Barbra Streisand argued that sexism amount her Oscar nominations for “Yentl” and “The Prince of Tides” during a active accessible account at the Tribeca Blur Festival on Saturday. But it wasn’t aloof men who aghast at the abstraction of a woman calling the shots on a above motion picture.
“There were a lot of earlier people,” Streisand told her interlocutor Robert Rodriguez. “They don’t appetite to see a woman director.”
“I don’t apperceive how abounding women capital to see a woman director,” she added.
Streisand said that annoyance and competitiveness are partly to accusation for women axis on one of their own gender. As evidence, she claimed that changeable critics were harsher than their macho counterparts to “Yentl.” Three decades afterwards the drama’s release, a analysis by above New York Times analyzer Janet Maslin still seemed to aggravate the recording brilliant and filmmaker. She remained put out by Maslin’s advertence to Streisand’s use of a “pillbox-contoured artist yarmulke” in the film.
“None of [the changeable critics] talked about what the cine was aggravating to say,” Streisand said. “It was not about what the cine was about — a anniversary of women and all they could be.”
Oh, and for the record, Streisand said the yarmulke was accurate to the film’s aboriginal 20th aeon Polish setting.
“Yentl,” the adventure of a woman who dresses like a man so she can study Talmudic Law, was nominated for bristles Oscars, missing out on a Best Account nod. “The Prince of Tides,” a ball about an emotionally damaged man who avalanche for his psychiatrist, got seven nominations, included blur of the year. In both cases, Streisand’s name was larboard off the director’s abbreviate list. Eight years afar the two films.
Streisand said she was admiring that actuality disregarded focused absorption on bigotry appear women, but she said the acquaintance of actuality snubbed for “Yentl” had article to do with her continued hiatus.
“I charge accept been added aching than I thought, because I didn’t appetite to absolute for years,” she said.
Rodriguez, a Mexican administrator best accepted for such blood-soaked accomplishments films as “El Mariachi,” would assume an odd best to abstinent a console with Streisand, a aerialist whose appearance is arrant and sentimental. But the Hispanic administrator said he was a massive fan of Streisand’s work, cogent her that she gave him the adventuresomeness to breach into movies.
“You aggressive me to go into an industry area I acquainted I didn’t accept voice,” he said.
Rodriguez argued that Streisand had burst a bottle beam for added changeable filmmakers such as Kathryn Bigelow — a angle that Streisand discouraged.
“Not abundant women are administering now,” said Streisand. “I adulation back I see a woman’s name on the film, and again I appetite to see it be good.”
Streisand said she originally capital to aloof focus on acting and recording, but disagreements with Sydney Pollack on 1973’s “The Way We Were” pushed her in a altered direction. She’d been abashed back scenes that she acquainted illustrated why her on-screen accord with Robert Redford’s appearance ultimately burst were larboard on the acid allowance floor.
“I directed because I couldn’t be heard,” said Streisand.
