\n<\/p>\n
\u201cWhat I noticed about these three films, specifically, is also that they\u2019re all funny and light,\u201d Glass said. \u201cBut inevitably, I think a lot of the discussion around it is very somber. And I think what puts a lot of people off, particularly if they\u2019re not queer themself \u2014 people get very defensive and get this idea that it\u2019s about ticking boxes, or some kind of \u2018eat your greens\u2019 sort of thing, which is bollocks.\u201d<\/p>\n
Emma Seligman, who directed \u201cBottoms\u201d and wrote its screenplay alongside Sennott, had a tougher time getting the film picked up. Her critically acclaimed debut, \u201cShiva Baby,\u201d was not yet in theaters when she sent around the \u201cBottoms\u201d script. There were so many no\u2019s \u2014 and then one singular yes, from Alana Mayo<\/a>, another queer woman, at Orion Pictures.<\/p>\n Queer films \u201calways were considered cult classics,\u201d Seligman said, \u201cbecause they weren\u2019t marketed to a broad, mainstream audience. And so then queer people had to discover them over the years. And I think that now we\u2019re in an era of cult classics happening immediately. Because they might not do super well at the box office, but the audience who it\u2019s intended for will discover it immediately, simply because of social media<\/a>.\u201d<\/p>\n Like Seligman, Ethan Coen, soloing as a director after working for years with his brother Joel, had a hard time getting \u201cDrive-Away Dolls\u201d off the ground with his wife and co-writer, Tricia Cooke. They wrote the script in the early 2000s, shopped it around in 2006 or 2007, and just couldn\u2019t get anyone interested. That changed drastically in 2022, when Focus Features was completely receptive.<\/p>\n \u201cI think they\u2019re filling a void,\u201d Cooke said. \u201cWe\u2019ve never had lesbian comedies, or not many. And the time was ripe.\u201d Coen quipped, \u201cEverybody should have their stupid movies.\u201d And now, finally, we do.<\/p>\n<\/div>\n