| Gere News |
 |  |  |  |  |
The film’s cast and crew moved to Cape Town on Wednesday to more luxurious accommodation at the Mount Nelson Hotel. Gere was
seen tucking into a lunch of yellowtail and jasmine green tea at the hotel’s Oasis Lounge on Thursday.
Women gaped at the actor, famous for roles in movies such as Pretty Woman and American Gigolo. But he was content to have lunch by
himself. Staff at the hotel said he mostly took meals in his room.
Earhart made history and captured the public’s heart when she set out in an old Lockheed Electra airplane with co- pilot Fred Noonan on
June 1 1937 in an attempt to fly around the world. The aircraft disappeared over the Pacific Ocean.
There are various theories on the mysterious vanishing act. To this day, Earhart and her plane have not been found.
The movie will wrap up in South Africa on Tuesday and is expected to hit cinema screens later this year.
seen tucking into a lunch of yellowtail and jasmine green tea at the hotel’s Oasis Lounge on Thursday.
Women gaped at the actor, famous for roles in movies such as Pretty Woman and American Gigolo. But he was content to have lunch by
himself. Staff at the hotel said he mostly took meals in his room.
Earhart made history and captured the public’s heart when she set out in an old Lockheed Electra airplane with co- pilot Fred Noonan on
June 1 1937 in an attempt to fly around the world. The aircraft disappeared over the Pacific Ocean.
There are various theories on the mysterious vanishing act. To this day, Earhart and her plane have not been found.
The movie will wrap up in South Africa on Tuesday and is expected to hit cinema screens later this year.
| Charisma: Richard Gere on set. |
Richard Gere slips into SA
Biénne Huisman Published:Aug 03, 2008
‘Hillary got up, clapping and dancing along’Hollywood leading man Richard
Gere dined on seafood, sipped jasmine tea and kept a very low profile on a
secret movie shoot in South Africa.
Security around the actor was tight as he shot scenes for Amelia — a
biopic on the American pilot Amelia Earhart — in the Eastern Cape,
Johannesburg and Cape Town this week.
But the Sunday Times pieced together details about the silver-haired star’s
stay in SA.
Gere — who turns 59 at the end of the month — portrays magazine
publisher George Putnam, who married Earhart, played by double Oscar-
winner Hillary Swank, and made her famous as a pioneering pilot.
The actor stayed in a humble R200-a-night cottage at a small hamlet near
Kei River mouth last weekend and took meals at the Seagulls Hotel.
Hotel manager Jean Sahd said the actor had “such charisma” about him.
“I first met him on Saturday afternoon when he arrived. I nearly died, I was
so nervous,” she said.
The hotel held a welcoming party for the stars, treating them to traditional
dancing and platters brimming with fish, oysters and calamari steaks.
“The kitchen staff were singing Xhosa welcome songs. Richard was loving
it and Hillary got up, clapping and dancing along,” said Sahd.
Gere was reportedly booked in under the name “Dr Brown” while Swank
was in character as Amelia Earhart.
Earlier in the week Gere was spotted on a film set at Rand Airport, east of
Johannesburg, getting into a maroon vintage sports car.
Biénne Huisman Published:Aug 03, 2008
‘Hillary got up, clapping and dancing along’Hollywood leading man Richard
Gere dined on seafood, sipped jasmine tea and kept a very low profile on a
secret movie shoot in South Africa.
Security around the actor was tight as he shot scenes for Amelia — a
biopic on the American pilot Amelia Earhart — in the Eastern Cape,
Johannesburg and Cape Town this week.
But the Sunday Times pieced together details about the silver-haired star’s
stay in SA.
Gere — who turns 59 at the end of the month — portrays magazine
publisher George Putnam, who married Earhart, played by double Oscar-
winner Hillary Swank, and made her famous as a pioneering pilot.
The actor stayed in a humble R200-a-night cottage at a small hamlet near
Kei River mouth last weekend and took meals at the Seagulls Hotel.
Hotel manager Jean Sahd said the actor had “such charisma” about him.
“I first met him on Saturday afternoon when he arrived. I nearly died, I was
so nervous,” she said.
The hotel held a welcoming party for the stars, treating them to traditional
dancing and platters brimming with fish, oysters and calamari steaks.
“The kitchen staff were singing Xhosa welcome songs. Richard was loving
it and Hillary got up, clapping and dancing along,” said Sahd.
Gere was reportedly booked in under the name “Dr Brown” while Swank
was in character as Amelia Earhart.
Earlier in the week Gere was spotted on a film set at Rand Airport, east of
Johannesburg, getting into a maroon vintage sports car.
Fashioning a future for women in Hollywood
By Susan Wloszczyna, USA TODAY
Hollywood has had its share of female troubles. USA TODAY spoke to female directors, writers and producers about improving their
situation, catering to their target audience and the industry's attitudes.
MORE: Power women shed light on movies this summer
The right stories
Women don't feel obligated to rush out to a movie just because it has such ever-popular chick-flick clichés as the group sing-along with
hairbrush microphones (a scenario that Mamma Mia! apes).
"Women want a guarantee for their time," says Nancy Juvonen, who has produced 10 films with partner Drew Barrymore, including the
dating-disaster comedy He's Just Not That Into You, due in time for Valentine's Day. "We want to walk out with a smile on our face.
Something familiar, but not so much that we know the characters before we go."
She and Barrymore are drawn to tales about warts-and-all relationships, and there is a multitude in their upcoming film, which boasts such
under-40 actresses as Jennifer Aniston, Jennifer Connolly and Scarlett Johansson as well as Barrymore.
"It doesn't have to be a fairy tale," Juvonen says. "Knocked Up and The Break-Up are more appealing than 'One day my prince will come.' "
The long haul
Even when a woman has established herself as a showbiz force, sometimes she has to prove herself all over again.
Diane English, the much-lauded creator of TV's Murphy Brown, was on a mission when she wanted to write, direct and produce her first
feature film, a remake of the 1939 estrogen-overload classic The Women.
And then she hit a wall.
"It took me 13 years to get The Women made," she says of her less catty update that, like the more misogynistic original based on Clare
Boothe Luce's play, stars a female-only cast including Meg Ryan, Annette Bening, Eva Mendes, Debra Messing and Jada Pinkett-Smith.
One struggle was aligning the schedules of all the actresses. Another was getting a studio to say yes.
"Any number of movies geared toward women have hit the $100 million mark," she says. "Yet they are treated as a genre picture,
something that comes along as infrequently as Halley's comet."
Considering that attitude, English is thrilled that her films will be in theaters on Sept. 12, while the excitement over Sex and the City and
MammaMia! is still in the air.
It took a small distributor, Picturehouse, to take a chance on English's film. But English knows better than to lay all the blame for her
rejections on male executives.
"I'll tell you something. Every single female studio head, and there were a lot of them at the time, said, 'No thanks.' Every single one."
The lesson learned
One genre definitely doesn't fit all: action.
Unless Sigourney Weaver or Angelina Jolie is your star, filmmakers of both sexes have struggled to get a thriller starring a female off the
ground. Elektra, Catwoman and the forever-in-limbo Wonder Woman is evidence enough.
Filmmaker Karyn Kusama's low-budget freshman effort, 2000's Girlfight, might have been a critical knockout. But her second, the little-
seen Charlize Theron action adventure Aeon Flux, quickly went down for the count in 2005, even with veteran producer Gale Anne Hurd
(The Terminator series) and a big studio, Paramount, backing her.
"It was an awful experience but a learning experience," she says. "I got to make a movie on a fairly large scale and learned about visual
effects. At the studio, it wasn't positive. It was scarring, but I have moved on."
Her new project, the female horror movie Jennifer's Body, holds less risk and more promise. It joins a long tradition of strong heroines like
Sissy Spacek and Jamie Lee Curtis in such '70s fright flicks as Carrie and Halloween. And the script, about a high-school nerd (Amanda
Seyfried of Mamma Mia!) who must save the day after her sexy best friend (Megan Fox of Transformers) turns into a man-eating Satanic
seductress, is the first from Juno's Diablo Cody since she won an Oscar last year.
"It's sort of a youth movie and horror movie that can reach out to both male and female viewers," Kusama says. "Horror is one of the few
genres with females at the center that boys will go to and relish them."
The multi-genre producer
Just like actresses, female producers don't like to be pigeonholed, even if they have a special touch for romances and female
ensemble pieces.
With Sisterhood of the Traveling Pants 2 in theaters and fall's Nights in Rodanthe, a romance based on a novel by Nicholas
Sparks (The Notebook) that reunites Richard Gere and Diane Lane of Unfaithful, producer Denise Di Novi is squarely in the
vortex of girlville this year.
