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Post by futuretrunks on Jan 20, 2024 23:12:42 GMT
I don't feel like this used to be the case in the past. It feels like Blanchett is the only one floating from one top director to another, and she's only done it by accepting being in more minor roles here and there. I'll see Charlize in something like Long Shot, where she's really good, and then she'll spend the next 5 years doing god knows what; bad F&F movies, bad Gina Prince-Blythwood movies, etc. Julia Roberts is a goddamn star, and yet only Sam Esmail seems to have any interest in hiring her? What's going on? Kidman is doing a zillion TV series. I haven't watched a Witherspoon movie in a cinema in 10 years.
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Post by pupdurcs on Jan 20, 2024 23:48:34 GMT
First off, you are talking about actresses in their late 40's and 50's. It's always been the case that opportunities for film roles for women tend to decrease as they get older. Right now, the auteurs and studios are more interested in fronting film projects around younger actresses like Emma Stone or Margot Robbie.
With Kidman though, I think she's sort of in the position to do anything she wants. She's one of the most powerful producers in the industry. She can actually hire auteurs to work for her ( as she did with Lulu Wang for her latest show Expats). I think Kidman does a lot of TV because she genuinely loves the format, and it revitalised her career and gave her peak popularity with Big Little Lies. She went through a lot of wilderness years making indie movies not many people saw, so I'm not surprised she loves the guarantee of huge audiences with things like Big Little Lies, Nine Perfect Strangers and The Undoing. She also made a pledge to work with more female directors a few years ago to redress the imbalance in the industry, and she's followed through on her promise and then some. Since 2017, Kidman has worked with 9 female directors. That is her deliberately using her power to give opportunities to directors who might not recieve them as easily.
Still, she manages to fit in movies with major filmmakers in between all the shows. Being The Ricardos directed/written by Aaron Sorkin was only 2021. And The Northman directed by Robert Eggers was only 2022.
But yeah, Kidman can literally go to a number of studios or streamers, pitch any project and get it made. Film or TV. Witherspoon has a lot of power as a producer as well, but she's never been an auteur magnet as an actress. That was never her brand.
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Post by pacinoyes on Jan 21, 2024 1:02:38 GMT
Tilda Swinton - sticking with the old theme - has worked with Wes Anderson, Fincher, Joshua Oppenheimer, Weerasethakul and apparently upcoming Almodóvar (already did a short AND his soon to be English feature debut allegedely?) in a row
That's ........something anyway
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Post by Pittsnogle_Goggins on Jan 21, 2024 1:42:18 GMT
They’re not. They’re just working with different actresses than the ones you mentioned. Pup is right regarding roles for actresses leaning best for the younger generation.
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Post by paulgallo on Jan 21, 2024 22:42:27 GMT
As a female actor you also have less opportunities to work with an auteur since most of them tell very male-centric stories. All recent Scorsese, Nolan, Tarantino and PTA films were centered around one or more male characters and had mostly just thankless roles for female actors, think Margot Robbie in OUATIH or even worse Anna Paquin in The Irishman.
I can see why some major actresses rather do TV than playing bit parts in films of those auteurs.
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Post by futuretrunks on Jan 21, 2024 22:50:15 GMT
As a female actor you also have less opportunities to work with an auteur since most of them tell very male-centric stories. All recent Scorsese, Nolan, Tarantino and PTA films were centered around one or more male characters and had mostly just thankless roles for female actors, think Margot Robbie in OUATIH or even worse Anna Paquin in The Irishman. I can see why some major actresses rather do TV than playing bit parts in films of those auteurs. But why wasn't this the case in classic Hollywood? Hitchcock, Wilder, Cukor, Sturges, Capra, Wyler, etc. etc. had great, prominent roles for women. They did for men too, but it wasn't so one-sided. |
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Post by countjohn on Jan 22, 2024 3:47:58 GMT
Also not getting this. Top directors are making more woman focused films than any time in the history of the medium. Kidman works with top auteurs all the time, Roberts and Witherspoon are more romance and comedy focused probably by their own choice.
