Free Adventures in the Screen Trade by William Goldman Page B
Authors: William Goldman
wife, his son, the fireman, and of course Cheryl.
Cheryl was the most tricky. The creators felt that, sure, she was attractive, maybe even the belle of the block, but in the great world she shouldn't be a traffic stopper, because that would make the movie about a guy with hot pants. If this had been an English film, Julie Christie would have been wonderful - quiet, pretty but not too pretty, vulnerable. The studio suggested Loni Anderson, the sexpot on the tv series WKRP in Cincinnati.
Lisa Eichhom got the part.
Eichhorn, a fine actress, had received wonderful reviews in the 1979 film Yanks. Screen World Annual selected her as one of the most promising new performers to appear that year, an honor Eichhorn shared with, among others. Bo Derek and Bette Midler. Probably Eichhorn has less instant star quality than these other two ladies, but the part of Cheryl, after all, didn't need star quality-not only is it a secondary role, the entire essence of the role is that this lady is the antithesis of a star. Shy, picked on, lost. Shooting begins.
This is always a nervous time, but no giant problems arise. The first weeks go pretty much according to schedule. Then comes the phone call.
Goldberg listens to the voice of agent Sue Mongers on the other end. Mongers parcels out this tidbit of information: Another of her clients would be interested in taking over the part of Cheryl. Who? Only Barbra Streisand.
Goldberg hangs up, thinks awhile. There is no question in his mind that although both Hackman and Eichhorn are splendid in their roles, there is undeniably a certain chemistry that is lacking. Still, they're well into production.
No matter what, Goldberg can't just sit on the information. So he calls Universal and informs them that Barbra Streisand will do the Lisa Eichhorn part. Universal says, don't go anywhere, we'll get back to you.
Which they do. And now they love the picture. The sales force loves it, the advertising people are in ecstasy, fabulous.
Goldberg tries to explain that it's still the same little picture it always was, the one they so recently loathed, hated, arid despised.
That was in another country, and besides the wench is dead. All Night Long shuts down. For several weeks. Now, this is costly, because all the people who are on salary stay on salary, even though they're not doing anything.
But closing costs are nothing compared to what it takes to sign Streisand. No one knows the truth outside of the people who made the deal, but the rumor around town is four or foui and a half million dollars plus a gigantic contribution to her favorite hospital charity. That's a lot of money, but Barbra Streisand is something very special.
As the lyrics to one of the songs she sang in her break-through role. Funny Girl, proclaim: "I'm the greatest star." The lady just may well be.. Oh, you can argue that Reynolds or Redford or Eastwood is bigger by a hair at the box office-
-but do they sing? (Actually, Reynolds did once, in a 1975 stifferoo called At Long Lost Love, but probably it's not his favor- ite topic of conversation.)
Has any female soloist oversold as many records as Streisand? Name her.
She doesn't choose to play Vegas anymore, but when she did, she killed them. She doesn't choose to do television anymore, but when she did, her specials went through the roof. And if she ever chose to return to Broadway, she'd outrun Fiddler.
The most remarkable thing about Streisand is that she can do it all-there is no area of popular performing where she isn't if. Redford would sell out on Broadway, too, if he ever came back, and so would Reynolds, but how would they do standing alone for an hour on the stage of Caesars Palace with a microphone in their hands? In films, she has been the unquestioned female star for fifteen years. Her movies may not always be successes-Hello Dolly! cost too much to get its money back-but they have almost always done business in the past.
(Remember the "almost," because now I have to
Cheryl was the most tricky. The creators felt that, sure, she was attractive, maybe even the belle of the block, but in the great world she shouldn't be a traffic stopper, because that would make the movie about a guy with hot pants. If this had been an English film, Julie Christie would have been wonderful - quiet, pretty but not too pretty, vulnerable. The studio suggested Loni Anderson, the sexpot on the tv series WKRP in Cincinnati.
Lisa Eichhom got the part.
Eichhorn, a fine actress, had received wonderful reviews in the 1979 film Yanks. Screen World Annual selected her as one of the most promising new performers to appear that year, an honor Eichhorn shared with, among others. Bo Derek and Bette Midler. Probably Eichhorn has less instant star quality than these other two ladies, but the part of Cheryl, after all, didn't need star quality-not only is it a secondary role, the entire essence of the role is that this lady is the antithesis of a star. Shy, picked on, lost. Shooting begins.
This is always a nervous time, but no giant problems arise. The first weeks go pretty much according to schedule. Then comes the phone call.
Goldberg listens to the voice of agent Sue Mongers on the other end. Mongers parcels out this tidbit of information: Another of her clients would be interested in taking over the part of Cheryl. Who? Only Barbra Streisand.
Goldberg hangs up, thinks awhile. There is no question in his mind that although both Hackman and Eichhorn are splendid in their roles, there is undeniably a certain chemistry that is lacking. Still, they're well into production.
No matter what, Goldberg can't just sit on the information. So he calls Universal and informs them that Barbra Streisand will do the Lisa Eichhorn part. Universal says, don't go anywhere, we'll get back to you.
Which they do. And now they love the picture. The sales force loves it, the advertising people are in ecstasy, fabulous.
Goldberg tries to explain that it's still the same little picture it always was, the one they so recently loathed, hated, arid despised.
That was in another country, and besides the wench is dead. All Night Long shuts down. For several weeks. Now, this is costly, because all the people who are on salary stay on salary, even though they're not doing anything.
But closing costs are nothing compared to what it takes to sign Streisand. No one knows the truth outside of the people who made the deal, but the rumor around town is four or foui and a half million dollars plus a gigantic contribution to her favorite hospital charity. That's a lot of money, but Barbra Streisand is something very special.
As the lyrics to one of the songs she sang in her break-through role. Funny Girl, proclaim: "I'm the greatest star." The lady just may well be.. Oh, you can argue that Reynolds or Redford or Eastwood is bigger by a hair at the box office-
-but do they sing? (Actually, Reynolds did once, in a 1975 stifferoo called At Long Lost Love, but probably it's not his favor- ite topic of conversation.)
Has any female soloist oversold as many records as Streisand? Name her.
She doesn't choose to play Vegas anymore, but when she did, she killed them. She doesn't choose to do television anymore, but when she did, her specials went through the roof. And if she ever chose to return to Broadway, she'd outrun Fiddler.
The most remarkable thing about Streisand is that she can do it all-there is no area of popular performing where she isn't if. Redford would sell out on Broadway, too, if he ever came back, and so would Reynolds, but how would they do standing alone for an hour on the stage of Caesars Palace with a microphone in their hands? In films, she has been the unquestioned female star for fifteen years. Her movies may not always be successes-Hello Dolly! cost too much to get its money back-but they have almost always done business in the past.
(Remember the "almost," because now I have to
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