Michelle Pfeiffer and David E. Kelley are two of the biggest names in Hollywood - Michelle for her blockbuster movies and David for his work as a writer and producer on award-winning shows - but the only thing sweeter than their long-lasting careers is their long-lasting marriage. The couple first met in January 1993 when their mutual friend, Kate Guinzburg, set them up on a blind date. Their connection was so instantaneous that they ended up tying the knot that November. Aside from sharing a handful of sweet moments on the red carpet together, they are also parents to two children, an adopted daughter named Claudia Rose and a son named John Henry. See the couple's best moments over the past two decades ahead. RelatedHollywood Couples Who Have Been Together the Longest...
- 9/20/2017
- by Kelsie Gibson
- Popsugar.com
Kate Guinzburg, who was actress Michelle Pfeiffer’s producing partner, has died, her family confirmed to TheWrap. She was 60. Through their Via Rose Productions banner, they produced such films as “Love Field,” “Dangerous Minds” and “One Fine Day” in the 1990s. Guinzburg died Sunday at her home in Los Angeles after a lengthy battle with ovarian cancer. Pfeiffer met Guinzburg when she was working as a production coordinator on 1986’s “Sweet Liberty.” Originally Pfeiffer-Guinzburg Productions, they launched their Via Rose banner in 1990 and signed a deal with Columbia and then Disney. Via Rose’s first feature 1992’s “Love Field,” earned Pfeiffer.
- 9/19/2017
- by Umberto Gonzalez
- The Wrap
Kate Guinzburg, who spent a decade as actress Michelle Pfeiffer's partner in Via Rosa Productions, has died. She was 60.
Guinzburg died Sunday after a long battle with ovarian cancer, her friend, journalist Annie Bardach, said.
Guinzburg was serving as a production coordinator on Sweet Liberty (1986) when she met Pfeiffer, who was starring in the film opposite Alan Alda. The launched Via Rosa in 1990 and signed a deal with Sony and then Disney, and their first film, Love Field (1992), earned Pfeiffer an Oscar nomination for best actress.
The...
Guinzburg died Sunday after a long battle with ovarian cancer, her friend, journalist Annie Bardach, said.
Guinzburg was serving as a production coordinator on Sweet Liberty (1986) when she met Pfeiffer, who was starring in the film opposite Alan Alda. The launched Via Rosa in 1990 and signed a deal with Sony and then Disney, and their first film, Love Field (1992), earned Pfeiffer an Oscar nomination for best actress.
The...
- 9/19/2017
- by Mike Barnes
- The Hollywood Reporter - Movie News
"King Lear" sprouts in Iowa on "A Thousand Acres", a swirling tale of a prosperous farmer who divides his bounteous farmland among his three daughters. Enriched by splendid performances from Jessica Lange, Michelle Pfeiffer and Jennifer Jason Leigh as the daughters and Jason Robards as the cantankerous father, this Buena Vista release should reap a plentiful harvest at the boxoffice.
Come spring, the fallow times will be regenerated with likely Oscar nominations for Lange, Pfeiffer and a spate of others, including director Jocelyn Moorhouse for her radiant tilling of this deep and grainy story.
For those industry-ites who have actually driven through the Midwest, it may look like a lot of nothing off the roadside, just miles and miles of yellow-husked corn. Behind those stalks, however, reside some of the most prosperous businessmen in the country, folk such as Larry Cook (Robards), a flinty and efficient old coot who has tilled his land to reap great abundance.
Like his neighbors way down the road, Larry is not one to throw it away, but he's not exactly beneficent when it comes to making out his will. Who gets what is, well, up to his owly discretion and parsimonious nature. And his bequest is poisoned by some terrible secrets involving this family's life. Indeed, while the big-porched, white farmhouse may look like a warm Norman Rockwell portrait of Americana, beneath its dignified roof have occurred some horrible psychological atrocities.
Adapted from Jane Smiley's Pulitzer Prize-winning novel, "A Thousand Acres" is a surface-simple but innardly complex look not only at a seemingly idealized family life but at the very fabric of this country as well. The farmer, or homesteader, has always been eulogized in our culture as the steadfast grower, the provider and the very backbone of our moral and industrial character.
Like fellow Midwestern writer Sinclair Lewis, Smiley has unearthed the unsettlingly grim roots of these pristine illusions and uncovered the rancid foundation of what appears to be healthy civility. In turn, screenwriter Laura Jones has distilled these sorry seedlings into an internecine rivalry as nasty as any Roman blood bath. When the surface is scratched, as the grim-reaping father does in dividing his wealth, we find this family has functioned on surface affability and personal distancing to survive together.
