Vulture reports on why Colin Trevorrow left Episode IX – per “speculation from a ranking Hollywood movie insider with direct knowledge of the productions on both The Book of Henry and Jurassic World” – that the director’s ego might have gotten in the way. Basically – do not mess with Kathleen Kennedy.
“When the reviews for Book of Henry came out, there was immediately conjecture that Kathy was going to dump him because they weren’t thrilled with working with him anyway,” the executive continues. “He’s a difficult guy. He’s really, really, really confident. Let’s call it that.”
Previous reports claimed script issues were at the source of the split.
Something that’s fascinated me about the whole “why can’t Kathleen Kennedy keep a man [director]???” discourse is how few people seem to realize that Kennedy’s behavior is, in fact, something we should see more of, not less. Because what she is reacting to is a widespread problem that has, until now, gone unchecked: the problem of asshole directors.
Kennedy is in an unprecedented position in Hollywood for a woman. She is in control of the entirety of the Star Wars franchise—what movies are made, what stories are told, what merchandise is sold—and she is the final authority. Disney will no doubt replace her the minute the franchise stumbles, but the past two movies have gotten good reviews and staggering box office numbers and The Last Jedi looks to be just as successful, so she is, for now, in one of the safest spots in Hollywood. The last female executive with that kind of power was probably Lucille Ball.
Which means that if you are part of the franchise, you answer to Kennedy and moreover you have to play by her rules. The stories have to get her buy-in, the actors have to get her approval, and the directors have to behave the way she expects them to. And it’s very apparent that Gareth Edwards, Josh, Trank, Phil Lord and Christopher Miller, and now Colin Treverrow have all fallen short of those expectations in one way or another. (You may say to yourself “wait a minute, Gareth Edwards wasn’t fired!” To which I will reply, “lol.”)
Now, nothing hugely out of the ordinary has been reported in re: Edwards or Trank or Lord & Miller or Trevorrow’s antics — mostly it’s been stuff like “ego” or unprofessional behavior or whatnot. But that’s exactly my point: white male directors are, for the first time, being fired over things that they should have been getting fired for years ago.
Hollywood is far too enamored of the genius auteur trope (and Kennedy is no exception, hence why she hired these dudes in the first place) and indulges the most horrifying behavior from the men it deems “visionary.” Woody Allen, Roman Polanski, Mel Gibson, Sean Penn, Johnny Depp, David O. Russell: men with long and ugly histories are venerated without a second thought, so much so that the ones who are merely outrageous don’t even ping the radar. Rupert Sanders has an affair with Kristen Stewart and gets her booted out of the sequel to “Snow White” (when Stewart played the title character); Jennifer Lawrence tears her diaphragm hyperventilating while filming Darren Aronofsky’s latest whatever-the-fuck thing “mother” is gonna turn out to be; Lars Von Trier…continues to be himself. None of it raises an eyebrow (with the exception of the Sanders/Stewart fling, but that’s because people blamed Stewart, who was 21, for seducing Sanders, who was 40) and all of those men have very successful careers. Being an asshole is perfectly acceptable — everywhere else but Star Wars.
On Star Wars, Kennedy is holding the directors she hires to a very basic standard of professionalism and none of them are able to handle it; and for the first time in their lives, they’re actually suffering the consequences. Bad scripts are thrown out and writers replaced; bad dailies and reports of cast unhappiness get directors the boot. It’s astonishing — but it shouldn’t be. There’s no indication that Kennedy is too demanding or that her standards are too high; but there’s every indication that these dudes have been getting away with absolute murder on their other sets.
The real question then, the one that nobody’s asked yet and probably never will, isn’t “why is Kathleen Kennedy firing these guys,” but rather, “Why do any of these guys have a career in the first place?”
theclumsiestninja 