Meryl did this scene in one take and refused to do it again, saying that as a mother, she found it too painful and emotionally draining. Years later, Streep appeared on Oprah Winfrey’s show and the scene of her choice was shown. Meryl was uncomfortable while the clip was playing and she revealed that she had never watched the scene before that very moment.

All the President’s Men evokes a quiet, pervasive anguish. It pulses like the buzzing of high-tension wires in a low-rent neighborhood. A person can live in such a place for years and never notice that electric whine, until one day their head aches and their nose bleeds and their flesh rebels into cancer. They can sue the power company or even move, but ultimately others will accept the noise. New leases are signed. The power stays on. Work must be done. “

—Sara Gray, "The Lines of Power"

Julia Roberts reveals reasons for her success
Julia Roberts reveals reasons for her success

Academy Award winning actress Julia Roberts has revealed what she believes is responsible for her successful acting career and who has had the biggest influence on her career. Julia, who has three children with her husband Danny Moder, admitted that a lot of it is down to her view and her approach to life.

Roberts explained, “I think I’m more in control of my life, my confidence and drive to do the work that I love and to believe that I can do it. I don’t think it’s magic dust that made Danny appear or [director] Mike Nichols. I think that I’m a deeply optimistic person. I’m a hopeful person. I mean that’s sort of the cornerstone of fairytales.”   She added, “In essence I owe my career to Garry Marshall. There was no known reason for him to hire me for Pretty Woman. And even he was puzzled by his decision. But I owe the forward motion of my career to Alan Pakula. It wasn’t until I met him and he had written the screenplay for Pelican Brief. We had a really interesting conversation about it and it re-ignited my enthusiasm for acting.” Julia Roberts is set to appear on the big screen in the Tarsem Singh Snow White movie Mirror Mirror, which is released on March 30.

70 of My Favorite Cinematic Romances/Love Stories:

#61 - Sophie’s Choice (1982), dir. Alan J. Pakula


“There are movies that change the whole way in which films are made, like ‘Klute,’ where Gordon Willis’ photography on the film is so textured, and, they said, too dark. At first this was alarming to people, because they’re used to a certain way things are done within the studio system. And the studio is selling a product, so they were wary of people thinking that it’s too dark.” Martin Scorsese

TNR: Paranoia’s always been a key part of it. Interestingly, ‘Klute’ is the first film of what some people refer to as Alan J. Pakula’s “paranoia trilogy,” joining ‘The Parallax View’ and ‘All the President’s Men.’ Speaking to the nature of paranoia, how do you feel it plays into this film?
ANDY LEWIS: To illustrate, you may remember an early scene in ‘Klute’ where Klute spots that he and Bree are being watched from the skylight above. He goes busting up to the roof in pursuit. Now, when Alan and I were working together, his version of how it should play out — and as you’ll recall it playing actually in the movie — is that we, the audience, should glimpse a shadowy figure scampering away and that Klute should go rampaging after him unsuccessfully. That plays. And that plays to the kind of fear we’re talking about. —A Q&A with ‘Klute’ co-writer Andy Lewis

Read, enjoy, learn. Andy and Dave Lewis’ screenplay for ‘Klute’ (NOTE: For educational purposes only.) Thanks to Moviegoer71 and the great folks at Write to Reel.

“Gordon Willis is regarded by all of his peers as one of the greatest cinematographers in the history of film, and for many as the greatest of all time, period. Meeting with him only served to have him rise in our esteem from previous. Without wanting to use hyperbole, between lensing ‘The Godfather’ trilogy, many of Woody Allen’s best films (including ‘Annie Hall,’ ‘Manhattan,’ ‘Stardust Memories,’ ‘Interiors,’ and others) and several master thrillers for Alan J. Pakula (‘All the President’s Men,’ ‘Klute, ‘The Parallax View,’ ‘The Devil’s own,’ and others), Gordon Willis practically single-handedly re-invented the craft of cinematography and the nature by which films were and are composed, lit, and executed. He has left an indelible mark on the craft of filmmaking and we are delighted to present him in a two part interview here. We hope you enjoy a small window into a great man’s achievements and approach.” The Collected Wisdom of the Late Gordon Willis

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