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November 15, 2016 (XXXIII: 12) : (1987), 102 min.

(The online version of this handout has color images and hot url links.)

Academy Awards, 1988 Won: Best Actress in a Leading Role (); Best Actress in a Supporting Role (), Best Writing, Screenplay Written Directly for the Screen () Nominated: Best Picture, Best Actor in a Supporting Role (), Best Director (Norman Jewison)

Directed by Norman Jewison Written by John Patrick Shanley Produced by Norman Jewison & Patrick J. Palmer Music Dick Hyman Cinematography David Watkin Film Editing College, University of Toronto, and after moving to Cast London, where he wrote scripts and acted for the BBC, he Cher…Loretta Castorini returned to Toronto and directed TV shows for the CBC …Ronny Cammareri (1952-1958), then musicals and variety in , Vincent Gardenia…Cosmo Castorini before embarking on a film career. Even though he was Olympia Dukakis…Rose Castorini offended by it at first (and turned it down), A Clockwork …Mr. Johnny Cammareri Orange (1971) inspired him to make Rollerball (1975) a …Rita Cappomaggi few years later. Jewison was also the original director of …Perry Malcolm X (1992), however had to withdraw from the Louis Guss…Raymond Cappomaggi project due to outside pressure demanding that the subject Jr….Old Man be made by a black film-maker (it would eventually be Anita Gillette…Mona directed by Spike Lee). In his DVD Commentary for In Leonardo Cimino…Felix The Heat Of The Night, Jewison recalled that shortly Paula Trueman…Lucy before he began production, he took his family on a ski Nada Despotovich…Chrissy trip in Colorado. He broke leg and ended up in the local Catherine Scorsese…Customer at Bakery hospital. While there, he met New York Senator Robert F. Kennedy who also had an injured child in the hospital NORMAN JEWISON (b. July 21, 1926 in Toronto, from his own ski trip. In the waiting room, the two men Ontario, Canada) is an award-winning, internationally struck up a conversation. When he mentioned to Kennedy acclaimed filmmaker who produced and directed some of the movie he was working on, RFK became excited and the world’s most memorable, entertaining and socially said "This could be an important picture. Timing is important films, often exploring controversial and everything." Later, after the movie was released, one of complicated subjects. Jewison got his BA at Victoria the first awards it won was the New York Film Critics Jewison—MOONSTRUCK—2

Award for Best Picture. When Jewison went to the giving a sermon, we're going to see the congregation. [The ceremony to receive his award, he was presented with his movie] came to life as a filmic idea rather than a theater award by none other than Robert F. Kennedy. When he idea. It's not an obvious thing to be able to get people to got to the stage to accept the award, Kennedy was smiling go to a movie where they buy popcorn to watch nuns and and saying "See? I told you! Timing was everything!" priests argue. I was scared. The other 10 or Some of his most well-known works include the sharp movies he has written for are The Red Coat (2006, Short, pre-glasnost political satire The Russians Are Coming the written by), Live from Baghdad (TV Movie, teleplay), Russians Are Coming (1966), the original and iconic The Papillons de nuit (2002, book & play "Danny and the Thomas Crown Affair (1968), the sultry mystery and Deep Blue Sea"), Congo (1995, screenplay), We're Back! racially provocative In the Heat of the Night (1967), the A Dinosaur's Story (1993, screenplay), Danny i Roberta first rock opera Jesus Christ Superstar (1973), the (1993, TV Movie, play "Danny and the Deep Blue Sea"), futuristic cult hit Rollerball (1975), hit musical comedy- The Princess and the Cobbler (19993, additional material drama - uncredited), Joe Versus the (1971), the romantic comedy Volcano (1990), The January and multiple Academy Man (1989) and Five Award-winner Moonstruck Corners (1987). He wrote (1987), courtroom drama and directed Doubt (2008) ...And Justice For All (1982), and Joe Versus the Volcano military drama A Soldier’s (1990). Story, the labor movement picture F.I.S.T. (1978), the DICK HYMAN (b. March 8, masterfully told story of 1927 in , New Reuben 'Hurricane' Carter The York) is composer, Hurricane (1999), as well as songwriter, conductor, The Statement (2003), ), In pianist, organist and Country (1989), (1985), among many arranger, educated at Columbia University and a music others. Always a bridesmaid, but never the bride, Jewison student of Teddy Wilson. Hyman worked with Red Norvo has been nominated for an Academy Award five times for (1949-1950) and Benny Goodman (1950), and then spent Best Picture and three times for Best Director, though much of the 1950s and '60s as a studio musician. He never won in either category. However, he has won appears on the one known sound film of Charlie Parker numerous accolades around the world, including (Hot House from 1952); recorded honky tonk under numerous Golden Globe nominations, a BAFTA Award, pseudonyms; played organ and early synthesizers in the Silver Bear for Best Director at the prestigious Berlin addition to piano; was Arthur Godfrey's music director Film Festival, Lifetime Achievement Awards from both (1959-1962); collaborated with Leonard Feather on some the Directors Guild of Canada and America, and the Irving History of Jazz concerts (doubling on clarinet), and even G. Thalberg Memorial Award at the 71st annual Academy performed rock and free jazz; but all of this was a prelude Awards. to his later work. In the 1970s, Hyman played with the New York Jazz Repertory Company, formed the Perfect JOHN PATRICK SHANLEY (b. October 3, 1950 in The Jazz Repertory Quintet (1976), and started writing Bronx, New York City, New York) is a writer, known for soundtracks for films. He has recorded Doubt (2008, play/screenplay), Moonstruck (1987) and frequently during the past several decades (sometimes in Alive (1993). After he was thrown out of Catholic school duets with Ruby Braff) for Concord, Music Masters, and in New York, he attended the private Thomas Moore Prep Reference, among other labels, and ranks at the top of the School in Harrisville, New Hampshire. He then returned classic jazz field. In 2013, Hyman teamed up with vocalist to New York and attended , left to Heather Masse for a set of standards on the Red House enlist in the military and then returned to finish university label called Lock My Heart. A versatile virtuoso, Hyman on the G.I. Bill. He graduated in 1977 as valedictorian. once recorded an album on which he played "A Child Is His play Doubt has won several awards for outstanding Born" in the styles of 11 different pianists, from Scott dramatic play including: the 2005 Pulitzer Prize, the 2004- Joplin to Cecil Taylor. Hyman even had minor hit record 2005 Drama Desk Award and the 2005 Tony Award. The in 1968: "The Minotaur" as "Dick Hyman & the Eclectic play is about a molestation charge in a Catholic school. He Electrics", which was first single ever to be entirely had this to say about the experience: I did Doubt as a film, performed on a synthesizer (Moog). He was nominated a play and an opera. We were there to use the new for a 1989 BAFTA Award for Best Score for tonight’s materials we'd been offered to express the story in the way films. He has composed for 32 films and television, some it wants to be expressed. I realized that if the priest is of which are Listen Up Emily (2016, Short, completed), Jewison—MOONSTRUCK—3

