Fisher, Indy, Britain discussed on Monocle 24: The Monocle Arts Review

Automatic TRANSCRIPT

I wouldn't be surprised if fifty eight percent of them were women. But but it's later on that that why the difficulty comes, I think tons of why do you think that as we, we wrenching VO statistics in the introduction, seven percent of the top films top two hundred and fifty films of two thousand sixteen with the right to buy women, thirteen percent of the Britain by women. Why is that drop-off. The million pound question. Why? Simply I think it's not as simple as this, but often people say that women just aunt trusted with bigger budgets, and it's pretty bleak to think of it in that way. But that is that does seem to be something that's proven time. And again, because lower end in Indy features, there are female directors. So it's persuading the the people who hold the purse strings. What are quite small number studios today that how, how do you do that? If you don't, if the theory as you say, but we've given women these big budget phones before and it's not worked the any way to prove that that's wrong is to hand control of big budget movies, two more women and for them to work. Yeah, exactly. And I think that is beginning to happen. I mean, in the last year, that's been a couple of directors made films for the in. Phoenix arts made films in two hundred million pounds rocket for the first time I think. But yeah, it's it's not. It's an unconscious bias exists. It's not something that people are aware. Studios are aware that doing. But the fact is, you know, if someone if mother given opportunity and then it doesn't work out that career Don, whereas it has been proven that a male direct to done the same thing in the past might then be given another opportunity in. His things like that that have caused this huge disparity shot up humor. We wanted vantage this is that the the m- the more women that are coming in at the beginning of their careers and getting support and getting get these films into cinemas and getting people to see them the white of the talent pool that can then chase down executives, not just in Europe, but in in the states as well. Not Fisher case changing and not kinda leaders or the people in them positions hopefully are becoming different people. And it's not just a problem with women think is problem with diverse e and with cross as well within the film industry. So I don't just see is women that problem, I think is everything but things like, you know, like out doing so well or Lady Macbeth Fink off light steps towards people in that position, allowing women or people from diverse backgrounds, given them different positions and more, but you knees. You could argue, I suppose, you know the people at the top of the film industry, kind of make these assumptions about what won't. And then from that, they make a sumptuous about who can deliver that for those audiences. But if you take out an example of film that doesn't fit into that box, but does fantastically well and hopefully starts to change the way they think about it. For sure. And I think lots of smaller budget features doing all the time, like even young offenders, which was about to in class ways in Ireland, which was a really low budget went onto incredibly world. So I think people is things are changing, especially now people are watching online or home, like what they wanna see changing all the time, Fisher on what you don't presume really want to have happened is for there to be extra support, extra investment more films being made, but then being kind of silo. I mean, you said, you know, he's not. He's not just as much as women writers his representation across minority groups across class across background..

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