Quotes of All Topics . Occasions . Authors
What I'm not about is exploiting women.
By luck I mean, when opportunity meets preparation.
I think of feminism as more of a political ideology.
I didn't think of 'Thelma and Louise' as a feminist movie.
I'm almost numb to misogyny at this point. It's just everywhere.
Would you have a friend who talks to you the way you talk to yourself?
When people know I wrote 'Thelma and Louise,' they don't want to mess with me.
Kelly Clarkson is the most adorable person on the planet. She is just so nice.
Political stories in general are tough. They just don't appeal to as wide an audience.
Whenever I've seen shows or films set here, they just don't feel like the real Nashville to me.
Movie studios are owned by giant corporations. They care about money; they dont care about movies.
Movie studios are owned by giant corporations. They care about money; they don't care about movies.
Always, in all circumstances, wear comfortable shoes. You never know when you may have to run for your life.
I like writing flawed women, and being one, its something I feel I can write with some veracity and authority.
I like writing flawed women, and being one, it's something I feel I can write with some veracity and authority.
To me, feminism is such a simple description: it's equal rights, economic rights, political rights, and social rights.
If the same energy went into marketing movies to women as they do on the other demographics we might see more of a spike.
One of the magical things about Nashville is just how many incredibly talented people are here and the way they support each other.
I want to make something that's respectful and respected. And I think you can make something for women that is respected on television.
I remember when I used to have actual time to write and now you don't have time and you just do it. I think it explains a lot about television.
Nashville is the place where I first realized how impossible it is to look at someone and know what is inside them, what special something they possess.
Chick flick is not a term used to praise a movie. Nobody says 'it's a great chick flick.' It's a way of being derisive. I'm not clear why it's ok to do it.
I tried to get a baseball movie made a couple of years ago and I don't think it didn't happen because I was a woman, but because sports movie don't sell internationally.
For me, the movies I like are all independent. And getting an independent feature made, it's like you get down to the selling organs part, and it just loses some of its luster.
The world will provide you with every imaginable obstacle, but the one most difficult to overcome will be the lack of faith in yourself. Leave it to others to have doubts about you.
I don't see the country audience looking forward to an out male singer. There are rumors about people but no one ever confirms because there is a tremendous amount of money at stake.
What I'm mainly interested in is not having women characters that have to be perfect, obviously. That's something I feel strongly about and have that in every single thing I've ever done.
We have a lot of women on the staff, obviously. It's a predominantly female writing staff and we hire the best people. It's not like we go we need more women or we need four women directing.
'Gravity' is a great example of a movie that we hope they're going to do more of. It's really entertaining, with a female star. It's not the kind of film you typically see, and gives me hope.
I love to start characters in a place where you think you know them. We can make all kinds of assumptions about them and think they have no redeeming qualities, but like everyone, they're complex.
My advice is that if you really want to be a screenwriter, get out here and be ready to take no for an answer many times until you find your way through it and are fortunate enough to get something made.
There's a lot of head-shaking and forehead-slapping when you start to realize just how deep-seated misogyny can be, how systemic and entrenched certain modes of thinking are that are still very much alive.
I don't know anyone male or female who can quote-unquote have it all. It's a made-up idea. Men don't have it all. They may have it better because they get paid more for the same work, but they don't have it all.
I don't think any studio - it was a long shot at the time - but I don't think any studio in a million years would make 'Thelma and Louise' right now. But there's so many other kinds of movies they won't make right now.
I call myself a feminist, not a feminist filmmaker. If somebody asked me if I had a feminist sensibility it would be pretty hard to deny, but is it the theme of my work? Not necessarily. I'm interested in a lot of things.
One of the reasons I wanted to do a show about Nashville in Nashville was because when I lived here, the hardest thing to go out and hear was country music. Country was taking place inside the studio and it was an export.
We get the best people we can get and it turns out a lot of them are women. I've said this before If you hire people solely on their merit you wind up hiring a lot of women. I wonder how many other shows even come close to our numbers.
You're allowed to make things for women on television and there's not like... you don't have to go through the humiliation of having made something directed at women. There it's just accepted, whereas if it's a feature, it's like 'So, talk to me about chick flicks.'
I think this happens to a lot of people, men and women, where you reach a point in your life and all of a sudden realize that things have changed. You suddenly realize that people are coming up behind you, that maybe somebody might want to replace you for less money.
With female-oriented movies, unless it's something like 'Bridesmaids' or a romantic comedy, you've got to really worry about your opening weekend. And I'm always telling stories about women, not younger women, and it's just a much tougher audience to get to the movie theater.
There are so many screenwriters with incredible stories to tell, so I hope there will be some kind of shift in the business where very few types of movies are now made by the studios. There needs to be different budgets for different audiences; not everything having to be a huge opening weekend.
Every so often when I'm writing, a character might actually be a distinct person in my head - often not an actor or a face, literally a person who just seems to exist in my imagination. Then the challenge is finding somebody who is close enough to that to make me feel like I've ended up where I wanted to be.
Women who just don't like each other because the other one is a woman and "women don't like each other" myth - that's not interesting to me at all. How do you compete in the market place, how you stay relevant after many years of being in the public eye - all of that. To me, that's interesting and that's real.
When you look around right now, Nashville is kind of going through another changing of guard; you're watching the Martina McBrides and the Faith Hills and all of them that have been the big stars for the last however many years, and the next generation is coming in: Miranda Lambert, Carrie Underwood, those girls.
When I lived in Nashville, Tanya Tucker and people like that were coming up, and I'm sure that Loretta Lynn and Tammy Wynette were going, 'What's that noise? That's not country.' It's always been this battle where whoever comes up behind the reigning stars isn't country enough. There really is a lot more crossover now.
The movie I've watched a million times is 'A Face in the Crowd,' directed by Elia Kazan, starring Andy Griffith and Patricia Neal. I first saw this movie, I guess I was in my early 20s. I'd never heard of it, and somebody told me about it, and I watched it and was just completely jaw-droppingly shocked at how current it was.
I wrote 'Thelma & Louise' in 1988, and we shot it in 1990. Everyone kept saying, 'This is so groundbreaking... this is going to change the landscape,' but I don't see that result at all. When we saw some female studio executives, we were hopeful that more women would be hired as directors, but that didn't really seem to happen.
People always ask me about 'Girls' with this kind of hesitation. What do I think of it? I love it. It's awesome. I get a lot of Where do you come down on this? I come down on the side of 'Yay, Lena Dunham. Congratulations. I'm jealous.' She's doing something so fantastic. Maybe it's not for everybody, but it certainly is for me.
You're allowed to make things for women on television, and there's not like... you don't have to go through the humiliation of having made something directed at women. There it's just accepted, whereas if it's a feature, it's like 'So, talk to me about chick flicks.' It's like... I don't think you want to hear my opinion about this.
You can point to a lot of women showrunners that have had long and successful careers. In terms of the kinds of movies that women can get made, as long as the business operates under this model of the first-weekend [box office] focus, with huge movies aimed at super-young audiences, it will be really tough for women to do something that really changes the landscape. Because honestly, until they figure out how to get grown women into the theaters on the first weekend, it won't change.