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Speaker 1: Brought to you by the reinvented two thousand twelve Camray.

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Speaker 1: It's ready. Are you welcome to stump Mom never told you?

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Speaker 1: From House to works dot Com. Hello thereon Welcome for

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Speaker 1: the podcast. I'm Kristin. This is Molly Molly. The Oscars

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Speaker 1: are coming up. Awards season is in full force. I've

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Speaker 1: got Oscar Spear, you got Oscar Fever awesome And until

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Speaker 1: someone gives me a show where I can talk about fashion,

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Speaker 1: then we're just going to talk about women and the

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Speaker 1: Oscars here on the podcast. Yeah, and I think that

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Speaker 1: this is the very first time that I've been more

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Speaker 1: excited about who's going to win the Oscar for Best

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Speaker 1: Director than for Best Actor and Actress. Yes, we have

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Speaker 1: the fourth woman ever nominated for Best Director. This is

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Speaker 1: kind of a big deal. It's Catherine Bigelow, Yes, director

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Speaker 1: of the hurt Locker hurt Locker. She's already won the

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Speaker 1: Director's Guild Award, which is usually a very strong predictor

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Speaker 1: of who's going to get the Oscar. Nod Um and

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Speaker 1: I think there have only been like six times in

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Speaker 1: the history of the the award that the same person

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Speaker 1: who gets the DG Award has not also gotten the

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Speaker 1: Best Director Oscar, and she would be the first female

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Speaker 1: to ever win Best Director, which would be I think

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Speaker 1: pretty awesome. I mean, high times two thousand ten, people,

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Speaker 1: come on. But there is just a lot to consider

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Speaker 1: when we think about her winning. Yeah, because before that,

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Speaker 1: only three women have aside from Bigelow, only three women

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Speaker 1: have ever been nominated for a Best Director Oscar. We

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Speaker 1: have Lena wert Mueller in nineteen for Seven Beauties. We've

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Speaker 1: got Jane Campion in for the Piano, and then we've

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Speaker 1: got Sofia Coppola in two thousand four for Favor of

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Speaker 1: Mine Lost in translation. So now Bigelow is the fourth.

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Speaker 1: But in my reading of the gossip mags and the

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Speaker 1: entertainment mags, which are pretty large percentage of my reading,

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Speaker 1: I'm not gonna lie. I feel like that Bigelow is

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Speaker 1: pretty much over being identified as a female director. Yeah.

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Speaker 1: Even when she won the d g A Award, so

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Speaker 1: many of the congratulatory comments were mostly directed at her

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Speaker 1: legs and her general hotness. Yeah, so I could see

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Speaker 1: why she would be kind of sick of this. I mean,

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Speaker 1: I'm not gonna lie. Catherine is is a very fine woman,

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Speaker 1: but I feel like that of all the women that

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Speaker 1: I can think of, um, who would want to be

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Speaker 1: like a first woman to win something? Like I would

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Speaker 1: love to be the first woman to win something. But

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Speaker 1: I feel like she doesn't want to be that standard

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Speaker 1: bearer because that might like haunt her career, and I

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Speaker 1: feel that she wants to be recognized as a filmmaker

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Speaker 1: rather than a female filmmaker. Yeah. There's a quote from

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Speaker 1: an article about this in The Daily Beast from Nora Fhron,

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Speaker 1: who directed movies such as Sleepless in Seattle, and she said,

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Speaker 1: when you direct a movie, what you are is a director,

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Speaker 1: not a woman director. When you make a movie, there

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Speaker 1: is not the remotest sense on a day to day

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Speaker 1: basis that you're not exactly the same as anyone else

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Speaker 1: who directs a movie. And I think that's kind of

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Speaker 1: sentiment is shared among a lot of other more prominent

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Speaker 1: female directors that they want to, you know, just be

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Speaker 1: respected for their art and not for their gender, kind

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Speaker 1: of like saying like, oh wow, it's amazing that as

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Speaker 1: a woman you were able to make such an incredible

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Speaker 1: movie about you know, guys in Iraq, Cathin Bigelow, Cathain Bigelow,

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Speaker 1: such an exception to the rule because she can direct

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Speaker 1: these you know, action heavy sequences about bombs, and you know,

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Speaker 1: other female directors are directing romantic comedies. And there was

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Speaker 1: a really great article in The New York Times when

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Speaker 1: that movie came out about Katherine Bigelow about how she

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Speaker 1: when she first started having some directing success, those are

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Speaker 1: the only script she got were romantic comedies that that was,

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Speaker 1: you know, the acceptable place for a female director to live.