But she has been known to exercise her influence on the occasional guy film, like Tim Burton's Batman Returns, as well.
"It's great when women make movies outside the usual parameters," she says.
Right now, Di Novi is working with director Zack Snyder (300) and his producer wife, Debbie, to bring Ray Bradbury's sci-fi
favorite The Illustrated Man to the screen.
"Not all movies that women like have to be small and intimate," Di Novi says, pointing to how women who went to 300 were
enamored by the sculpted abs of the Spartans as well as the loving marriage between the warrior king and his queen. "They can
be big futuristic films, too. It just means they have to have some thematic emotional content."
The male buzz over 'Bees'
Real men like to watch women, too.
Director/writer Gina Prince-Bythewood, whose feature debut was the much-praised Love & Basketball, was glad when an early deal to
film Sue Kidd Monk's 2002 best seller, The Secret Life of Bees, fell through. That meant she could swoop in and adapt the story about a
group of Southern women who form a makeshift family during the civil rights unrest in the '60s.
"The themes are so universal," says the filmmaker of Bees, opening Oct. 17, whose ensemble includes Dakota Fanning as a motherless
teen runaway alongside Jennifer Hudson and Queen Latifah. "It's not about what race you are. Everyone loves the book. It's about finding
the mother inside of us."
What has surprised her is how men have responded at previews.
"Hearing this title, there is no way you would run to it as a man," she says. "But focus groups with three different audiences showed men
over 30, both black and white, gave the film the highest scores."
An over-30 man who is a not-so-secret admirer of Bees? Producer Will Smith. "His wife, Jada, is a huge fan of the book," Prince-
Bythewood says. "He did what all producers should do: Support the filmmaker."
The thriller with restraint
Sometimes so-called women's movies are simply another name for human stories.
Courtney Hunt, director and writer of Frozen River, was the Cinderella story at Sundance this year. She not only won the Grand Jury
Prize for her tense thriller, but Sony Pictures Classics also bought the film, which pulled in a solid $69,000 at seven sites in limited release
last weekend.
One can imagine the mayhem that might have ensued in a typical take on the subject: smuggling illegal immigrants into the USA from
Canada. The violence that does unfold is minor, but what does get ravaged are the souls and psyches of the two female leads, played by
Native American newcomer Missy Upham and character actress Melissa Leo, who has scored some Oscar talk.
"My audience has been equally men and women," Hunt says. "A good story will transcend gender as long as something happens. Not just
talk. And not just relationship stuff. The story is in the forefront. If the women didn't look at each other during the entire movie, that was
OK with me."
One man who responded to Frozen River was Tony Soprano himself, James Gandolfini. "My editor made fun of me," Hunt says. "I could
just imagine him watching someone say, 'Ow, that really hurts.' He did love the movie, though."
The laugh gap
Little wonder that while the male-dominated comedies Pineapple Express and Tropic Thunder are hogging all the attention, women-
oriented funny business has been in short supply.
The one flat-out comedy starring a lone actress this summer is The House Bunny, with Anna Faris as a washed-up Playboy babe who
plays house mom to a sorority of social misfits, that opens Aug. 22.
Karen McCullah Lutz, who co-wrote Bunny with her LegallyBlonde partner, Kirsten Smith, believes their material appeals to both genders.
"Men will go to a female-driven comedy, but more in the second and third week when they know there's something beyond a touchy-feely
story about a girl looking for a guy," she says. Plus, Faris has built up a male fan base from being top-billed in the gross-out Scary Movie
series. "She is known as someone who delivers the funny stuff."
There are details and gags in their scripts that only a woman would ever dream up. Consider the fluffy pink pen sported by Elle Woods in
Legally Blonde. Or these words of wisdom spouted by Faris' Shelley during a makeover session when she suggests that the fashion-
backward sorority sisters highlight their eyes because "the eyes are the nipples of the face."
The non-girly girl
You can be a female in the industry and thrive with nary a chick flick on your resume.
No one would call what writer Pam Brady does women's work. Not when she has been in league with those bad boys of comedy, Trey
Parker and Matt Stone, on their South Park TV show as well as 2004's Team America: World Police and 1999's South Park: Bigger,
Longer & Uncut.
As she puts it, "No one wants to hire me for 27 Dresses 2."
Brady never found it difficult to write for South Park's potty-mouthed grade-schoolers. "You just have to tap into your inner 12-year-old."
But she has moved on to middle-age pottymouths this summer after joining forces with writer/director Andrew Fleming (Dick, Nancy
Drew) for the Sundance breakout Hamlet 2, opening Aug. 22. Brit wit Steve Coogan stars as a self-loathing high-school drama teacher
who rebels against budget cuts by writing a sequel to Shakespeare's tragedy, even though everyone is dead at the end of the original. The
rage, raw language and angst expressed by Coogan is decidedly male — save for the flowing caftan he wears to increase his chance of
producing potent sperm.
Up next is a reworking of the script for a film version of the TV soap Dallas.
Still, Brady does have a decidedly girl-power dream. "A female version of a Will Ferrell movie. There should be a genre of comedies where
women can be stupid and funny."
She pictures Saturday Night Live's Amy Poehler and Kristin Wiig as the dynamic duo of female dopes. "With the right combo, there would
be a lot of money to be made."
By Susan Wloszczyna, USA TODAY
Hollywood has had its share of female troubles. USA TODAY spoke to female directors, writers and producers about improving their
situation, catering to their target audience and the industry's attitudes.
MORE: Power women shed light on movies this summer
The right stories
Women don't feel obligated to rush out to a movie just because it has such ever-popular chick-flick clichés as the group sing-along with
hairbrush microphones (a scenario that Mamma Mia! apes).
"Women want a guarantee for their time," says Nancy Juvonen, who has produced 10 films with partner Drew Barrymore, including the
dating-disaster comedy He's Just Not That Into You, due in time for Valentine's Day. "We want to walk out with a smile on our face.
Something familiar, but not so much that we know the characters before we go."
She and Barrymore are drawn to tales about warts-and-all relationships, and there is a multitude in their upcoming film, which boasts such
under-40 actresses as Jennifer Aniston, Jennifer Connolly and Scarlett Johansson as well as Barrymore.
"It doesn't have to be a fairy tale," Juvonen says. "Knocked Up and The Break-Up are more appealing than 'One day my prince will come.' "
The long haul
Even when a woman has established herself as a showbiz force, sometimes she has to prove herself all over again.
Diane English, the much-lauded creator of TV's Murphy Brown, was on a mission when she wanted to write, direct and produce her first
feature film, a remake of the 1939 estrogen-overload classic The Women.
And then she hit a wall.
"It took me 13 years to get The Women made," she says of her less catty update that, like the more misogynistic original based on Clare
Boothe Luce's play, stars a female-only cast including Meg Ryan, Annette Bening, Eva Mendes, Debra Messing and Jada Pinkett-Smith.
One struggle was aligning the schedules of all the actresses. Another was getting a studio to say yes.
"Any number of movies geared toward women have hit the $100 million mark," she says. "Yet they are treated as a genre picture,
something that comes along as infrequently as Halley's comet."
Considering that attitude, English is thrilled that her films will be in theaters on Sept. 12, while the excitement over Sex and the City and
MammaMia! is still in the air.
It took a small distributor, Picturehouse, to take a chance on English's film. But English knows better than to lay all the blame for her
rejections on male executives.
"I'll tell you something. Every single female studio head, and there were a lot of them at the time, said, 'No thanks.' Every single one."
The lesson learned
One genre definitely doesn't fit all: action.
Unless Sigourney Weaver or Angelina Jolie is your star, filmmakers of both sexes have struggled to get a thriller starring a female off the
ground. Elektra, Catwoman and the forever-in-limbo Wonder Woman is evidence enough.
Filmmaker Karyn Kusama's low-budget freshman effort, 2000's Girlfight, might have been a critical knockout. But her second, the little-
seen Charlize Theron action adventure Aeon Flux, quickly went down for the count in 2005, even with veteran producer Gale Anne Hurd
(The Terminator series) and a big studio, Paramount, backing her.
"It was an awful experience but a learning experience," she says. "I got to make a movie on a fairly large scale and learned about visual
effects. At the studio, it wasn't positive. It was scarring, but I have moved on."
