The Hollywood Reporter broke the news yesterday that Michelle MacLaren, director of Warner Bros.’ “Wonder Woman” movie, has exited the project.
According to a statement, MacLaren quit because of the mysterious “creative differences” so often cited as an explanation for director-studio splits.
Now, I know it’s probably too early to step up on my feminist soapbox. After all, we don’t really know what happened here. “Creative differences” could mean any number of things, from “she didn’t get along with the producers,” to “she was difficult to work with,” to “we just didn’t like her.”
There are rumors the studio was uncomfortable with MacLaren’s vision for the Amazon princess’ first solo film, which included a 1920s setting and maybe a tiger sidekick. Perhaps the director’s television background didn’t prepare her to oversee a potential blockbuster, though her credits include such formidable series as “Game of Thrones” and “Breaking Bad.”
Whatever the reason, which we’ll probably never fully know, MacLaren’s exit raises all sorts of red flags. I can’t help but wonder if the Hollywood boys club, not to mention the boys club of comic books, has chewed up and spit out yet another victim.
MacLaren would have been one of the first women to direct a major comic book movie, no small achievement. USA Today notes that Lexi Alexander helmed 2008’s “Punisher: War Zone,” but “Wonder Woman” is a movie of greater scale and bigger box office potential.
Just as there are few women in creative positions in the comic book world, there aren’t many to be found in the world of comic book movies either. There are woman producers, but they are seriously outnumbered by their male colleagues. Offhand, I can think of only one woman writer of comic book movies — the capable, crimson-haired Jane Goldman, co-writer of “Kick-Ass,” “X-Men: First Class” and “Kingsman: The Secret Service.”
Marvel came close to breaking new ground when “Monster” director Patty Jenkins was set to oversee the sequel to “Thor.” Jenkins bowed out due to — guess what? — creative differences, making way for Alan Taylor to inherit the mess that was “Thor: The Dark World.”
Of course, Hollyywood is notoriously male-centric when it comes to virtually every film ever made, not just comic book movies. There are only a handful of female directors who are household names, including Angelina Jolie, Kathryn Bigelow and Sofia Coppola.
Bigelow made history in 2010 when she became the first woman to win a directing Oscar. It took that long for a female filmmaker to claim the honor. Just this year, the Academy infamously snubbed “Selma” director Ava DuVernay in favor of a couple of male directors whose work was arguably less compelling.
I’m not going to argue that it is Warner Bros.’ sole responsibility to change the status quo. The studio isn’t obligated to appoint a woman as the cinematic guardian of “Wonder Woman.” It would be a nice gesture, though.
It’s difficult to ignore the fact that Diana’s debut in “Batman vs. Superman: Dawn of Justice” — due in theaters next year — was entrusted to Zack Snyder, a guy whose idea of girl power is embodied in the objectified, video-game-shallow heroines of “Sucker Punch.”
Even so, I’m sure there are plenty of men who could sensitively and effectively tell the warrior princess’ story. One of them is Joss Whedon, whose name has been floated as the perfect replacement for MacLaren.
Whedon, who was involved in an earlier, doomed Wonder Woman project, recently announced his intention to take a break from Marvel. He presumably needs a rest after wrestling the impending “Avengers: Age of Ultron” into shape. The timing of this news sent the rumor mills swirling with the theory that perhaps a move to DC is in the director’s future. Such a crossover seems unlikely but stranger things have happened.
Whedon is celebrated for writing nuanced, powerful, three-dimensional female characters, from Buffy the Vampire Slayer to “Much Ado About Nothing’s” Beatrice. I’m sure he’d do a wonderful job with “Wonder Woman,” but I’d be disappointed if he was named director.
Entrusting MacLaren with the keys to Diana’s kingdom was a step toward inviting women to contribute significantly to a genre woefully short on meaningful, memorable heroines. The director’s experience on series packed with strong female characters boded well for the film.
There’s always a chance Warner Bros. could bring another woman onto the project — although, by my observation, women who walk off a film are inevitably replaced by someone from Hollywood’s massive pool of male directors.
(I can’t help but think of Brenda Chapman, the ousted director of Disney’s “Brave,” or Catherine Hardwicke, who was replaced by Chris Weitz for the second “Twilight” movie.)
Once again, the studio is under no obligation to hire a woman to helm “Wonder Woman,” but somehow, it feels right.
At top, “Wonder Woman” star Gal Gadot, photo: mic.com. Above, director Michelle MacLaren, photo: blogs.amctv.com.
Lavender Vroman 