Nabokov on Kafka (1989, TV Short), The Lemon Sisters CHER (b. May 20, 1946 in El Centro, California) is (1989), Leader of the Band (1987), The Purple Rose of superstar entertainer who has well surpassed the four- Cairo (1985), Zelig (1983, music composed by), French decade mark while improbably transforming herself from Quarter (1978), Bernice Bobs Her Hair (1976, TV Movie) an artificial, glossy "flashionplate" singer into a serious, and Search for Tomorrow (1951, TV Series). He has also Oscar-worthy, dramatic actress ... and back again. With served as the musical arranger or writer on Whatever more ups and downs than the 2008 Dow Jones Industrial Works (2009, arranger & performer "Auld Lang Syne”), Average, Cher managed to rise like a phoenix from the The Whole Shebang (2001, writer: " Heights ashes each time she was down and counted out, somehow Stroll"), Soft Toilet Seats (1999, writer: "Summer re-inventing herself with every changing decade and Vacation", "Soho Stripper"), Sweet and Lowdown (1999), finding herself on top all over again. As a singer Cher is Radio Days (1987), The Purple Rose of Cairo (1985, the only performer to have earned "Top 10" hit singles in writer: "One Day at a Time" - uncredited) and Stardust four consecutive decades; as an actress, she and Barbra Memories (1980). Streisand are the only two Best Actress Oscar winners to have a #1 hit song on the Billboard charts. Cher’s father DAVID WATKIN (b. March 23, 1925 in Margate, Kent, left the family when she was young, and she was raised by England—d. February 19, 2008, age 82, in Brighton, East their mother, who had aspirations of being an actress and Sussex, England) was a fan of classical music as a child model herself, paid for Cher's acting classes despite her and originally wanted to become a pianist despite the lack of support from his religious father. Watkin served shortly in World War II before finally beginning his career in cinema. His break into the film world arrived when he shot the memorable title sequence for the film Goldfinger in 1964. Being an innovator in cinematography, he was known as having an artistic technique- almost picturesque. His most famous works are the TV Mini-Series, Jesus of Nazareth (1977), Moonstruck (1987), and Out of Africa (1985), for which he won the 1986 Oscar for Best Cinematography. Known as a Pioneer in cinematography with soft and bounced light, he also is notorious for sleeping on the set. When asked about his habit he replied, "Well, it's the one thing you can do on a movie set that daughter having undiagnosed dyslexia, which acutely doesn't make you more tired!" Watkin has been the affected her studies. Frustrated, Cher quit Fresno High or DOP on 76 films and TV shows School at the age of 16 in search of her dream. At that including Lover's Prayer (2001), Tea With Moussolini time, she also had a brief relationship with actor Warren (1999), Gloria (1999), Critical Care (1997), Obsession Beatty. Meeting the quite older (by 11 years) Sonny Bono (1997), Jane Eyre (1996), This Boy's Life (1993), Used in 1962 changed the 16-year-old's life forever. Bono was People (1992), Hamlet (1990), Memphis Belle (1990), working for record producer Phil Spector at Gold Star Journey to the Center of the Earth (1988), Masquerade Studios in Hollywood at the time and managed to (1988), Sky Bandits (1986), Out of Africa (1985), White persuade Spector to hire Cher as a session singer. As such, Nights (1985), Return to Oz (1985), The Hotel New she went on to record backup on such Spector classics as Hampshire (1984), Yentl (1983) Endless Love (1981), "You've Lost That Lovin' Feeling" and "Be My Baby". Chariots of Fire (1981), Cuba (1979), Hanover Street The couple married on October 27, 1964. At first Cher (1979), Jesus of Nazareth (1977, TV Mini-Series), Joseph sang solo with Sonny behind the scenes writing, arranging Andrews (1977), Robin and Marian (1976), Mahogany and producing her songs. The records went nowhere. (1975), The Four Musketeers: Milady's Revenge (1974), Sonny then decided they needed to perform as a team so The Three Musketeers (1973), The Homecoming (1973), they put out two songs in 1964 under the recording names The Boy Friend (1971), Catch-22 (1970), The Charge of of Caesar and Cleo ("The Letter" and "Baby Don't Go"). the Light Brigade (1968), How I Won the War (1967), Again, no success. The changing of their names, however, Marat/Sade (1967), Mademoiselle (1966) and Help! seemed to make a difference and in 1965, they officially (1965). He also worked on 6 documentary shorts: The took on the music world as Sonny & Cher and earned Travolators (1961), Blue Pullman (1960), Under the River instant rewards. The now 19-year-old Cher and 30-year- (1959), Under Night Streets (1958), The Long Night Haul old Sonny became huge hits following the release of their (1956) and Men on the Mend (1956). first album, Look at Us (1965), which contained the hit single "I Got You Babe". Between 1965 and 1972 Sonny & Cher charted a total of six "Top 10" hits. The Sonny and Jewison—MOONSTRUCK—4

Cher Comedy Hour (1971) was given the green light as a returned to films, co-starring opposite Christina Aguilera summer replacement series and was an instant sensation in Burlesque (2010). Little known trivia fact: she was when it earned its own time spot that fall season. The offered the role of Thelma Dickinson in Thelma & Louise show received numerous Emmy Award nominations (1991), which she turned down, and the part went to during its run and the couple became stars all over again. . In addition to the above, Cher has acted in Behind the scenes, though, it was a different story. A now- Zookeeper (2011), Stuck on You (2003), Tea with confident Cher yearned to be free of husband Sonny's Mussolini (1999), Faithful (1996), The Player (1992), Svengali-like control over her life and career. The Mermaids (1990), Chastity (1969), Good Times (1967), marriage split at the seams in 1974 and they publicly and The Man from U.N.C.L.E. (1967, TV Series). announced their separation. The show, which had earned Cher a Golden Globe Award, took a fast tumble as the separation and divorce grew more acrimonious. Eventually they both tried to launch their own solo variety shows, but both failed to even come close to their success as a duo. Audiences weren't interested in Cher without Sonny, and vice versa. Not one to be counted out, however, the ever resourceful singer decided to lay back and focus on acting instead. At age 36, Cher made her debut in 1982 in what was essentially her first live acting role with Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. Critical notices for her performance earned her the role in the film version in 1982. Cher then won a Best Supporting Actress Oscar NICOLAS CAGE (b. January 7, 1964 in Long Beach, nomination and a Golden Globe win for her portrayal of a California) is the son of comparative literature professor lesbian toiling in a nuclear parts factory in Silkwood August Coppola (brother of director Francis Ford (1983), starring and Kurt Russell. This in Coppola) and dancer/choreographer Joy Vogelsang. turn was followed by her star turn in Mask (1985) as the Initially studying theatre at Beverly Hills High (though he blunt, footloose mother of a son afflicted with a rare dropped out at 17), he secured a bit part in Fast Times at disease (played beautifully by Eric Stoltz). Once again Ridgemont High (1982) -- most of which was cut, dashing Cher received high praise and copped a win from the his hopes and leading to a job selling popcorn at the Cannes Film Festival for her poignant performance. Fully Fairfax Theater, thinking that would be the only route to a accepted by this time as an actress of high-caliber, she movie career. But a job reading lines with actors integrated well into the Hollywood community. Proving auditioning for uncle Francis' Rumble Fish (1983) landed that she could hold up a film outright, she was handed him a role in that film, followed by the punk-rocker in three hit vehicles to star in: The Witches of Eastwick Valley Girl (1983), which was released first and truly (1987), Suspect (1987), and Moonstruck (1987), for which launched his career. Cage is known for his edgy, intense she won the Academy Award for Best Actress. Along with personality both on and off the screen, as well as for his all this newfound Hollywood celebrity came interest in her passion for method acting. He is said to have had two as a singer and recording artist again. "If I Could Turn teeth pulled for his role in Birdy (1984), slashed his arm Back Time” (#3) and the Peter Cetera duet "After All" for Racing With the Moon (1984) and swallowed a live (#6) placed her back on the Billboard charts. 1998 saw a cockroach for Vampire's Kiss (1992). He is also alleged to high and low point for Cher as Sonny Bono was killed in a have destroyed a street vendor's remote-controlled car in a freak ski accident in the same year she had her biggest fit of rage while preparing for his role as a mobster in The musical hit with her song “Believe”, which reached #1 in Cotton Club (1984). After this film, Cage began to see 23 different countries. This single also earned her the title steady work, in Coppola's Peggy Sue Got Married (1986), of longest gap between #1 hits ("Dark Lady" (1974), the Coen Brothers' comedy Raising Arizona (1987), "Believe" (1999), and at 52 years old, she holds the record Moonstruck (1987), David Lynch's bizarre Wild at Heart for oldest female artist with a #1 hit for "Believe". Having (1990), and the comedy Honeymoon in Vegas (1992). By little to prove anymore to anyone, Cher decided to embark 1994, Cage was valued at about $4 million per picture, but on a "Farewell Tour" in the early part of the millennium agreed to star in Mike Figgis's Leaving Las Vegas (1995) and, after much stretching, her show finally closed in 2005 for only $240,000 because of the strength of the role. It in Los Angeles. It didn't take long, however, for Cher to paid off- his portrayal of the alcoholic screenwriter earned return from this self-imposed exile. In 2008, she finalized him an Academy Award and a Golden Globe for Best a deal with Las Vegas' Caesars Palace for the next three Actor. Since 1995, Cage has made a series of action years to play the Colosseum. Never say never. Cher then thrillers, including The Rock (1996), Con Air (1997), John Jewison—MOONSTRUCK—5

