The LA Times recently published an illuminating
article with the forthright title "Film directing is still a man's world," about the dearth of female directors in feature film. For a young woman preparing to enter the film industry, the statistics are not encouraging. All 30 of the top 30 top-grossing films of 2007 were directed by men. Of the 250 top-grossing films, only 6% were directed by women. In fact, this figure has actually declined from 9% ten years ago--despite, as the article points out, the healthy number of women producers and the presence of women as heads of several major studios. In the whole history of the Oscars, only three women - three! -have even been
nominated for Best Director, and none have won.
"If you were looking at Hollywood's history through a gender lens," the article's author perceptively observes, "you might say the industry went straight from male domination to post-feminism without ever enjoying a true feminist age."
Sadly, this statement seems to be proven by several influential women interviewed in the article. Sony Pictures Co-Chairman Amy Pascal, who "has hired more female directors than any studio head..."
...says summer movies just aren't an area of interest for most women. "It simply may be a matter of self-selection, since most studio films are aimed at young boys," she says. "Look at my summer slate. I don't think there's a woman who would've wanted to direct 'Hancock' or 'Pineapple Express.'"
Um...
hello?! Antihero superhero? Stoner action movie? Those both sound awesome! I personally would love a chance to direct either of those movies. Will Smith has some mysterious charm that can make even syrupy dreck like
The Pursuit of Happyness mildly watchable. And who wouldn't want to hitch a ride on the Apatow-and-friends train to Awesomeville these days?
All the studio heads (and some of the female directors) quoted in this article seem to be laboring under the assumption that women only want to direct certain kinds of movies. And I am sure there are female filmmakers out there who want only to work on small, "character-driven," explosion-free dramas or comedies which will be marketed to other women. And there is absolutely nothing wrong with that. As I am not one of those people, however, it stands to reason that not all female filmmakers fall into this category.
The subjects of the last 5 screenplays I've worked on in class have been: robots,
Macbeth set in Vegas, political intrigue in Latin America, immigrant family running from unscrupulous immigration cops, and a coming-of-age story about a 20-something guy who discovers his father had a secret other family. Four out of these five scripts have a male protagonist. (One has a robot protagonist who looks like a human female.) Their genres can be loosely classified as sci-fi, thriller, action, thriller, drama. I would not call any of them chick flicks. In fact, I would call all of them "guy movies."
I would say that I tend to write guy movies because I tend to like guy movies. And if I, a humble film student, would much rather work on
Indiana Jones (aliens and all) than
Sex and the City, I am sure that there are any number of talented, experienced female directors out there who feel the same way. I find it hard to believe, as DreamWorks Co-Chairman Stacey Snider snidely states, that "there just isn't a very wide pool of talent to choose from."
The article also contains a link to a very interesting
DGA Quarterly interview with six successful female directors. Some of these women point out that there are more opportunities for women in television, where the sheer number of creative opportunities helps level the playing field a bit. Of course, television is not exactly a magical land of opportunity, either. Discussing one popular crime show that has supposedly only hired one female director in its run, prolific TV director Lesli Linka Glatter comments: "No one would ever say, 'We hired a white guy, and it didn't work. So we're not going to hire any more white guys.'"
As an aspiring member of the next generation of filmmakers, I have to operate on the assumption that there's some hope out there. Perhaps the most promising development, as the women in the DGA interview point out, is the rise of so-called new media, the Internet, and digital video, which has the potential to put the tools of filmmaking into many more hands than ever before. If any idiot with a webcam can become world-famous on Youtube, I can only hope that some of those hands will belong to some of the many talented women out there.