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Speaker 1: And she had a really great quote, um, I think

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Speaker 1: is a good marker for woman everywhere where. She said,

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Speaker 1: if I she said, if I had a prayer of

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Speaker 1: shooting something that intrigued me, I was going to have

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Speaker 1: to be the architect of my own fate. And so

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Speaker 1: that's how she started seeking out these non traditional female

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Speaker 1: directing roles. Yeah, and while a lot of her movies

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Speaker 1: have been big studio releases, they have not been financed

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Speaker 1: by big studios. She still had to strike out on

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Speaker 1: her own to get the get the financial backing for

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Speaker 1: for a lot of these And when we started research

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Speaker 1: this podcast, that makes a lot of sense because apparently,

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Speaker 1: you know, it's these evil studios that just want to

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Speaker 1: make billion dollar blockbusters. You want to make Avatar, let's

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Speaker 1: face it. And you know, speaking of Avatar. Another thing

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Speaker 1: about Katherine Bigelow. She cannot escape the fact that she's

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Speaker 1: been married to James Cameron. She was married to James

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Speaker 1: Cameron for three years, like twenty years ago, and the

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Speaker 1: headlines will not shut up about it, I know, and

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Speaker 1: they really are offensive. But this poor woman has had

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Speaker 1: such crap written about her. There was one, um, I

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Speaker 1: think Huffington Post title that said, like, Katherine Bigelow is

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Speaker 1: better looking than her husband and wins more awards than him,

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Speaker 1: her ex husband. I mean, she made a really great movie.

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Speaker 1: Can we just say that? Which is you know again

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Speaker 1: why I kind of had mixed feelings about doing this

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Speaker 1: podcast because on the one hand, I do love the

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Speaker 1: Oscars immensely want to talk about everything related to them.

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Speaker 1: But on the other hand, I do feel bad kind

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Speaker 1: of pointing out over and over again she is a woman.

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Speaker 1: I mean, you know, do I have an obligation as

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Speaker 1: a woman to go see a movie directed to buy

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Speaker 1: a woman. We'll get into all this issues later, but

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Speaker 1: let's go back to these evil studios. Yeah, we've got

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Speaker 1: a pretty famous or infamous incident, I should say, in

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Speaker 1: two thousand seven, when the Warner Brothers Picture Group president

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Speaker 1: Jeff Robinov allegedly said that he never wanted to do

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Speaker 1: any kind of big budget movie with a female lead

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Speaker 1: because he had had this series of flops with Jodie

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Speaker 1: Foster's The Brave One, Hilary Swanks The Reaping, and Nicole

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Speaker 1: Kidman's The Invasion. It just totally tanked at the box office.

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Speaker 1: Then we followed up in two thousand and eight with

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Speaker 1: Sex in the City and Mamma Mia to very girly movies,

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Speaker 1: um bringing in lots of books. And whenever a movie

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Speaker 1: like that brings in lots of bucks, you will always

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Speaker 1: see some sort of article that's like, oh, well we

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Speaker 1: forgot the women go to the movies. Yeah, who knew? Yeah?

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Speaker 1: Because typically teen boys are the number one movie going

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Speaker 1: co wort, and so that's what studios are designing around.

