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I think most film directors are probably control freaks - you can be a little bit of a benevolent one when you're directing, but then when a film comes out, you have no control. I had the film Admission - which was where I met Lily Tomlin - come out, and I felt kind of powerless, and anxious. I was nervous watching it, because I worried about what people's reactions would be. You can really see how easily that happens when there's a societal debate going on. It's an inherently political film on numerous levels, but I hope that the best level is that it's trying not to dehumanize the characters. I didn't have any particular preconceptions about what I was trying to do or any sort of political aspect to it. How did you come to this particular story? And now I've arrived at a completely do-it-yourself independent film. And then did American Pie and became a studio filmmaker.
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I went to Hollywood with my brother to try to make some dough we were script doctors and then got to write an interesting script of this movie Antz, which was an exploration of totalitarianism in the guise of a children's film. I didn't go to film school I had a really terrific mentor who was a film historian named Jeanine Basinger, but I was quite phobic about the process of making a film. Most people who become filmmakers, they maybe go to film school and they make an independent film, and then they hope to get enough dough to make a larger-budget film. And I wanted to be a playwright, and luckily now I have a theater that I have a good relationship with that does my plays. I was around really interesting people, but I never quite made the leap into thinking that was something I was going to do - it was much more like something that older people with thick European accents did - or in the case of Huston, booming voices. My grandfather was an agent for filmmakers like John Huston, Ingmar Bergman, all the new German filmmakers, Volker Schlöndorff, Wenders. I should possibly have imagined that, because I got to meet a lot of filmmakers when I was a kid. And then also I write plays.ĭid you imagine when you were little that you'd grow up to make movies and plays? Twenty-something years ago - but I don't really feel like I did leave, because I make a lot of films here, no doubt thanks to the fact that there's a whopping tax credit. It can be so miserable living in New York. Growing up in New York, you get all these marvelous things, but you also get the false sense that you're operating on a faster speed than other people. I don't mean actively denigrating women, but by the nature of having grown up only among boys, I didn't have any sort of feminist sensibility. I grew up going to all-boys schools, and I didn't have any sisters, and so by the time I graduated high school, mostly through my own lack of intellectual curiosity, I would pretty much say that I was a misogynist. But I find that New York separates into little fiefdoms. It was quote unquote worldly, in that my parents traveled a lot, and my dad was a fashion designer, my mother had been an actress, and they knew interesting people.
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Growing up in New York, in retrospect, my upbringing was very provincial. What's the difference? A New Yorker has irony, and a soul. I had a lot of family there, so I don't not feel like I'm - well, I do feel like I'm from New York. Actually, my grandmother is 105 and still living in the same house in Bel Air that she's been in for 80-something years. The traditional if you're trying to get into film - going out there and only knowing other buffoons who are trying to get into film - was not my experience. You hesitated when I asked if you were a New Yorker.