Women, Motherhood and the Film Industry

The study “The Employment of Executive Women in Film and Television: 1991” (reported in Calendar, Aug. 13) points to the number of women in the film industry and their professional status, noting that they are occupying more decision-making roles but are not yet at the highest levels of most companies.

The story omitted one key point included in the study: that “having a baby is not seen as a smart career move. You’re perceived differently, as if you’re no longer serious about your career.” Motherhood definitely puts a damper on a period of your life when the visibility you should be seeking to get you on the road to the top is curtailed. But may I add some very personal observations.

I went to one of the 10 best law schools in the country and actually had a professor say, “You’re taking up someone else’s spot. You’re just going to have babies.” And I said: “Of course I’m going to have babies. Don’t men become fathers and also become lawyers?”

I have been married to the same man for 31 years. I have two sons ages 24 and 25, and I think I have been a terrific mother. That does not mean I have been home all the time. But I will put my relationship with my sons and every part of their lives next to any mother who stayed home. I think the boys are wonderful young men and I think they have had a really interesting mother. Men are heads of companies and have families. I don’t think my children have suffered. The person who says he suffered the most is my husband, but on the other hand, I never had to stand on his shoulders to feel tall.

My family may have caused me to delay my professional career somewhat, because when the children were little I chose a limited professional involvement. Those important years from 30 to 40 when I was “moving up the ladder,” where the opportunity to possibly become a Joe Roth or Tom Pollock, did I want to work in a limited way and be home with the boys? Yes. But I don’t think I have given up a lot. I think I have done a lot.

My own career began as corporate counsel for the independent production distribution company American International Pictures, and then I went into private practice as a partner in an entertainment law firm representing prominent writers, directors, actors, musicians and producers, including independent producer-director Roger Corman.

I was executive producer of “Eight Men Out,” and as senior vice president of worldwide production at Orion Pictures, I supervised such films as “Desperately Seeking Susan,” “The Terminator,” “Platoon” and “RoboCop.” While at Roger Corman’s New World Pictures as chief operating officer and executive vice president, I acquired the U.S. distribution rights to such pace-setting foreign films as “The Story of Adele H,” “The Tin Drum,” “Cries and Whispers” and “Breaker Morant.”

Motherhood did not deprive me of a career. I am living a privileged and exciting life. I have been a multi-role person. I have a profession, a husband, children. I enjoy being a woman. I like feeling different. I have been told that I have great legs, but start negotiating with me and you will soon forget the legs. I work at creating a separate, distinct and feminine image for myself.

Through the years, Hollywood employment opportunities for women have increased in numbers, but not in power. My definition of power in the film industry is simple: Can you green-light a movie? Can you say yes to a production budget? I do not see any women emerging with that capability nor even near the top of the “yes” hierarchy.

Of course, there are numerically more women on the business side and in creative middle management. But management is boring to me. Leadership is more interesting. The leader is the person who can say yes to the expenditure of great amounts of money to produce and distribute a film.

I see fewer opportunities for women to make a creative difference or a “way-of-dealing” difference. I do not see equal numbers of men and women and minorities moving toward the top of executive responsibility. There is no female president of production at Disney, TriStar, Columbia, Paramount, Universal or Fox. Ignoring titles, there is no woman with the authority to say “yes” at the majors.

I still do not see the woman who is going to be the Frank Wells or the Barry Diller of the future. We get so far, then something happens. Do we not want it? Are we prevented from getting the top spot? Could be. I wish I had the answers; I only know it is complex. But I can say we should not avoid the joys or the limitations of being a woman, just as we cannot avoid the joys or the limitations of being a particular, individual person.