![]() ![]() One of their earliest collaborations, the couple began writing it years ago when they first became parents - even before Hart’s film career started taking off and Horowitz was nominated for an Academy Award for producing 2016’s “La La Land.”Īt the time, Hart had recently made her own leap to the director’s chair, and Horowitz was realizing he was a writer too. It’s a brisk November afternoon and Hart and Horowitz are sitting in the garden of the Los Angeles home they share with their sons, ages 2 and 6, looking back on “I’m Your Woman,” their latest movie together. but about the wife and mother, instead of the thief himself?’” “I thought, ‘Wouldn’t it be cool to make a ’70s crime drama. “I wanted to tell the story of all of those women in those movies who are relegated to the sidelines,” said Hart. “ I’m Your Woman,” directed by Hart, produced by Horowitz and written by the couple, follows a 1970s gangster’s wife whose husband’s dirty deeds catapult her into a journey of self-discovery. Her response is now streaming on Amazon Prime (with a limited theatrical run where venues are open). How was she going to survive? How was she going to figure out what was next for her?” “But I couldn’t stop thinking about her character, about Jessie and her baby and what happened to her. “In ‘Thief,’ there’s a moment when Tuesday Weld’s character goes one way and the movie goes another,” said Hart, who’s built her career upending genres with female-driven stories. (Or rendered mostly silent, as in Martin Scorsese’s more recent “The Irishman.”) Devouring these films with her husband, cowriter and producer Jordan Horowitz, shortly after the birth of their first child, Hart wondered about the women left to the margins of the stories on-screen. Five years ago, while she watched and rewatched 1970s and ’80s crime genre classics, certain scenes lingered with filmmaker Julia Hart: the moment the study doors close on Diane Keaton’s Kay in “The Godfather,” shutting her out of her husband’s inner circle how Tuesday Weld’s Jessie is abruptly shuffled into a car in the dead of night and sent away from the action, an infant in her arms, in “Thief.”įemale characters in movies like these often exist in service to a male protagonist’s story - when they aren’t pushed out of the narrative completely. ![]()
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