Page 76 of 1232

Last night, the Film Society of Lincoln Center in Manhattan presented a panel entitled “What Glass Ceiling: The Remarkable Success of Columbia’s Women Filmmakers,” as part of the Columbia University Film Festival‘s 25th anniversary this week. Introduced by Columbia’s Film Department Chair Ira Deutchman, the panel was moderated by film director and Columbia Film faculty member Bette Gordon, and featured acclaimed filmmakers Shari Springer Berman, Cherien Dabis, Lisa Cholodenko and Nicole Holofcener.

Gordon began the panel by proudly proclaiming the fact that Columbia has “produced more women directors than any other film school today,” but lamented that in spite of this, “the film world is predominantly white and male.” She then turned things over to the four filmmakers to discuss the challenges they faced in getting their own first features made. Berman joked that “only half my answers are valid [because] I actually work with a partner who’s male,” her husband and co-director Robert Pulcini, whom she met while they were both attending Columbia. Dabis spoke about the extra difficulties of finding financing for her first feature, Amreeka, which “was not just about women, it was about Middle Eastern women.” Cholodenko’s advice for aspiring first-time filmmakers was to “have your intention in place, articulate it and stick to it,” while Holofcener told an unhappy tale of how she and her first agent parted ways. “After a while,” she said, “he sent me a Xerox bill, and I knew that was the end of my agent.”

When asked about how they went from their initial success to their second features, Dabis, who is currently in this particular process, said, “It’s never going to be easy, and when you accept that, it is what it is, and you just sort of keep going.” Cholodenko echoed this sentiment by adding, “If you have the stomach for that, then you’ll make it, and if it turns you off, then you should maybe find another profession.” The conversation then turned to the work of creating believable characters and situations with which an audience can relate. Cholodenko offered this secondhand advice: “Someone said to me once, ‘Just write it until it breaks your own heart.’” Holofcener responded the question of how much description she uses in her scripts, as opposed to dialogue, by saying, “I hate reading scripts that tell me about the character in the description of the character,” as opposed to dramatizing it through action.

As the discussion moved on to casting and working with actors, Holofcener spoke about her close working relationship with Catherine Keener, who has appeared in all of her features. “Just looking at me,” Holofcener said, “helps her access what I need from her … It’s a very intuitive connection. If she’s crying in a scene, I’m crying.” Berman spoke about the importance of casting the right actor for any given part: “I really believe that if you cast the wrong person, there’s little you can do to save the film.” Holofcener added to this by addressing the pressure felt from studios to cast a star: “One time, I did buckle and … offered this actor the part, and I had this sinking feeling … and she passed,” she said with a sigh of relief.

The panel wrapped up by addressing the topic of its title: the idea of “women filmmakers,” a moniker that Cholodenko said she doesn’t feel is “particularly modern.” “If it has to be modified, it’s like a handicap,” she expounded, while Dabis said that “because it is that much more difficult … I’m proud to be doing it.” “The statistics [of women in the industry vs. men] are horrible,” Cholodenko continued, “but I don’t think it’s going to go backwards, to where there’s this invisible other gender with no representation.” As to why Columbia seems to be a breeding ground for female filmmakers, Cholodenko said, “The energy there is really … what’s the word?” “Feminine?” Holofcener offered. “No, it’s not,” Cholodenko responded, “it’s androgynous. You go there and you don’t feel like it’s a boy’s club.” With a new semester of Columbia’s Film program beginning in the fall, we’re sure to see many distinguished filmmakers, both male and female, ascending from its ranks in the coming years. The panel can be viewed in its entirety here.