Woo's Face/Off (1997, opposite ), and Brian known for his comic turns in the Neil Simon plays God's De Palma's Snake Eyes (1998). In December 2002, Cage Favorite (1974), California Suite (1976) and The Prisoner launched his directorial debut, the $5 million independent of Second Avenue (1971). This last play earned him a film Sonny, about a male gigolo who struggles to free Tony Award for his performance as 's brother. himself from his madam mother. That same year, Cage At the awards ceremony, he paid tribute to his father's also starred in Adaptation, playing both ill-tempered acting company by giving his acceptance speech in Italian. screenwriter Charlie Kaufman and twin brother Donald. In 1960, he won an for his performance in The busy actor also starred in director Jon Turteltaub's as a fatuous husband who is murdered by his 2004 holiday blockbuster National Treasure, playing an wife. A second Obie came with the play Passing Through archaeologist-historian who believes a treasure map is From Exotic Places (1969). He was nominated for a Tony hidden on the back of the Declaration of Independence. for his work in the Michael Bennett musical This series (and its subsequent sequel) has brought Cage (1978), after which he appeared in the role of Shelley his biggest box office numbers in recent years. An avid Levene in David Mamet's play Glengarry Glen Ross comic book fan, Cage took his acting surname as a tribute (1984). His film career began inauspiciously with a small to the famous superhero, “Luke Cage” (sadly, Cage did part in Cop Hater (1958), but over the years he became a not have a cameo in this year’s stunning Luke Cage reliable and welcome presence on screen. His many films series). We also have Cage to thank for Johnny include The Hustler (1961), (1971), based Depp, as he was responsible for getting the young actor on the play in which he had appeared on his first job. Some of Cage’s other 85 acting jobs include Broadway in 1969, The Front Page (1974), Heaven Can work in Southern Fury (2017, Wait (1978), Little Shop of post-production), Inconceivable Horrors (1986) and The (2017, filming), Vengeance: A Super (1991). He Love Story (2017, post- continued to work in production), Army of One television, playing Archie (2017), USS Indianapolis: Men Bunker's neighbor in All in of Courage (2016) Snowden the Family and J. Edgar (2016), Dying of the Light Hoover in the mini-series (2014), Left Behind (2014), Kennedy (1983). He also Outcast (2014), Rage (2014), appeared in the series Joe (2013), The Croods (2013), Breaking Away (1980-81), Ghost Rider: Spirit of and more recently in L.A. Vengeance (2011), Drive Angry Law. In 1990, he won an (2011), Season of the Witch (2011), The Sorcerer's Emmy Award as best supporting actor for the HBO Apprentice (2010), Astro Boy (2009), Bad Lieutenant: special Age-Old Friends. In 1974, he was nominated for Port of Call New Orleans (2009), G-Force (2009), an Oscar as best supporting actor for his role as Dutch, the National Treasure: Book of Secrets (2007), Ghost Rider baseball manager in (1974). He (2007), World Trade Center (2006), Lord of War (2005), received a second Oscar nomination for his performance Matchstick Men (2003), Windtalkers (2002), Captain as Cher's philandering father in Moonstruck (1987). Corelli's Mandolin (2001), Bringing Out the Dead (1999), Gardina is highly effective in choleric or exasperated City of Angels (1998), Kiss of Death (1995), Guarding roles, and noted on screen for his comic portrayals of New Tess (1994), Red Rock West (1993), Wild at Heart (1990), Yorkers, particularly in The Front Page (1974), or as Time to Kill (1989), Never on Tuesday (1989), and Best of Cher's father in tonight’s film. In Brooklyn, New York, Times (1981, TV Movie). 16th Avenue, where he grew up, (between Cropsey VINCENT GARDENIA (b. January 7, 1920 in , Avenue and Shore Parkway) has been renamed Vincent Campania, Italy—d. December 9, 1992, age 72, in Gardenia Boulevard to honor his memory. Some of his , Pennsylvania) was an actor, known for additional acting credits include, The Ray Bradbury Moonstruck (1987), Little Shop of Horrors (1986) and Theatre (1990, TV Series), Skin Deep (1989), Honor Thy (1974). When he was 2, his family Father (1986, TV Movie), The Twilight Zone (1985, TV immigrated to the United States, settling in Brooklyn, Series), Kennedy (1983, TV Mini-Series), The Last Flight where his father founded an Italian-language based acting of Noah's Ark (1980), The House by the Edge of the Lake troupe. Vincent first appeared on stage with this company (1979), Home Movies (1979), Heaven Can Wait (1978), at age five, playing a shoeshine boy. His first English- House of Pleasure for Women (1976), Lucky Luciano speaking stage role was in the 1955 Broadway play In (1973), Love, American Style (1972, TV Series), McCloud April Once. Beginning in the mid-1950s, he played a wide (1971, TV Series), Little Murders (1971), Mission: variety of roles on the New York stage, but he was best Impossible (1967-1968, TV Series), N.Y.P.D. (1967, TV Jewison—MOONSTRUCK—6

