This Is My Life (1992) - News Poster


'Professor Marston and the Wonder Women‎' Director on the Superhero's Kinky Origin Story (Exclusive)

'Professor Marston and the Wonder Women‎' Director on the Superhero's Kinky Origin Story (Exclusive)
If you saw Wonder Woman this summer -- and the record-setting $800 million worldwide box office indicates a lot of people saw Wonder Woman this summer -- then you know the story of how Diana, Princess of Themyscira, became the superhero Wonder Woman, protector of mankind. How Wonder Woman ended up on the pages of comic books in the first place is a story unto itself however, told in Professor Marston and the Wonder Women: In 1941, Dr. William Moulton Marston (played by Luke Evans), his wife, Elizabeth (Rebecca Hall), and their lover, Olive Byrne (Bella Heathcote), created the character to save the world...through psychology. Director Angela Robinson (D.E.B.S.) could never have predicted, though, that her Wonder Woman indie would arrive in theaters mere months after one of the biggest movies of the year.

"I'm getting a lot of credit for having the foresight to know that in the summer of 2017, the 75-years-in-the-making, long-gestating Wonder Woman movie would
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Author Erin Carlson on Her New Book “I’ll Have What She’s Having” and the Legacy of Nora Ephron

Nora Ephron died in 2012, at the age of 71, but she left an indelible mark on the world as one of the most influential voices of our time. She left behind a strong legacy and continues to inspire new and emerging artists. So, it is no surprise that entertainment journalist Erin Carlson has chosen to write her first book about the late Hollywood powerhouse. In “I’ll Have What She’s Having” she takes readers behind the scenes of the writer-director’s three most successful movies: “When Harry Met Sally,” “Sleepless in Seattle,” and “You’ve Got Mail.”

I spoke to Carlson about her research process and findings from authoring this book, what she learned about women in Hollywood, Ephron’s impact on the film industry, and more.

W&H: Nora directed her first movie, “This is My Life,” at 50 years old, and the rest is history. How would you describe her impact on the film industry, and rom-coms specifically?

EC: Nora’s gifts as a writer and journalist helped make her as iconic in the romantic comedy genre as her biggest stars and creative collaborators, Tom Hanks and Meg Ryan. When Nora directed her own scripts, she was masterful — only she could envision and execute the words and dialogue she wrote and the characters whom she developed. Like any singular artist, she leaves an unmistakable imprint on her work; her sweet and tart voice courses throughout her finest films, which also happened to be her romantic comedies. And she was born to make them.

As the daughter of screenwriter duo Henry and Phoebe Ephron, who raised their four girls in Beverly Hills and specialized in romances, Nora witnessed firsthand the process of writing movies, and bringing them to the big screen. She despised the word “art.” Because she understood that filmmaking was a craft, and with more experience, something at which she could improve. The truth is male directors get more chances than their women counterparts to fail and then score another plum project.

Since her critically acclaimed debut film, “This Is My Life,” did poorly at the box office, TriStar, the studio behind “Sleepless in Seattle,” was initially skeptical about handing this novice the reins of a big-budget romantic comedy — of course, she proved everyone wrong, and that romantic comedy became one of the top-grossing offerings of 1993.

Nora knew that two things contributed to a successful romcom: writing and casting. And hers were wry, knowing, and urbane, yet drenched in the unabashed optimism of the Golden Age classics of her youth. She created strong woman characters who could stand up to the men in their lives, and show them a thing or two. For example, Sally turning the tables on Harry, and acting out a fake orgasm in a deli in “When Harry Met Sally.”

Nora truly believed in the possibility of love between equals, and it was important to her to infuse Sally Albright, Annie Reed, and Kathleen Kelly with a voice — and jokes — as strong as the male lead’s. Why should the guys have all the fun? Nora created worlds in which anything, and everything was possible — worlds that we all still want to live in, and we return to again and again.

W&H: How did you come to land on the three films that you chose to highlight from her career?

EC: “When Harry Met Sally,” “Sleepless in Seattle,” and “You’ve Got Mail” are a trilogy of romantic comedies that represent Nora’s best and most enduring work, and through which her muse, Meg Ryan, played an instrumental part. These movies are her legacy, with “Julie & Julia” runner-up — because Meryl, Stanley Tucci … butter!

Sleepless in Seattle

W&H:You did a great deal of interviews for this book. Which women in her life did you know that you had to talk to and were there any women who did not want to speak to you?