Her new project, the female horror movie Jennifer's Body, holds less risk and more promise. It joins a long tradition of strong heroines like
Sissy Spacek and Jamie Lee Curtis in such '70s fright flicks as Carrie and Halloween. And the script, about a high-school nerd (Amanda
Seyfried of Mamma Mia!) who must save the day after her sexy best friend (Megan Fox of Transformers) turns into a man-eating Satanic
seductress, is the first from Juno's Diablo Cody since she won an Oscar last year.
"It's sort of a youth movie and horror movie that can reach out to both male and female viewers," Kusama says. "Horror is one of the few
genres with females at the center that boys will go to and relish them."
The multi-genre producer
Just like actresses, female producers don't like to be pigeonholed, even if they have a special touch for romances and female
ensemble pieces.
With Sisterhood of the Traveling Pants 2 in theaters and fall's Nights in Rodanthe, a romance based on a novel by Nicholas
Sparks (The Notebook) that reunites Richard Gere and Diane Lane of Unfaithful, producer Denise Di Novi is squarely in the
vortex of girlville this year.
But she has been known to exercise her influence on the occasional guy film, like Tim Burton's Batman Returns, as well.
"It's great when women make movies outside the usual parameters," she says.
Right now, Di Novi is working with director Zack Snyder (300) and his producer wife, Debbie, to bring Ray Bradbury's sci-fi
favorite The Illustrated Man to the screen.
"Not all movies that women like have to be small and intimate," Di Novi says, pointing to how women who went to 300 were
enamored by the sculpted abs of the Spartans as well as the loving marriage between the warrior king and his queen. "They can
be big futuristic films, too. It just means they have to have some thematic emotional content."
The male buzz over 'Bees'
Real men like to watch women, too.
Director/writer Gina Prince-Bythewood, whose feature debut was the much-praised Love & Basketball, was glad when an early deal to
film Sue Kidd Monk's 2002 best seller, The Secret Life of Bees, fell through. That meant she could swoop in and adapt the story about a
group of Southern women who form a makeshift family during the civil rights unrest in the '60s.
"The themes are so universal," says the filmmaker of Bees, opening Oct. 17, whose ensemble includes Dakota Fanning as a motherless
teen runaway alongside Jennifer Hudson and Queen Latifah. "It's not about what race you are. Everyone loves the book. It's about finding
the mother inside of us."
What has surprised her is how men have responded at previews.
"Hearing this title, there is no way you would run to it as a man," she says. "But focus groups with three different audiences showed men
over 30, both black and white, gave the film the highest scores."
An over-30 man who is a not-so-secret admirer of Bees? Producer Will Smith. "His wife, Jada, is a huge fan of the book," Prince-
Bythewood says. "He did what all producers should do: Support the filmmaker."
The thriller with restraint
Sometimes so-called women's movies are simply another name for human stories.
Courtney Hunt, director and writer of Frozen River, was the Cinderella story at Sundance this year. She not only won the Grand Jury
Prize for her tense thriller, but Sony Pictures Classics also bought the film, which pulled in a solid $69,000 at seven sites in limited release
last weekend.
One can imagine the mayhem that might have ensued in a typical take on the subject: smuggling illegal immigrants into the USA from
Canada. The violence that does unfold is minor, but what does get ravaged are the souls and psyches of the two female leads, played by
Native American newcomer Missy Upham and character actress Melissa Leo, who has scored some Oscar talk.
"My audience has been equally men and women," Hunt says. "A good story will transcend gender as long as something happens. Not just
talk. And not just relationship stuff. The story is in the forefront. If the women didn't look at each other during the entire movie, that was
OK with me."
One man who responded to Frozen River was Tony Soprano himself, James Gandolfini. "My editor made fun of me," Hunt says. "I could
just imagine him watching someone say, 'Ow, that really hurts.' He did love the movie, though."
The laugh gap
Little wonder that while the male-dominated comedies Pineapple Express and Tropic Thunder are hogging all the attention, women-
oriented funny business has been in short supply.
The one flat-out comedy starring a lone actress this summer is The House Bunny, with Anna Faris as a washed-up Playboy babe who
plays house mom to a sorority of social misfits, that opens Aug. 22.
Karen McCullah Lutz, who co-wrote Bunny with her LegallyBlonde partner, Kirsten Smith, believes their material appeals to both genders.
"Men will go to a female-driven comedy, but more in the second and third week when they know there's something beyond a touchy-feely
story about a girl looking for a guy," she says. Plus, Faris has built up a male fan base from being top-billed in the gross-out Scary Movie
series. "She is known as someone who delivers the funny stuff."
There are details and gags in their scripts that only a woman would ever dream up. Consider the fluffy pink pen sported by Elle Woods in
Legally Blonde. Or these words of wisdom spouted by Faris' Shelley during a makeover session when she suggests that the fashion-
backward sorority sisters highlight their eyes because "the eyes are the nipples of the face."
The non-girly girl
You can be a female in the industry and thrive with nary a chick flick on your resume.
No one would call what writer Pam Brady does women's work. Not when she has been in league with those bad boys of comedy, Trey
Parker and Matt Stone, on their South Park TV show as well as 2004's Team America: World Police and 1999's South Park: Bigger,
Longer & Uncut.
As she puts it, "No one wants to hire me for 27 Dresses 2."
Brady never found it difficult to write for South Park's potty-mouthed grade-schoolers. "You just have to tap into your inner 12-year-old."
But she has moved on to middle-age pottymouths this summer after joining forces with writer/director Andrew Fleming (Dick, Nancy
Drew) for the Sundance breakout Hamlet 2, opening Aug. 22. Brit wit Steve Coogan stars as a self-loathing high-school drama teacher
who rebels against budget cuts by writing a sequel to Shakespeare's tragedy, even though everyone is dead at the end of the original. The
rage, raw language and angst expressed by Coogan is decidedly male — save for the flowing caftan he wears to increase his chance of
producing potent sperm.
Up next is a reworking of the script for a film version of the TV soap Dallas.
Still, Brady does have a decidedly girl-power dream. "A female version of a Will Ferrell movie. There should be a genre of comedies where
women can be stupid and funny."
She pictures Saturday Night Live's Amy Poehler and Kristin Wiig as the dynamic duo of female dopes. "With the right combo, there would
be a lot of money to be made."
Brooklyn to Hollywood: That’s Some Subway Ride
August 8, 2008
August 8, 2008
Gere proposes union
Aug 17 2008
Hollywood star Richard Gere says actors in South Africa should form a union to fight for the rewards due to them.
Gere, in South Africa to film the movie Amelia, which also stars Hillary Swank in the title role as American pilot Amelia Earhart, told
Cape Town actress Bridget McCarthy he was disappointed that local actors were not unionised.
“He told me that US actors only started making money once they had formed a union,” said McCarthy, who plays Earhart’s secretary
Nora. — Lauren Cohen
Aug 17 2008
Hollywood star Richard Gere says actors in South Africa should form a union to fight for the rewards due to them.
Gere, in South Africa to film the movie Amelia, which also stars Hillary Swank in the title role as American pilot Amelia Earhart, told
Cape Town actress Bridget McCarthy he was disappointed that local actors were not unionised.
“He told me that US actors only started making money once they had formed a union,” said McCarthy, who plays Earhart’s secretary
Nora. — Lauren Cohen
| The Prodigy Poster |
Fall Preview: The Bedford Post
September 4, 2008
Ah yes, the Richard Gere restaurant. Chef Brian Lewis will move over from the Café at The Bedford Post to the The
Bedford Post proper in October. The inn’s suites will be ready soon afterwards. His expanded (but not too formal) menu
will be similar to the cafe’s menu, which means farm-to-table and inspired by the seasons. (There will be both a la carte
and tasting menu options.) A comfortable lounge, decorated with couches and darker woods, will be supplied by a 5,000-
bottle wine cellar. Oak floors, plaster finishes, more formal moldings and exposed beams will add to the historic charm.
Outside enjoy the patio and the strolling gardens. 954 Old Post Road., Bedford 914-234-7800.
September 4, 2008
Ah yes, the Richard Gere restaurant. Chef Brian Lewis will move over from the Café at The Bedford Post to the The
Bedford Post proper in October. The inn’s suites will be ready soon afterwards. His expanded (but not too formal) menu
will be similar to the cafe’s menu, which means farm-to-table and inspired by the seasons. (There will be both a la carte
and tasting menu options.) A comfortable lounge, decorated with couches and darker woods, will be supplied by a 5,000-
bottle wine cellar. Oak floors, plaster finishes, more formal moldings and exposed beams will add to the historic charm.
Outside enjoy the patio and the strolling gardens. 954 Old Post Road., Bedford 914-234-7800.
Richard Gere and Diane Lane are... Finding Love The Second Time
Dotson Rader
September 14, 2008
'Happiness is not about being loved, it’s about loving someone else,” says Richard Gere.
