In terms of the creative team I work with, I always want the very best people. It was the very best people. I’m thrilled that they are women. I think part of it was I went to an all-women high school and an all-women college, so it just doesn’t seem that strange to me that an entire team would be led by women. It makes perfect sense to me.

You were quoted by Vanity Fair about the hierarchy of stories: you believe that the top of that hierarchy in Hollywood is male violence, either man on man, or man on woman. Is this something you’ve always felt or something that has become more crystallized this year?

In truth, I’m always thinking about the narratives we turn to again and again. What are the shape of stories, not just the content but also what do we consider worthy and why? I think it’s interesting what feels important. What Louisa May Alcott did with writing this is one of the first examples I can find about the lives of girls and women written in a way that gives it a lot of real estate. That act of creativity has long-lasting effects because I think stories are how we organize what we think is important.

What do you make of the fact that men were saying they wouldn’t see a film called “Little Women”? That there were male critics out there begging men to go see the film.

I have talked to a lot of really wonderful men who have loved this movie and so I think I have a skewed data set. No man would just walk up to me and say, “Hey, I’m never going to see your movie.” My data set indicates that men love “Little Women” and they can’t wait to see it again. Honestly, I’ve talked to so many men who have told me about watching it with their wives and their daughters. But many men have talked to me about watching it alone and crying, and that makes me feel really good. [Laughs]