EC: I knew that I absolutely had to speak with Delia Ephron, Nora’s sister and collaborator who worked with her on “Sleepless” and “You’ve Got Mail.” Delia told me she was the “guardian” of the sisters’ scripts, namely that Nora trusted her to protect the integrity of their screenplays during the filmmaking process. Delia had crucial insight into Nora’s vision and working style. I was lucky to interview her.

Meg Ryan, meanwhile, proved a challenge — just when I thought her publicist would connect me for an interview, she went radio silent even though Tom Hanks, her beloved colleague, had spoken with me. At the time, “Star” magazine had done a series of unflattering covers of Meg, and it appeared that she felt burned by the media and potentially even talking to journalists. Who can blame her? However, rather than Meg give me PR-approved soundbites about her own legacy in romantic comedy, it was more fascinating to put together a portrait of her based on my wide-ranging interviews with the folks who could speak openly and honestly about her transformation from ingenue to leading lady in the span of “When Harry Met Sally” to “Sleepless.”

W&H: I loved reading about Nora’s relationships with different men in Hollywood during the course of her career. Can you talk about these relationships, and particularly any sexism in the film industry that she faced during the course of her career?

EC: Nora was married three times. Her first husband was the comedy writer Dan Greenburg, whom she divorced amid the feminist movement that shook things up in the 1970s; her second was Carl Bernstein, who, together with Bob Woodward, linked Watergate to President Nixon. Bernstein left her for another woman while she was pregnant with their second child.

That experience traumatized and humiliated her — but she had the last laugh when she wrote the juicy novel “Heartburn,” a thinly veiled account of the demise of her marriage to Bernstein. That book, of course, became the movie with Meryl Streep and Jack Nicholson; Bernstein did not want this movie to get made, though he reportedly loved that Jack, the hottest movie star of his day, was playing a fictional version of Carl.

Several years later, Nora married Nick Pileggi, her third — and best — husband. Pileggi is a “famously nice guy,” as Nora has written, and renowned for his reporting on the Mafia. He wrote the book which inspired Martin Scorsese’s “Goodfellas.” More importantly, he adored Nora and relished in her success, rather than harbor resentment toward it.

But you’re asking me about Nora’s relationships with men in Hollywood! Well, she and “When Harry Met Sally” director Rob Reiner were pretty tight. He trusted her and believed in her talent and gave her the credit of associate producer on his movie; even though he had a hand in co-writing the script for Harry and Sally, Nora received the sole credit as the screenwriter, as well as the only Oscar nomination for anyone involved with the film. That says a lot about Rob. He’s a mensch, with a strong mother.

Rob appreciated Nora and her contributions and what she brought to the character of Sally as well as her keen social observations and killer one-liners. They understood each other as comic writers and as the children of parents who were successful in showbiz. With Nora, Rob saw an equal. It is utterly mystifying to me that he still believes that men and women’t can’t be friends — how, then, could Nora continue to work in Hollywood and be friends with men like Rob, or Mike Nichols, or Tom Hanks? That is the great irony.

When Harry Met Sally

W&H: What did you learn about women’s roles in Hollywood while writing this book?

EC: It’s still a man’s world, with shitty roles for women and a dearth of directing opportunities. Like Nora, if women want to create movies and TV series centered on female characters, then they will need to write and direct material they originate and cultivate themselves.

W&H: Which modern women in Hollywood have been greatly influenced by Nora?

EC: Funny you ask: Since Lena Dunham was mentored by Nora, and is a hugely talented writer-director in her own right, people want to categorize Lena as the new Nora. She’s not. Lena is open and unfiltered where Nora was self-possessed, always aware of the boundaries between people.

If I had to choose a Nora heir, it would have to be Tina Fey. Tina led “Saturday Night Live” for years before “30 Rock,” and the two women share a similar arch, self-deprecating sense of humor and B.S. detector that have won them zillions of female fans. Plus, they set their movies and TV shows in New York, capturing the endless idiosyncrasies of the Greatest City in the World.

Another thing: I know it sounds weird, but Taylor Swift also reminds me of Nora. She just keeps bouncing back from shit, and reinventing herself, and writing about her love life and exes within a narrative in which Taylor always wins as the heroine, never the victim, of her own story. Her own romantic comedy. Harry Styles be damned!

“You’ve Got Mail”

W&H: How far have women come since then and how do you think Nora would feel about where women in Hollywood are today?

