“There are 617 movie showings today — that’s just today, Friday — within 10 miles of my house. Of those 617 showings, 561 of them — 90 percent — are stories about men or groups of men, where women play supporting roles or fill out ensembles primarily focused on men.”
“Of the seven movies about women or balanced groups, only one — the Israeli film Fill The Void — is directed by a woman, Rama Burshtein. That’s also the only one that isn’t about a well-off white American.”
“I want to stress this again: In many, many parts of the country right now, if you want to go to see a movie in the theater and see a current movie about a woman — any story about any woman that isn’t a documentary or a cartoon — you can’t. You cannot. There are not any. “
“You can apparently make an endless collection of high-priced action flops and everybody says ‘win some, lose some’ and nobody decides that They Are Poison, but it feels like every ‘surprise success’ about women is an anomaly and every failure is an abject lesson about how we really ought to just leave it all to The Rock.”

“There are 617 movie showings today — that’s just today, Friday — within 10 miles of my house. Of those 617 showings, 561 of them — 90 percent — are stories about men or groups of men, where women play supporting roles or fill out ensembles primarily focused on men.”

“Of the seven movies about women or balanced groups, only one — the Israeli film Fill The Void — is directed by a woman, Rama Burshtein. That’s also the only one that isn’t about a well-off white American.”

“I want to stress this again: In many, many parts of the country right now, if you want to go to see a movie in the theater and see a current movie about a woman — any story about any woman that isn’t a documentary or a cartoon — you can’t. You cannot. There are not any. “

“You can apparently make an endless collection of high-priced action flops and everybody says ‘win some, lose some’ and nobody decides that They Are Poison, but it feels like every ‘surprise success’ about women is an anomaly and every failure is an abject lesson about how we really ought to just leave it all to The Rock.”

“The study looked at the 100 highest-grossing 2012 movies, and then considered the percentage of female speaking roles in those films. Last year, that number was an embarrassing 28.4% — down from 32.8% three years ago, and, as the Los Angeles Times notes, ‘a number that has stayed relatively stagnant despite increased research attention to the topic and several high-profile box-office successes starring women.’”

“So, why is Hollywood continuing to fail at representing women, despite recent high-profile examples that female-driven movies can be blockbusters? First and foremost, it’s impossible to overstate the extent to which men dominate movies, not only in front of the camera, but behind it. (…) The stats are about as bleak for female screenwriters, so there’s your first problem — there aren’t enough women given opportunities to create complex roles for women, and most male screenwriters and directors are either afraid to write good roles for women or bad at it.”

“And the other excuse that you’ll often hear is the old ‘hey, we’re just giving people what they want’ standby — that the reason we see so many movies aimed squarely at teenage boys and thus unconcerned with girls (EW GROSS COOTIES) is that they’re the audience that’s going to the movies, so Hollywood is merely making the comic book flicks and gross-out comedies that they demand. Trouble is, that notion is bullshit. Earlier this year, the MPAA released their annual statistical rundown of who goes to the movies — and guess what, women go. More than men.”

“More women go to movies than men — men (fanboys, particularly) are just louder about what they want to see. And that’s what has to change. Hollywood is constantly worrying about falling ticket revenues, but the fact of the matter is, they’re failing to serve what is plainly, clearly the statistical majority of their audience.”

Life Of Pi (2012)

Life Of Pi (2012)

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