Gere is in a hotel room in Manhattan talking about love. At 59, he still looks every inch the romantic dreamboat he was
when he first won movie stardom in American Gigolo in 1980. Tall, buff, silver-haired, handsome, and suave, he is
dressed in a tight T-shirt and fitted jeans. Charming company, he smiles a lot.
“I’m talking about genuine love with a committed partner,” he adds. “Because she is there, you grow, you feel more. You
have greater compassion. Real love frees you. It breaks the bonds of selfishness. It makes you larger.”
Gere grins broadly because he is talking about himself. Today, he is in a happy second marriage after a failed first marriage
and a series of dead-end affairs.
His new movie, Nights in Rodanthe, opening Sept. 26 and co-starring Diane Lane, is about the courage to move on when
your marriage is over and you need to be open to loving again. Its story is similar to the personal experiences of Gere and
Lane—each of whom found new love in second marriages that work.
“A marriage is a miracle every day,” says Lane, 43. “I can’t tell you what the secret is. But there’s nothing more
challenging in life than an intimate, one-on-one relationship where there is such complete exposure to each other. There’s
nothing riskier.”
Lane’s first love was French movie heartthrob Christopher Lambert (Greystoke and Highlander). They met when she was
19 and wed four years later, in 1988.
“I wanted somebody to belong to and somebody to belong to me,” she says. “But intoxication with someone is a very
dangerous territory to be in. The idea of losing your identity to someone else should have been a red flag for me. I was
really in love with Christopher, but I was trusting in something that I hadn’t tested at all.”
Lane and Lambert divorced in 1994, one year after the birth of their daughter, Eleanor.
“When your marriage ends, when you lay that down and walk away from it, you have to grow some new limbs,” she
says. “You’re like a little lizard that loses its tail. You feel like you’re going to die, but you don’t.”
Wounded by the failure of her marriage, Lane had no intention of ever marrying again. She rarely dated for the next decade
and devoted herself to her acting career and to raising her daughter. She made some fine movies, notably A Walk on the
Moon with Viggo Mortensen, The Perfect Storm with George Clooney, and Under the Tuscan Sun. Unfaithful, her
previous film with Richard Gere, won Lane a 2002 Best Actress Academy Award nomination. She finally remarried in
2004, to actor Josh Brolin, 40. Together they’re parenting three children.
“You’ve got to have emotional largesse, especially in a blended family, and Josh does,” Lane says. “It means putting your
ego aside.”
I ask Lane why her marriage to Brolin is successful, unlike her union with Lambert.
“Because I didn’t go into this marriage blind,” she replies. “I now can trust my choices. Before, I was so lost. I’d rather
have the sanity of my maturity than to be that young again.”
Gere says he was similarly unprepared for his 1991 marriage to supermodel Cindy Crawford. Both Crawford and Gere
already were world-famous when they married.
Although Gere had established a suave style onscreen, playing the romantic hero in movies like Pretty Woman and An
Officer and a Gentleman, his personal life was different.
“I was shy and insecure,” he says. “There was some self-loathing, certainly. I was the most self-conscious, full-of-crap
kid. I know the forces that were playing on me. Suddenly everyone wants to know about you, and everyone figures they’
re going to penetrate you. You have an animal reaction. You want to run. The sexual image people had of me, I knew that
was not me. I was playing characters.”
Gere also was playing the field, before and after his marriage to Crawford. But none of his romantic relationships lasted,
until he met actress Carey Lowell and fell in love. Lowell, now 47, was once a “Bond girl” and an actress on TV’s Law &
Order.
“I believe we’re drawn to certain people because this affinity for them is built into us already,” Gere says. “Your mind
asks, ‘Why am I attracted to her?’ I wasn’t looking for someone to complete me, that’s for sure. But your heart rushes to
this person even when everyone around you is saying, ‘You’re crazy. You can’t do that!’”
They married in 2002, two years after the birth of their son, Homer, now 8.
“Our marriage is brilliant because of Carey,” he says. “She’s a fellow traveler with me on the voyage. We’re partners,
honest mirrors in which to see ourselves and grow and change. We help each other. It is love without ego. And that’s a
big deal for any of us—to back off our egos and be there for someone else. That’s why people get married, isn’t it,
because they want to be with that person?
“I think with Carey I realized that, wow, I can actually have a child with this great woman and not be afraid of doing it,”
he says. “This wonderful child is now in our lives. I’m nuts about my son! He fills me with joy. You have to make time
for a child, but it’s enormously satisfying.” Gere shakes his head at the wonder of it all, smiling. “That’s love, too.”
Dotson Rader
September 14, 2008
'Happiness is not about being loved, it’s about loving someone else,” says Richard Gere.
Gere is in a hotel room in Manhattan talking about love. At 59, he still looks every inch the romantic dreamboat he was
when he first won movie stardom in American Gigolo in 1980. Tall, buff, silver-haired, handsome, and suave, he is
dressed in a tight T-shirt and fitted jeans. Charming company, he smiles a lot.
“I’m talking about genuine love with a committed partner,” he adds. “Because she is there, you grow, you feel more. You
have greater compassion. Real love frees you. It breaks the bonds of selfishness. It makes you larger.”
Gere grins broadly because he is talking about himself. Today, he is in a happy second marriage after a failed first marriage
and a series of dead-end affairs.
His new movie, Nights in Rodanthe, opening Sept. 26 and co-starring Diane Lane, is about the courage to move on when
your marriage is over and you need to be open to loving again. Its story is similar to the personal experiences of Gere and
Lane—each of whom found new love in second marriages that work.
“A marriage is a miracle every day,” says Lane, 43. “I can’t tell you what the secret is. But there’s nothing more
challenging in life than an intimate, one-on-one relationship where there is such complete exposure to each other. There’s
nothing riskier.”
Lane’s first love was French movie heartthrob Christopher Lambert (Greystoke and Highlander). They met when she was
19 and wed four years later, in 1988.
“I wanted somebody to belong to and somebody to belong to me,” she says. “But intoxication with someone is a very
dangerous territory to be in. The idea of losing your identity to someone else should have been a red flag for me. I was
really in love with Christopher, but I was trusting in something that I hadn’t tested at all.”
Lane and Lambert divorced in 1994, one year after the birth of their daughter, Eleanor.
“When your marriage ends, when you lay that down and walk away from it, you have to grow some new limbs,” she
says. “You’re like a little lizard that loses its tail. You feel like you’re going to die, but you don’t.”
Wounded by the failure of her marriage, Lane had no intention of ever marrying again. She rarely dated for the next decade
and devoted herself to her acting career and to raising her daughter. She made some fine movies, notably A Walk on the
Moon with Viggo Mortensen, The Perfect Storm with George Clooney, and Under the Tuscan Sun. Unfaithful, her
previous film with Richard Gere, won Lane a 2002 Best Actress Academy Award nomination. She finally remarried in
2004, to actor Josh Brolin, 40. Together they’re parenting three children.
“You’ve got to have emotional largesse, especially in a blended family, and Josh does,” Lane says. “It means putting your
ego aside.”
I ask Lane why her marriage to Brolin is successful, unlike her union with Lambert.
“Because I didn’t go into this marriage blind,” she replies. “I now can trust my choices. Before, I was so lost. I’d rather
have the sanity of my maturity than to be that young again.”
Gere says he was similarly unprepared for his 1991 marriage to supermodel Cindy Crawford. Both Crawford and Gere
already were world-famous when they married.
Although Gere had established a suave style onscreen, playing the romantic hero in movies like Pretty Woman and An
Officer and a Gentleman, his personal life was different.
“I was shy and insecure,” he says. “There was some self-loathing, certainly. I was the most self-conscious, full-of-crap
kid. I know the forces that were playing on me. Suddenly everyone wants to know about you, and everyone figures they’
re going to penetrate you. You have an animal reaction. You want to run. The sexual image people had of me, I knew that
was not me. I was playing characters.”
Gere also was playing the field, before and after his marriage to Crawford. But none of his romantic relationships lasted,
until he met actress Carey Lowell and fell in love. Lowell, now 47, was once a “Bond girl” and an actress on TV’s Law &
Order.
“I believe we’re drawn to certain people because this affinity for them is built into us already,” Gere says. “Your mind
asks, ‘Why am I attracted to her?’ I wasn’t looking for someone to complete me, that’s for sure. But your heart rushes to
this person even when everyone around you is saying, ‘You’re crazy. You can’t do that!’”
They married in 2002, two years after the birth of their son, Homer, now 8.