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Speaker 1: So every every time there's a big, like female centric movie,

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Speaker 1: they'll be like, Okay, now we're gonna make more movies

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Speaker 1: with women. And some the Daily Beasts that Christen Side

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Speaker 1: earlier is now saying that two thousand nine is the

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Speaker 1: Year of the Woman, because they're about what ten movies

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Speaker 1: the female focus we have all so well, we don't

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Speaker 1: really have like pretty huge blockbuster hits, like something as

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Speaker 1: simple as The Proposal starring Sandra Bullock that was directed

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Speaker 1: by Ann Fletcher. But in the Oscars we have UM,

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Speaker 1: Julie and Julia, which was nominated by Nora Fron and

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Speaker 1: Meryl Streep has been directed by Nora directed by Nora

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Speaker 1: Fron right, Um, and Meryl Streep is up for an

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Speaker 1: oscar for that. We've got An Education directed by Lauren

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Speaker 1: Serfig and um, of course, we've got Biggelow's hurt Locker. Um,

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Speaker 1: so we have. You know, there does seem to be

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Speaker 1: a pretty pretty good representation of female directed movies in

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Speaker 1: this year's Oscars, But still in two thousand nine, only

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Speaker 1: ten percent of the films, at least reviewed by the

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Speaker 1: New York Times it came out, you know, the bigger

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Speaker 1: films were directed by women. Yeah, ten percent seems to

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Speaker 1: be the sticking number. We were in this other article

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Speaker 1: where that was, you know, essentially the number from two

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Speaker 1: thousand and eight, and it was the number from Yeah,

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Speaker 1: still ten percent of all the big movies that came out,

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Speaker 1: and so and you know, the Guardian put a kind

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Speaker 1: of an interesting way that there have been more than

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Speaker 1: four hundred director nominations since the Oscar started for director,

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Speaker 1: four of them go to women. So we've got a

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Speaker 1: pretty big, pretty big gap. I mean, there's um this

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Speaker 1: one group that put out a billboard that said that

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Speaker 1: the female I mean that the Senate, the U S

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Speaker 1: Senator is more equal than the moviemaking industry we tend

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Speaker 1: to think of movie makers is more liberal, more enlightened.

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Speaker 1: Why is there still this gender gap in filmmaking? Well,

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Speaker 1: isn't necessarily because there are fewer women, UM going to

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Speaker 1: school for film school for directing. That same Guarding article

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Speaker 1: that you reference UM says that women make up around

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Speaker 1: thirty percent of the directing students in Britain, and I

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Speaker 1: would only assume that, you know, similar statistics can be

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Speaker 1: extended to film schools in the US. Which reminds me

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Speaker 1: of a quote Christian from Martha Coolidge, who was the

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Speaker 1: first female president of the Director's Scipe of America, and

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Speaker 1: she basically when she applied to go to film school,

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Speaker 1: they're like, well, you'll never be a director, you're a woman.

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Speaker 1: So I think that despite the advances that women have made,

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Speaker 1: and you know, essentially every other field. I think there's

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Speaker 1: still that thought by you know, those already established in

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Speaker 1: the field that women just can't do it. She did.

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Speaker 1: She had another quote, um where she was told that

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Speaker 1: no woman over forty could possibly have the stamina to

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Speaker 1: direct a feature film, that these films are just too tough,

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Speaker 1: too big, they can't take it. So, you know, if

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Speaker 1: you've got already the people in your industry thinking that

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Speaker 1: you can't do it despite the fact that women have

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Speaker 1: done it, I mean, that's just troublesome. Yeah, And I

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Speaker 1: think that, um, women who want to direct a movie,

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Speaker 1: who need to go out and get financing for it,

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Speaker 1: who kind of have to you know, bang down all

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Speaker 1: these stores do have sort of a different battle to

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Speaker 1: fight than male film directors. Okay, let's just take for instance,

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Speaker 1: um uh going out to find financing. Okay, a lot

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Speaker 1: of times you're gonna probably go to um, wealthy men,

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Speaker 1: you know, producers to go see if you can to

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Speaker 1: get some help with your movies, going out or a

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Speaker 1: female going out for you know, drinks, negotiating drinks, you know,

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Speaker 1: business drinks with uh with a guy, different kind of

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Speaker 1: dynamic than than guy to guy kind of talking film shop.

