First I would probably place men at the bottom of the food chain. On a grander scale, I would say they're reacting to change. Feminism has got to be part of that.
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I think Christine and Chad are on the opposite extremes of the spectrum. Christine is a model victim, and Chad is a model perpetrator, and Howard is closer to the middle.
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People think my work is therapeutic. I don't see it that way. It's not like I'm saving money from a weekly therapy visit by writing down my life.
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With In the Company of Men, the misogynist label stuck early and firmly. In the end, it probably did hurt the film a bit, because getting women into the theaters was difficult.
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I wanted to make these people real, not like they were in a painting. Like these are people who don't know they're in a period movie. Those concerns are incredibly immediate.
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Everyone has a little bit of Howard and Chad in them. I think there's Christine in all men as well.
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I'm more than open to hope, but I think men and women have a difficult time dealing with each other and often take the low road.
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Just in the past few years - since I've been making movies, which isn't a very long time - you now have a culture that is fascinated and informed about the box office in a way that sometimes filmmakers weren't even.
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I was very careful to cast guys who were very good-looking and very fit and who had a certain sense of privilege about them, because with that sense of privilege comes contempt.