What Nora Ephron Taught Me About Love In The Movies
npr:
“Ephron wrote fairy tales that spun things that really happen – reconciliation over time, mysterious chemistry, complex and loaded friendships, love after grief and loss – into things that don’t happen, or don’t happen very much. But I always recognized in those stories pieces of people I knew and conversations I had had; they were like choral compositions where everything else is just pretty sounds, but you can pick out the alto line because you sang it in choir fifteen years ago. ”
I’m very conscious of how easy it is to let people down on a day like this, because I remember my own graduation from Wellesley very, very well, I am sorry to say. The speaker was Santha Rama Rau who was a woman writer, and I was going to be a woman writer. And in fact, I had spent four years at Wellesley going to lectures by women writers hoping that I would be the beneficiary of some terrific secret — which I never was. And now here I was at graduation, under these very trees, absolutely terrified. Something was over. Something safe and protected. And something else was about to begin. I was heading off to New York and I was sure that I would live there forever and never meet anyone and end up dying one of those New York deaths where no one even notices you’re missing until the smell drifts into the hallway weeks later. And I sat here thinking, “O.K., Santha, this is my last chance for a really terrific secret, lay it on me,” and she spoke about the need to place friendship over love of country, which I must tell you had never crossed my mind one way or the other.
… My class went to college in the era when you got a masters degrees in teaching because it was “something to fall back on” in the worst case scenario, the worst case scenario being that no one married you and you actually had to go to work. As this same classmate said at our reunion, “Our education was a dress rehearsal for a life we never led.” Isn’t that the saddest line? We weren’t meant to have futures, we were meant to marry them. We weren’t’ meant to have politics, or careers that mattered, or opinions, or lives; we were meant to marry them. If you wanted to be an architect, you married an architect. Non Ministrare sed Ministrari — you know the old joke, not to be ministers but to be ministers’ wives.
I’ve written about my years at Wellesley, and I don’t want to repeat myself any more than is necessary. But I do want to retell one anecdote from the piece I did about my 10th Wellesley reunion. I’ll tell it a little differently for those of you who read it. Which was that, during my junior year, when I was engaged for a very short period of time, I thought I might transfer to Barnard my senior year. I went to see my class dean and she said to me, “Let me give you some advice. You’ve worked so hard at Wellesley, when you marry, take a year off. Devote yourself to your husband and your marriage.” Of course it was stunning piece of advice to give me because I’d always intended to work after college. My mother was a career woman, and all of us, her four daughters, grew up understanding that the question, “What do you want to be when you grow up?” was as valid for girls as for boys. Take a year off being a wife. I always wondered what I was supposed to do in that year. Iron? I repeated the story for years, as proof that Wellesley wanted its graduates to be merely housewives. But I turned out to be wrong, because years later I met another Wellesley graduate who had been as hell-bent on domesticity as I had been on a career. And she had gone to the same dean with the same problem, and the dean had said to her, “Don’t have children right away. Take a year to work.” And so I saw that what Wellesley wanted was for us to avoid the extremes. To be instead, that thing in the middle. A lady. We were to take the fabulous education we had received here and use it to preside at dinner table or at a committee meeting, and when two people disagreed we would be intelligent enough to step in and point out the remarkable similarities between their two opposing positions. We were to spend our lives making nice.
… Why am I telling you this? It was a long time ago, right? Things have changed, haven’t they? Yes, they have. But I mention it because I want to remind you of the undertow, of the specific gravity. American society has a remarkable ability to resist change, or to take whatever change has taken place and attempt to make it go away. Things are different for you than they were for us. Just the fact that you chose to come to a single-sex college makes you smarter than we were — we came because it’s what you did in those days — and the college you are graduating from is a very different place. All sorts of things caused Wellesley to change, but it did change, and today it’s a place that understands its obligations to women in today’s world. The women’s movement has made a huge difference, too, particularly for young women like you. There are women doctors and women lawyers. There are anchorwomen, although most of them are blonde. But at the same time, the pay differential between men and women has barely changed. In my business, the movie business, there are many more women directors, but it’s just as hard to make a movie about women as it ever was, and look at the parts the Oscar-nominated actresses played this year: hooker, hooker, hooker, hooker, and nun. It’s 1996, and you are graduating from Wellesley in the Year of the Wonderbra. The Wonderbra is not a step forward for women. Nothing that hurts that much is a step forward for women.
