American - Comedian | September 26, 1965 -
What I have to offer as a writer/director is the stuff with the feeling in it.
Jill Soloway
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When you're making an independent film, it's like this actor plus this actor equals this funding, this financing. Pull this actor out, this actor is still here but this money's gone. It's this frightening puzzle mosaic that is the world of independent film.
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I've been playing with this idea in my mind that the hero's journey that we're all taught as screenwriters may resonate more specifically for male protagonists and maybe even male viewers.
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Femininity in and of itself - and the feminine - can be not only privileged, but honored or worshipped.
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I really feel like becoming a director came from other women saying, 'Yeah, you can do this.' I wanted to direct 'Six Feet Under,' and no, they didn't let me.
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I think, because of the Internet, we're not looking at the very, very narrow channels for distribution that there used to be.
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Whether you're writing television or movies, at some point you're going to encounter a male executive or investor who's going to say, 'I don't like that woman. She's unlikable.' And often, it's literally for being a regular human woman as opposed to an attracting human woman.
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It's a struggle every day to get people to invest financially in portrayals of women that aren't satisfying to straight white men.
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If you're in a room and can be seen by actors, you need to understand that you can be felt by them.
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Most people privilege the technology, almost as if actors are in service to the machine.
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On some sets, if a helicopter goes by, what would normally happen is that somebody would go, 'There's a helicopter. Stop.' I'd never stop for a helicopter. I am always trying to make sure that the machine is in service to the actors.
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For me to be able to punch above my weight creatively, to actually take a stand for what I was doing, I had to take on everything. I had to be the person who says, 'I wrote it. I directed it.'
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