“Our marriage is brilliant because of Carey,” he says. “She’s a fellow traveler with me on the voyage. We’re partners,
honest mirrors in which to see ourselves and grow and change. We help each other. It is love without ego. And that’s a
big deal for any of us—to back off our egos and be there for someone else. That’s why people get married, isn’t it,
because they want to be with that person?
“I think with Carey I realized that, wow, I can actually have a child with this great woman and not be afraid of doing it,”
he says. “This wonderful child is now in our lives. I’m nuts about my son! He fills me with joy. You have to make time
for a child, but it’s enormously satisfying.” Gere shakes his head at the wonder of it all, smiling. “That’s love, too.”
Richard Gere: I'm 'Nuts' About My Son
September 15, 2008
However, Richard reveals that upon meeting Carey, it was quite clear to him that he was "not afraid" to add a baby to the
mix. With the birth of their son, Homer James Jigme, in 2000, Richard is completely elated being a father and holds back
no excitement as he is "nuts about my son!"
"He fills me with joy. You have to make time for a child, but it's enormously satisfying. That's love, too."
Richard's new movie with Diane Lane -- Nights in Rodanthe -- is set to be released September 26.
September 15, 2008
However, Richard reveals that upon meeting Carey, it was quite clear to him that he was "not afraid" to add a baby to the
mix. With the birth of their son, Homer James Jigme, in 2000, Richard is completely elated being a father and holds back
no excitement as he is "nuts about my son!"
"He fills me with joy. You have to make time for a child, but it's enormously satisfying. That's love, too."
Richard's new movie with Diane Lane -- Nights in Rodanthe -- is set to be released September 26.
Richard Gere Rumored to Star With Winger in Broadway Bound 'Guess Who's Coming to Dinner?'
September 15, 2008
FoxNews.com is reporting that Richard Gere will be joining Debra Winger in the rumored upcoming revival of Guess
Who's Coming To Dinner? It was previously rumored that Bill Pullman will be playing the lead role opposite Winger but is
now reportedly unable to because of a conflict in schedule. If Gere resumes the role it will be the first time him and Ms.
Winger are reuniting since their film "An Officer and a Gentleman".
If true, this would be Richard Gere's first stint on Broadway since appearing in Bent in the 1980's. He earned rave reviews
for his portrayal of Billy Flynn in the film adaptation of Chicago. His other film credits include Pretty Woman, Unfaithful,
Autumn in New York, Primal Fear, and First Knight.
FoxNews.com goes on to state, "Amanda Byrnes and Mekhi Phifer are more or less set for the parts of the young couple
who seek to marry despite their racial differences. LaTonya Richardson, the great actress wife of Samuel L. Jackson, has
signed on for the role of the maid."
The play is based off of the 1968 movie starring Kathryn Hepburn and Spencer Tracy and tells the story of a mother's fret
when her daughter brings a black doctor home as her fiance.
In a reading of the play last fall Blythe Danner and Larry Bryggman played the leads.
September 15, 2008
FoxNews.com is reporting that Richard Gere will be joining Debra Winger in the rumored upcoming revival of Guess
Who's Coming To Dinner? It was previously rumored that Bill Pullman will be playing the lead role opposite Winger but is
now reportedly unable to because of a conflict in schedule. If Gere resumes the role it will be the first time him and Ms.
Winger are reuniting since their film "An Officer and a Gentleman".
If true, this would be Richard Gere's first stint on Broadway since appearing in Bent in the 1980's. He earned rave reviews
for his portrayal of Billy Flynn in the film adaptation of Chicago. His other film credits include Pretty Woman, Unfaithful,
Autumn in New York, Primal Fear, and First Knight.
FoxNews.com goes on to state, "Amanda Byrnes and Mekhi Phifer are more or less set for the parts of the young couple
who seek to marry despite their racial differences. LaTonya Richardson, the great actress wife of Samuel L. Jackson, has
signed on for the role of the maid."
The play is based off of the 1968 movie starring Kathryn Hepburn and Spencer Tracy and tells the story of a mother's fret
when her daughter brings a black doctor home as her fiance.
In a reading of the play last fall Blythe Danner and Larry Bryggman played the leads.
Richard Gere & Diane Lane On Love & Children
September 15, 2008
Richard Gere and Diane Lane are starring opposite each other in the new romantic drama (a.k.a. “chick flick”), Nights in
Rodanthe, opening September 26. The two stars recently sat down with Parade and revealed what it’s like to find love the
second time around, and the joy of raising children.
Richard, 59, said that he was “shy and insecure” when he was married to supermodel Cindy Crawford. He says he’s
found true love and happiness with his wife, Carey Lowell, and their 8-year-old son, Homer,
“Happiness is not about being loved, it’s about loving someone else.” He went on to say, “I think with Carey I realized
that, wow, I can actually have a child with this great woman and not be afraid of doing it,” he says. “This wonderful child
is now in our lives. I’m nuts about my son! He fills me with joy. You have to make time for a child, but it’s enormously
satisfying.” Gere shakes his head at the wonder of it all, smiling. “That’s love, too.”
Diane Lane, 43, went on to comment on her marriage to Josh Brolin,
“A marriage is a miracle every day. I can’t tell you what the secret is. But there’s nothing more challenging in life than an
intimate, one-on-one relationship where there is such complete exposure to each other. There’s nothing riskier.” Lane’s
first marriage to Christopher Lambert lasted 4 years, “I wanted somebody to belong to and somebody to belong to me,”
she says. “But intoxication with someone is a very dangerous territory to be in. The idea of losing your identity to
someone else should have been a red flag for me. I was really in love with Christopher, but I was trusting in something
that I hadn’t tested at all.”
Lane and Lambert divorced in 1994, one year after the birth of their daughter, Eleanor. Lane remarried in 2004, to actor
Josh Brolin, 40. Together they’re parenting three children,
“You’ve got to have emotional largesse, especially in a blended family, and Josh does,” Lane says. “It means putting your
ego aside.”
September 15, 2008
Richard Gere and Diane Lane are starring opposite each other in the new romantic drama (a.k.a. “chick flick”), Nights in
Rodanthe, opening September 26. The two stars recently sat down with Parade and revealed what it’s like to find love the
second time around, and the joy of raising children.
Richard, 59, said that he was “shy and insecure” when he was married to supermodel Cindy Crawford. He says he’s
found true love and happiness with his wife, Carey Lowell, and their 8-year-old son, Homer,
“Happiness is not about being loved, it’s about loving someone else.” He went on to say, “I think with Carey I realized
that, wow, I can actually have a child with this great woman and not be afraid of doing it,” he says. “This wonderful child
is now in our lives. I’m nuts about my son! He fills me with joy. You have to make time for a child, but it’s enormously
satisfying.” Gere shakes his head at the wonder of it all, smiling. “That’s love, too.”
Diane Lane, 43, went on to comment on her marriage to Josh Brolin,
“A marriage is a miracle every day. I can’t tell you what the secret is. But there’s nothing more challenging in life than an
intimate, one-on-one relationship where there is such complete exposure to each other. There’s nothing riskier.” Lane’s
first marriage to Christopher Lambert lasted 4 years, “I wanted somebody to belong to and somebody to belong to me,”
she says. “But intoxication with someone is a very dangerous territory to be in. The idea of losing your identity to
someone else should have been a red flag for me. I was really in love with Christopher, but I was trusting in something
that I hadn’t tested at all.”
Lane and Lambert divorced in 1994, one year after the birth of their daughter, Eleanor. Lane remarried in 2004, to actor
Josh Brolin, 40. Together they’re parenting three children,
“You’ve got to have emotional largesse, especially in a blended family, and Josh does,” Lane says. “It means putting your
ego aside.”
Richard Gere: John McCain is 'Not the Guy I Knew'
September 15, 2008
Actor Richard Gere sat down with "Extra" to promote his film "Nights in Rodanthe" -- and the conversation quickly turned
political!
"I know John McCain -- I always found him to be honest and straightforward," said Gere. "I'm astonished by the lies
coming out of his campaign -- this is not the guy I knew."
The Hollywood icon teams up with "Unfaithful" co-star Diane Lane for "Rodanthe" -- and she revealed her feelings on their
reunion sex scenes! "I think it gets more awkward," Lane said, laughing. When asked about their spouses' reaction to their
steamy love scenes, Gere said, "I was just asking my wife about that -- she said, 'The only thing I get jealous about is that
it's her doing it and not me.'"
See Richard and Diane sizzle again when "Nights in Rodanthe" hits theatres September 26.
