Word: redford
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...biggest bastard of all turns out to be glamour-boy Robert Redford and Goldman should know, having worked with him on five films. Redford caused one of Goldman's projects to be cancelled because, after the phenomenal success of Butch Cassidy, he felt uneasy playing a character who was "kind of weak." During their fourth collaboration. All the President's Men, Redford refused to entrust Goldman with his home phone number. Then, out of jealousy for co-star Dustin Hoffman's character, he demanded that Goldman write in a love interest for him; and, in what Goldman justifiably terms...
Newman, in sharp contrast to his film buddy Redford, actually wants the best script, the best character, and the best supporting actors around him. During the filming of close-ups of another actor. Newman sticks around to read his off-camera lines rather than leave them to a script girl. What Goldman doesn't mention is that despite (or because of) all Newman's un-starlike heroism, his peers have denied him the Oscar all six times he's been nominated. But this injustice should come as no surprise; it's typical of a town that thrives on slop...
...walking around and around a large room with him, improvising a scene. Recalling this long ordeal, Goldman notes "Hoffman's need to put himself on at least equal footing with this sick old man." Someone else the author will probably not work with in the future is Robert Redford. The actor's role as the Sundance Kid helped make him a megastar. By the time of All the President's Men, Redford was no longer Goldman's old pal but his producer. "He had asked me to come to Utah for the month to work with...
Since its inception in 1975, the Learning From Performers series has sponsored visits to Harvard by such notables as actor Robert Redford, playwright Arthur Miller and cellist Mstislav Rostropovich...
...hallmark of the original Sting was its ragtime piano theme "The Entertainer," which sums up the irresistible devil-may-care attitude Newman and Redford brought to life. Though unbelievably canny, the characters in the original seemed extremely vulnerable; the risks they were taking appeared real. The sequel contains a multitude of tricks, but lacks the force to raise any of them to such reality. The background music for Sting II is appropriately the famous piano rag--mutilated in an adaptation...