Richly layered and coarse with ambiguities, "A Thousand Acres" boasts as fine an ensemble cast as you'll find. Once again, the Minnesota-bred Lange furrows deeply into her character, unfleshing the roilings of a woman/daughter/sister who represses her desires and thoughts. With a wondrous mix of bashfulness, propriety and insecurity, Lange clues us to the essence of her character, Ginny -- still waters run deep, truly. No less affecting is Pfeiffer as Rose, whose outspoken ways and volatile eruptions, in turn, show the tight coils of her being. As the baby Caroline, Leigh exudes a vulnerability, an indecisiveness that clues us to a far greater suffering than anyone would expect.
As the obstreperous father, Robards is a towering blend of decency and rancor. No king in full armor exudes more imperious strength than this country coot: His fearsome looks and withdrawn manners are indeed frightening. Other cast members are a perfectly selected lot, all looking at home in any small Midwestern town off the interstate. If we didn't recognize the names, that's where we would have thought casting director Nancy Klopper dragged them in from. Among them, Keith Carradine is particularly convincing as the not-so-average type you'll find in those parts. And Pat Hingle, Kevin Anderson and Colin Firth are as solid and fitting as a John Deere tractor.
No fancy stuff, just good hardware material, that's Dan Davis' production design. Similarly, cinematographer Tak Fujimoto's framings convey the wide scope of the setting as well as the constricted dimensions of these good folks' lives, while composer Richard Hartley's sinewy sounds show us the fury of what may be mistaken for silence.
A THOUSAND ACRES
Buena Vista
Touchstone Pictures
in association with Beacon Pictures
and Propaganda Films
A Via Rosa/Prairie Films production
Producers Marc Abraham, Steve Golin,
Lynn Arost, Kate Guinzburg, Sigurjon Sighvatsson
Director Jocelyn Moorhouse
Screenplay Laura Jones
From the novel by Jane Smiley
Executive producers Armyan Bernstein,
Thomas A. Bliss
Co-producer Diana Pokorny
Director of photography Tak Fujimoto
Production designer Dan Davis
Editor: Maryann Brandon
Costume designer Ruth Myers
Music Richard Hartley
Casting Nancy Klopper
Sound mixer Richard Lightstone
Color/stereo
Cast:
Rose Cook Lewis Michelle Pfeiffer
Ginny Cook Smith Jessica Lange
Larry Cook Jason Robards
Caroline Cook Jennifer Jason Leigh
Jess Clark Colin Firth
Ty Smith Keith Carradine
Peter Lewis Kevin Anderson
Harold Clark Pat Hingle
Ken La Salle John Carroll Lynch
Mary Livingstone Anne Pitoniak
Running time -- 105 minutes
MPAA rating: R...
Come spring, the fallow times will be regenerated with likely Oscar nominations for Lange, Pfeiffer and a spate of others, including director Jocelyn Moorhouse for her radiant tilling of this deep and grainy story.
For those industry-ites who have actually driven through the Midwest, it may look like a lot of nothing off the roadside, just miles and miles of yellow-husked corn. Behind those stalks, however, reside some of the most prosperous businessmen in the country, folk such as Larry Cook (Robards), a flinty and efficient old coot who has tilled his land to reap great abundance.
Like his neighbors way down the road, Larry is not one to throw it away, but he's not exactly beneficent when it comes to making out his will. Who gets what is, well, up to his owly discretion and parsimonious nature. And his bequest is poisoned by some terrible secrets involving this family's life. Indeed, while the big-porched, white farmhouse may look like a warm Norman Rockwell portrait of Americana, beneath its dignified roof have occurred some horrible psychological atrocities.
Adapted from Jane Smiley's Pulitzer Prize-winning novel, "A Thousand Acres" is a surface-simple but innardly complex look not only at a seemingly idealized family life but at the very fabric of this country as well. The farmer, or homesteader, has always been eulogized in our culture as the steadfast grower, the provider and the very backbone of our moral and industrial character.
Like fellow Midwestern writer Sinclair Lewis, Smiley has unearthed the unsettlingly grim roots of these pristine illusions and uncovered the rancid foundation of what appears to be healthy civility. In turn, screenwriter Laura Jones has distilled these sorry seedlings into an internecine rivalry as nasty as any Roman blood bath. When the surface is scratched, as the grim-reaping father does in dividing his wealth, we find this family has functioned on surface affability and personal distancing to survive together.
Richly layered and coarse with ambiguities, "A Thousand Acres" boasts as fine an ensemble cast as you'll find. Once again, the Minnesota-bred Lange furrows deeply into her character, unfleshing the roilings of a woman/daughter/sister who represses her desires and thoughts. With a wondrous mix of bashfulness, propriety and insecurity, Lange clues us to the essence of her character, Ginny -- still waters run deep, truly. No less affecting is Pfeiffer as Rose, whose outspoken ways and volatile eruptions, in turn, show the tight coils of her being. As the baby Caroline, Leigh exudes a vulnerability, an indecisiveness that clues us to a far greater suffering than anyone would expect.