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Speaker 1: A lot of times it might be misconstrued as flirtation.

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Speaker 1: There was one article that we ran across saying that,

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Speaker 1: you know, a lot of times sees, uh, these females,

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Speaker 1: some of these female directors might be you know, really

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Speaker 1: hated by the wives and girlfriends of these of these

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Speaker 1: wealthy backers. Um. And in some cases they were propositions, yeah,

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Speaker 1: like do you want to direct this video or not? Yeah,

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Speaker 1: And they've also been questions, you know, raised of. Well,

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Speaker 1: maybe it comes down to differences between gender differences in negotiation.

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Speaker 1: You know, we talked about negotiation in the podcast before

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Speaker 1: a lot and women are not, as I guess forthcoming

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Speaker 1: in some sort of situations with negotiation as as men are.

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Speaker 1: We might not be as comfortable about self promotion because

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Speaker 1: it might come off as unfeminine. However, those kind of

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Speaker 1: sort of that kind of argument has was kind of debunked,

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Speaker 1: and the article too. But I think that it might

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Speaker 1: come too into place sometimes. I mean, you've got to

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Speaker 1: go out and sell, and I think the women are

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Speaker 1: taught to soft sell. Yeah. And so let's say that

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Speaker 1: you get your working outside the studio system, because we've

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Speaker 1: talked about how the studios want to make these films

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Speaker 1: for these teenage boys. Let's say you're working outside the

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Speaker 1: studio system, you cobble together enough money from those awkward

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Speaker 1: cocktail meetings with the producers. These women are saying that

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Speaker 1: when they first step on set, there's just a noticeable

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Speaker 1: difference between what they can do and what a male

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Speaker 1: director can do. Already, you know, they've got their subordinates saying, oh,

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Speaker 1: you know, we thought you were the assistant to the

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Speaker 1: director or something. But I thought we found a pretty

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Speaker 1: interesting NPR article um that profiled Neo Bartelos, who was

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Speaker 1: the star and creator of My Big Fat Greek Wedding.

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Speaker 1: She's directing a new movie called I Hate Valentine's Day,

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Speaker 1: which christ and I are to discussed the week. Do

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Speaker 1: you know like this title? But she has said that,

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Speaker 1: you know, one day, someone on her set said, I'm

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Speaker 1: glad that you're only doing, you know, just a few

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Speaker 1: takes and keeping everyone on time, because you know, if

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Speaker 1: you didn't, then everyone will be breathing down your neck

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Speaker 1: because you're a woman. Whereas you know, let's say, Martin Scorsese,

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Speaker 1: you needs a few extra takes. No one's going to

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Speaker 1: criticize that. Well, And Martin Scorsese is probably well obviously

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Speaker 1: is going to have a much bigger budget to work with,

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Speaker 1: like some, uh, some women filmmakers might just be considered

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Speaker 1: more of a financial risk because they're not gonna be

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Speaker 1: making the you know, for in a million dollar avatar

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Speaker 1: out there that's going to make you know, a billion

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Speaker 1: dollars in a week or whatever insane box office draw

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Speaker 1: that it had. But the interesting thing is it seems

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Speaker 1: like women directors are able to do more with less.

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Speaker 1: They make a movie like The Proposal for under thirty

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Speaker 1: million dollars and and totally blow it out of the

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Speaker 1: water the box office, right. And they've done studies where

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Speaker 1: they try and compare, you know, the lowest money making

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Speaker 1: movies to the highest, and gender has nothing nothing to

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Speaker 1: do with that. I mean, women, women have proven they

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Speaker 1: can do the job when they're given the job, but

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Speaker 1: they're still not getting the job, or if they are,

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Speaker 1: they're being pigeonholed into romantic comedies the rom calms. But

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Speaker 1: I think one great point that Nora f Fron brought

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Speaker 1: up in a Salon article from two thousand too was

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Speaker 1: the power and influence of the foreign market onto UH

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Speaker 1: industry decisions, Because basically she was saying that, um, if

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Speaker 1: you don't have a movie starring, you know, a male

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Speaker 1: star who's big in Asia, then the movie is not

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Speaker 1: going to make you know, a ton of money, and

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Speaker 1: you know, exacts aren't going to be very interested in it.