EC: Following a summer in which Patty Jenkins’ “Wonder Woman” kicked ass, and Nicole Kidman and Elisabeth Moss cleaned up at the Emmys, it’s easy to feel better about the state of women in Hollywood today. However, we have a long way to go toward creating roles for actresses that are as compelling as those men get to play — and not just love interests, mothers, wives, and daughters.

Nora, a barrier-breaking feminist, loathed panels on women in film. She hated labels and felt trapped by them and wanted to be known as a “director,” not a “woman director.” That said, she would doubtless be heartened by a newly energized feminist movement of women and girls who are taking less shit and taking more names. “Go out and get what you want,” she might tell them. “Just do it.”

“I’ll Have What She’s Having” is available now and can be purchased on Amazon.

Author Erin Carlson on Her New Book “I’ll Have What She’s Having” and the Legacy of Nora Ephron was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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RHODallas' LeeAnne Locken Tortured Herself 'Daily' After Season 1: 'I've Pretty Much Been an A-- on Camera'

RHODallas' LeeAnne Locken Tortured Herself 'Daily' After Season 1: 'I've Pretty Much Been an A-- on Camera'
LeeAnne Locken did not enjoy watching herself on reality TV.

The 50-year-old actress and former Miss USA contestant may have become The Real Housewives of Dallas‘ season 1 breakout with her explosive temper and willingness to fight for what she believes in, but being the bad girl wasn’t nearly as fun for Locken as it was for fans eating up the drama at home.

“It was miserable, I’m not going to lie to you,” Locken tells People, looking back. “I cried every day of filming, then I was stressed beyond stressed waiting for it to air, and then it
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Bobby Moynihan: Leaving ‘Saturday Night Live’ For ‘Me, Myself & I’ About “Becoming An Adult And Moving On”

Bobby Moynihan came to TCA to talk about his new CBS comedy Me, Myself & I, but, understandably, took a lot of Saturday Night Live questions. “I'm an unabashed fan of SNL and would have stayed there forever and ever,” Moynihan acknowledged. “The day you get SNL you start worrying about your exit from SNL; it was always on my mind. It was 13 years of getting it, and then, one day you get it” and then you start thinking ‘This is my life's dream, what am I going to do after…
See full article at Deadline TV »

Kermit the Frog Actor Fired Over 'Unacceptable Business Conduct,' Studio Says

Kermit the Frog Actor Fired Over 'Unacceptable Business Conduct,' Studio Says
Steve Whitmire doesn't appear to have left on good terms with Muppets Studio.

The 57-year-old puppeteer has been the voice of Kermit the Frog since 1990, but was fired in October from his job over what the studio is calling "repeated unacceptable business conduct" that was over "a period of many years." The statement, which was given to The Associated Press, also claims that Whitmire "consistently failed to address" the issue.

Watch: Just How Well Did The Muppets Cast Get Along On Set?

In an interview with The Hollywood Reporter on Monday, Whitmire said that he was fired after expressing views on how the beloved character should be portrayed in ABC's Muppets mockumentary series that aired from 2015 to 2016. "I have been outspoken about what’s best for the Muppets since the Muppets came to Disney [2004]," he said. "The fact is I have respect for everyone who was involved in the creation of that series for their own particular
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Andrew Garfield, queer-baiting and the perils of 'playing gay'

The actor was criticised over comments he made about preparing to play a gay man, joining actors such as James Franco who’ve toyed with ideas of sexuality

In an interview about his role as Prior Walter in the National Theatre’s current production of Angels in America, Andrew Garfield became the latest male celebrity to suggest that he might be gay. Asked about playing a gay man living with Aids, the actor joked that the experience had practically made him a gay man himself, “just without the physical act”.

Every Sunday I would have eight friends over and we would just watch Ru [RuPaul’s Drag Race],” Garfield said in a discussion at the National Theatre. “This is my life outside of this play.” He went on to clarify that, as far as he knows, he’s not a gay man, but added, “maybe I’ll have an awakening later in my life,
See full article at The Guardian - Film News »

'Bachelor Nation' Bombshells: The Biggest Scandals in the History of the Franchise

'Bachelor Nation' Bombshells: The Biggest Scandals in the History of the Franchise
Corinne Olympios and DeMario Jackson may be the latest stars from Bachelor Nation to spark controversy on set, but they're definitely not the first.

Production on season four of Bachelor in Paradise was suspended this week following allegations of misconduct. A source told Et that the two allegedly started hooking up in the pool after the cast had been "drinking all day," and that a "third party" felt uncomfortable, claiming misconduct in the workplace.