As the obstreperous father, Robards is a towering blend of decency and rancor. No king in full armor exudes more imperious strength than this country coot: His fearsome looks and withdrawn manners are indeed frightening. Other cast members are a perfectly selected lot, all looking at home in any small Midwestern town off the interstate. If we didn't recognize the names, that's where we would have thought casting director Nancy Klopper dragged them in from. Among them, Keith Carradine is particularly convincing as the not-so-average type you'll find in those parts. And Pat Hingle, Kevin Anderson and Colin Firth are as solid and fitting as a John Deere tractor.
No fancy stuff, just good hardware material, that's Dan Davis' production design. Similarly, cinematographer Tak Fujimoto's framings convey the wide scope of the setting as well as the constricted dimensions of these good folks' lives, while composer Richard Hartley's sinewy sounds show us the fury of what may be mistaken for silence.
A THOUSAND ACRES
Buena Vista
Touchstone Pictures
in association with Beacon Pictures
and Propaganda Films
A Via Rosa/Prairie Films production
Producers Marc Abraham, Steve Golin,
Lynn Arost, Kate Guinzburg, Sigurjon Sighvatsson
Director Jocelyn Moorhouse
Screenplay Laura Jones
From the novel by Jane Smiley
Executive producers Armyan Bernstein,
Thomas A. Bliss
Co-producer Diana Pokorny
Director of photography Tak Fujimoto
Production designer Dan Davis
Editor: Maryann Brandon
Costume designer Ruth Myers
Music Richard Hartley
Casting Nancy Klopper
Sound mixer Richard Lightstone
Color/stereo
Cast:
Rose Cook Lewis Michelle Pfeiffer
Ginny Cook Smith Jessica Lange
Larry Cook Jason Robards
Caroline Cook Jennifer Jason Leigh
Jess Clark Colin Firth
Ty Smith Keith Carradine
Peter Lewis Kevin Anderson
Harold Clark Pat Hingle
Ken La Salle John Carroll Lynch
Mary Livingstone Anne Pitoniak
Running time -- 105 minutes
MPAA rating: R...
In olden days of romantic comedy, couples met cute. In the anything-goes '90s, or at least in this frothy entertainment, they meet hostile. But other than that modern update, there's little difference between 20th Century Fox's "One Fine Day" and some of the finest merriments of the romantic comedy classics.
With appealing star performances from Michelle Pfeiffer and George Clooney, this charmer should attract very fine days at the boxoffice. It's not hard to conjure up Rosalind Russell and Cary Grant or elements of such classics as "His Girl Friday" or "The Awful Truth" when viewing this smartly pedigreed movie. It's high praise to group Pfeiffer and Clooney in that league, but their crustily silken performances are delightfully enticing.
In this present-day scenario, they're both harried divorcees, single- parent/professionals who are thrust into one not-so-fine day in which both their professional and personal lives are stretched to the limits. She's Melanie, an architect with a career-making presentation; he's Jack, a newspaper columnist whose job hinges on clearing up a controversial column he did linking the mayor with organized crime.
They're thrust together through their kids -- he has a girl, she a boy -- when, owing to the overstretched natures of their modern lives and a string of circumstances, they find themselves not only battling their big-day battles but having to bring their elementary-age kids along with them. For their mutual benefit, they agree on a kid-sharing plan -- she watches them during his critical press conference while he takes them during her architectural presentation.
Unlike the traditional screwball comedy formula where the male was the repressed straight-arrow and the female was the wacky free spirit who loosens him up, the straight man here is Melanie, whose compulsive organizational traits put her at odds with Jack's breezy nonchalance. She thrives on order, he thrives on chaos; and in the baffling chemistry of romance, opposites-attract sparks start to fly.
Perhaps the only flaw in this well-wrought romance is that the sparks start a little prematurely. Although we readily see their differences, scenes of each character grudgingly, or surprisingly, admiring the other are scant and other than the characters' surface physical desirability, their emotional attraction is somewhat underdeveloped and unconvincing.
Still, niggling aside, screenwriters Terrel Seltzer and Ellen Simon have concocted a brainy, madcap amusement with decidedly sympathetic characters. The certain proof -- you root for these two to get together.
The supporting characters are a terrific blend of sweet and sassy types. In particular, both kids, Mae Whitman and Alex D. Linz, are adorable, regular-type tots with no gloss of Hollywood sheen. On the adult side, Charles Durning is perfect as Jack's gruff, big-hearted editor, while sports scribe Pete Hamill is creatively cast as a spacey, perceptive land developer.
With his hand expertly on the narrative accelerator, director Michael Hoffman has fashioned a fast-paced, warm-hearted movie. With a frothy mix of wipes and split screens, as well as a keen eye for visual hilarity, Hoffman has cut a near-perfect crystalline comedy.
