By LINDSEY BAHR
AP Film Writer
In November 2014, then-Sony chief Amy Pascal sent an email to the team behind their planned “Ghostbusters” reboot.
“I saw [Jerry] Weintraub last night, and he told me that he and [Warner Bros.] were doing a female version of [‘Ocean’s Eleven’]. We gotta beat everyone,” Pascal wrote.
The twist on their new “Ghostbusters,” of course, was that it was to star women as the paranormal hunters instead of men.
Director Paul Feig emailed back: “Oh, sure, NOW they’re doing one. Although I am worried it’s going to conflict with my all chimp Robin and the Seven Hoods.”
Pascal: “It’s like everywhere you turn around, everyone just realized woman are half the population of the world.”
Indeed, Hollywood has turned to gender-swaps as the latest ploy to refresh dusty movie properties. If audiences are growing tired of reboots – whether traditional (name the “Spider-Man”), meta (“21 Jump Street”) or revisionist (”Magnificent Seven”) – why not play around with gender? Just think of the opportunities in a business that makes a disproportionate number of films starring and about men.
Now it’s clear, “Ghostbusters” was just the beginning. There’s that female-led installment of the “Ocean’s Eleven” series on the way, “Ocean’s Eight” starring Sandra Bullock, Anne Hathaway, Cate Blanchett and Rihanna. Also in various stages of development: “Dirty Rotten Scoundrels” with Rebel Wilson, a “Rocketeer” reboot with a female lead, and in a reverse flip, a “Splash” remake with Channing Tatum as the mermaid.
Swapping is seeping its way onto the small screen, too, with projects like “Twist,” described as a “sexy, contemporary” take on Charles Dickens’ “Oliver Twist” starring a woman.
The gender-flipping of film characters still in development, however, is nothing new. Sigourney Weaver’s character in “Alien” was originally envisioned as a man. The same for Angelina Jolie’s role in “Salt,” Sandra Bullock’s in “Our Brand Is Crisis,” Jada Pinkett Smith’s in “Magic Mike XXL” and Tilda Swinton’s in “Doctor Strange.” “His Girl Friday’s” Hildy Johnson, immortalized by Rosalind Russell, was written as a man in the play “The Front Page.”
What’s new, as Fandango correspondent Alicia Malone points out, is taking entire casts and flipping them in proven properties.
For the creatives behind the projects, it’s a no-brainer.
“It makes a lot of sense,” said Ron Howard, who directed the original “Splash” and is producing the remake. “The entire community and the medium [are] looking for opportunities to do two things: One is to refresh ideas that people already know something about – titles that they already understand, relate to, remember (and) have a fondness for. And then also find better roles for women, create better roles for women.”
As with many spin-offs, reboots and sequels, some will always seem more natural than others. “Ocean’s Eight,” for example, isn’t considered by its studio to be a gender-swap or a remake at all, just an extension of the established world.
“We are really committed to creating more opportunities for women in the film business,” said Greg Silverman, Warner Bros.’ president of creative development and worldwide production. “This one just felt so organic and so right for the brand that this is where it would go next.”
Silverman, however, doesn’t necessarily see the gender-swapped casts as a broad industry trend. He also noted that Warner Bros. doesn’t have a “strategy of flipping franchises either way.”
Whether gender-swapping is organic, gimmick or studio strategy, screenwriter Kirsten “Kiwi” Smith, whose “Expendables” spinoff “Expendabelles” has been on and off for years, is optimistic that it can be a means to an end.
“If that’s how we’re going to be able to write a kick-ass female action comedy, and this is the title we use and this is our kick-off point, then let’s go for it!” Smith said “The most important thing is: how can we put more films out there that feature smart, funny, strong and fiery women? However it takes to get there.”
Fandango’s Malone is reserved about what flipping might mean in the long run. That it get this much attention, Malone says, “shows just how rare an all-female cast is in Hollywood.”