What I’m saying is, don’t delude yourself that the powerful cultural values that wrecked the lives of so many of my classmates have vanished from the earth. Don’t let the New York Times article about the brilliant success of Wellesley graduates in the business world fool you — there’s still a glass ceiling. Don’t let the number of women in the work force trick you — there are still lots of magazines devoted almost exclusively to making perfect casseroles and turning various things into tents.
Don’t underestimate how much antagonism there is toward women and how many people wish we could turn the clock back. One of the things people always say to you if you get upset is, don’t take it personally, but listen hard to what’s going on and, please, I beg you, take it personally. Understand: every attack on Hillary Clinton for not knowing her place is an attack on you. Underneath almost all those attacks are the words: get back, get back to where you once belonged. When Elizabeth Dole pretends that she isn’t serious about her career, that is an attack on you. The acquittal of O.J. Simpson is an attack on you. Any move to limit abortion rights is an attack on you — whether or not you believe in abortion. The fact that Clarence Thomas is sitting on the Supreme Court today is an attack on you.
Above all, be the heroine of your life, not the victim. Because you don’t have the alibi my class had — this is one of the great achievements and mixed blessings you inherit: unlike us, you can’t say nobody told you there were other options. Your education is a dress rehearsal for a life that is yours to lead. Twenty-five years from now, you won’t have as easy a time making excuses as my class did. You won’t be able to blame the deans, or the culture, or anyone else: you will have no one to blame but yourselves. Whoa.
… Whatever you choose, however many roads you travel, I hope that you choose not to be a lady. I hope you will find some way to break the rules and make a little trouble out there. And I also hope that you will choose to make some of that trouble on behalf of women. Thank you. Good luck. The first act of your life is over. Welcome to the best years of your lives.
"Pixar story artist Emma Coats tweeted a list of guidelines she learned from her colleagues on how to create appealing stories:
#1: You admire a character for trying more than for their successes.
#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
#17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.
#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
How do you reign in the character’s eccentricity ? Well, I had to be prepared to let people dislike her at times because she’s a bit of a bitch, but at the same time, she’s gorgeous and she’s funny and she’s silly and you sort of feel for her. You kind of sense her confusion about who she is and her life. She’s very, very vulnerable, I think, underneath all of that stuff. I just had to work very, very hard. Sometimes I would say to Michel, “Let me know if I’m not going enough. Let me know if I’m going too far.” And more often than not, he would be pushing me further. I was so terrified of being over the top and he would just say, “No, no, no. More, more, more.” And I’d be like, “Really ?” He’d go, “Yeah, it doesn’t matter. Just do it, just try it.” That was fantastically liberating. When you do classical period films, you don’t get the opportunity to do that. It’s a more subtle approach.
For Your Consideration: Women Directors Missing From the Oscars
The first post I’ve promoted on my first day as Tumblr tag editor for Film. Thanks for posting this, landlessness!
Amy Heckerling, director of Fast Times at Ridgemont High and Clueless in These Amazing Shadows (via kimbrulee
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According to a study done by the Centre for the Study of Women in Television and Film, In 2010, women comprised just 16% of all directors, executive producers, producers, writers, cinematographers, and editors working on the top 250 domestic grossing films (In the United States of America). The study analyzed behind-the-scenes employment of 2,649 individuals working on the top 250 domestic grossing films (foreign films omitted) of 2010 with combined domestic box office grosses of approximately $10.5 billion.
Here is a summary of their findings:
- Women accounted for 10% of writers working on the top 250 films of 2010. 83% of the films had no female writers.
- Women comprised 15% of all executive producers working on the top 250 films of 2010. 65% of the films had no female executive producers.
- Women accounted for 24% of all producers working on the top 250 films of 2010. 33% of the films had no female producers.
- Women comprised 7% of all directors working on the top 250 films of 2010. 93% of the films had no female directors.
- Women accounted for 18% of all editors working on the top 250 films of 2010. 77% of the films had no female editor
- Women comprised 2% of all cinematographers working on the top 250 films of 2010. 98% of the films had no female cinematographers
01:17
“There was something transgressive about having the woman being the one who is attacked first, that there’s a sort of, in movie terms, a popular conception that women are weaker than men and that the only way that they can triumph in a hand-to-hand situation is if they somehow have an advantage from the beginning,” Soderbergh said. “They trick the guy and they get the upper hand because they’re being somewhat nefarious. Very consciously, in two circumstances, she’s attacked in an unprovoked manner and has to work her way back into winning the fight. With someone like Gina, you can pull that off and have it be believable. She can really break you in half.” (via)


