Callie Khouri
Callie Khouri
Carolyn Ann "Callie" Khouriis a Lebanese American film and television screenwriter, producer, feminist, and director. In 1992 she won the Academy Award for Best Screenplay Written Directly for the Screen for the film Thelma & Louise, which was controversial upon its release because of its progressive representation of gender politics, but which subsequently became a classic...
NationalityAmerican
ProfessionScreenwriter
Date of Birth27 November 1957
CitySan Antonio, TX
CountryUnited States of America
Women who just don't like each other because the other one is a woman and "women don't like each other" myth - that's not interesting to me at all. How do you compete in the market place, how you stay relevant after many years of being in the public eye - all of that. To me, that's interesting and that's real.
When people know I wrote 'Thelma and Louise,' they don't want to mess with me.
For me, the movies I like are all independent. And getting an independent feature made, it's like you get down to the selling organs part, and it just loses some of its luster.
I don't see the country audience looking forward to an out male singer. There are rumors about people but no one ever confirms because there is a tremendous amount of money at stake.
Kelly Clarkson is the most adorable person on the planet. She is just so nice.
I tried to get a baseball movie made a couple of years ago and I don't think it didn't happen because I was a woman, but because sports movie don't sell internationally.
One of the reasons I wanted to do a show about Nashville in Nashville was because when I lived here, the hardest thing to go out and hear was country music. Country was taking place inside the studio and it was an export.
By luck I mean, when opportunity meets preparation.
I think of feminism as more of a political ideology.
Political stories in general are tough. They just don't appeal to as wide an audience.
I'm almost numb to misogyny at this point. It's just everywhere.
There's a lot of head-shaking and forehead-slapping when you start to realize just how deep-seated misogyny can be, how systemic and entrenched certain modes of thinking are that are still very much alive.
Every so often when I'm writing, a character might actually be a distinct person in my head - often not an actor or a face, literally a person who just seems to exist in my imagination. Then the challenge is finding somebody who is close enough to that to make me feel like I've ended up where I wanted to be.
Whenever I've seen shows or films set here, they just don't feel like the real Nashville to me.