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To what extent can we buck that if it is also true that this Alpha-Beta struggle is going to be perpetual? And they're all over Hollywood -- females who have the right stuff to climb up the ladder, break through the glass ceiling, and take some measure of control of the reins, or at least be able to really move the reins, have their hands on the reins, and that of course was completely different 20 years ago. And in wanting a life, each one of these women have a secret escape clause. AC: Do you feel, and this may be a question you may not want to answer, are there differences in studios? So I'm sort of a gut girl, "fuzzy" thing that I am. Contact is my themes but it's not a genre I need to direct. LO: Well, I'm really interested in big philosophical themes.But that being said, Alpha females behave a little differently when they get to the top of the heap. It's an enormous part of maturation we've never been allowed. They all know in five years what they're going to be doing that's different than what they're doing now. And so I think we have discovered when we get to the top that we still have needs that our biology reflects, that are part of our biology. [Obst outlines the characteristics of fuzzy and crisp types in Hello, He Lied.] You know I love Texas, of course. First of all, it's my home, so I think Texas works both metaphorically as home and then emotionally for me it works as home. What really compelled me about Contact is that it was a movie whose plot was about reason and skepticism, the belief in skepticism.Death, who takes the form of a young man, asks a media mogul to act as a guide to teach him about life on Earth, and in the process, he falls in love with his guide's daughter.Director: Martin Brest A lonely doctor, who once occupied an unusual lakeside house, begins exchanging love letters with its former resident, a frustrated architect.And issues that men bring about working with women, they don't just bring to the movie business. And also the whole notion of working with a strategy, recognizing that everyone around you has a strategy, so at least be aware of their strategies -- that seems to be quite universal as well. Is there something you look for, that speaks to you? Either it moves me emotionally, it moves me philosophically, or it moves me culturally, right?
And each and every one of them, separately and individually, have a number of things in common that all fall under the umbrella of "wanting a life." Success for a woman is not the be-all and the end-all. You see a big successful male producer with two hit pictures in a row and he's just dating and has no steady girlfriend, he feels on top of the world. And I just don't think it's a big deal now when a woman produces a picture. So if you can find a movie that does big philosophical themes, I'm there. In terms of big American themes, the way Richard Jewell represents what happens to the common man when we indict before evidence.
They both got to the top of their trees, and then what did it matter? AC: Why did you decide to include this new chapter about Michael Ovitz in the paperback edition? But once again, those ideas do affect me viscerally. Well, we in Texas can be very specific about the details of our place. So the more specific you make the piece, somehow the more classic, The Last Picture Show being the key example. AC: Do you feel differently about "deferring" or relinquishing control to the director on projects like Contact that you developed from scratch versus projects like Sleepless in Seattle that you were hired on to produce? That's a piece that would have been much too hard for me to direct and it's not my instinct so my job would be to produce that.
LO: The reason that I wanted to do that was that when I had written the book Mike Ovitz was still at Disney and the full effect of the power quake hadn't filtered down to everyday Hollywood. So I felt that the book was dated in that respect because the velocity of change was so rapid, just in the wake of Mike Ovitz going to Disney and then leaving Disney, that there were continuing shock waves and it wasn't until the year passed that it seemed it could be looked at from any kind of long lens. AC: Yet, at some point, it stops being an analysis so much of that particular struggle between these two men... AC: You get into the stratification of Alphas and Betas [leaders and followers] in the male world and that seems to me the heart of what that chapter is about, what you're getting off your chest, so to speak. AC: However, there's a basic level at which biology becomes destiny in this paradigm. They scare me or they alarm me or they intrigue me or they puzzle me or propel me in some way. LO: Not all of them are my kinds of movies to direct. But on certain kinds of other movies on my kinds of themes (and I do so many women's movies, on Texas women's movies), more specifically as you get to my themes, the more painful it is for me to relinquish.
Yet it's also possible to apply the book's insights about the nature of power structures to almost any industry.
LO: That's what I've been told both by journalists and by people in business management.