I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
'Thelma and Louise' was a pretty important film for me and still is. It's a social film about many things - gender, freedom - and it puts someone like me into the place of these protagonists. Watching that movie, you are living through the eyes of these women.
Why is it so difficult to have films seeing the world from women's perspective like 'Thelma and Louise?'
The big takeaway I got from 'Thelma & Louise' was the reaction of women who had seen the movie being so profound, so different. It was overwhelming, and it made me realise how few opportunities we give women to feel excited and empowered by female characters, to come out of a movie pumped.
With almost no exceptions, art by men is much more expensive than art by women. Even great women artists, like Louise Bourgeois and Lee Krasner, are only fully embraced very late in their career.
It's sad that women characters have lost so much ground in popular movies. Didn't 'Thelma and Louise' prove that women want to see women doing things on film? Thelma and Louise were in a classic car; they were being chased by cops; they shot up a truck - and women loved it.
I consider myself just a lovable old man who just loves women. I've reversed 100 percent.
Women love always: when earth slips from them, they take refuge in heaven.
I believe the core of most of us women is very simple. We want to feel appreciated, acknowledged, and something as simple as flowers with a little note or some love letters goes a long way.
One mustn't ask apple trees for oranges, France for sun, women for love, life for happiness.
I love stories about women.
To wrap up the idea of 'Parade's End' in a sentence or two, I would say it's a love story in which we see a man with two women, and we know what's attractive about them. And we know why and what they feel about him.
If you don't love yourself, you can't love anybody else. And I think as women we really forget that.
Women are made to be loved, not understood.
So far as female beauty is concerned, the Circassian women have no superiors. They have preserved in their mountain home the purity of the Grecian models, and still display the perfect physical loveliness, whose type has descended to us in the Venus de Medici.
I have a theory that there's almost this primal viewpoint on women in the business, that once you're beyond childbearing age, you are perceived as nonthreatening, nonsexual, noncastable. Sure, I already knew it before I got into it. I just didn't know I'd end up making my living from low-budget, independent films.
Just as incarceration has come to define the lives of low-income black men, eviction is defining the lives of low-income black women.
I grew up at a time in Hawaii where there were trans women around, so there were visible role models for me. At the same time, as a low-income trans girl of color, there were so many things that I didn't have access to. I didn't have access to a great education. I didn't have access to affordable healthcare.
Expectations shouldn't be lowered, even if Donald Trump was just telling stories to impress the crowd around him and never grabbed as many women as he suggested. Lower the bar for what you can talk about, and you lower the bar for what is acceptable behavior.
I made my first white women friends in college; they loved me and were loyal to our friendship, but I understood, as they did, that they were white women and that whiteness mattered.
