Beeban Kidron
Beeban Kidron
Beeban Tania Kidron, Baroness Kidron, OBEis an English film director. She has directed an adaptation of Jeanette Winterson's autobiographical novel Oranges Are Not the Only Fruit and Bridget Jones: The Edge of Reason. Baroness Kidron is the joint founder of the education charity Filmclub, which helps schools with after-school clubs in the United Kingdom...
NationalityEnglish
ProfessionDirector
Date of Birth2 May 1961
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The devadasis have a multilayered story, a story in which poverty, deprivation and injustice against women is central - but what has happened to them is absolutely an outcome of imperialism and the impact of British rule in India.
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I've walked down the street with Madonna, and I've walked down the street with Colin Firth, and it was a little bit more... with Madonna they were a little rougher, but they were all there for Colin. It was amazing. Women adore him. They swoon.
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I absolutely don't want to suggest that women are unreliable because we're mothers - on the contrary. But the question of who brings up the kids has a material effect on all women's careers.
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For most women, Greenham was a place of principle, growth and song. Often joyful, sometimes terrifying, and almost always cold. As it got harder, with constant evictions and mounting violence from a frustrated and humiliated police force, the women got more determined. It was a community with a shared purpose - to live in peace.
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A white woman with a camera in the Devadasi belt of Karnataka is not inconspicuous... it took time for these women to believe that I was not an official, carrying the threat of fine and imprisonment.
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This is a culture filled with perfect images of women and perfect images of movie actresses, and most people can't live up to them.
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The Greenham women left home for peace: 'Not in our name!' they cried. And in doing so, they spoke for millions.
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Not many young women of my age have been lucky enough to have had a wonderful mentor in their life.
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In the U.S., it would be so much better if the studios made many more smaller films for niche markets rather than a few tent pole films that swamp cinemas and Hoover up all the funding.
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We think that there is this terrible idea that the kids are digital natives... and they know what they're doing, but all the evidence says that they're hanging around going, 'Where are you, I'm here, can I post my picture?' They're not actually writing wikis; they're not actually listening to great poets live.
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We now have powerful technology, which allows us a voice across boundaries, which was unimaginable at the time of the Greenham Protest, a protest that pre-dates the Internet and the mobile phone.
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We have allowed a situation to develop in which it is legal for a multibillion dollar industry to own, wholly and in perpetuity, the intimate and personal details of children.
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This idea of the digital native in the bedroom taking down a fascist regime and building a billion-dollar company is a very attractive image, but actually, if you look at the research, young people are on the lowest rung of digital opportunity.
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There's something about actors - not stars, but actors - if they have the character, and someone is pushing and shoving them to be the best they can be, they enjoy that.