Series), The Fugitive (1967, TV Series), The Defenders was her scene-stealing work on Broadway in the comedy (1962-1965, TV Series), East Side/West Side (1964, TV Social Security (1986) that caught director Norman Series), The Untouchables (1961, TV Series), The Hustler Jewison's eye and earned her the Moonstruck (1987) (1961), Mad Dog Coll (1961), Parrish (1961), Murder, movie role. Playing Cher’s mother earned Dukakis an Inc. (1960), Naked City (1959, TV Series), Cop Hater Academy Award win for Best Supporting Actress as well (1958) and (1945). as awards from the American Comedy, Los Angeles Film Critics, and Golden Globes. However, Her Best Supporting Actress Oscar statuette was stolen from her home kitchen in 1989. The burglar left only her nameplate. An ardent liberal and Democrat, she is the cousin of one-time presidential candidate . Moreover, she is a strong advocate of women's rights and environmental causes. Olympia published her best-selling autobiography Ask Me Again Tomorrow: A Life in Progress in 2003, an introspective chronicle full of her trademark candor and wry humor. Dukakis has acted in: The Infiltrator (2016), 7 Chinese Brothers (2015), A Little Game (2014), The Last Keepers (2013), The Misadventures of the Dunderheads (2012), Law & Order: OLYMPIA DUKAKIS (b. June 20, 1931 in Lowell, Special Victims Unit (2011, TV Series), Birds of a Feather ) has long been a vital and respected stage (2011), In the Land of Women (2007), Upside Out (2006), actor. However, Dukakis did not become a household Jesus, Mary and Joey (2005), Charlie's War (2003), The name and sought-after film actress until age 56 when she Simpsons (2002, TV Series), Brooklyn Sonnet (2000), turned in an Oscar-winning performance as Cher's (1999, TV Mini-Series), Mafia! (1998), sardonic mother in Moonstruck (1987). Since then, her Picture Perfect (1997), (1996, TV adaptability to various ethnicities (Greek, Italian, Jewish, Series), Jerusalem (1996), Never Too Late (1996), Mr. Eastern European), as well her versatility in everything Holland's Opus (1995), (1995), Naked from cutting edge comedy to stark tragedy, has kept her in Gun 33 1/3: The Final Insult (1994), Look Who's Talking high demand for the past 30 years. As a student, Dukakis Now (1993), Over the Hill (1992), Look Who's Talking majored in physical therapy at , where Too (1990), Dad (1989), (1989), Look she graduated with a BA. She practiced as a physical Who's Talking (1989), (1988), Walls of therapist during the polio epidemic. She later returned to Glass (1985), The Wanderers (1979), The Rehearsal her alma mater and entered the graduate program in (1974), Death Wish (1974), Stiletto (1969), Lilith (1964), performing arts and earned a Master of Fine Arts degree. Twice a Man (1964) and Search for Tomorrow (TV She made her Broadway debut as an understudy in The Series). Aspern Papers at age 30, followed by very short runs in the plays Abraham Cochrane (1964) and Who's Who in DANNY AIELLO (b. June 20, 1933 in New York City, Hell (1974). In 1999, she premiered a one-woman play New York) was born to a working class family during the Rose, at the National Theatre in London and subsequently Depression. His father having abandoned them, he found on Broadway in 2000. The play earned her an Outer it necessary as a child to deliver papers and shine shoes in Critics Circle Award and Drama Desk Award nomination Grand Central Station. Aiello dropped out of high school, and she continues to tour the country with it. Olympia and served in the Army. By his mid-30s, he had been with married Yugoslav-American actor in 1962 Greyhound for 10 years, and was elected president of and the New York-based couple went on to co-found The Local 1202 of the Amalgamated Transit Union. He lost his Whole Theatre Company in Montclair, New Jersey, which union post after an argument with the union's national ran for 19 years (1971-1990). A good portion of her office over an unauthorized "wildcat" strike. After that, he successes was launched within the walls of her own said, he did not know what to do: "I had my success, and theater company, which encouraged the birth of new and then I was floundering with nothing." In 1972 he was untried plays. Making an inauspicious film debut in a bit working as a bouncer at a night club when one night he role as a mental patient in Lilith (1964), she tended to filled in as emcee for a comedy competition one night gravitate toward off-the-wall films with various offshoots when the regular master of ceremonies didn't show up. He of the ethnic mother. She played mom to such leads as began introducing the performers regularly, and singing Dustin Hoffman in John and Mary (1969), Joseph occasionally. A friend convinced him to try acting, and Bologna in the cult comedy Made for Each Other (1971) although he had never even seen a play, Aiello made his and Ray Sharkey in The Idolmaker (1980). Interestingly, it acting debut in Lamppost Reunion, which garnered him a Jewison—MOONSTRUCK—7

Theatrical World Award for Best Debut. He worked “I began performing at the age of six years, giving steadily in theater after that, and made his film debut in poetry readings of Robert Service at various Masonic lodge 1973's tearjerker for men, Bang the Drum Slowly. He meetings. After serving briefly in the Canadian navy toward the mostly plays Brooklyn born Italian-Americans, in films end of World War II, I attended Victoria College at the like Woody Allen's The Purple Rose of Cairo (1985), University of Toronto, graduating in 1949 with a Bachelor of Arts degree and an honour award for writing and directing many Cher's Moonstruck (1987) and Spike Lee's Do the Right college productions. I also discovered at this time that I Thing (1989), which earned him a Best Supporting Actor definitely wanted to change the world. Since no one else was nod. He also played the father in Madonna's "Papa Don't particularly interested in that fact I began driving a cab in Preach" video, which he later regretted, deciding that the Toronto. After earning enough money for passage, I sailed for song promoted single motherhood. In 2004 Aiello realized England in the hope of learning something about a powerful a dream when he released his first album, I Just Wanted to new medium called television. Hear the Words. The 70-year-old Aiello released his first “After nine months of struggle as an actor-writer I single, "All of Me," in March of 2004, and followed it a managed to get some work with the BBC. Two years later I left month later with an album of standards. He continues to the unheated Bayswater London flat for Canada, having sing on tour with an eight-piece jazz band. received an invitation to join a TV training program at CB. The atmosphere was excellent for creative work in a new medium, Of starting so late in the business, Aiello (who and the next six years provided a most exciting and productive often gets typecast as a tough-talking Italian) has said, “I time for me. In 1958 my television work caught the attention of was 40 when I did my first movie. I didn't know what the Mike Dann, then the program chief for CBS. He brought me to hell I was doing. My interpretation of acting at the time, New York to revitalize the Hit Parade. I remained in American because I didn't know how to build a character, was pure television for the next four years, staging such spectacles as The energy. People call me an instinctive actor. I used to Broadway of Lerner & Loewe, The Fabulous Fifties and consider that an insult early on, only because I had never spectaculars with Frank , Jackie Gleason, Danny Kaye, studied. Now... I love it.” Some of his other 95 acting and the legendary Judy Garland. These shows won three Emmy credits are Reach Me (2014), Henry & Me (2014), Stiffs awards and made it possible for me to move to Hollywood (2010), Lucky Number Slevin (2006), Mail Order Bride under contract to as a director in 1961. “My first film, , starring Tony (2003), Off Key (2001), Wilbur Falls (1998), City Hall Curtis, launched me as a motion picture director and I have (1996), Ready to Wear (1994), Léon: The Professional remained in the industry ever since. Every film I make must (1994), Mistress (1992), Hudson Hawk (1991), The Closer have a raison d’être, a reason for being there. As well as being (1990), Jacob's Ladder (1990), White Hot (1989), The an entertaining story it must have something valid to say about Pick-up Artist (1987), Radio Days (1987), Lady Blue life, that reflects my own private fears or joy. Even though I (1985, TV Movie), Once Upon a Time in America (1984), know it is a futile and impossible task, I still want to change the Fort Apache the Bronx (1981), Hide in Plain Sight (1980), world. Well, a little bit!” Defiance (1980), Bloodbrothers (1978), Fingers (1978), Hooch (1977), The Front (1976), and The Godfather: Part As his account makes clear, Jewison’s career really II (1974). began in 1952, when, after the hardships of his two years in London, he joined the Canadian Broadcasting Corporation’s television training program. He rose very rapidly at the CBC and within a few years was directing and producing such major variety programs as Showtime, and Wayne and Shuster. Moving to CBS in New York, he rethought and restaged the fast-fading with such effect that it reclaimed its former prominence in the ratings. According to Current Biography, it was the effect of the ratings wars on the quality of television programming that disillusioned Jewison and sent him to Hollywood as a director for the big screen. His first feature film 40 Pounds of Trouble (1963), is one of the four screen versions of Damon Runyon’s story “Little Miss Marker.” Tony Curtis plays the manager of a Las Vegas casino who has no time for women until he finds himself in loco parentis to a little girl (Claire Wilcox) abandoned in his lobby Norman Jewison from World Film Directors, Vol. II. Edited by her heartless father. David Thomson wrote that Jewison had by John Wakeman. The H.W. Wilson Co., NY, 1988 “turned a potentially sentimental picture about a knowing child into a very funny study of Tony Curtis,” and the film, garnished Canadian director and producer. “I was born in Toronto, the son with a climactic twenty-minute Disneyland chase, was such a of a third generation Canadian father and an English mother. My success at the box-office that Universal signed Jewison to a father ran a drygoods store and my grandfather and his father seven-picture contract. were farmers, so it was only natural that I should enter the arts, as an actor. Jewison—MOONSTRUCK—8