Watch: Corinne Olympios Breaks Her Silence on 'Bachelor in Paradise' Incident: 'I Am a Victim'

Drinking on Bip isn't anything new. Since season one, the contestants have had access to a full bar with unlimited alcohol. So for production to completely shut down?

"It's crazy," another source told Et. "It's a multimillion-dollar production."

Amid what actually may be the biggest scandal in the history of this show, Et is breaking down the biggest Bachelor Nation bombshells of all time, from [link=tt
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Female Directors Power List: See Which Filmmakers Grossed Over $100 Million

Female Directors Power List: See Which Filmmakers Grossed Over $100 Million
Wonder Woman” is expected to top the weekend; claims that it will be the most successful film ever directed by a woman will soon follow. That’s possible, but far from guaranteed: While Hollywood’s pretzel logic would suggest that women rarely direct blockbusters, Patty Jenkins’ success story will have a lot of competition.

The dearth of women directors trusted by studios to helm top movies becomes even more suspect when adjusting grosses to current ticket prices. Despite limited opportunities, 14 have grossed over $200 million, and 40 total over $100 million when calculated at current numbers.

Below, we go into detail about the top directors and their movies; there’s a lot to see, with some compelling and surprising conclusions. However, more than any other statistic, here’s one that stands out: Among the most successful female directors, after adjusting to current ticket prices, the career average per film gross is over $100 million for several.
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Meet the Mrs: How Family Fueled Two Texas Moms to Pursue Their ‘Crazy’ Dream and Start a Band!

Meet the Mrs: How Family Fueled Two Texas Moms to Pursue Their ‘Crazy’ Dream and Start a Band!
Fifteen years ago, best friends Andra Liemandt and Jenny Mason never would have predicted their mid-life career change.

Back then, they worked for tech giant Dell — but nowadays, the ladies are rocking Austin and beyond with their country-tinged pop-rock band The Mrs.

“My dad still tells me, ‘You are the last of all my children I thought I’d be seeing onstage playing in a band,'” says Mason, the act’s bassist and also a former interior designer. “But now I can’t imagine doing anything else. That’s the journey it’s been.”

That long road has so
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Line Of Duty series 4: creator Jed Mercurio interview

Louisa Mellor May 5, 2017

Major spoilers ahead as we speak to Line Of Duty creator, writer and director Jed Mercurio about Roz Huntley, Acc Hilton and more…

If I were ever to find myself alone in a room with a dead body I’d created in self-defence and pondering my next move, “plead guilty to manslaughter,” Jed Mercurio tells me. “For the minimum three years sentence. If you take the risk of fighting a murder plea with self-defence and you fail, then you will be convicted of murder and that is a mandatory life sentence.” Getting off with self-defence is really, really hard, says Mercurio, really hard. “I did the research.”

See related American Gods episode 1 review: The Bone Orchard American Gods cast interview: Ian McShane, Ricky Whittle, Emily Browning American Gods: Bryan Fuller interview

It’s good advice, if alarming in the context of a DVD release-plugging interview. As a general rule,
See full article at Den of Geek »

Barry Manilow Doesn't Think His Coming Out Was ‘News to Anyone Around’ Him

Barry Manilow Doesn't Think His Coming Out Was ‘News to Anyone Around’ Him
Barry Manilow doesn't think it was a surprise to anyone when he revealed that he married his longtime partner and manager, Garry Keif, in 2014.

After opening up to Et about his relationship in an exclusive sit-down interview, the 73-year-old singer appeared on the Today show on Thursday to talk about coming out to the public. "It's not news to me and no news to anybody around me," Manilow said. "I think even fans, I don't think it was news at all. But the [National] Enquirer caught us getting married, and so we were stuck."

Exclusive: Barry Manilow on Feeling Reluctant to Talk About Relationship With Garry Kief, the Price of Fame

The music icon admitted that he doesn't like to talk about his personal life. "I'm a private guy, I'm a musician," he explained. "Yes, fame hit me, but I never really wanted to go on that ride."

Manilow added that he gets "uncomfortable" talking about himself, but "the
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Exclusive: Barry Manilow Breaks His Silence on Marrying Garry Kief for First Time On Camera: 'I'm Proud of It'

Exclusive: Barry Manilow Breaks His Silence on Marrying Garry Kief for First Time On Camera: 'I'm Proud of It'
Barry Manilow is opening up about his husband, Garry Kief, for the first time ever on camera.

During an exclusive sit-down interview with Et, the 73-year-old music legend reflects on marrying his manager and longtime partner, and how the two kept their relationship from the public for nearly 40 years.

