Word: filming
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Dates: during 1970-1979
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Typically, these whiz kids were barely in their teens, or even younger, when they started to act. Diane Lane was 13 when she shot her first film, A Little Romance, last year. Mariel Hemingway, 17, who plays Woody Allen's very young lover in Manhattan, was 13 when she began her movie career as the younger sister of the character played by her own sister Margaux in a gaudy and brutal film called Lipstick. Linda Manz, the tough little New York City street kid whose scarred face and back-alley accent gave a saving balance to the prettiness of Terrence...
...slightly easier problem is confronted in A Little Romance, the new film starring Diane Lane. Lane has a dizzying breadth of untroubled brow, a braces-just-came-off prettiness and a shy grin...
Talent helps. But another reason the film succeeds is that Director Hill allows the kids to be madly romantic?they are 13, it's the right age?without sentimentalizing them. The ceremonial kiss in the gondola is the movie's steamiest scene, and active sexuality for these two is well in the future. But there is no pretense that it is not coming. Daniel and a buddy persuade Lauren to see a porno flick. She watches for a few minutes, then walks out, feeling sick. Daniel follows, ashamed of himself, trying to comfort her. Lauren nods; she is all right...
...Movie children were not always like real children," says Lament Johnson, who directed Mariel Hemingway in Lipstick and Diane Lane in Cattle Annie and Little Britches, a western film scheduled for release next spring. "Until about a decade ago, girls were dainty untouchables, unless they were little mutts. Hollywood had a Latin view of them, the whore or the madonna." If a script called for a very young girl to play a suggestive role, directors looked around for slightly built older actresses. When the film version of Vladimir Nabokov's Lolita appeared in 1962, it was considered scandalous that...
...look first to see if the eyes are wide open and if they express intelligence," says François Truffaut, whose films about children include the haunting The 400 Blows and Small Change. Truffaut also looks for "vivacity, above all vivacity." He usually does not prepare a detailed script for children. "I prefer giving them the essential ideas of the scene, and then letting them express the ideas with their own vocabulary. I think that's the biggest difference." Adolescent actors sometimes get the giggles, reports Truffaut, but they rarely have inhibitions, at least at the beginning. Says he: "They usually...