In fact Jewison completed only three more movies for fundamental fact that, after all, Russians and Americans….share Universal. The Thrill of It All (1963), scripted by Carl Reiner is basically human qualities. And not one whit of this lesson is a -James Garner matrimonial comedy in which the accomplished by preaching.” The English critic Derek Prouse hero finds fame and freedom on Television but turns back to the called it “one of the most engaging American comedies for a domestic cage in the last reel. It was one of Universal’s greatest long time”—the work of an imaginative director with a strong hits, and was followed by another Day vehicle, Send Me No instinct for casting actors effectively. Flowers (1964), in which her husband (), And Jewison followed this hit with what for many convinced that he is terminally ill, tries to insure that she will be people was an even more cogent, timely, and welcome fable happy though widowed. A very mildly black comedy, it was about another crucial issue. In the Heat of the Night (United regarded in 1964 as something of an affront to good taste. The Artists, 1967) is set in a small town in Mississippi, where the Art of Love (1965) stars James Garner as an unprincipled writer indolent and bigoted police chief(Rod Steiger), faced with a in Paris who persuades his painter friend (Dick Van Dyke) to murder mystery, on general principles arrests a black stranger. hasten the arrival of posthumous fame and fortune by playing He turns out to be Virgil Tibbs (), a high-powered dead, and is then accused of his murder. Angie Dickinson, Elke big-city detective from the north, who teaches the police chief Sommer, and Ethel Merman are also involved in this his business and earns his grudging respect. “sumptuously vulgar fashion show.” In the Heat of the Night won Oscars for best film, best By this time Jewison was tired actor (Steiger), best screenplay (Stirling of manufacturing what he called Silliphant), best editing (Hal Ashby), and best “innocuous Hollywood comedies” and sound (Walter Goss). It was also chosen as eager to spread his wings. Finding a best picture of the year by New York film loophole in his Universal contract, he critics and there was much praise for Haskell escaped through it and took over the Wexler’s photography, which makes almost direction of MGM’s The Cincinnati tangible the dust and heat and claustrophobia Kid, originally assigned to Sam of the little town. At the box office it was Peckinpah. Tautly scripted by Ring somewhat overwhelmed by the simultaneous Lardner Jr. and Terry Southern from a release of Bonnie and Clyde, but it is much novel by Richard Jessup, and set in revived and has inspired two sequels by other New Orleans during the Depression, it directors. A number of serious critics were tells the naturally dramatic story of the angered by the superficiality of its approach to setting up and playing out of a the problem of racism, but most seemed marathon game of stud poker between content to enjoy it as a “warm, worthwhile” the reigning champion and a brilliant fantasy—an almost irresistibly entertaining of young contender. Steve McQueen plays piece of wish fulfillment. The Kid and Edward G, Robinson The Faye Dunaway, who skidded to Man, whose supremacy is as much a stardom in Bonnie and Clyde as a robber of matter of character and will as of banks, changed sides for The Thomas Crown technique. Almost all of the reviewers Affair (, 1968). She plays a pointed out its resemblance to Robert steely insurance investigator equally dedicated Rossen’s The Hustler (1961), in which to the pursuit of high fashion and the pursuit had played a similarly of Steve McQueen, a young tycoon who ambitious young pool shark, and most thought it inferior, but it masterminds a bank heist out of boredom. Filmed in Boston the was welcomed and praised all the same for its performances, its movie was dismissed by most critics as “an animated color tension, and the richness of its atmosphere and detail. supplement,” weak in plot and characterization, and fudged up Jewison finally achieved the complete artistic control with “some tentative but not overly significant use of multiple he sought with The Russians Are Coming, The Russians Are screen images.” However chided her colleagues Coming (United Artists, 1966), which he produced as well as for their sniffy response to the picture, maintaining that it was directed. The picture was adapted by William Rose from “pretty good trash…like lying in the sun flicking through Nathaniel Benchley’s novel The Off-Islanders. A Russian fashion magazines and, as we used to say, feeling rich and submarine is accidentally beached on a island and beautiful beyond your wildest dreams.” a small scouting party is sent ashore. This is parlayed by Cold Gaily, Gaily (United Artists, 1969) is based on an War hysteria into a full-scale Russian invasion, to be met by the autobiographical novel by Ben Hecht, who had started out as a local hawks with heroic if wildly incompetent resistance. Brian journalist in in the early years of the century. Beau Keith, Paul Ford, and Tessie O’Shea are among the natives, and Bridges plays the Hecht character, Melina Mercouri the madam the Russian disaster-prone spokesman is Alan Alda, here who takes this small town Candide under her wing, and Brian making his movie debut (and stealing the picture). Keith the very yellow journalist who teaches him his trade. A The picture won the hearts of both the United States slapstick bildungsroman, offered by the director as “an Senate and Pravda. Robert Alden wrote that “by personalizing a American Tom Jones,” it seemed to some reviewers heavy- dangerous confrontation between Russians and Americans, it handed but was enjoyed by many for its wit, exuberance, and reveals, through broad farce, the good and bad in both, the nostalgic charm. strengths and weaknesses of people under stress and the Jewison—MOONSTRUCK—9

