Word: kasdan
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Dates: during 1990-1999
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...really is like Cary Grant, who did the most outrageous comedy and also the most sophisticated line readings," says director Lawrence Kasdan, who has worked with Kline in five movies, including The Big Chill and Silverado. "Here's a guy who's made a lot of money for a long time doing exactly what he wants. I think it's a charmed life...
...Empire Strikes Back, directed by Irvin Kirshner and written by Leigh Brackett and Lawrence Kasdan, is the second and least successful of the three Star Wars films, having recently been knocked out of the top ten domestic grossing films in history by The Lion King. Empire is perhaps the most ambitious of the series, with its widely separated yet interrelated plots and its attempt at increased spirituality and a fuller explanation of the Jedi tradition and the Force...
...Sally and Sleepless in Seattle, and in the new box-office favorite French Kiss, she is also the current soul of romantic comedy. And what you see on screen is what you get on the set. "She's adorable, huggable, smart, funny and strong," says French Kiss director Lawrence Kasdan, listing the five Comic Heroine virtues as if they had been minted for Ryan. "Men want to be married to her, and women want to be her friends.'' Says Nora Ephron, who wrote When Harry Met Sally and directed Sleepless in Seattle: "Women somehow don't mind if their boyfriends...
...were responsible for reporter Larry Lewis' carpel tunnel syndrome. Last month IBM won a similar decision from a Minnesota jury. Lewis, who has been a reporter for 30 years, said he wanted to show that "you can get carpal tunnel from a computer." However, hand surgeon Dr. Morton L. Kasdan says that will be a difficult thing to prove. He says that there has never been a study that conclusively proves that carpal tunnel syndrome is caused by the use of a keyboard. U.S. Labor Department figures show that the number of reportedrepetitive stress injurieshas more than doubled from...
...been a rough year for some acclaimed writer-directors. They spend all their ingenuity and a good deal of money putting a personal twist on an old genre -- Lawrence Kasdan with his Wyatt Earp western, James L. Brooks with the would-be musical I'll Do Anything, Barry Levinson with his behind- the-screen Jimmy Hollywood -- and what happens? A big nothing. The critics cluck; the public stays home in droves. One hates to see ambitious artists fail, even if their fizzles can be more provocative than the minor films that become major hits. But somehow these men became estranged...