"I have not read one negative response," Manilow tells Et's Cameron Mathison of the reaction he's received from fans ever since news broke in 2015 that he had secretly tied the knot with Kief. "These strangers out there, and I've always known it, they care about me."

"I don't know, maybe they care about everybody, but for me, it is so moving, it is so deep that these strangers were so happy that I was happy," he continues. "That I wasn't alone, that I had somebody that was with me that I loved and that we'd been together for 37 years. We're in great shape, and I was very
See full article at Entertainment Tonight »

What Happened to the Women Directors in Hollywood? Part 4: 1984–1999

Mississippi Masala

by Carrie Rickey

This five-part Truthdig series by Carrie Rickey is published in partnership with Women and Hollywood. The series considers the historic accomplishments of women behind the camera, how they got marginalized, and how they are fighting for equal employment. Specifically, this series asks, why do females make up between 33 and 50 percent of film-school graduates but account for only seven percent of working directors? What happened to the women directors in Hollywood?

While female filmmakers waited for Judge Pamela Rymer to hand down a decision in the 1983 Directors Guild class-action suit against Warner Brothers and Columbia Pictures, alleging discrimination for not hiring women and ethnic minorities represented by the guild, there were positive signs of change in Hollywood.

In 1984, for the first time that almost anyone could remember, one needed two hands to count the number of feature films by women released in the U.S. market. One was Diane Kurys’ “Entre Nous” (1983), nominated for best foreign film at the Academy Awards in April 1984, making Kurys the second female director whose film was so honored.

Between 1950 and 1980, the number of movies directed by women in the Directors Guild of America (DGA) totaled 14. From 1984 to 1985 there were 12.

In 1984 many women were making their second features. Among them were Gillian Armstrong’s period drama “Mrs. Soffel,” Amy Heckerling’s gangster comedy “Johnny Dangerously,” Penelope Spheeris’ teenage-runaway saga “Suburbia,” and Amy Holden Jones’ romantic drama “Love Letters.” Martha Coolidge, beloved for “Valley Girl,” her 1983 debut, was on her third feature, “National Lampoon’s Joy of Sex.” With more women behind the movie camera in the United States than any time since the ’teens, it seemed that Hollywood was reopening the studio gates to women. Their movies featured women in lead roles.

The wave of optimism crested in 1985. Argentine director Maria Luisa Bemberg’s historical romance “Camila” (1984) was in contention for best foreign film. Susan Seidelman, an Nyu film-school grad who made a splash in 1983 with the indie “Smithereens,” released “Desperately Seeking Susan,” starring “It Girl” Rosanna Arquette and Madonna, cast when the latter was a relative unknown. It was a runaway hit. Heckerling and Spheeris each released third features, respectively “National Lampoon’s European Vacation” and “The Boys Next Door.” Coolidge released her fourth: “Real Genius,” a genuinely funny nerd comedy with a fully developed female character — and special effects.

Then came the crash.

In August 1985 Judge Rymer handed down her decision. While the class-action case was important and viable, Rymer ruled, she had to disqualify the DGA from leading the class due to a conflict of interest. White male members also competing for directing jobs dominated the guild, she said. Thus the DGA was in no position to represent the interests of its women and ethnic minority members. Out of exhaustion and lack of money, the Original Six, the group of female filmmakers that had first spurred the DGA to initiate the suit, did not pursue it any further.

As the DGA suit played out during the early 1980s, Hollywood’s business model was in flux. Studios abandoned the one-size-fits-all strategy of advertising a movie in general-interest publications and embraced segmented marketing — that is, making and marketing movies to a specific demographic. Fewer dollars were spent advertising movies in mainstream newspapers and more were spent on ads that ran during TV shows young males were said to watch. More and more, movies starred predominantly men and boys. Because actors had higher-profile roles, they could command higher salaries than actresses.

By dividing the market into sectors, studios divided the audience and the culture. Boys see movies about boys. Older people see movies about older people. Women see movies about women. Those in different demographics no longer watch the same stories.

In 1980, four of the 10 top box office stars were women: Sally Field, Jane Fonda, Sissy Spacek, and Barbra Streisand. In 1990 there was only one: Julia Roberts. According to 1990 statistics from the Screen Actors Guild, not only were actresses underpaid, but they were also “undercast”: 14 percent of the leading roles, and only 29 percent of all roles, went to women.

