel that we are now approaching chapter four. His next few decisions will determine the rest of his career. I just hope he takes some risks."

While seeing him in yet another Da Vinci snore could be seen as an extension of his average period, I am extremely excited about 'LARRY CROWNE' a low-fi drama comedy which he wrote, directed and is also the star, along with 'Charlie Wilson's War' co-star Julia Roberts.

Tom Hanks the writer/director. This really excites me. 'THAT THING YOU DO' was a perfect little film - it was pure joy. Hanks has expressed disappointment with it on numerous occasions which is perhaps why it has taken him another fourteen years to direct a film, although I think his helming of the masterful 'Crossroads' episode in 'BAND OF BROTHERS' will have gone a long way to reassuring himself that he has the skill to be a great director.

I think Tom Hanks is a perfect role model. I've always admired his incredible mix of humor, curiosity, and passion -- it seeps into his work in a natural and believable way that few other people in the history of film have managed. I hope 'LARRY CROWNE' is a success. I hope this is what chapter four is going to be; the beginning of a long career as a writer, director and actor. I think the world of film needs more of this kind of Tom Hanks. 'LARRY CROWNE' is currently in post-production.

Care to share?