Catherine hardwicke confirms dating
One rumour frequently reared its ugly head, wherein Hardwicke was positioned as ‘difficult’ because, one day during a tough scene, she went away for five minutes to cry, then came back and got on with her job. The circumstances may have been different here - James famously clashed with Taylor-Johnson and Marcel and loathed even the most minor changes made to her book - but the optics remain troubling. Phyllida Lloyd directed not only the film but the original West End and Broadway productions, with Catherine Johnson returning for writer’s duties.
It’s easier to make women seem like difficult whiners on film sets than men, even if they pull David O. Whatever the case, Summit had a hit franchise to call their own, one that appealed to women young and old, and they gave every single sequel over to a male director. We saw it happen with , wherein director Sam Taylor-Johnson and screenwriter Kelly Marcel created a film that made back over 14 times its budget thanks to its appeal to majority female audiences, only for the sequels to be directed and written by men (one of whom was E. Together, they made the fifth highest grossing film of 2008 - it made more money than James Bond and ! Ol Parker, a man whose two previous efforts as directors were both critical and commercial flops.
She was the one who pushed for Kristen Stewart to play the lead, even though she was a minor at the time which meant they couldn’t film the long days typically required.
The best things about that film are rooted in Hardwicke’s serious commitment to the material and doing it properly.
The trope is in reference to Catherine Hardwicke, the celebrated and oft-underrated indie director who directed the first made and the pushback she faced with the project.
The book was popular but not considered a hot property when it was optioned.
There are exceptions - looking at you, Millennium and Bryan Singer - but enough attention is now being paid to the system by audiences to the point where such issues are noticed and commented upon with increasing volume.
The biggest sign, in my opinion, that things were changing for the better was when Patty Jenkins signed on for the sequel.
There are two more books in the Lara Jean saga, as written by Jenny Han, and there’s no way Netflix won’t want to lock Lana Condor and new heart-throb du jour Noah Centineo down for the full trilogy.
Replacing her was not an option, and certainly not with a man, and DC knew that.
The next step is to see if major studios are willing to pass franchise batons from men to women (and to not continue blocking out directors of colour, who remain noticeably absent from these tentpole properties, a few exceptions aside).
It’s not enough to let women tell their own stories: They have to be allowed to continue telling their stories once they achieve success and not have it snatched away so that a dude can reel in the profits.
By and large, we’ve reached a point where the bigwigs of entertainment understand, at the very least, that it’s good business to have women telling women-driven stories.
There’s no doubt there, but the question on my mind is whether they’ll bring back Susan Johnson for the sequels.