The “Indiana Jones” trilogy made in the 1980s reflected the progressively diminishing role of females in film during a decade when male action/adventures dominated the multiplex. In “Raiders of the Lost Ark” (1981), the character Marion Ravenwood (Karen Allen) plays Indy’s helpmate. In “Indiana Jones and the Temple of Doom” (1984), the Willie Scott character (Kate Capshaw) is helpless. And in “Indiana Jones and the Last Crusade,” archeologist Elsa Schneider (Alison Doody) is the enemy.

Despite such trends, the late 1980s and 1990s proved to be boom years for female directors in Hollywood and Indiewood, as independent film is known. In 1987, Kathryn Bigelow, a onetime sculptor and graduate of Columbia University’s film program, made her second feature, the “vampire Western” “Near Dark.” And though Elaine May’s studio film “Ishtar” was almost universally panned upon release, it earned belated respect. Richard Brody of The New Yorker correctly described it as “an unjustly derided masterwork.” In 1987, six percent of films were directed by women, higher than at any time since 1916.

The percentage dropped in 1988, but that was a watershed year for female filmmakers. “Big,” a comedy from Penny Marshall (co-written by Anne Spielberg), was universally acclaimed. It was the first movie directed by a woman that surpassed $100 million at the box office. With the romantic comedy “Crossing Delancey,” Joan Micklin Silver returned to making big-screen fare, and her modest hit was well received. Also in 1988, Silver’s daughter, Marisa, made her second feature, “Permanent Record,” about teen suicide. “Salaam, Bombay!”, the first feature from Mira Nair, the India-born, Harvard-educated documentarian, was a best foreign film Oscar nominee.

The following year, “Look Who’s Talking” from Amy Heckerling likewise surpassed the $100 million mark for box office sales in the U.S. and made nearly $300 million worldwide. For the most part, though, heads of studios regarded Marshall’s and Heckerling’s box-office smashes as flukes. Two heads of production told me in 1991 that “movies by women don’t make money.” Nevertheless, it turned out to be a exceptional year for the quality and range of releases from women. And it shaped up to be a year when movies by female filmmakers did make serious money.

Some of the highlights of 1991: Julie Dash’s “Daughters of the Dust,” an evocative portrait of generations of Gullah women off the South Carolina coast circa 1901; Jodie Foster’s “Little Man Tate,” about a child prodigy emotionally torn between his mother and a psychologist for gifted children; and Mira Nair’s “Mississippi Masala,” a sexy romance about a South Asian woman born in Uganda (played by then-newcomer Sarita Choudhry) in love with an African-American man (Denzel Washington). Both Kathryn Bigelow’s action film “Point Break” and Barbra Streisand’s psychological study “Prince of Tides” examined the emotional costs to men who struggle to prove their masculinity. Bigelow’s movie grossed $83 million and Streisand’s $110 million. (Adjusted for inflation, that’s $148 million and $196 million in today’s dollars.)

Not only can female filmmakers make movies that show a different side of men, but they also make movies that show different aspects of women. Penny Marshall’s “A League of Their Own” (1992), about the All-American Girls Baseball Leagues during World War II, celebrates the athleticism (rather than the sexuality) of the female body. Nora Ephron’s “This is My Life,” her 1992 directorial debut about a single mom whose choice of comedy career affects her daughters, shows that career and motherhood need not be in conflict. Like Ephron’s film, Allison Anders’ “Gas Food Lodging” (also 1992) explores what happens when the children of single moms reconnect with biological fathers. Male directors were, and are not, making movies like these.

During the 1990s, almost every year brought a new evergreen made by a female filmmaker. In 1993 there were two. One was Jane Campion’s “The Piano,” a haunting allegory about a mute woman that struck a chord internationally. It earned $62 million at the box office and multiple Oscar nominations, including one for best director, making Campion the third woman to be cited in this category. The other was Nora Ephron’s “Sleepless in Seattle,” the comedic romance between two people who don’t meet in person until the last scene, which scored a $227 million box office.

“Sleepless” additionally introduced the questionable concept of the “chick flick” to a broader audience. This is a non-genre that has come to be defined as any movie that, according to the term’s proponents, women want to see and that men think they don’t want to watch — or any movie directed by a woman. The division between “chick flick” and its corollary, the “dick flick,” is a perhaps unintended consequence of target marketing, implying that movies represent a gender-linked proposition.

Almost overnight, the perception was created that movies predominantly featuring women, or “women’s interests,” or directed by women would shrivel the manhood of the male moviegoer. In 1994 the head of a major studio told me, without irony or shame, that “Women on the screen means no men in the audience.” When I asked him for data to back up his claim, he said he had it, but it was proprietary.

