“When I was doing my first movie, the only thing I knew is that I wanted a female editor. Because I just felt a female editor would be more nurturing. To the movie and to me. They wouldn’t try to be winning their way just to win their way, all right? They wouldn’t be trying to shove their agenda or win their battles with me. They would be nurturing me through this process.”
Quentin Tarantino, “The Cutting Edge: The Magic of Movie Editing”
this is a weird documentary. they use the default pronoun “he” to refer to editors, yet time and again there’s creepy shit in there about the way male directors, with their massive egos, have used these “invisible” non-celebrated women collaborators for their own self-aggrandizement
also tarantino sounds like a fucking sexist prick here
esp. given the fact that women in Hollywood are simply not allowed the opportunities as a director that a white man like him received
they’re second-place little helpmeets who are disallowed from the big time
and they’ve got to ~nurture~ you without getting the kind of credit you get as a white male director
It’s double gross because the drop of editing quality in Django was SO DAMN OBVIOUS. Sally Menke was who defined that delicious postmodern visual handwriting for him (and it’s shameful I only learned that late in art school, after years of considering myself “a film buff”), and her passing is a great loss to the craft.
I didn’t know Sally Menke’s name or how much of the work attributed to The Great Tarantino is hers before tonight
it’s sickening how women’s artistic genius is erased
and Tarantino got exactly what he wanted: someone to “nurture” him and make him look good as an artist
and never be spoken of
never take any of the limelight from him
because fucking nobody cares about women and their achievements
and white male directors have been and continue to be the little feted monstergod babies of Hollywood
Film editing is one of those positions that women take because they can’t get hired as directors. Kind of like how women in the comics industry end up as colorists because noone wants them as the headline artist.
How many great directors have partnered consistently with female editors? A lot of them. Scorsese is a great example. Thelma Schoonmaker has edited every single one of his films since 1980, starting with Raging Bull. She is instrumental to his success. But is she a household name like Scorsese is? Of course not.
Imagine a world where she directed her own films, and what those films could have been like. I’m not saying all film editors wish they were directors or anything. But it’s no coincidence that the position most open to female moviemakers is the most unsung, and that’s part of why there are so few female directors today.
“"Women are the niggers of gender," the email said. "If you killed yourself, I wouldn’t even fuck the corpse."
I blinked at my phone, fighting simultaneous urges to hurl my phone across the room in anger and cry. Later that day, someone texted me my address — telling me they’d “See me when I least expected it.”
I haven’t been out to my car at night by myself since January 2nd.
My name is Brianna Wu. I lead a development studio that makes games. Sometimes, I write about issues in the games industry that relate to the equality of women. My reward is that I regularly have men threatening to rape and commit acts of violence against me.”
That is terrible and heart breaking on so many levels
“On Periods: Let’s put this shit to bed right now: Women don’t lose their minds when they have period-related irritability. It doesn’t lower their ability to reason; it lowers their patience and, hence, tolerance for bullshit. If an issue comes up a lot during “that time of the month,” that doesn’t mean she only cares about it once a month; it means she’s bothered by it all the time and lacks the capacity, once a month, to shove it down and bury it beneath six gulps of willful silence.”
Nicki Minaj is not a woman who easily slides into the roles assigned to women in her industry or elsewhere. She’s not polished, she’s not concerned with her reputation, and she’s certainly not fighting for equality among mainstream second-wave feminists. She’s something else, and she’s something equally worth giving credence to: a boundary-breaker, a nasty bitch, a self-proclaimed queen, a self-determined and self-made artist. She’s one of the boys, and she does it with the intent to subvert what it means. She sings about sexy women, about fucking around with different men. She raps about racing ahead in the game, imagines up her own strings of accolades, and rolls with a rap family notorious for dirty rhymes, foul mouths, and disregard for authority and hegemony.
While Beyoncé has expanded feminist discourse by reveling in her role as a mother and wife while also fighting for women’s rights, Minaj has been showing her teeth in her climb to the top of a male-dominated genre. Both, in the process, have expanded our society’s idea of what an empowered women looks like — but Minaj’s feminist credentials still frequently come under fire. To me, it seems like a clear-cut case of respectability politics and mainstreaming of the feminist movement: while feminist writers raved over Beyoncé’s latest album and the undertones of sexuality and empowerment that came with it, many have questioned Minaj’s decisions over the years to subvert beauty norms using her own body, graphically talk dirty in her work, and occasionally declare herself dominant in discourse about other women. (All of these areas of concern, however, didn’t seem to come into play when Queen Bey did the same.)”
“When I started making those weird voices, a lot of people told me how whack it was,” she says, “‘What the fuck are you doing?’ they’d say. ‘Why do you sound like that? That doesn’t sound sexy to me.’ And then I started saying, Oh, that’s not sexy to you? Good. I’m going to do it more. Maybe I don’t want to be sexy for you today.”