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forksforest
Junior Member
Quit your shit-spitting
Posts: 492 
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Post by forksforest on Jan 22, 2024 4:32:30 GMT
As a female actor you also have less opportunities to work with an auteur since most of them tell very male-centric stories. All recent Scorsese, Nolan, Tarantino and PTA films were centered around one or more male characters and had mostly just thankless roles for female actors, think Margot Robbie in OUATIH or even worse Anna Paquin in The Irishman. I can see why some major actresses rather do TV than playing bit parts in films of those auteurs. Oh my god, I dont even remember Paquin in the Irishman  |
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Post by stabcaesar on Jan 22, 2024 4:36:50 GMT
As a female actor you also have less opportunities to work with an auteur since most of them tell very male-centric stories. All recent Scorsese, Nolan, Tarantino and PTA films were centered around one or more male characters and had mostly just thankless roles for female actors, think Margot Robbie in OUATIH or even worse Anna Paquin in The Irishman. I can see why some major actresses rather do TV than playing bit parts in films of those auteurs. I agree with this but I don't think it applies to PTA. His most recent two films are more centered around the female character(s), but he seems to prefer to discover new actresses than work with the same actress over and over again. |
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Post by countjohn on Jan 22, 2024 4:36:57 GMT
As a female actor you also have less opportunities to work with an auteur since most of them tell very male-centric stories. All recent Scorsese, Nolan, Tarantino and PTA films were centered around one or more male characters and had mostly just thankless roles for female actors, think Margot Robbie in OUATIH or even worse Anna Paquin in The Irishman. I can see why some major actresses rather do TV than playing bit parts in films of those auteurs. Alana Haim in Licorice Pizza, Krieps and Manville in Phantom Thread, Adams in The Master. Not to mention Scorsese just did KOTFM which has Gladstone as the actress frontrunner. |
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Post by paulgallo on Jan 22, 2024 21:22:02 GMT
As a female actor you also have less opportunities to work with an auteur since most of them tell very male-centric stories. All recent Scorsese, Nolan, Tarantino and PTA films were centered around one or more male characters and had mostly just thankless roles for female actors, think Margot Robbie in OUATIH or even worse Anna Paquin in The Irishman. I can see why some major actresses rather do TV than playing bit parts in films of those auteurs. I agree with this but I don't think it applies to PTA. His most recent two films are more centered around the female character(s), but he seems to prefer to discover new actresses than work with the same actress over and over again. Phantom Thread was still DDL's movie though. Just realized that I've almost forgotten everything about LP so I trust you on that one. But then you still have There Will Be Blood with no significant female role and The Master where Adams plays a distant third fiddle to Phoenix and Seymour-Hoffman. But I agree that compared to the others I mentioned PTA is a bit better when it comes to writing interesting roles for women.
For someone who frequently collaborates with male stars it's indeed striking how rarely he casts female stars for his films. The only examples in this century would be Amy Adams and Reese Witherspoon I guess. Maybe because he's aware that many of the female roles he writes don't really warrant a big name.
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Post by paulgallo on Jan 22, 2024 21:36:04 GMT
As a female actor you also have less opportunities to work with an auteur since most of them tell very male-centric stories. All recent Scorsese, Nolan, Tarantino and PTA films were centered around one or more male characters and had mostly just thankless roles for female actors, think Margot Robbie in OUATIH or even worse Anna Paquin in The Irishman. I can see why some major actresses rather do TV than playing bit parts in films of those auteurs. Alana Haim in Licorice Pizza, Krieps and Manville in Phantom Thread, Adams in The Master. Not to mention Scorsese just did KOTFM which has Gladstone as the actress frontrunner. Most of them in support of a bigger male role. Why should the preeminent actresses in Hollywood right now relegate themselves to playing third or fourth fiddle for these directors when they can be front and center in a Lanthimos or Gerwig movie? These opportunities are rare though so if you aren't at the top you can either play the protagonist's wife in a Scorsese film or do TV until a good movie role comes along.
And if Gladstone were the frontrunner it wouldn't be because her role is so meaty, because it ain't.
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Post by countjohn on Jan 23, 2024 17:12:35 GMT
Alana Haim in Licorice Pizza, Krieps and Manville in Phantom Thread, Adams in The Master. Not to mention Scorsese just did KOTFM which has Gladstone as the actress frontrunner. Most of them in support of a bigger male role. Why should the preeminent actresses in Hollywood right now relegate themselves to playing third or fourth fiddle for these directors when they can be front and center in a Lanthimos or Gerwig movie? These opportunities are rare though so if you aren't at the top you can either play the protagonist's wife in a Scorsese film or do TV until a good movie role comes along.
And if Gladstone were the frontrunner it wouldn't be because her role is so meaty, because it ain't.
Haim is the lead in LP, Krieps and Adams are pretty strong second leads to DDL and Phoenix. Those are great parts that talented actresses can hit out of the park. Regardless with Manville, Adams, and Gladtone all getting Oscar nods from those examples they are by definition not "thankless" which also applies to Blunt in Oppenheimer now despite what some people thought of the performance. |
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Post by paulgallo on Jan 23, 2024 21:46:38 GMT
Most of them in support of a bigger male role. Why should the preeminent actresses in Hollywood right now relegate themselves to playing third or fourth fiddle for these directors when they can be front and center in a Lanthimos or Gerwig movie? These opportunities are rare though so if you aren't at the top you can either play the protagonist's wife in a Scorsese film or do TV until a good movie role comes along.
And if Gladstone were the frontrunner it wouldn't be because her role is so meaty, because it ain't.
Haim is the lead in LP, Krieps and Adams are pretty strong second leads to DDL and Phoenix. Those are great parts that talented actresses can hit out of the park. Regardless with Manville, Adams, and Gladtone all getting Oscar nods from those examples they are by definition not "thankless" which also applies to Blunt in Oppenheimer now despite what some people thought of the performance. You are forgetting Seymour-Hoffman, so Adams only played a distant third fiddle. Anyway, I already acknowledged PTA for writing better female characters than the other filmbro directors.
Blunt in Oppenheimer is actually one of the worst examples, a coattail nomination doesn't change that. And her role selection is so bad that a role in a Nolan film can actually be described as a step-up for her. Most a-list actresses can do better though.
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