September 15, 2008
Actor Richard Gere sat down with "Extra" to promote his film "Nights in Rodanthe" -- and the conversation quickly turned
political!
"I know John McCain -- I always found him to be honest and straightforward," said Gere. "I'm astonished by the lies
coming out of his campaign -- this is not the guy I knew."
The Hollywood icon teams up with "Unfaithful" co-star Diane Lane for "Rodanthe" -- and she revealed her feelings on their
reunion sex scenes! "I think it gets more awkward," Lane said, laughing. When asked about their spouses' reaction to their
steamy love scenes, Gere said, "I was just asking my wife about that -- she said, 'The only thing I get jealous about is that
it's her doing it and not me.'"
See Richard and Diane sizzle again when "Nights in Rodanthe" hits theatres September 26.
Lane and Gere meet again in 'Rodanthe';
Much of Richard Gere's career has been defined by charismatic relationships with his leading ladies. For most
moviegoers, the first Gere film that comes to mind is "Pretty Woman," the Cinderella story that turned Julia Roberts into
a star. Their on-screen pairing was so popular that they reunited for the painfully mediocre "Runaway Bride," which,
because of audiences' love of the actors, still turned out to be a monster hit. Yet Roberts isn't the only actress to have
shared time on-screen more than once with the "American Gigolo" star. This month's new Nicholas Sparks romance,
"Nights in Rodanthe," is the third collaboration between Gere and Diane Lane.
It has been six years since Lane scored an Oscar nomination for the second union, "Unfaithful." And while speaking
about "Rodanthe" last week, the two stars tried to remember their first encounter, almost 25 years ago, when Lane was
trying to land the leading role in Francis Ford Coppola's "The Cotton Club." Lane immediately smiles remembering the
meeting.
"I was very insecure, and I think it manifested itself by coming off age-appropriate for 18," Lane recalls. She then asks
Gere, "Just a little defensive and a little bitchy, maybe?"
"Yeah," Gere responds as the reporters in attendance laugh.
Lane remembers how she had to fly across the country for a "chemistry" meeting with Gere, who had already been cast.
The actress was frustrated because she'd previously made two movies with Coppola. "I was like, 'Now you want me to
audition? This is unfair.' I thought I was in like Flynn," she says, adding that she made jokes that she was only there to
drive down the price of fellow actress Cathy Moriarty. "I was such a bitch."
"She really remembers everything. I have no memory of this whatsoever," Gere says, genuinely surprised. Then, always
the gentleman, he adds, "I do remember she was an absolute doll, no question about it."
Turning to his co-star, Gere asks, "What had been out at that point that was the adult you and not the kid you? It was
one of the ones you had done with Francis and it was out already."
"Sure, 'The Outsiders' and 'Rumble Fish' were probably out," Lane responds.
Gere recalls, "Yeah, and absolutely adorable, watchable, and something mysterious going on. But she was very
self-possessed at the same time. I could see immediately how she could play this part and bring a quirky 'I don't care'
attitude. Underneath you knew that she desperately did. And very defensive, yes, I do remember that much. You were
leaving the room and [I was] like, 'Wow, OK.' I woke up the next day and I called Francis and said, 'She's the one. She
is absolutely the one.' But he had made up his mind already."
Having never heard that part of the story, Lane says, "Well, I'm glad to hear that after all this time."
"And Cathy Moriarty was more expensive," Gere says with a smirk.
And, as though confirming a long-held belief, Lane excitedly remarks, "So, it's true!"
Well Ms. Lane, you can always hit Coppola up for a few extra bottles of his most expensive wine just to even it all out.
"Nights in Rodanthe" opens nationwide on Sept. 26.
Much of Richard Gere's career has been defined by charismatic relationships with his leading ladies. For most
moviegoers, the first Gere film that comes to mind is "Pretty Woman," the Cinderella story that turned Julia Roberts into
a star. Their on-screen pairing was so popular that they reunited for the painfully mediocre "Runaway Bride," which,
because of audiences' love of the actors, still turned out to be a monster hit. Yet Roberts isn't the only actress to have
shared time on-screen more than once with the "American Gigolo" star. This month's new Nicholas Sparks romance,
"Nights in Rodanthe," is the third collaboration between Gere and Diane Lane.
It has been six years since Lane scored an Oscar nomination for the second union, "Unfaithful." And while speaking
about "Rodanthe" last week, the two stars tried to remember their first encounter, almost 25 years ago, when Lane was
trying to land the leading role in Francis Ford Coppola's "The Cotton Club." Lane immediately smiles remembering the
meeting.
"I was very insecure, and I think it manifested itself by coming off age-appropriate for 18," Lane recalls. She then asks
Gere, "Just a little defensive and a little bitchy, maybe?"
"Yeah," Gere responds as the reporters in attendance laugh.
Lane remembers how she had to fly across the country for a "chemistry" meeting with Gere, who had already been cast.
The actress was frustrated because she'd previously made two movies with Coppola. "I was like, 'Now you want me to
audition? This is unfair.' I thought I was in like Flynn," she says, adding that she made jokes that she was only there to
drive down the price of fellow actress Cathy Moriarty. "I was such a bitch."
"She really remembers everything. I have no memory of this whatsoever," Gere says, genuinely surprised. Then, always
the gentleman, he adds, "I do remember she was an absolute doll, no question about it."
Turning to his co-star, Gere asks, "What had been out at that point that was the adult you and not the kid you? It was
one of the ones you had done with Francis and it was out already."
"Sure, 'The Outsiders' and 'Rumble Fish' were probably out," Lane responds.
Gere recalls, "Yeah, and absolutely adorable, watchable, and something mysterious going on. But she was very
self-possessed at the same time. I could see immediately how she could play this part and bring a quirky 'I don't care'
attitude. Underneath you knew that she desperately did. And very defensive, yes, I do remember that much. You were
leaving the room and [I was] like, 'Wow, OK.' I woke up the next day and I called Francis and said, 'She's the one. She
is absolutely the one.' But he had made up his mind already."
Having never heard that part of the story, Lane says, "Well, I'm glad to hear that after all this time."
"And Cathy Moriarty was more expensive," Gere says with a smirk.
And, as though confirming a long-held belief, Lane excitedly remarks, "So, it's true!"
Well Ms. Lane, you can always hit Coppola up for a few extra bottles of his most expensive wine just to even it all out.
"Nights in Rodanthe" opens nationwide on Sept. 26.
A chemistry lesson from Richard Gere and Diane Lane
In their third film together, the 'Unfaithful' duo enjoys the comfort level
September 21, 2008
BY CINDY PEARLMAN
LOS ANGELES -- Diane Lane is recalling her first time with Richard Gere.
"Go for it," Gere says.
"Oh, ladies first, suddenly," Lane taunts. "Well, I was very insecure and that manifested itself in coming off
age-appropriate. I was 18. A little defensive. And a little bitchy."
"Yeah, that's the truth," Gere interjects.
Lane is talking about auditioning with Gere for a role in Francis Ford Coppola's "The Cotton Club" (1984).
"I was filming 'Streets of Fire' and had to do a chemistry meeting with Richard Gere. No pressure. You walk in the
room and you're already pissed off," Lane says. "It's like, 'Hi, I'm here. Do you like me? Or are you trying to bring
Cathy Moriarty's price down? Is that why I'm here?' "
"I remember she was an absolute doll," Gere says. "I'd seen [her 1983 movie] 'Rumble Fish.' She was absolutely
watchable. There was something mysterious going on with Diane, but very self-possessed. She was also very
defensive. I woke up the next day and told Francis she's absolutely the one.
"And by the way," he adds, "Cathy Moriarity was more expensive."
Lane laughs as they both settle in to promote their new love story "Nights at Rodanthe," based on the Nicholas Sparks
best seller and opening Friday.
Even when cameras aren't rolling, Gere, 59, and Lane, 43, are a dream couple.
He has silvery white hair and looks decades younger than the number on his driver's license in his grey suit with a
periwinkle shirt underneath. Lane's reddish hair is slicked back and she arrives in a little black dress that shows her zero
percent body fat.
In the film, Lane plays an unhappily married woman with a cheating husband and a decision to make about their future.
She goes to a North Carolina beach house during a hurricane to figure out her future. The only other person there is a
doctor (Gere) harboring a secret medical mistake and guilt about being an absentee parent.
It's no shocker that they fall deeply in love and end up in a passionate and very naked clinch -- or two, or three.
Over-40 screen love isn't for sissies.
"It was all body doubles. They burned our faces in later," Lane jokes. "Honestly, we saved the sex scenes for the last
day. You know how they do movies and save the stunts for the end. Just in case, in case one of us got hurt? This was a
case of, 'Oh, my back.' "
Gere laughs and says, "I guess that love-scene day went quickly. We didn't belabor them."
