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Can Anybody Make a Movie for Women? In the course of events, Jane discovers that her lawyer ex- husband Jake (played by Alec Baldwin) has fallen back in lust with her, no matter that he left her 1. This being a Nancy Meyers movie, in which 5. Jane has also caught the eye of Adam (played by Steve Martin), the gentle, traumatically divorced architect who is remodeling her house. And this being a Nancy Meyers movie, men are as subject to critical scrutiny via the female gaze as women are subject to the male gaze. In one bedroom scene, instead of Jake’s getting a chance to caliper Jane’s body fat, she asks him to look away while she gets out of bed and rushes into a waiting robe: “The last time you saw me naked, I was in my 4. Things look different lying down.” Meanwhile, Meyers allows Jane (and the audience) a full and lingering view of Jake’s substantial paunch.

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All’s fair in love and divorce, including Meyers’s shifting the burden of living up to impossible, media- derived body ideals from women to men. Meyers has directed and produced four movies (three of them under her own production company, Waverly Films, which is named after the theater where she saw virtually every movie of her childhood) — and is now paid upward of $1. This amount doesn’t include her earnings as what is known in Hollywood as a “gross player” — someone who takes home a percentage of the film’s profit over and above his or her salary. She is valued first and foremost for her track record at the box office; each of her post- Shyer movies has surpassed $2. Universal Studios, which has bankrolled her most recent effort to the tune of $8. It’s Complicated,” with its neonlit cast, idyllic settings and sophisticated yet accessible story line.

In a nice bit of synchronicity for the movie, Steve Martin and Alec Baldwin will host the Oscars this year.) Meyers is also paid for generating “creative value for the studio,” says Jeff Berg, chairman of I. C. M. and her longtime agent.

Studios like to have success,” Berg says, “and then they like to have the halo effect, whereby the films reflect positively on the taste of the studio.”It typically takes Meyers two years from start to finish to do a movie — a year for the writing, then six months for the shooting and another six for the editing. She is known for her obsessive, micromanagerial attention to detail. This aspect of her directorial style is appreciated by some and mocked by others but never fails to be mentioned when her name comes up. She obsessed for two days over my makeup in a scene,” Steve Martin says. She thought it looked too light.” Baldwin compares her meticulous, time- consuming approach with Scorsese’s. Everything that’s in the frame is of concern,” he says.

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Tour the house in the movie, It's Complicated" and other famous movie houses at my blog, Between Naps on the Porch. Watch Freddy`S Dead: The Final Nightmare Mediafire. This page is now closed to new comment. To continue the discussion please go to the newest “The Blaze” page. This is the place to discuss the the blaze. III. PART AND PARCEL of that uniqueness is Meyers’s focus on making films that both feature and speak to middle-aged women, a demographic that studios. The Hollywood Reporter is your source for breaking news about Hollywood and entertainment, including movies, TV, reviews and industry blogs. One Star "Granted, I've only been here once but I love this place! Amazing drink specials like a can of beer and whiskey shot for $8, $5 beer cans.

What’s the book on the table behind you? Move those flowers. I don’t like those sheets.’ ” Then there is her tendency to do multiple takes — something else that never fails to be mentioned when her name comes up. There are a lot of takes,” Martin confirms. But I went into the movie determined not to let it affect me.” Diane Keaton, who has worked with Meyers in four films, is quick to defend her: “Yes, she does a lot of takes. I say good. Gives you more options.” Meyers has her reasons for doing what she does.

I don’t shoot movies quickly,” she says, “because I get a lot of coverage and a lot of angles, so we have all the pieces in the editing. I do a lot of takes, but it’s because I’m looking for something.” John Burnham, the I.

C. M. agent, has a simpler, X- versus- Y- chromosome view of the whole thing. If Mike Nichols said to do another take,” he crisply notes, “there would never be any issue.”II. MY FIRST ENCOUNTER with Meyers was at the Barbra Streisand Scoring Stage in the rear of the Sony Pictures lot in Culver City, where she was overseeing a scoring session for “It’s Complicated.” I very quickly got a sense of her almost terrifying ability to focus — to single- mindedly rise above the distractions around her. These included about 3. The room was bristling with technology; one whole wall was covered floor to ceiling with recording equipment. Meyers was working on the soundtrack with Hans Zimmer, the film’s composer, and a 3. Judy Garland recorded “Over the Rainbow.” The German- born Zimmer, who has the confident yet playful air of an aging wunderkind — he has written the soundtracks for a number of Hollywood blockbusters, including “The Da Vinci Code” and “The Dark Knight” — came across as something of a handful, given to disappearing for 2.

He was a strange match for the methodical Meyers — “Nancy and I have a history of my starting late,” he told me — yet clearly the two of them have arrived at some sort of modus vivendi. It’s nerve- racking,” Meyers admitted. I am the last person on earth who likes to do things at the end. I’m a big calendar girl. But he’s so talented — besides being gifted, he’s open — and the music is so critical. It’s like another voice in the scene.”For the next two hours I looked on as Meyers painstakingly went over musical cues with Zimmer and his team, tweaking a bar ever so slightly here, revising a string of notes more decisively there to get at the exact sound she heard in her head.

Bar 6 through 2. 7,” she said in her authoritative yet undivalike manner. The whole thing sounds like one crescendo. The piece should grow in intensity.” And about a scene in which Streep asks Martin if he thinks she’s too old for him, Meyers said: “She can do the heavy lifting of the line. Don’t make it somber.” Meyers, who loves Frank Sinatra (she sent him a fan letter proposing marriage when she was 1. Burt Bacharach and the Beatles, clearly regards this part of moviemaking as being as important as getting the right angle on a shot. She looked over at me, conscious that she might be seen as overly controlling, and quoted Truffaut: “Making movies is an accumulation of details.” And a little later, she remarked that “directing redefines multitasking.” As if to prove her point, she used the occasional 1.

How can you see a hand sanitizer and not use it?”) to Skyping on her computer with her second- camera unit as it took establishing shots of the swing outside the house of Streep’s character. Get away from the chains,” she instructed them. Now raise it up a little bit . No, too high.” It was late in the afternoon by now and everyone else appeared to be slowing down except Meyers, who hummed happily to herself. Watching Meyers at her rigorous fine- tuning, I was struck by how deftly she got her point of view across without grinding anyone down in the process. Her editor, Joe Hutshing, who also worked with Meyers on “The Holiday” and “Something’s Gotta Give,” describes her manner as “very persistent — in an encouraging way.

If she’s feeling differently about anything, she tries to coax you into giving her what she wants in a way that’s not reprimanding or dictatorial.” Indeed, in the two days I spent with her, one of her more noticeable traits was her friendly attitude toward various assistants. At one point, when she started to fall over the strap of someone’s bag, she said, “Ooh,” before catching herself and then apologizing to the bag. It would be tempting to attribute Meyers’s uninflated manner to her being female — to having been trained from birth in the art of the soft sell — except for the fact that she is more straightforward than girlish, more clear than coy.