Jewison’s next two movies were both adaptations of investigating his legal ethics, and judges who are either suicidal very successful stage musicals. His $9 million version of maniacs (Jack Warden) or sadistic rapists (John Forsythe). For Fiddler on the Roof (United Artists, 1971), filmed on location in many critics, this black funny film was Jewison’s best since In Yugoslavia, and with the Israeli actor Topol in the lead, picked the Heat of the Night, though some found it equally superficial up Oscars for best cinematography (Oswald Morris) and best in its approach to the issues it raises. sound and scoring (), and grossed $45 million. In Best Friends (1982) Jewison explores the Some reviewers thought it was a lumpish series of set pieces, relationship between two Hollywood scriptwriters (Burt some loved it and the voting was equally divided on Jesus Chris Reynolds and )—a relationship that changes once Superstar (Universal 1973), which also won a number of awards they decide to get married. Nick Roddick described the movie and made a lot of money. as a “good old-fashioned character comedy,” “and in its familiar In 1970, meanwhile, Jewison had served as producer of and engaging way, “ he added, “it works.” Richard Corliss felt the satirical comedy The Landlord, directed by his former editor that the movie was essentially a vehicle for Reynolds and Hawn Hal Ashby, and in 1973 he produced Ted Kotchoff’s offbeat to “display their easy strengths: Burt’s shrugged-off sexiness Billy Two-Hats. Jewison has also continued to produce and decent vulnerability,… Goldie’s ditzy charm and daredevil most of his own movies, including Rollerball (United Artists, comic timing.” But David Ansen found Best Friends “peculiarly 1975), scripted by William Harrison from his own short story. sober” for a funny picture. Jewison’s “morose, rather moralistic The setting is a not very distant future in which giant comedy,” he remarks, “slowly finds its way to a happy ending multinationals have eliminated war, crime, pestilence, [but] the journey requires patience and the overpopulation, freedom, willingness to suspend your and fun. By way of a safety expectations of what a Burt and valve for surviving atavistic Goldie movie ought to be.” An urges, the faceless “uncertain sense of how serious or executives in charge have light to keep the story” seemed to provided rollerball, a game Pauline Kael the root problem. played by roller-skating In A Soldier’s Story (1984), gladiators with spiked Jewison turned to a wholly different gauntlets while equally subject, requiring a different lethal motorcycles run cinematic style. The movie was interference. adapted by Christopher Fuller from Rollerball stars his play, A Soldier’s Play, which earn the adulation of won the Pulitzer Prize in 1981, and multitudes but are soon maimed or killed and replaced by is set at an army base in Louisiana in 1944. A black master others. The plot turns on the emergence of one (James Caan) sergeant (played by Adolph Caesar, who had performed the role who survives long enough to become the object of something on Broadway) is found shot dead on a country road near the like worship, and thus threatens the authority of the corporation base, and a black Harvard-trained military attorney (Howard men. The rules of the game (such as they are) are suspended to Rollins, Jr.) is assigned to investigate. The film quickly becomes ensure the eradication of this potential Spartacus in a climactic a mystery in which clues to the identity of the murderer accrue match that becomes a bloodbath. John Housman plays the through a series of flashbacks. A martinet mercilessly hard on sardonic chief executive, Ralph Richardson the nutty scientist in all the men in his all-black unit, Sergeant Waters becomes a charge of a computer that is the last repository of the worlds’ tragic figure, entrapped by an obsession with racial stereotyping knowledge. Many critics found the film exploitative and morally from which he cannot break free. repugnant, while admitting that it was also “compulsively By and large, critics were impressed by the picture, watchable.” It was said that some sports promoters had seriously which Tom O’Brien described as the “most trenchant study of considered instituting rollerball contests. racism in recent film.” He felt, however, that an overreliance on After this equivocal essay on the power of the great flashbacks “wrecks the film’s balance in it second half.” At first corporations, Jewison turned his attention to the labor the flashbacks “work to heighten the mystery and surprise,” movement. F.I.S.T. (United Artists, 1978) studies the rise to O’Brien noted, “but power and its corruption of Johnny Kovak (Sylvester Stallone), They become bulky and overlong…[and too] predictable. “ leader of the Federation of Interstate Truckers, a mythical union David Edelstein complained of an “impersonal picaresque not unlike the Teamsters (Although Jewison resolutely denies [directorial] style “that neuters the material” and muffles the that his film is modeled on the career of Jimmy Hoffa). In spite “explosive rage it’s meant to contain.” But Pauline Kael of Lazlo Kovacs glowing cinematography and Jewison’s admired Jewison’s “highly entertaining kind of attention to period detail, the movie was a flop, condemned as a craftsmanship.…What's surprising about A Soldier’s Story is long-winded piece of “slick , predictable agitprop” and “history how enjoyable it is despite its limitations, and how well–shot it as romance.” is.” The next American institution to come under Jewison’s Jewison’s film version of John Pielmeier’s play Agnes scrutiny was the law. And Justice for All (1979) has of God (1985), adapted by Pielmeier himself was received with as an idealistic attorney straining every nerve to less enthusiasm. Comparisons were made between the play and secure an even break for suckers and villains he defends, the film, and it was frequently noted that what had worked on seriously handicapped by a berserk partner, a girlfriend who is stage did not work as well in the new medium. The stage Jewison—MOONSTRUCK—10 production had been carried by truly outstanding performances. BA at Victoria College, University of Toronto, and after Lawrence OToole commented that, by comparison, none of the moving to London, where he wrote scripts and acted for film’s principals seemed quite right. ’s Mother the BBC, he returned to Toronto and directed live TV Superior was “too cute”; ’s chain-smoking shows for the Canadian Broadcasting Corporation(1952- psychiatrist lacked the requisite “bristly drive”; and , 1958), then musicals and variety in New York (including as the radiant young novice who attributes her dead baby to a miraculous conception, was considerably overshadowed by much-heralded specials for Harry Belafonte and Judy Amanda Plummer, her predecessor in the role. But if the play’s Garland), before embarking on a film career. assets were absent, its defects unfortunately were not. Agnes of God, Stephen Harvey wrote, made him long for Sisters Ingrid Jewison's initial offerings were harmless pieces of fluff and Loretta and “nun movies of yore….Those movies were like Forty Pounds of Trouble (1963), The Thrill of It All smug and synthetic, but at least they refrained from toying with (1963), (1964) and The Art of Love conundrums that have stumped mystics and rationalists alike for (1965). Suddenly in late 1965, the 39 year-old director the last two millenniums.” decided to get serious, replacing the legendary Sam Norman Jewison set out “to change the world” with Peckinpah on the dynamite Steve McQueen vehicle The independently produce films that have addressed themselves in Cincinnati Kid, the story of an itinerant poker player in a whole series of undeniably important issues. If the critics have sometimes seemed ungrateful, it is because, as one of them New Orleans. Jewison's work kept growing from there. He wrote in Variety, “Jewison often has a way of taking esoteric followed Kid with the political satire The Russians Are concepts and making them play in Peoria, as it were, which Coming! The Russians Are Coming! in 1966, then made doesn’t go down well with heavy thinkers. However, it goes what some consider still to be his finest film. down very smoothly with the mass audience, whose members have their bread and circus while being exposed to some ideas.” In 1967 the United States was a very different place than it The director is the founder and co-chairman of the new is today. No other film captured this quicksilver moment Canadian Center for Advanced Film Studies. He ha been in time better than In the Heat of the Night, the story of a married since 1953 to the former Mary Ann Dixon and has two Philadelphia detective (Sidney Poitier) reluctantly sons and a daughter. The Jewisons lived in London throughout recruited by a redneck southern sheriff (Rod Steiger, most of the 1970s but have now settled on a farm near Toronto, though they retain a home in Malibu and offices in London. An Oscar-winner) to aid him in a murder investigation. The ebullient, confident, and enthusiastic man, Jewison is fond of film broke more racial and social taboos than can be listed gardening, skiing, and sailing. here, and ushered in a new genre in American film, one where African-Americans took center stage, where black was beautiful. Although it helped give birth to the blaxploitation genre of the 70's (which many critics revere), In the Heat of the Night's influence can also be felt in the films of Spike Lee, and many other filmmakers who, over the past 30 years, have dealt with race, culture clash, and the socioeconomic realities which create an underclass in our society. It also spawned a highly- successful TV series, and won five Oscars, including Best Picture.

Jewison followed this landmark film with another classic, The Thomas Crown Affair (1968), again starring McQueen, this time with Faye Dunaway as his love interest. Gaily, Gaily (1969) was writer Ben Hecht's story of his apprenticeship on a Chicago newspaper. Jewison then brought two landmark Broadway musicals to the screen: Fiddler on the Roof (1971) and Jesus Christ Superstar (1973), scoring big hits with both. These were followed by the science-fiction classic Rollerball (1975), starring James Caan, and the fictionalized Jimmy Hoffa biopic F.I.S.T. (1977), starring Sylvester Stallone and Alex Simon, “Norman Jewison: In the Eye of the written by a first-time screenwriter named Joe Eszterhas. Storm,” The Hollywood Interview, December 2000 Jewison next helmed two scripts written by another young tyke named Barry Levinson (and his then-wife Valerie Norman Jewison was born July 21, 1926 in Toronto, Curtin).... And Justice for All (1979) with Al Pacino, and Ontario, Canada. The son of a shopkeeper, Jewison got his Best Friends (1982) with Burt Reynolds and Goldie Jewison—MOONSTRUCK—11

