{"id":195940,"date":"2020-01-31T05:30:22","date_gmt":"2020-01-31T02:30:22","guid":{"rendered":"http:\/\/ww-vb.mine.nu\/w108\/the-rhythm-section-director-reed-morano-doesnt-want-female-bond-but-shed-love-to-helm-a-007-film-exclusive-2\/"},"modified":"2020-01-31T05:30:22","modified_gmt":"2020-01-31T02:30:22","slug":"the-rhythm-section-director-reed-morano-doesnt-want-female-bond-but-shed-love-to-helm-a-007-film-exclusive-2","status":"publish","type":"post","link":"https:\/\/hameed.nwar.uk\/sa\/the-rhythm-section-director-reed-morano-doesnt-want-female-bond-but-shed-love-to-helm-a-007-film-exclusive-2\/","title":{"rendered":"‘The Rhythm Section’ director Reed Morano doesn’t want female Bond, but she’d love to helm a 007 film (exclusive)"},"content":{"rendered":"

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Emmy-winning director Reed Morano has just helmed spy movie The Rhythm Section<\/em> for James Bond producers EON Productions, but she also has her eye on 007 himself.<\/p>\n

Broccoli told Variety she would rather work on \u201ccreating new characters for women\u201d than gender-swap Ian Fleming\u2019s superspy.<\/p>\n

Morano agrees, saying that transforming a male character into a woman would feel like a \u201cconsolation prize\u201d rather than a step forward.<\/p>\n

She said: \u201cJames Bond is a man. He\u2019s a male character. Men and women are different and we should celebrate those differences.<\/p>\n

\u201cA female character is going to do very different things than what James Bond would do. Just keep James Bond as James Bond and have your other amazing iconic character start as a woman to begin with.<\/p>\n

\u201cWhat Barbara is trying to say is that women can have their own heroes. We don\u2019t need to settle for the one that has been a man forever. We\u2019re worthy of our own thing.\u201d<\/p>\n

Morano said she\u2019d jump at the chance to work with Broccoli again after their collaboration on The Rhythm Section<\/em> \u2014 an adaptation of Mark Burnell\u2019s novel, in which Blake Lively plays a woman who becomes an assassin while investigating the mysterious death of her family in a plane crash.<\/p>\n

The director added that movies are \u201cgenderless\u201d and that, with major tentpole action movies increasingly opening up to female filmmakers like Patty Jenkins (Wonder Woman 1984<\/em>), Cathy Yan (Birds of Prey<\/em>) and Cate Shortland (Black Widow<\/em>), she\u2019d love to take on cinema\u2019s most iconic secret agent.<\/p>\n

\u201cYou don\u2019t need a female James Bond, but it would be fun to see James Bond through the eyes of a female director,\u201d she said.<\/p>\n

\u201cThere used to be the excuse that women didn\u2019t want to direct huge tentpole action films, but that\u2019s simply not true.<\/p>\n

\u201cThere are women who want to and I think we\u2019re going to get a really, really interesting POV from these filmmakers.\u201d<\/p>\n

Read the full interview with Reed Morano, in which she discusses the production mishaps that delayed The Rhythm Section as well as the pressure of making a spy thriller with Barbara Broccoli and the character who ended up on the cutting room floor.<\/em><\/p>\n

Yahoo Movies UK: How difficult was it to distill the very complex narrative of the book into quite a tight thriller?<\/strong><\/p>\n

Reed Morano: <\/strong>It was a really complicated narrative. It was a little tricky because the storytelling style was that we really wanted to tell it in a point-of-view type of way. Anything that Stephanie Patrick [Lively\u2019s character] doesn\u2019t see, we don\u2019t see, so we\u2019re really in her shoes and typically only know what she knows. I think the genre doesn\u2019t normally do that because it\u2019s quite complex. It was a bit of a creative challenge.<\/p>\n

It was inspired by the way that, when the script came to me, it was very POV-oriented. There really was only one, or maybe two, scenes in the whole movie that didn\u2019t have Stephanie in them. It felt like: \u201cwe\u2019ve come this far, so why not just try to make the audience understand whatever happens in those scenes?\u201d It was an interesting challenge creatively to try to make the audience understand the things they needed to understand to be able to track what was happening.<\/p>\n

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You mentioned that script, written by Mark Burnell adapting his own novel. What was he like as a collaborator and how willing was he to sacrifice bits of his story?<\/strong><\/p>\n

I would be so effusive it would probably sound like I wasn\u2019t telling the truth. But I couldn\u2019t love Mark more. He was the most amazing partner to have as a writer. He was beyond supportive. I think right away he felt safe, of course, in Barbara and Michael\u2019s hands. But when I came on board, he was so welcoming and I think he knew or had a hunch about the type of aesthetic I would want to bring. It was sort of what I think he\u2019d always hoped for.<\/p>\n

Read more: <\/strong>The Goldfinch<\/strong><\/em> director on adapting a tough script<\/strong><\/p>\n

We became really close partners very quickly. The way that Barbara and Michael work is that they\u2019re so hands-on as producers with the story and the script. It\u2019s always this close collaboration between them, Gregg [Wilson, Michael\u2019s son] and myself and Mark. Everybody works together to try to solve problems and everybody was really supportive about the point of view and style of it and pushing it into a place that felt like its own thing, separate from what Eon has done in the past in the genre.<\/p>\n

Mark stuck with us. He was there long before I came on board and he stuck with us every step of the way. He was completely gracious and would walk around the set with a huge smile on his face the whole time. He couldn\u2019t be happier and was a really great support to me.<\/p>\n

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\"Blake