Away with that folly that her rights would be detrimental to her character - that if she were recognized as the equal to a man she would cease to be a woman!
When I'm writing a woman character, I don't think, 'What would a woman do?' I just think, 'What would this character do in this situation?'
I don't start a film with the heroine but with the cinema subject. If there is a woman in the story, she has to be of a particular type. It's not as if I start with Madhuri Dixit and then think what kind of film.
I remember when I took the role on E.R., I thought, 'I haven't really been able to play a working class woman. I've played girls, I've played funny, but I haven't played a working class woman. That sounds like something I'd like to do.'
I tried to make a list of films where there's two men and one woman and I realized there's films like this everywhere.
I felt that, with 'Zatanna,' I had a chance to do a story about a strong, driven woman.
The seasoned woman is going to offer a more seasoned character.
The real ornament of woman is her character, her purity.
There were some things that I found I really enjoyed singing about; like, on the title track, there's this film-noir character of a woman who's sort of losing it in a room.
I think it's very important to write a demythologized woman character. My characters are flawed. They are no better than they should be.
I think every woman character, every female character, has her own arc.
I think I've only kissed a woman on screen only once or twice before in my whole career.
The character of a woman rapidly develops after marriage, and sometimes seems to change, when in fact it is only complete.