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Speaker 1: So obvious, and I mean it's clear that to be

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Speaker 1: successful in Hollywood you have to make money. And so

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Speaker 1: that reminded me of something we read about an article

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Speaker 1: of these these women who started sort of a first

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Speaker 1: weekenders club, and so if if a movie came out

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Speaker 1: directed by a woman, they would just bombt um bombad

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Speaker 1: are their their email list with like please to go

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Speaker 1: see this movie, like go through this movie. Support women

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Speaker 1: were mine Hollywood that we're a viable audience and they'll

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Speaker 1: make more movies for us. And you know, that's when

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Speaker 1: I started to feel rubbed a little bit the wrong way,

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Speaker 1: because I don't want to have to go see movies

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Speaker 1: just because a woman directed them. I just want to

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Speaker 1: go see good movies. So you know, it's a little

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Speaker 1: bit like I was saying, where I'm a little bit

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Speaker 1: uncomfortable that we're highlighting Katherine Bigelow because despite this amazing accomplishment,

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Speaker 1: she really just then the day once we remember from

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Speaker 1: making a good movie, right, But I think that it

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Speaker 1: might be I do like the idea of maybe exploring

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Speaker 1: more intentionally, exploring more movies, not necessarily you know, just

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Speaker 1: going to going out of the movies, not just old

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Speaker 1: new ones, but um, really learning more about what female

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Speaker 1: directors are out there. There was an article um highlighting

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Speaker 1: female directors in a Bitch magazine, and I didn't realize

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Speaker 1: that some of these movies that I really loved were

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Speaker 1: directed by by women. So AT thought to be kind

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Speaker 1: of kind of cool to call out some of these, uh,

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Speaker 1: these names, because a lot of times, you know, when

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Speaker 1: I think of a director of film director honestly, you know, Scorsese,

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Speaker 1: Quentin Tarantino. I mean, it's all these guys that immediately

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Speaker 1: come to mind. Did you see that quote one of

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Speaker 1: the articles about how um Quentin Tarantino ruined it for

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Speaker 1: the indie female filmmakers because of pulp fiction. Yeah, they

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Speaker 1: thought they could really operate in the indie world. And

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Speaker 1: then you know, Quentin Tarantino showed Hollywood that indies can

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Speaker 1: make all this money, and then you know, then they

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Speaker 1: had to make money too. So I'll start off with

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Speaker 1: when we've mentioned her, Um because she directed one of

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Speaker 1: this year's UM friendly movies. Jane Campion, who was obviously

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Speaker 1: one of the one of the three who got a

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Speaker 1: nomination before Katherine Bigelow. Um. If you haven't seen Bright Star,

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Speaker 1: the movie she directed this year, I thought it was great.

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Speaker 1: But she's also directed Portrait of a Lady in the Cut.

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Speaker 1: She's from New Zealand. She did win the year that

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Speaker 1: she directed The Piano for Best Original Screenplay. We also

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Speaker 1: have Karen Cusama, who debuted with Girlified, but she also

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Speaker 1: um directed a movie that came out this year starring

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Speaker 1: Uh Megan Fox Uh called Jennifer's Body. It's a vampire

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Speaker 1: film that came out heard. It's kind of camping and entertaining.

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Speaker 1: We also have Julie Tamar who directed Titus and frieda

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Speaker 1: Across the Universe and the upcoming or I think it's

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Speaker 1: probably already come out now, The Tempest. Right. Did you

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Speaker 1: see um Bendett Like Beckham Kristen, I didn't see a

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Speaker 1: Christian um Corinda Chata that came out in two thousand two,

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Speaker 1: but she also did a movie called Bossy on the

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Speaker 1: Beach and one called What's Cooking Now. One director that

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Speaker 1: on this list that I am really interested in, uh,

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Speaker 1: delving into a little bit more. Is deep A Meta

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Speaker 1: and she's an Academy Award nominated director and screenwriter who's

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Speaker 1: best known for Elements trilogy. And I watched the I

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Speaker 1: haven't seen any of um these movies, but I watched

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Speaker 1: the trailer for the second film in the series called Earth.

