Women have come a long way in the entertainment industry, but because of the high figured salaries earned by actresses like Jennifer Lopez, Cameron Diaz and Nicole Kidman we are lead to believe that the playing field has been leveled. However, few women have secured a presence in other creative roles such as directors and producers. According to a study by Martha M. Lauzen, a San Diego State professor who studies the role of women in film and television, women are playing a meager role behind the scenes and lacking a creative voice in the process. Professor Lauzen reports that in 2000 women directed 7 percent of the top grossing 100 films released. In 2001 this number declined to reach a number lower than that estimated for 1992. Professor Lauzen study finds that more than one out of five films released in 2002 employed no women directors, executive producers, producers, writers, cinematographers, or editors. In 2002 women comprised 17% of all executive producers, producers, directors, writers, cinematographers, and editors working on the top 250 grossing films. This represents a two- percent decrease from 2001. In 2002 men continued to direct more than 9 out of 10 films and women comprised only 1% of all cinematographers on the films considered. The numbers for 2003 have yet to be released.

Professor Lauzen is not the only person noticing the small number of women participating in the industry. In June 2003 the Directors Guild of America released a report on the employment of women and minority directors by television networks on the “top forty” prime time drama and comedy series in 2002-2003. The report shows that for the third year in a row, Caucasian males directed more than 80 percent of episodes, and that women and minority directors continue to be missing from some of the best-known series line-ups. DGA President Martha Coolidge said, "The report reveals that once again the producers and the networks have failed to fulfill their contractual good faith obligation to hire more women and minority directors. Although for many years we have challenged the industry to open up employment opportunities for women and minorities, and last year made explicit the hiring records of the top forty shows, it is clear from this report that the producers' and the networks' commitment to diversity is not reflected in their hiring of directors."

These numbers are important in understanding the challenges of the industry. The moviemaking business is known for being a brutal business for all involved. In a 2002 article entitled “Where are the Female Directors?” Mary Harron, director of I SHOT ANDY WARRHOL and AMERICAN PSYCHO explained, it is difficult for any individual, regardless of gender, to fit into an industry where only certain types of films are of interest. The situation especially for women directors “is not okay, it’s still much harder for women to get started,” Harron said. Despite the fact that many women are running studios, the studios concentrate on making two kinds of movies: “event” pictures and films for teens. The middle ground is diminishing and this creates even more of a challenge for women.

Many women have acknowledged the difficulty of networking in the industry. The industry is based on individual relationships, where socializing and work are intertwined. Tara Veneruso, who made the documentary JANIS JOPLIN SLEPT HERE, explains in a 2002 interview that chatting up an older man over drinks isn’t construed as business --- it is seen as flirting. This is why Veneruso believes women are “always on the outside” of the casual networks where much of the film business is done. Additionally, it is difficult for women to get ahead when they are not receiving the career building awards like that of an Oscar. A careful examination into the history of the Oscars reveals that no American woman has ever received an Oscar nomination for directing. In fact, only two women have been nominated for directing overall: Italian Lina Wermuller of SEVEN BEAUTIES in 1977 and New Zealander Jane Campion for THE PIANO in 1993. Neither won.

Some women in the industry believe it is most helpful to ignore the stereotypes and focus on the work while some Hollywood newcomers believe that times have changed so much as to render this discussion moot. However, one thing we cannot ignore is the ever-shrinking pool of financing for independent films and the diminishing opportunities for distribution of independent films. This change in climate has made it even more difficult for filmmakers to get a project off the ground. The financiers would prefer to invest and distribute a project that includes high profile talent that will result in a big box office hit. The talent prefers to be associated with a high budget film. In a recent New York Times article Dawn Hudson, executive Director of the Independent Feature Project/L.A., a nonprofit organization discussed the landscape for film financing explaining that “it is an incredibly conservative environment.” Ms. Hudson said, “the money is there, but it’s for big stars, proven directors, which makes it really tough for new voices to get through.” Many studios that operate much like independents - among them Fox Searchlight, Paramount Classics and Focus Features - exist within larger movie studios, which are owned by large media and entertainment conglomerates.

In 2000 Todd McCarthy, writer for Variety.com noted that “women historically have been better represented [at Sundance Film Festival] in the documentary field than they have been in features; [in 2000], half of the 16 documentaries were directed, or co-directed, by women. It will be interesting to see how the women play out this year at The Sundance Film Festival. Variety.com has noted that in 2004 documentaries are proving more viable in the theatrical market place. Many buyers have changed their modus operandi regarding nonfiction. “A few years ago we would only send a junior acquisitions exec to see an occasional picture," says ThinkFilm's Mark Urman, who picked up "Spellbound" at last year's festival. "Now documentaries are every bit as important and carry the same weight as any other kind of film." "The thing about documentaries is that they are often high-concept and have great marketing hooks to work with, which is helping them find a wide audience," says Micah Green of Cinetic Media, the sales consultancy that has helped get big screen deals for documentaries including "Friedmans."

One thing for sure is that women need to be prepared. Allison Anders who is known for GAS FOOD LODGING, GRACE OF MY HEART and THINGS BEHIND THE SUN stated in Michelle Goldberg’s article “Where Are the Female Directors?” no matter how well received a woman’s first film is …women are partly responsible for their failure to get a second film done. As soon as a director makes her first movie,” she says, “you have to have the next thing ready to go.” This point cannot be over emphasized. Allison explains, “I’ve been amazed watching people who are not ready with their scripts when they’re getting a lot of attention. Preferably you should already be shooting your second one before the first one’s out there. For some reason, Allison says, women are caught unprepared more than men. I don’t know if women have this illusion that suddenly the doors are going to open up, but I think that women really have to be five times more conscientious about what they’re going to do next. The doors are only going to open up for a second.”

Laura Ziskin who has established herself as one of Hollywood’s leading independent producers and studio exec explains that “movies are arguably the most influential, important medium in the world. Because women are now making movies, then women’s ideas, philosophy, point of view will seep into that culture. And that’s never happened in history. We can’t even see the impact of that yet.” Maybe times are changing with this years Golden Globes nomination for best director and best screen play going to Sophia Coppola for LOST IN TRANSLATION we have hope. We will have our fingers crossed as she is up against some heavy hitters in the film industry such as Peter Jackson for LORD OF THE RINGS: THE RETURN OF THE KING and Clint Eastwood for MYSTIC RIVER.

NOTE: LOST IN TRANSLATION won the Golden Globe for Best Picture - Musical or a Comedy, Best Screenplay, and Best Actor - Musical or Comedy for Bill Murray. The film has been nominated for Academy Awards for Best Picture, Directing, Original Screenplay and Best Actor. PUB