Robin Wright Claims Home of Playing Cards Pays Less than Spacey

Robin Wright reflected on her impactful journey during her time on “House of Cards” at the Monte-Carlo TV Festival on Monday. She emphasized her battle for equal pay throughout the series, a struggle that was particularly pronounced because she had not yet received an Academy Award. This assertion highlights ongoing issues within the industry regarding gender pay disparity in television and film.

During an insightful discussion moderated by Variety’s international features director Leo Barraclough, Wright reminisced about her breakthrough as a lead actress in the 2013 show, which marked Netflix’s first major venture into original programming. Her role not only showcased her talent but also set a precedent for future streaming series.

“When David Fincher introduced ‘House of Cards’ to me, he confidently declared: ‘This is going to be the future, it’s going to be revolutionary,’” Wright recalled. “And look at where we are now.” This statement underscores the transformative impact of streaming platforms on the entertainment industry and highlights how innovative storytelling can redefine traditional television norms.

However, Wright candidly shared her experiences fighting for equal compensation on the acclaimed series, which she co-starred in alongside Kevin Spacey. She was determined to advocate for herself and her character, who had garnered immense popularity, paralleling that of Spacey’s character.

“Indeed, it was challenging. I’m being honest,” Wright stated. “When I argued, ‘I believe it’s only fair because my character became as popular as [Spacey’s], they replied: ‘We can’t pay you the same as an actor, so we’ll make you an executive producer and you can direct. We will give you three different paychecks.’ I pushed back, asking, ‘Why can’t you pay me as an actor?’ They said, ‘Because you didn’t win an Academy Award.’” This exchange exemplifies the systemic issues surrounding gender inequality in Hollywood.

Despite the frustration, Wright acknowledged that harboring anger “wasn’t going to change anything.” This admission reveals the often frustrating reality many actors, particularly women, face when navigating power dynamics in the industry, where past accolades can overshadow current talent and contributions.

“That has been the protocol for years — it simply is,” she continued. “If you ask, ‘Why didn’t so-and-so female get the same amount as Will Smith?’ They respond, ‘It will improve after you win.’ Nomination, not so much,” she elaborated. “Why does it have to do with a raise?” This perspective highlights the long-standing cultural biases present within the industry, emphasizing the need for reform and equitable treatment of all actors, regardless of accolades.

Wright also addressed the controversial series finale, stating, “That was my idea, so… Sorry. Initially, I suggested: ‘Let him kill her.’” This insight into her creative contributions sheds light on her active involvement in shaping the narrative of the series, showcasing her as not just a performer but as a creative force.

Nonetheless, Wright expressed that the opportunity to direct episodes of the show was a significant “reward.” This statement reflects her growth and the positive experiences she gained from being involved in the production process, allowing her to explore her creative potential beyond acting.

“It was the camera operator on ‘House of Cards’ who suggested, ‘Why don’t you just try it?’” she recalled. “I learned so much on that show. I didn’t feel any pressure. I was encouraged to do it.” This encouragement highlights the collaborative environment that can foster creative growth and exploration within television production.

Additionally, Wright provided a glimpse into her upcoming project, the psychological thriller series “The Girlfriend,” produced by Amazon MGM Studios. This project promises to showcase her versatility and depth as an artist, continuing her exploration of complex narratives.

“All of us collaborated to create this tension between two women who compete for the affection of a young man,” she explained. This description suggests a multi-layered storyline that delves into themes of rivalry, love, and the complexities of female relationships, which are often underrepresented in mainstream media.

Adapted from the novel by Michelle Frances and featuring stars like Olivia Cooke (“House of the Dragon”), Laurie Davidson (“Mary and George”), and Waleed Zuaiter (“Gangs of London”), the series will portray Wright as Laura, a woman who seemingly has it all: a glittering career, a loving husband, and her cherished only son, Daniel (played by Davidson). However, Laura’s idyllic life is shattered when Daniel introduces Cherry (Cooke), the girlfriend who changes everything. This narrative promises to engage viewers with its exploration of personal and familial dynamics.

Wright is not only starring in but also executive-producing and directing this limited series, which is set to premiere in the fall. Her multi-faceted role in this project underscores her commitment to expanding her creative horizons and influencing the stories being told in today’s media landscape.

Wright is set to receive the prestigious Crystal Nymph Award at the Monte-Carlo TV Festival, recognizing her remarkable career and lasting impact on the audiovisual industry. Wright’s journey began in television with the soap opera “Santa Barbara” before she made a successful transition to film, highlighting her versatility as an actress.

Moreover, Wright is actively engaged in activism, advocating for peace in the Democratic Republic of Congo and launching the charitable women’s sleepwear line Pour Les Femmes. She expressed, “I did it because I couldn’t get any traction in Washington DC for the women of Congo. I really wanted to reach out to digital companies and ask: ‘Can you wake up?’ If you charge one dollar more for your iPhone, that dollar can go towards protecting them. Many of the women I’ve met in hospitals are actually doctors and lawyers.” This commitment reflects her dedication to using her platform for positive change and raising awareness about critical global issues.

“Was there any pushback from DC? Yes. Congress members often promise: ‘We will get to it.’ They just want to take a selfie with you.” This statement captures the frustrating reality of political activism, where genuine intentions can often be overshadowed by performative gestures.

Wright was joined on stage by Rola Bauer, executive producer for Amazon MGM Studios, who shared her philosophy regarding new shows: “If you don’t entertain people, they aren’t going to come. If it’s possible, and if we can, we should enlighten.” This insight emphasizes the need for storytelling that captivates audiences while also aiming to impart valuable messages.

Later in the discussion, Wright reflected on her film career, including iconic titles such as “The Princess Bride” and “Forrest Gump”.

“People still ask me about those films. It’s always about those films.” This underscores the lasting impact of those roles and the way they have shaped her public persona and career.

Wright expressed her fondness for the underappreciated film Rebecca Miller’s “The Private Lives of Pippa Lee” – “I wish she would work more” – but noted that the already-announced project “Kissinger Takes Paris”, featuring Tim Roth as Henry Kissinger, may not see the light of day. “I don’t think this is happening. It has been radio-silent for almost a year.” This insight reflects the unpredictable nature of film production and the challenges in bringing projects to fruition.

When asked about her greatest achievements, Wright candidly replied: “My children are still alive. As for my career… There’s this window in your late 30s and early 40s where roles are scarce. It was dry. That’s when ‘House of Cards’ came up. It helped me plateau for a while. I don’t know if I would have been able to secure roles in films at that time.” This reflection highlights the often turbulent journey of actors and the significance of pivotal roles in shaping their careers.