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Speaker 1: It looked pretty awesome. So I might netflix some deep

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Speaker 1: A Meta movies. One last one Mira and Nair who

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Speaker 1: directed Monsoon Wedding and The Namesake. But I think that

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Speaker 1: this list would we would be remiss if we didn't

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Speaker 1: mention too heavy hitters in the female director world. Got

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Speaker 1: Nancy Myers and or Fron and Ffron we've mentioned a

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Speaker 1: number of times throughout this podcast. UM, but Nancy Myers

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Speaker 1: we haven't talked about so much. But they are really

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Speaker 1: some major power players in Hollywood. Uh. Nancy Myers actually

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Speaker 1: has final cutting rights on all her films, which is

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Speaker 1: evidently a rare privilege for a director, according to this

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Speaker 1: article in New York Times magazine, and she's paid upward

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Speaker 1: of twelve million dollars for each film she makes and

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Speaker 1: UM and in the movies that she has directed, UM

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Speaker 1: since a partnership with her ex husband Charles Shier from

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Speaker 1: movies have surpassed two and or million dollars in revenue worldwide. Yeah,

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Speaker 1: so she's got some leverage, she does. But you know,

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Speaker 1: we are reading a New York Times profile over and

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Speaker 1: it seemed that even though she had this tremendous leverage

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Speaker 1: she's made, you know, so much money for Hollywood, they

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Speaker 1: still kind of temper profiles ever with you know, this

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Speaker 1: is pretty good for a woman. Yeah. I think there's

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Speaker 1: one Uh, there's one bit in the article that said

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Speaker 1: someone's has described her esthetic is quote the Kashmir world

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Speaker 1: of Nancy Myers, because evidently she pays a lot of

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Speaker 1: attention when she's directing to just see interiors. Um. I

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Speaker 1: think the movie The House where Something's Got to Give, uh,

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Speaker 1: was directed was featured in like architectural digests. You know,

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Speaker 1: it's always these very kind of Hampton's esque, very beachy

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Speaker 1: lots of whites and linens and creams um in the

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Speaker 1: in the background, you know, and they're saying, you know,

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Speaker 1: kind of dismissing it. It's just her feminine side, her female,

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Speaker 1: her female touch. So I mean I think that that's

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Speaker 1: that's frustrating no matter how great you're movie is, it's

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Speaker 1: still they're gonna look for something. Yeah, it's not just

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Speaker 1: basic attention to detail, as you know, probably a lot

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Speaker 1: of you know, really great male directors have. You know,

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Speaker 1: it's because it's in the specific kind of domestic setting,

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Speaker 1: you know. And then we also have uh, Nora Fron

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Speaker 1: who also kind of leads the charge on these films

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Speaker 1: that today really appealed to you know, older kind of

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Speaker 1: second wave feminists, I guess, um kind of navigating this

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Speaker 1: uh kind of post divorce world that they're living in

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Speaker 1: with films like it's complicated and what women want. So

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Speaker 1: Nancy Myers and r Fron are two that have kind

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Speaker 1: of gotten pigeonholed as these middle aged um female fantasy

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Speaker 1: directors with all that architecture. And you think about a

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Speaker 1: movie like What Women Want, where Nancy Myers directed, you know,

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Speaker 1: where it's it's pretty much what women wanted. Yeah, Mel

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Speaker 1: Gibson read their minds. Well, not anymore El Gibson and Pantyhose,

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Speaker 1: I don't know, but it's still a cute, cute enough movie. Yeah.

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Speaker 1: So that's our that's our Mini Oscar preview. Something to

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Speaker 1: look out for when you're when you're watching the Oscars,

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Speaker 1: whether Kathryin Bigelow takes it or not, and if she does,

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Speaker 1: I think we fund to watch how many commentators just

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Speaker 1: focus on the woman thing. Yeah, you could probably make

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Speaker 1: she does when you could probably make a drinking game

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Speaker 1: to how many leg references face references and James Cameron

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Speaker 1: divorce references are made. I mean, people get over it.