Despite such signs of cultural and corporate sexism, the 1990s were a good time to be a female filmmaker. In 1994, Gillian Armstrong’s “Little Women” was immediately embraced as a classic. Newcomer Darnell Martin’s “I Like it Like That,” an urban comedy about a working mother juggling job, marriage, and parenthood, earned positive reviews. And Rose Troche’s “Go Fish,” the first indie comedy about girl-on-girl courtship, marked a milestone for the burgeoning genre.

The following year, 16 films by women were in U.S. release, setting another record for that era. Many of them were comedies. There was Amy Heckerling’s “Clueless,” a droll version of Jane Austen’s “Emma” set at a Beverly Hills high school. There is Betty Thomas’ “The Brady Bunch Movie,” in which the former actress sets the characters of the 1970s TV hit in the 1990s to great comic effect. Distinctly not a comedy was Kathryn Bigelow’s “Strange Days,” a science-fiction thriller about sex crimes, which lost money but became a cult favorite. At the 1996 Oscar ceremony, with “Antonia’s Line,” Dutch filmmaker Marleen Gorris became the first female filmmaker to direct the award-winning foreign film.

But apart from Bigelow and Mimi Leder, a director of episodic television who in 1997 directed “The Peacemaker” and in 1998 “Deep Impact,” female filmmakers were not making action films. For the most part women made comedies and human stories, movies with no explosions in the opening scene. Veteran filmmaker Martha Coolidge spoke for many women when she noted that the scripts the studios sent her were for comedies or family dramas. “About 90 percent of what comes my way are ten different kinds of breast cancer stories, ten kinds of divorce stories, and ten kinds of women-taking-care-of-their-fathers stories,” she said. “I do those. I care about those deeply. But one does want to do more.”

Female filmmakers were typecast in the way many actors and actresses have been, for the most part pigeonholed in family drama and comedy genres. For example, in 1997 actress Kasi Lemmons made her directorial debut with “Eve’s Bayou,” a haunting family drama, and Betty Thomas returned with the Howard Stern biopic “Private Parts.” In 1998, Ephron returned with the romantic comedy “You’ve Got Mail.” Nancy Meyers, a long-time screenwriter, made her directorial debut with the family-friendly comedy “The Parent Trap,” and Brenda Chapman, a Disney animator, was one of three directors on “Prince of Egypt,” the animated story of Moses.

In 1999, three female filmmakers made rookie features unlike anything in American movies. Two were romantic dramas about teenage sexuality, the other an imaginative Shakespeare adaptation. Sofia Coppola’s “The Virgin Suicides,” based on the novel by Jeffrey Eugenides, looked at how boys look at girls, subversively turning the female gaze on the male gaze. Kimberly Peirce’s “Boys Don’t Cry” dramatized the life story of Teena Brandon, who changed her name and gender to become Brandon Teena and fell victim to a hate crime.

Julie Taymor, the theater director who created “The Lion King” on stage, made her movie debut with “Titus,” an anachronistic version of the Shakespeare history play “Titus Andronicus,” underscoring its parallels to Italy under Mussolini.

At the end of the decade — and century — of the 11,000 filmmakers working both in television and film included in the Directors Guild of America, about 2,300 were women. While women made up 21 percent of the membership, they comprised only 9 percent of the filmmakers working in movies.

Most, including Martha Lauzen, a professor at San Diego State University and the head of the Center for the Study of Women in Film and Television, naturally assumed that in the new century the needle would move toward 50/50.

In addition to writing film reviews and essays for Truthdig, Carrie Rickey has been a film critic at The Philadelphia Inquirer and Village Voice, and an art critic at Artforum and Art in America. Rickey has taught at various institutions, including School of the Art Institute of Chicago and the University of Pennsylvania, and has appeared frequently on NPR’s “Talk of the Nation,” MSNBC, and CNN.

What Happened to the Women Directors in Hollywood? Part 4: 1984–1999 was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
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Performer of the Week: Gotham's Cameron Monaghan

Performer of the Week: Gotham's Cameron Monaghan
The Performer | Cameron Monaghan

The Show | Gotham

The Episode | “Mad City: The Gentle Art of Making Enemies” (Jan. 30, 2017)

The Performance | Monaghan is so good at being colorfully bad, it almost makes us angry every time one of his arcs as that joker, Jerome Valeska, comes to an end.

