Rom-Coms and the Power of the Female Audience: A Conversation with Aline Brosh McKenna
If you've ever seen the likes of The Devil Wears Prada, 27 Dresses, Crazy Ex-Girlfriend, or the Netflix movie Your Place or Mine, then you've experienced the iconic mind of screenwriter, director, showrunner, and producer extraordinaire Aline Brosh McKenna. Her production company, Lean Machine (inspired by the correct pronunciation of her first name), is focused on championing the work of writers and producing character-driven film and TV. In addition to the films mentioned above, McKenna is also known for her work on Morning Glory, We Bought a Zoo, and Cruella.
"Creative people want to make the good shit. They want to go where the good writing and good directors are, and they'll follow those people wherever they are. That's the heart and soul of the business."
–Aline Brosh McKenna
In this most recent episode of One Moore Hollywood Podcast, McKenna joins our hosts in a lively conversation about the often overlooked value of romantic comedies, the power of the female audience, and the ups and downs of today's movie-making business (and why she's not nostalgic for bygone times).
Why People Underestimate the Rom-Com
Since McKenna clearly understands the value of a good rom-com, our hosts ask her why she thinks the genre seems to have disappeared in recent years.
According to McKenna, a big reason for this shift is that a lot of male stars today don't want to be in romantic comedies. Instead, they want to work with the "auteurs" of the film industry, who are (unfortunately) mostly male and decidedly not spending their time making rom-coms.
Another reason for the decline in modern romantic comedies is that studios are becoming less and less willing to pay for two big stars to co-headline a film. Because of this, contemporary rom-coms commonly feature a major female star and an unknown or lesser-known actor simply because it's less expensive.
When McKenna began to work on her most recent movie, Your Place or Mine, she wanted to return to the classic star-based romantic comedy. She chose to work with Netflix because she knew they would spend a lot to get a double-star feature. While choosing Netflix meant she had to give up putting Your Place or Mine into theaters, she succeeded in her goal of landing two mega-stars on a rom-com bill–the incomparable Reese Witherspoon and Ashton Kutcher.
"What made me want to write romantic comedies were the Cary Grant and Clark Gable movies–they were movies about equals, and the biggest stars then were women."
–Aline Brosh McKenna
On that note, McKenna points out that romantic comedies are where many stars have been made. "How do you make stars if you don't put them in star-making roles?" she asks, referencing Reese Witherspoon, Sandra Bullock, and Julia Roberts. All three of those women got their start in romantic comedies, and all three have Oscars now, challenging the myth that the rom-com genre somehow limits the range of work you'll be offered in the future. These days, whether they want to do a romantic comedy or an "auteur" drama, the world is their oyster.
The Power of the Female Audience
Marpe points out that female consumers have been driving this last year, referencing Barbie and Taylor Swift. "Not only is it proving that female stories are going to be quality but that they can make a lot of money," Marpe says. McKenna agrees, lamenting that the reaction always seems to be one of surprise. "It's an ongoing conundrum," she says.
"A lot of men make their bones on movies that appeal to the female gaze."
–Aline Brosh McKenna
Regarding the men she wants to work with, McKenna gravitates to those interested in the romantic comedy genre–those who see its value. In particular, McKenna thinks younger guys are becoming more open to romantic comedies because they see how young women drive so much of the business.
Pros and Cons of the Modern Film Industry
With its overwhelming amount of content and outlets for sharing content, McKenna believes today's film industry provides a wealth of opportunities. While McKenna acknowledges the complications–how confusing it is for the audience to find content and how hard it is to launch new content–she thinks the opportunities available trump the adversities that come with it. The persistent bro-ness of the industry is challenged by the people to whom opportunity has been expanded.
"I don't find myself longing for the days when we printed scripts by hand and delivered them to five men. It favored a certain kind of product.
–Aline Brosh McKenna
Admittedly, McKenna says it is extra hard to break into the industry nowadays. "The little rungs of the ladder that lead us into the business are rickety right now," she says. With scant stability, the downside of the current industry is that it tends to favor kids with more of an economic safety net. "The young people who are going to succeed are either going to be flinty or have a parent credit card," McKenna says, "But I hope it will balance out." Generally speaking, the industry works in cyclical ways. Stability should come back around.
"I think for creators, there's more opportunity than downside, and I think for the people who work at these companies, the panic comes from losing the sense of stability and security."
–Aline Brosh McKenna
The bottom line is that every story that inspires a film or a TV show has come from someone's imagination. The technology of our day and the industry of our time have given people opportunities to get their content out into the world, especially those who historically have not had that opportunity. Underrepresented groups, including young people, people of color, people from outside of LA, queer people, and women, now have access to platforms that can reach millions without artistic interference from anyone.
"I think it's our responsibility to make the opportunities enticing for young people to want to come here and give us their hopes and dreams instead of doing it in a less mediated format."
–Aline Brosh McKenna
From McKenna's perspective, supporting new writers, creators, and actors is vital. She gained her foothold in the industry because people believed in her, and now she wants to do the same for those she believes in. "You try and pay it back by putting a hand out," she explains, "A podcast is as good a place to do that as any."
Listen to the entire episode here: Apple Podcasts, Spotify, Amazon Music, or iHeartRadio.