ONE FINE DAY
20th Century Fox
Fox 2000 Pictures presents
a Lynda Obst production
in association with Via Rosa Prods.
A Michael Hoffman film
Producer Lynda Obst
Director Michael Hoffman
Screenwriters Terrel Seltzer, Ellen Simon
Executive producers Kate Guinzburg,
Michelle Pfeiffer
Director of photography Oliver Stapleton
Production design David Gropman
Editor Garth Craven
Co-producer Mary McLaglen
Music James Newton Howard
Costume design Susie DeSanto
Casting Lora Kennedy
Special visual effects by VIFX
VIFX visual effects supervisor
Richard Hollander
Sound mixer Petur Hliddal
Color/stereo
Cast:
Melanie Parker Michelle Pfeiffer
Jack Taylor George Clooney
Maggie Taylor Mae Whitman
Sammy Parker Alex D. Linz
Lew Charles Durning
Yates Jr. Jon Roin Baitz
Elaine Lieberman Ellen Greene
Manny Feldstein Joe Frifasi
Frank Burroughs Pete Hamill
Running time -- 108 minutes
MPAA rating: PG...
With appealing star performances from Michelle Pfeiffer and George Clooney, this charmer should attract very fine days at the boxoffice. It's not hard to conjure up Rosalind Russell and Cary Grant or elements of such classics as "His Girl Friday" or "The Awful Truth" when viewing this smartly pedigreed movie. It's high praise to group Pfeiffer and Clooney in that league, but their crustily silken performances are delightfully enticing.
In this present-day scenario, they're both harried divorcees, single- parent/professionals who are thrust into one not-so-fine day in which both their professional and personal lives are stretched to the limits. She's Melanie, an architect with a career-making presentation; he's Jack, a newspaper columnist whose job hinges on clearing up a controversial column he did linking the mayor with organized crime.
They're thrust together through their kids -- he has a girl, she a boy -- when, owing to the overstretched natures of their modern lives and a string of circumstances, they find themselves not only battling their big-day battles but having to bring their elementary-age kids along with them. For their mutual benefit, they agree on a kid-sharing plan -- she watches them during his critical press conference while he takes them during her architectural presentation.
Unlike the traditional screwball comedy formula where the male was the repressed straight-arrow and the female was the wacky free spirit who loosens him up, the straight man here is Melanie, whose compulsive organizational traits put her at odds with Jack's breezy nonchalance. She thrives on order, he thrives on chaos; and in the baffling chemistry of romance, opposites-attract sparks start to fly.
Perhaps the only flaw in this well-wrought romance is that the sparks start a little prematurely. Although we readily see their differences, scenes of each character grudgingly, or surprisingly, admiring the other are scant and other than the characters' surface physical desirability, their emotional attraction is somewhat underdeveloped and unconvincing.
Still, niggling aside, screenwriters Terrel Seltzer and Ellen Simon have concocted a brainy, madcap amusement with decidedly sympathetic characters. The certain proof -- you root for these two to get together.
The supporting characters are a terrific blend of sweet and sassy types. In particular, both kids, Mae Whitman and Alex D. Linz, are adorable, regular-type tots with no gloss of Hollywood sheen. On the adult side, Charles Durning is perfect as Jack's gruff, big-hearted editor, while sports scribe Pete Hamill is creatively cast as a spacey, perceptive land developer.
With his hand expertly on the narrative accelerator, director Michael Hoffman has fashioned a fast-paced, warm-hearted movie. With a frothy mix of wipes and split screens, as well as a keen eye for visual hilarity, Hoffman has cut a near-perfect crystalline comedy.
ONE FINE DAY
20th Century Fox
Fox 2000 Pictures presents
a Lynda Obst production
in association with Via Rosa Prods.
A Michael Hoffman film
Producer Lynda Obst
Director Michael Hoffman
Screenwriters Terrel Seltzer, Ellen Simon
Executive producers Kate Guinzburg,
Michelle Pfeiffer
Director of photography Oliver Stapleton
Production design David Gropman
Editor Garth Craven
Co-producer Mary McLaglen
Music James Newton Howard
Costume design Susie DeSanto
Casting Lora Kennedy
Special visual effects by VIFX
VIFX visual effects supervisor
Richard Hollander
Sound mixer Petur Hliddal
Color/stereo
Cast:
Melanie Parker Michelle Pfeiffer
Jack Taylor George Clooney
Maggie Taylor Mae Whitman
Sammy Parker Alex D. Linz
Lew Charles Durning
Yates Jr. Jon Roin Baitz
Elaine Lieberman Ellen Greene
Manny Feldstein Joe Frifasi
Frank Burroughs Pete Hamill
Running time -- 108 minutes
MPAA rating: PG...
- 12/2/1996
- The Hollywood Reporter - Movie News
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