Reuniting for the third time on screen -- after "The Cotton Club" and "Unfaithful" -- wasn't a given.
"The script was not perfect," Gere says. "They brought this to me a number of years ago and I thought, 'This thing is a
lot of work.' But I got where it could go. The script just wasn't happening for two years.
'It wasn't easy. It wasn't, "Let's go.' It was a slow burn."
Ask what they discovered about each other this time around, and Lane looks down.
"I discovered she's still 18 and I grew older," Gere says.
"I need a funny answer," Lane says. "I guess you can teach an old dog new tricks. But Richard isn't laughing, so I need
another answer."
Lane reconsiders and says. "It's wonderful to have the comfort level of all our past conversations. We don't wear kid
gloves. We can get right in there and trust each other. There is no walking on eggshells."
"Or dealing with someone who is crazy," Gere says, laughing. "Honestly, if you have a built-in level of trust and respect,
you can be yourself. In film acting that puts you way ahead and leads to an uncensored conversation."
"And you can get there by Take 2 and not Take 7," Lane says.
Both stars found true love in middle age. Gere and model Carey Lowell are married and have a young son, Homer.
Lane is hitched to actor Josh Brolin, and they co-parent both of their teenage children with other partners.
"We can see ourselves in this movie," Gere admits. "It's not a movie for teenagers. This is about older people who have
been through a lot. They know themselves enough that they know what's emotionally and psychologically real and
what's not."
Lane takes great care when mulling over Gere's eternal sex appeal.
"While she's thinking, let me tell you a story," Gere begins. "I was shooting 'The Hunting Party' in Sarajevo and we did a
press conference there to introduce ourselves to the community. There was a very young and shy girl in the back who
raised her hand. She said, 'On behalf of three generations of my family -- myself, my mother and my grandmother -- I'd
like to thank you for continuing to make movies."
"I thought, 'How sweet.' Then I thought, 'I'm really old,' " Gere laments.
Lane has her answer now. "I remember watching 'Dr. T and the Women.' One thing I always felt about Richard --
whether on screen or in person -- is he has this ability to make you feel as though he can see the core of you. I don't
know if it's true. It might as well be true. Women feel disrobed by it and that's a plus," she says.
"A plus for me as well," Gere jokes.
Lane says, "I remember when we were filming 'The Cotton Club.' Richard would come in during the morning and tell
me what color my aura was that day. He was right every time. I was defensive that day."
"Hey! Hey, you're telling too much," Gere says, putting his hands over his handsome mug.
She rolls her eyes.
"Yes, I can be charming, but deeply annoying," Gere says.
Will they reunite again on screen?
"I keep trying to find things I can't do with her. It's so obvious we should be doing everything together. Everytime I
read things I think, 'It's Diane,' " Gere says.
Lane says, "There were close calls that didn't happen."
"We're both very picky and don't work a lot," Gere says.
"When you have kids you have to think about it," Lane says. "Once Richard said, 'Bring [daughter] Eleanor. She'll like
the Antarctic.' I said, 'So let me get this straight, We're on a big metal ship in the middle of the sea with my child for
months?' "
"But I got that script," Gere adds, "and said, 'It's Diane.' "
Big Picture News Inc.
In their third film together, the 'Unfaithful' duo enjoys the comfort level
September 21, 2008
BY CINDY PEARLMAN
LOS ANGELES -- Diane Lane is recalling her first time with Richard Gere.
"Go for it," Gere says.
"Oh, ladies first, suddenly," Lane taunts. "Well, I was very insecure and that manifested itself in coming off
age-appropriate. I was 18. A little defensive. And a little bitchy."
"Yeah, that's the truth," Gere interjects.
Lane is talking about auditioning with Gere for a role in Francis Ford Coppola's "The Cotton Club" (1984).
"I was filming 'Streets of Fire' and had to do a chemistry meeting with Richard Gere. No pressure. You walk in the
room and you're already pissed off," Lane says. "It's like, 'Hi, I'm here. Do you like me? Or are you trying to bring
Cathy Moriarty's price down? Is that why I'm here?' "
"I remember she was an absolute doll," Gere says. "I'd seen [her 1983 movie] 'Rumble Fish.' She was absolutely
watchable. There was something mysterious going on with Diane, but very self-possessed. She was also very
defensive. I woke up the next day and told Francis she's absolutely the one.
"And by the way," he adds, "Cathy Moriarity was more expensive."
Lane laughs as they both settle in to promote their new love story "Nights at Rodanthe," based on the Nicholas Sparks
best seller and opening Friday.
Even when cameras aren't rolling, Gere, 59, and Lane, 43, are a dream couple.
He has silvery white hair and looks decades younger than the number on his driver's license in his grey suit with a
periwinkle shirt underneath. Lane's reddish hair is slicked back and she arrives in a little black dress that shows her zero
percent body fat.
In the film, Lane plays an unhappily married woman with a cheating husband and a decision to make about their future.
She goes to a North Carolina beach house during a hurricane to figure out her future. The only other person there is a
doctor (Gere) harboring a secret medical mistake and guilt about being an absentee parent.
It's no shocker that they fall deeply in love and end up in a passionate and very naked clinch -- or two, or three.
Over-40 screen love isn't for sissies.
"It was all body doubles. They burned our faces in later," Lane jokes. "Honestly, we saved the sex scenes for the last
day. You know how they do movies and save the stunts for the end. Just in case, in case one of us got hurt? This was a
case of, 'Oh, my back.' "
Gere laughs and says, "I guess that love-scene day went quickly. We didn't belabor them."
Reuniting for the third time on screen -- after "The Cotton Club" and "Unfaithful" -- wasn't a given.
"The script was not perfect," Gere says. "They brought this to me a number of years ago and I thought, 'This thing is a
lot of work.' But I got where it could go. The script just wasn't happening for two years.
'It wasn't easy. It wasn't, "Let's go.' It was a slow burn."
Ask what they discovered about each other this time around, and Lane looks down.
"I discovered she's still 18 and I grew older," Gere says.
"I need a funny answer," Lane says. "I guess you can teach an old dog new tricks. But Richard isn't laughing, so I need
another answer."
Lane reconsiders and says. "It's wonderful to have the comfort level of all our past conversations. We don't wear kid
gloves. We can get right in there and trust each other. There is no walking on eggshells."
"Or dealing with someone who is crazy," Gere says, laughing. "Honestly, if you have a built-in level of trust and respect,
you can be yourself. In film acting that puts you way ahead and leads to an uncensored conversation."
"And you can get there by Take 2 and not Take 7," Lane says.
Both stars found true love in middle age. Gere and model Carey Lowell are married and have a young son, Homer.
Lane is hitched to actor Josh Brolin, and they co-parent both of their teenage children with other partners.
"We can see ourselves in this movie," Gere admits. "It's not a movie for teenagers. This is about older people who have
been through a lot. They know themselves enough that they know what's emotionally and psychologically real and
what's not."
Lane takes great care when mulling over Gere's eternal sex appeal.
"While she's thinking, let me tell you a story," Gere begins. "I was shooting 'The Hunting Party' in Sarajevo and we did a
press conference there to introduce ourselves to the community. There was a very young and shy girl in the back who
raised her hand. She said, 'On behalf of three generations of my family -- myself, my mother and my grandmother -- I'd
like to thank you for continuing to make movies."
"I thought, 'How sweet.' Then I thought, 'I'm really old,' " Gere laments.
Lane has her answer now. "I remember watching 'Dr. T and the Women.' One thing I always felt about Richard --
whether on screen or in person -- is he has this ability to make you feel as though he can see the core of you. I don't
know if it's true. It might as well be true. Women feel disrobed by it and that's a plus," she says.
"A plus for me as well," Gere jokes.
Lane says, "I remember when we were filming 'The Cotton Club.' Richard would come in during the morning and tell
me what color my aura was that day. He was right every time. I was defensive that day."
"Hey! Hey, you're telling too much," Gere says, putting his hands over his handsome mug.
She rolls her eyes.
"Yes, I can be charming, but deeply annoying," Gere says.
Will they reunite again on screen?
"I keep trying to find things I can't do with her. It's so obvious we should be doing everything together. Everytime I
read things I think, 'It's Diane,' " Gere says.
Lane says, "There were close calls that didn't happen."
"We're both very picky and don't work a lot," Gere says.
