Why do so many women drop out of the workforce at this age, in our late 30s, early 40s? Well, often it's because we're raising kids, so, let's be honest about that.
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I think there used to be more respect toward young people in movies. John Hughes really respects his characters and they're given their emotional weight. He does so even with kids, but especially with teenagers.
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You want to make movies about extraordinary people, but those extraordinary people have to have a huge journey.
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I went to Sundance Labs, and I definitely watched my male peers from there have very different meetings than I was having, very different outcomes. You could tell there was a feeling that a young male director had this exciting potential and a young female director was risky.
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Molly Ringwald's characters always had a complex personal life, and I appreciated that.
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It's advice I always give to directors when they're starting out: Take an acting class to really see what it feels like to be an actor. And I have always felt like one of my strengths as a director is that I share a language and a vocabulary with actors.
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Mr. Rogers would not make a good protagonist of a narrative film. He's without conflict, he's too far along on his journey toward enlightenment to be a good protagonist. Our protagonists have to be struggling with demons in a certain way.
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I did not grow up in the 70s but in the 80s in the Bay Area, the child of hippies in Berkeley, so I felt connected to the place and the legendary things that had come before me historically that I'd missed.
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I don't think we have to be jerks to make good art either, but somehow we as a society have romanticised that idea.
