Op SBS6 is twee keer per avond een Oranje-uitzending van ‘VI’ te zien, zodat de kijker weet wat de mannen van het WK vinden en wat ze eten. Arend Jan Boekestijn lachte zich bijna van zijn stoel na een ongelukje met een gehaktbal.

Stel, je hebt een nieuwe baas nodig. Hoe ga je dan op zoek? Zoek je binnen je bedrijf, of buiten? Maakt gender van de ceo uit? Of de afkomst?

In an industry dominated by men, many women dedicate themselves to the craft of editing – as well as managing directors’ egos – to create some of the most celebrated and memorable big-screen classics

Behind every great director, to coin a phrase, is a great editor – and as the tributes paid earlier this month to the late Marcia Lucas, Oscar-winning editor of Star Wars: Episodes IV to VI, and former wife of creator George Lucas, reminded us, that editor is often a woman. In a historically male-dominated industry, this familiar Hollywood dynamic is a phenomenon that is worth investigating.

It goes back decades. During the supermacho Hollywood new wave era, Dede Allen worked with Arthur Penn (Bonnie and Clyde) and Sidney Lumet (Dog Day Afternoon), and Thelma Schoonmaker edited Raging Bull, The King of Comedy and GoodFellas for Martin Scorsese (and much else besides). David Lean’s Lawrence of Arabia may have contained no female speaking characters, but it won Anne V Coates an editing Oscar. Anne Bauchens was nominated for Cleopatra in 1934, when the Oscars’ editing category was created, and became its first female winner in 1940 for Cecil B DeMille’s North West Mounted Police.

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