"When you have kids you have to think about it," Lane says. "Once Richard said, 'Bring [daughter] Eleanor. She'll like
the Antarctic.' I said, 'So let me get this straight, We're on a big metal ship in the middle of the sea with my child for
months?' "
"But I got that script," Gere adds, "and said, 'It's Diane.' "
Big Picture News Inc.
Hollywood and Dine: Richard Gere's Fritatta
Fox Television Channel 8
September 19, 2008,
5 eggs
1 small onion, sliced
1 medium zucchini, sliced
1 tbs. Basil, chopped
1 tbs. Parsley, chopped
1/2 cup parmesan cheese, grated
1 tbs. Butter salt and pepper
Oven proof frying pan
Preheat oven to 350 f
Add butter to pan over medium high heat and sautÉ onions and zucchini until they starts to soften.
Whisk eggs in mixing bowl with basil, parsley and parmesan. Add salt and pepper.
Pour mixture over sautÉed vegetables and and slightly stir to mix ingredients. Let it start to cook (bottom will start to
set).
Place frying pan in 350 f oven and change setting to broil.
In a few minutes when eggs start to get a little color it's done.
Place fritatta on serving dish and garnish with heated cherry tomatoes and home fried potatoes.
Serve in wedges.
Enjoy!
Fox Television Channel 8
September 19, 2008,
5 eggs
1 small onion, sliced
1 medium zucchini, sliced
1 tbs. Basil, chopped
1 tbs. Parsley, chopped
1/2 cup parmesan cheese, grated
1 tbs. Butter salt and pepper
Oven proof frying pan
Preheat oven to 350 f
Add butter to pan over medium high heat and sautÉ onions and zucchini until they starts to soften.
Whisk eggs in mixing bowl with basil, parsley and parmesan. Add salt and pepper.
Pour mixture over sautÉed vegetables and and slightly stir to mix ingredients. Let it start to cook (bottom will start to
set).
Place frying pan in 350 f oven and change setting to broil.
In a few minutes when eggs start to get a little color it's done.
Place fritatta on serving dish and garnish with heated cherry tomatoes and home fried potatoes.
Serve in wedges.
Enjoy!
Two for the Rodanthe Lane-Gere chemistry took time to spark
By KEVIN WILLIAMSON
September 21, 2008
LOS ANGELES -- It wasn't quite love at first sight when Diane Lane met Richard Gere.
More than two decades ago, the stars of the romantic drama Nights in Rodanthe -- their third film together -- were
introduced during the casting of 1984's The Cotton Club.
Recalls Lane, "I was very insecure and I think that manifested itself by coming off age-appropriate, let's say, for 18. I
was just a little defensive and maybe ... " she turns to Gere, who is sitting next to her during a recent media conference,
"... a little bitchy?"
Gere nods. "Yeah."
Lane continues, "It was a chemistry meeting. I mean, can you imagine, flying out with that in mind? There's no pressure
or anything. I was like, 'Hi, I'm here, do you like me?' That's how I felt. So I was making all these jokes like they're
trying to bring Cathy Moriarty's price down, that's why they have me in here. I was such a bitch."
Not that Gere didn't find Lane "an absolute doll" anyway. "She was adorable, watchable and there was something
mysterious going on. But she was very self-possessed at the same time. She came in with all those qualities and being
able to deal with this situation at 18. I mean, at 18 I couldn't deal with anything ... (And now) she's still 18 and I'm
much older."
Based on the novel by Nicholas Sparks (The Notebook), Nights in Rodanthe casts Gere and Lane as emotionally-crippled
divorcees who fall for each other during a chance encounter at a remote North Carolina inn.
Despite the pair's obvious rapport, it has been seven years since their previous film, the erotic thriller Unfaithful. It hasn't
been for a lack of trying, though, he says. "I keep trying to find things I can't do with her because it's so obvious that
we should be doing everything together."
Says Lane, "It's true Richard and I have this thing ... We can get right in there and trust each other ... You can get there
by take two instead of take seven."
"But," he adds, "we're both picky (about projects)."
What distinguishes Nights in Rodanthe -- and tells you that it's no longer summer at the box office -- is that the movie is
aimed squarely at adults. "I don't think this is a story for teenagers. There's not a lot in this for teenagers," he says. "It's
about people who have been through a lot."
That said, just because they're not twenty-somethings doesn't mean they're plutonic. "You know how in action movies,
they save the stunt for the end in case something bad happens?" Lane, 43, asks. "That's what they did with the love
scene with us - just in case one of us got hurt. 'Oh, my back!' "
The subject of age arises again when the 59-year-old Gere recalls a media conference he attended in Sarajevo a few
years ago. "There was a very young girl in the back, very shy, and she raised her hand and said, 'On behalf of three
generations, I'd like to thank you ... On behalf of myself, my mother and my grandmother.' I thought, how sweet. But it
also gave me the sense that I'm real old. I've been doing this a long time."
Lane posits her own theory as to Gere's seemingly cross-generational sex appeal. "One thing I always felt about Richard
on-screen or in person is that he has this ability to make you feel he can see right through you, to the core of you ...
Women just feel basically disrobed and that's a plus ... On The Cotton Club, he'd tell me what colour my aura was ..."
"Hey..." Gere interjects at this aura-reading revelation.
"That's a good thing!" she tells him. "I didn't know that's the thing you're embarrassed about. With all the stories we
have? I think that's adorable. He was right every time. I was defensive that day or whatever. You can't really pull the
wool over Richard's eyes."
By KEVIN WILLIAMSON
September 21, 2008
LOS ANGELES -- It wasn't quite love at first sight when Diane Lane met Richard Gere.
More than two decades ago, the stars of the romantic drama Nights in Rodanthe -- their third film together -- were
introduced during the casting of 1984's The Cotton Club.
Recalls Lane, "I was very insecure and I think that manifested itself by coming off age-appropriate, let's say, for 18. I
was just a little defensive and maybe ... " she turns to Gere, who is sitting next to her during a recent media conference,
"... a little bitchy?"
Gere nods. "Yeah."
Lane continues, "It was a chemistry meeting. I mean, can you imagine, flying out with that in mind? There's no pressure
or anything. I was like, 'Hi, I'm here, do you like me?' That's how I felt. So I was making all these jokes like they're
trying to bring Cathy Moriarty's price down, that's why they have me in here. I was such a bitch."
Not that Gere didn't find Lane "an absolute doll" anyway. "She was adorable, watchable and there was something
mysterious going on. But she was very self-possessed at the same time. She came in with all those qualities and being
able to deal with this situation at 18. I mean, at 18 I couldn't deal with anything ... (And now) she's still 18 and I'm
much older."
Based on the novel by Nicholas Sparks (The Notebook), Nights in Rodanthe casts Gere and Lane as emotionally-crippled
divorcees who fall for each other during a chance encounter at a remote North Carolina inn.
Despite the pair's obvious rapport, it has been seven years since their previous film, the erotic thriller Unfaithful. It hasn't
been for a lack of trying, though, he says. "I keep trying to find things I can't do with her because it's so obvious that
we should be doing everything together."
Says Lane, "It's true Richard and I have this thing ... We can get right in there and trust each other ... You can get there
by take two instead of take seven."
"But," he adds, "we're both picky (about projects)."
What distinguishes Nights in Rodanthe -- and tells you that it's no longer summer at the box office -- is that the movie is
aimed squarely at adults. "I don't think this is a story for teenagers. There's not a lot in this for teenagers," he says. "It's
about people who have been through a lot."
That said, just because they're not twenty-somethings doesn't mean they're plutonic. "You know how in action movies,
they save the stunt for the end in case something bad happens?" Lane, 43, asks. "That's what they did with the love
scene with us - just in case one of us got hurt. 'Oh, my back!' "
The subject of age arises again when the 59-year-old Gere recalls a media conference he attended in Sarajevo a few
years ago. "There was a very young girl in the back, very shy, and she raised her hand and said, 'On behalf of three
generations, I'd like to thank you ... On behalf of myself, my mother and my grandmother.' I thought, how sweet. But it
also gave me the sense that I'm real old. I've been doing this a long time."
Lane posits her own theory as to Gere's seemingly cross-generational sex appeal. "One thing I always felt about Richard
on-screen or in person is that he has this ability to make you feel he can see right through you, to the core of you ...
Women just feel basically disrobed and that's a plus ... On The Cotton Club, he'd tell me what colour my aura was ..."
"Hey..." Gere interjects at this aura-reading revelation.
"That's a good thing!" she tells him. "I didn't know that's the thing you're embarrassed about. With all the stories we
have? I think that's adorable. He was right every time. I was defensive that day or whatever. You can't really pull the
wool over Richard's eyes."