Hawn. young Canadians learning the craft of filmmaking (much like our own AFI). Although he was only in the States a Jewison scored another breakthrough when he dealt with short time to promote The Hurricane, he gladly extended the race card once again, bringing Charles Fuller's A our allotted interview time so we could keep talking. Soldier's Play to the screen as A Soldier's Story (1984). Starring Howard E. Rollins, Jr. (who also played the Along with The Hurricane, many of your films have a Poitier role in the TV series of In the Heat of the Night) as very strong social conscience. Where does this come a black army officer investigating the murder of a sadistic from? sergeant at the tail end of WW II. It co-starred many new Norman Jewison: I think we're all products of our faces, including Robert Townsend, David Alan Grier, and environments, where we grew up, what we read, what was this kid named Denzel Washington in a pivotal role. We'll inculcated into us. Also, I had the opportunity to be in the come back to him later... Canadian Navy at the end of WW II. When I was on leave, I hitchhiked across the United States. Canadians are Jewison brought another play to the screen brilliantly with always interpreting the United States for the rest of the Agnes of God in 1985, followed by another triumph with world because we share the longest undefended border of the romantic comedy Moonstruck in 1987, an Oscar any two countries in the world. I think it's a fascination, a winner for Best Actress (Cher), supporting actress love-hate relationship. It was my first experience with (Olympia Dukakis) apartheid when I and screenplay (John hitchhiked all through Patrick Shanley). Next Mississippi, Louisiana, and came Tennessee. I saw people (1989), a post- who couldn't sit on the Vietnam drama same bus, drink from the starring same fountain, go get a cup and , of coffee at Woolworth's, another play and yet they were being adaptation in 1991 asked to give their lives for with Other People's their country in defense of Money, starring this society. And I didn't Danny de Vito, the think that was fair. Also, I romantic comedy grew up with people Only You (1994) with calling me "Jewie" and and "Jewboy" and found out I Robert Downey, Jr., wasn't Jewish! (laughs) But and the fantasy Bogus (1996) with and I've been searching for my own Jewishness all my life, Gerard Depardieu. and wound up in Yeshivas in Israel, and interpreting Fiddler on the Roof and Jesus Christ Superstar, trying to 1999 brings Jewison full circle, completing his film explain to the rest of the world what it's like to be Jewish! trilogy about race in America. The Hurricane stars that kid (laughs) Like Topol said, I know more about Judaism than Washington we mentioned earlier, in the true story of most Jews. We're all products of our own history, as former boxing champ Rubin "Hurricane" Carter, who was people. When you're attacked, or you're pushed, you push wrongly convicted on a trumped-up murder charge, and back, and you start studying why, and how. I wanted to served more than 30 years in prison. The Hurricane marks make The Hurricane 10 years ago, when I read about it in a welcome return to the cinema of social consciousness Sports Illustrated. I think that the reason that maybe this that Jewison helped give birth to 33 years ago. The story is film can work now, is because I didn't think anyone was so fantastic, it's almost hard to believe that such a going to come see In the Heat of the Night, or A Soldier's miscarriage of justice occurred not only in this country, Story. I didn't know how I was going to tell this story or but in this day and age. Denzel Washington delivers his how it would work. As Bobby Kennedy once told me, finest performance to date as Rubin Carter. "Timing is everything" in life, in art, and in politics. This story says to me: "Hate got me in here. Love's gonna bust Mr. Jewison, who possesses an energy, an appearance, and me out." Hate breeds prejudice, which breeds war, which an enthusiasm that run counter to his 73 years, still makes breeds murder. Now there's nothing new about that. That's his home in Canada, and has remained active in his what God was saying, that's what Christ was saying, that's homeland. In 1986, he established the Canadian Centre for what Gandhi was saying, that's what Martin Luther King Advanced Film Studies in Toronto, where he works with was saying, that's what Malcolm X was saying, that's what Jewison—MOONSTRUCK—12

Krishna Murdhi was saying, and that's what Rubin Carter supported his campaign here and was supposed to meet is saying! So maybe the time is right for us to analyze that with him at 10:30, the night he was assassinated. I had again. Melina Mercouri with me, whom he very much wanted to meet. So we were on our way down to meet him at John It was refreshing to see a socially conscious film again. Frankenheimer's house when we heard. It was part of the Well, we've moved away from that, unfortunately. The reason I left America in 1970. I spent the next eight years only reason this got made is because of Beacon Pictures. working out of London, making films in Yugoslavia, Universal released it, but it's an independently made film. Israel, and Germany. Then, in 1978 I moved back to Universal wasn't really that excited about it, otherwise Canada. they would've made it themselves. These sorts of films aren't easily made. Every studio in town passed on A Let's talk about your background. Soldier's Story until I said I'd do it for nothing! We only I was born and raised in Toronto. My dad ran a clothing made it for about $5 million, shot it in Arkansas. We also store and post office. I had one older sister. I was always had the benefit of then-governor Bill Clinton who got me performing, poetry readings and things like that, from the 600 African-American National Guard troops for the time I was about six. I don't know why, either. I always marching scenes. I never could have afforded that number loved dramatic storytelling. of extras. He said "Don't worry about it. We'll call out the National Guard and send the white boys home." (laughs) Was there one film that really grabbed you as a kid, So President Clinton where you said "This is for helped me get that film me"? made because he believed Well, I started in the theater, as that it was important an actor, then got into live socially. So I'm politically television with the BBC in motivated as a person, but I London, so television was like also did The Hurricane a miracle to me. But when I because I think it's a was a kid, I used to go to the wonderfully dramatic, movies for 10 cents on compelling story. I try to Saturday, then I'd act out the make my films as whole movie for a penny! entertaining as possible. If (laughs) I guess it was an I wanted to make obsession with storytelling. I messages, I'd do remember Gunga Din as one of documentaries. the great movies for me. And I also remember Rose-Marie, with Nelson Eddy playing a This is the second time you've worked with Denzel. Mountie! I thought that was so romantic and wonderful! I Could you talk about what it's like collaborating with guess we're all searching for those things that touch us. As him? you get older, you get a little more particular. I think It was wonderful working with him again, because I've directors are a little like orchestra conductors. We get always admired him as an artist. But he really wanted to better as we get older, as long as you still have all your do this picture and for a director, there isn't anything better marbles and are still committed. But I don't know if they than having an actor who is totally committed to film, not believe that in Hollywood. (laughs) for his career, not for the money, not doing it for any other reason than he has to do it. He has to play that part! So the Who are some of the other filmmakers that influenced two of us really had a great time making this film, because you as you got older. we were both really committed to Rubin. It was amazing All the works of , . William Wyler because, especially with the scenes in jail, Denzel even was my great idol, because he could take a bad script and started to sound like Rubin, in addition to looking like make a mediocre picture. He could take a mediocre script him. He just became him! He even had Rubin's fighting and make a good picture. He could take a good script and style down. Denzel has a great gift. I think Denzel is at the make a great picture! This guy could never miss. His peak of his talent in this picture, and it wasn't easy. We ability to tell a story on film was unparalleled. Willy told were reaching for some pretty difficult moments. me that there's no difference between genres. In a musical you're telling a story where you're being helped by the You mentioned Bobby Kennedy earlier. How well did music, and if you can make it believable, that the person you know him? who's singing the song is really feeling those emotions, I met Bobby skiing in Sun Valley when I was young. I then all you've done is taken the musical form and added it Jewison—MOONSTRUCK—13 to the story. But he didn't believe that there was any big always looking for a father. I told him "I can't be your difference between comedy and drama, except that father, but I can be your older brother, who went to comedy was more difficult because it required a greater college. And I'll look out for you. And I want you to discipline on the part of the actors and the director. Willy believe that I'll look out for you. So you continue to take had a confidence that really impressed me. I think Howard apart the Volkswagen engine over there, and I'll look out Hawks had it, too, and I think Frank Capra had it, George for you." He looked at me and said "You're twistin' my Stevens had it, William melon, man!" (laughs) I Wellman had it, never knew what he was had it, and saying, he was so hip! had it. I came in contact with (laughs) I got him to the all these people when I was point where he never looked very young, and learned from at the dailies and he trusted them. I sat at Willy Wyler's me. I think it was a feet, because I was coming to relationship of trust. I didn't film from the outside, coming want him for Thomas Crown, from live television, so it was you know. He convinced me important for me to spend as that he was right for it, and as much time as I could with the a result, brought a lot of giants. A lot of this business interesting stuff to that part. is about passing down. He'd never worn a tie in a film, and here he was playing And collaboration. a Phi Beta Kappa graduate of Absolutely! As a director, you get a lot of help, like I did Dartmouth, a Boston Brahmin with beautifully tailored from (cinematographer) on The Hurricane. English suits and he'd never done that before. He was very I had to tell Roger how I saw this story in order for him to easy to direct, too. The problem was, if he would see that make that happen, because only he can make that happen. you were insecure about something, he'd go in for the kill. Directors stand back and watch the cameraman make it He was always looking for weakness, so I made sure I was happen. I really believe that films are made by writers, very secure around him. directors, cameramen, and editors. Those are the key storytellers, because all of them are involved in telling the Did you see the remake of Thomas Crown? story. The closer those four people work, the more they No, I couldn't bring myself to. But I like John McTiernan's become one. If you take hands and form a circle, you are work and I heard it was very good. now one. That's what the North American Indians said, because there's something about becoming one. The tribe, The Russians are Coming! The Russians are Coming! is the family. Making a film requires the individual artists to a great film, both as a straight comedy and a very take hands, and form this circle, and become one with the pointed political satire. work, because the work is what's important, so the film is It's the only film I've made that's become part of the the result of this closeness. And the look, and image and congressional record, as a plea for coexistence at a time in vision of the film has to come from the director, but he's history when the word "détente" wasn't even being used. only a part of the circle. It's also the only film I've made where its first screening was for the Vice President of the United States, and this How much actual direction do you give? huge group of diplomats and dignitaries, and its second It depends on the actor. Certain actors know exactly what two weeks later, was screened at the Soviet Film Workers they want and what they're doing, certain actors don't. But Union in Moscow, and I couldn't even get back into the again, it all comes down to believability. If they're country after I went to Russia! (laughs) I didn't know I believable, leave it alone. If they're not, then maybe youíd wasn't supposed to be there. I got my visa in London better take them aside, and whisper to them. And maybe because I was traveling under a Canadian passport. As a you can help them, who knows? Maybe you spotted it. But Canadian, I had made this film for Americans and for there are no rules. Russians. Again, as Canadians, we're always the observers, interpreting America for the rest of the world You got to work twice with Steve McQueen. Tell us because we're the most like you. about him. He could string you out there. He was street smart. He was Tell us about In the Heat of the Night. Did you know shrewd. He wasn't highly intellectual. He was Peck's Bad going into it what a groundbreaking film it was going Boy. I used to call him "Spanky." (laughs) Steve was to be? Jewison—MOONSTRUCK—14