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Speaker 1: She's an attractive older woman who happens to be a

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Speaker 1: badass director as well. Exactly. Yeah, so that's our that's

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Speaker 1: our point of view on her, and you guys share

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Speaker 1: it with us. Your favorite female directed movie. Oscar picks

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Speaker 1: and if you notice, we haven't said a thing about

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Speaker 1: Oscar nominated actresses at all. Could have been a two partner,

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Speaker 1: could have been a two partern. Oh well, so Oscar

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Speaker 1: thoughts send him our way. The emails mom stuff at

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Speaker 1: house stuff works dot com, And before we wrap up,

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Speaker 1: we'll read some emails from people who wrote to that

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Speaker 1: very address. First off, I'm going to read one from Erica,

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Speaker 1: who writes, I hyper hydrosis affected. For a while, I

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Speaker 1: tried the clinical deodorance and even got prescription deodorants. Prescriptions

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Speaker 1: would work, but made my underarms ache. I was also

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Speaker 1: nervous about the aluminum content, which was much higher than

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Speaker 1: retail deodorants, especially because of family history of breast and

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Speaker 1: other cancers. A new doctor recommended botox injections to stop

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Speaker 1: the sweat, which I tried. It works like a charm.

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Speaker 1: I get the underarm injections about every six to eight months. Well,

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Speaker 1: it's quite painful, it's over quickly, and I'm under armed

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Speaker 1: sweat free for months. I've experimented with use of deodorant

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Speaker 1: and found that while I need much less, the sweat

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Speaker 1: loving bacteria still make me stinky. Botox injections is also

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Speaker 1: used to dry the palms of the sweaty handed. So Kristen,

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Speaker 1: you should really should you really want to be dry

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Speaker 1: handed at the next wedding? Botox maybe key. I think

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Speaker 1: we all remember Kristen talking about her sweaty palms. So

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Speaker 1: thanks Erica for for some good advice for Kristen. And

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Speaker 1: can I go on record, as you know, emphasizing that

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Speaker 1: it's kind of a joke about my sweaty palm. No,

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Speaker 1: she has really sweaty palls. Man, you don't know that,

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Speaker 1: all right? Well, I've got an email here from Joe

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Speaker 1: in response to our episode on cheating, and he responded

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Speaker 1: to a lot of different points in the podcast, and

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Speaker 1: I'm going to highlight one um from uh statement we

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Speaker 1: made saying that men admit that the women they cheat

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Speaker 1: on are cheat with are not as pretty as their wives,

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Speaker 1: and he said, I'd like to say that this is

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Speaker 1: a plausible statement because I feel that when men cheat

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Speaker 1: is for something cheap and tawdry. Men find women that

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Speaker 1: they love to be the most beautiful woman in the world.

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Speaker 1: But even if the women they cheat with has more

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Speaker 1: sex appeal, we'd see her more as a tool than

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Speaker 1: we're looking to accomplish that we're looking to accomplish selfish goals.

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Speaker 1: With two examples in the movie Analyze This, Robert de

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Speaker 1: Niro's character admits to cheating on his wife rather nonchalantly.

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Speaker 1: He asks if he's happy in your replies that he is.

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Speaker 1: Then he asks why he cheats, and he angrily replies,

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Speaker 1: she kisses my children with that mouth. That leads me

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Speaker 1: to believe that he loves his wife and children, but

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Speaker 1: would do something with a woman just a tool to

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Speaker 1: him he doesn't care about to fulfill selfish pleasures. Other

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Speaker 1: example comes from a woman tiger was cheated with on

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Speaker 1: his cheated on his wife with His wife is very

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Speaker 1: obviously a beautiful woman, and the women that came forward

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Speaker 1: paled in comparison to his wife's looks. There you go,

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Speaker 1: There you go. Joe Amail is pointing view on it. Yeah. So,

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