It’s always a precarious thing to raise comparisons with the late Heath Ledger’s Oscar-winning turn as The Dark Knight‘s actual Joker, but Monaghan’s latest “swan song” more than ever flirted with that kind of greatness. Between his voice, his gait and the way he carried himself with a
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First Trailer for Indie 'Una' Starring Rooney Mara & Ben Mendelsohn

"This is my life! I had to fight for this..." A trailer has debtued for an indie drama adapted from a stage play called "Blackbird". The film is titled Una and premiered at the Telluride & Toronto Film Festivals last year to mixed reviews. Rooney Mara stars as a troubled young woman who comes to a man's work to confront him about their past, and things get a little crazy. Ben Mendelsohn also stars, and the cast includes Riz Ahmed in a small role, as well as Tobias Menzies and Tara Fitzgerald. While some critics flipped for this film, I found it utterly boring, and it feels way too much like a stage play and not at all like a film (taking place mostly in one drab location). It doesn't work well as a film, but that's just my own take. Have a look. Here's the first official trailer for Benedict Andrews' Una,
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Debbie Reynolds was famous for her perky onscreen personality, but behind that sweet smile she was hiding a painful past.

When Reynolds, who died Wednesday, just one day after her daughter Carrie Fisher passed away, did a joint interview with Fisher on The Oprah Winfrey Show in 2011, she reluctantly discussed the at-times volatile relationship she had with her mother Maxine. Fisher went so far as to describe Reynolds’ mother as abusive.

“The big, big thing about my mom is that she had a very bad mom,” Fisher said on the show. “She had a very difficult, mean, punishing mother. My grandmother,
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The Weeknd Reveals How His Fans Helped Him Overcome Stage Fright

The Weeknd Reveals How His Fans Helped Him Overcome Stage Fright
He may be the Starboy, but life in the spotlight wasn’t always easy for The Weeknd.

In this week’s issue of Billboard, the Canadian singer admits that he’s suffered from stage fright.

“I used to be very nervous, especially about performing on TV,” explains The Weeknd, whose real name is Abel Tesfaye. “It’s usually just nerves when ­somebody sounds bad. People who become famous for signing are usually pretty good at ­singing.”

The 26-year-old has discovered that recognition helps partially soothe the fears, however.

“Now, when I step out at the American Music Awards or on Saturday Night Live,
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Life Lessons: What You Can Learn From the Movies

How many times have you watched a movie and thought, “This is my life!”? Some of the best, most successful and memorable movies are relatable. Even when you don’t see your life reflected on film, you can learn a lot about your own life and may be inspired to change. These movies can teach you a few important lessons in life and entertain at the same time:

“Don’t Give Up”

For years, parents, teachers, and even motivational posters have reminded us to keep going and although it’s solid, sound advice, it can come across as a little trite at times. Fortunately, movies can deliver the same message without eliciting an eyeroll. Here are a few that will inspire you to keep going when the going gets tough:

The Pursuit of Happyness (2006): Based on a true story, Will Smith portrays Christopher Gardner, who becomes a homeless single
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Beyoncé Sneaks in Another Surprise With Chance the Rapper During the 2016 MTV VMAs

Beyoncé Sneaks in Another Surprise With Chance the Rapper During the 2016 MTV VMAs
Let's be honest: last night should have actually been called the Bey-MAs.  From her incredible angel-like gown to bringing Blue Ivy as her guest to her jaw-dropping, 15-minute performance, Beyoncé reigned over the 2016 MTV Video Music Awards. And to think, some of her amazing surprises weren't even caught on-stage! For example, during one of Chance the Rapper's backstage interviews, Queen B decided to pop up behind him and make her presence known, totally catching both him and the reporter off-guard. "Oh my God! That was awesome," the rapper gasped after realizing who had hugged him. "This is my life!"  Bey, not wanting to be...
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Here Are The Bachelorette Villain Chad Johnson's Craziest Antics – Including One for Which He Just Apologized

Here Are The Bachelorette Villain Chad Johnson's Craziest Antics – Including One for Which He Just Apologized
Chad Johnson may have been eliminated early from The Bachelorette, but he refused to disappear from the public eye. On Tuesday night's two-hour season premiere of Bachelor in Paradise, Johnson made a violent and offensive return.

At the end of the episode, the meat-loving luxury real estate agent was asked to leave by none other than Chris Harrison. ("You told everybody at this hotel last night to suck a d---. You had a chance to turn over a new leaf and you didn't, and so on behalf of everybody, I'm sorry, I thought this could work out, it didn't. I'm
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