No. I think it was an important film for its time. I think the which goes back to the Circus Maximus. I think when you timing was right, as Bobby Kennedy said. He told me, use violence for entertainment, you're getting pretty low "This is a very important film." I didn't think anyone was on the human scale. (laughs) I think it turned out to be a going to come to see it. There were newspapers that pretty interesting film, very stylized, packed a wallop. In wouldn’t take the ad in certain cities. When you're making Europe it became a cult film, whereas in America a lot of a film that has a social comment, I think it ís important the critics went after it as being exploitative, of just being that it be at a time that people want to discuss it, and that about a violent game. you never really know. It's instinct. I was kind of surprised when people reacted to it in such a strong way. Then the Legend has it when the cameras stopped rolling, James nice thing that happened was The New York Film Critics Caan and the other actors played rollerball for real. gave it their Best Picture award, and when I accepted the (laughs) Yeah, they kind of got caught up in it. I was award at Sardi's who was presenting it, but Senator Robert always terrified someone was going to get killed. We had Kennedy, from New York. As he gave it to me, he a few accidents, so I was frightened all the time we were whispered "See, I told you the timing was right, Norman." shooting. But I don't think anyone really knows what the reaction to a F.I.S.T. was an film is going to be. With The interesting film. Hurricane, we showed it for the It was Joe Eszterhas' first first time as a work in progress script. He spent about six at the Toronto Film Festival. It years researching the was agreed that we'd show it Teamsters when he was at there because it has such a Rolling Stone. The strong Canadian connection, but problem is, there weren't because it was a rough cut, no that many people critics were allowed to attend. interested in the Labor So I didn't know how people Movement in 1977! were going to react. Would you (laughs) It was a hard film believe we got a six-minute to sell because of that, but standing ovation?! I was in a it was a pretty strong total state of shock and panic! I picture. thought maybe it was an aberration because it was a hometown crowd. Tell us about Moonstruck. I was kind of tracking a writer named John Patrick You actually shot most of In the Heat in , not the Shanley, who we used to call "the bard of the Bronx." south. He'd written a lot of great one act plays. All his stuff was Except for three sequences shot in Tennessee: the cotton- familial, always Catholic, and very much New York. I picking stuff and the scene in the big southern mansion. don't think there's anyone who has an ear for dialogue like Sidney didn't want to go south of the Mason-Dixon line Shanley does. He'd written this script called “The Bride with the political climate being the way it was then. We and the Wolf,” and by the time I got it, there were lots of shot most of it in a little town called Sparta, Illinois. It coffee stains on it. It had been around. Lots of people felt wasn't easy. it was too much like a play, which it was. So I asked him if he wanted to work on it, which he did. We worked Tell us about Rollerball. about five or six weeks on it, changed the title, added a Rollerball was my first, and only, film about the future, little more poetry to it, a little more cinema, and the rest is the not too distant future. I tried not to get caught up in the history. I gave it to Alan Ladd, Jr. at the Toronto Film technology too much. I wanted to isolate the areas in Festival. Cher was my first choice for the lead. It's which I would work. I found the BMW building in probably one of the best-cast films I've done. Every actor I Munich, which was perfect, as our main location. Its wanted, I got. We shot most of it in Toronto, again. design was very ahead of its time. We were the first ones There's lovely use of opera in the film, which I love, of to use identity cards to get into places and all that sort of Puccini. In fact, the whole film is a bit like an opera. I love thing which is quite commonplace today. It was an that film, itís full of energy and life. It's so Italian! interesting film to do from a political aspect, because it (laughs) was a film about a world where political systems had failed and multinational corporations had taken over. It You worked with Judy Garland early on in your deals with violence used as entertainment for the masses, career. What was she like? Jewison—MOONSTRUCK—15

Judy had more comebacks than anyone in show business, out of that, they wanted to put her on every week, which and I was there at the last one. It was just called Judy, and was a disaster! (laughs) I came in the next year and was after the Carnegie Hall album. She'd never done produced ten of the shows, but it was just too much for television before. I think it was one of my most exciting her. That was the story of her life. People always pushed experiences in live television, because it was like her, exploited her. capturing quicksilver. We had to deliver two other stars, or they wouldn't go ahead with the show. So we got Frank Any advice for first-time directors? Sinatra. I called him, and I was just a kid, I was very Always remember that it's a collaboration between nervous, and I called him in Palm Springs and asked him yourself, your cinematographer, your editor, your writer, if he'd come to rehearsal. (laughs) So he says "Okay kid, and your cast. Remember the idea of the circle and try to I'll be there." I said, "You know she likes to work at night, keep that circle together. Always make a film for the right so could you come at seven at night?" He laughed and said reason, because you have to. Because you believe in it. "I said I'd be there." I said "Bring , will you?" Always believe in yourself and your own vision. Never let (laughs) And I hung up, and sure enough, they came in the anyone else tell you that a film can't be done, or that you limo, both of them, and they worked 'til midnight. It was a can't do it, because it can and you can. wonderful experience. She had her last big comeback, and

ONLY THREE MORE IN THE FALL 2016 BUFFALO FILM SEMINARS XXXIII: Nov 22 Andrei Tarkovsky The Sacrifice 1986 Nov 29 Alfonso Arau Like Water for Chocolate 1992 Dec 6 Florian Henckel von Donnersmarck The Tourist 2010

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