Word: redfords
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Dates: during 1980-1989
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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...
...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...
...original Sting was remarkable because it combined the most unlikely twists of plot with entirely plausible characters. At the close of the movie, when the Robert Redford and Paul Newman characters turn out only to be feigning death, the twist is a shock because those actors portray such genuine. killable men. The viewer believes he is watching real-world scenes in which such a tragedy could occur. The movie itself is a con game, the audience its victims, and everyone falls...
...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...