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Mike Nichols: Director
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Mike Nichols has been acclaimed as one of the great American directors in film, theater and television. His best known movies include "Closer," "Primary Colors," "The Birdcage," "Working Girl," "Silkwood," "Carnal Knowledge" and "The Graduate."
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Mike Nichols won his first of seven Tony Awards for "Barefoot in the Park." He then directed an unprecedented string of hits that included: "The Knack," "Luv" (Best Director Tony), "The Odd Couple" (Best Director Tony), "The Apple Tree," "Plaza Suite" (Best Director Tony), "Prisoner of Second Avenue" (Best Director Tony), "The Gin Game" (1978 Pulitzer Prize) and "Streamers" (New York Drama Critics Award). He directed successful revivals of "The Little Foxes" and "Uncle Vanya," and the U.S. productions of "Comedians," as well as "The Real Thing" (Best Director Tony), "Hurlyburly," "Social Security," "Waiting for Godot" and "Death and the Maiden." As a theatrical producer, he presented "Whoopi Goldberg on Broadway" and won the Tony for his blockbuster show "Annie."
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In Andrew Sarris' fascinating, infuriating (and badly-in-need-of-an-update) manifesto, American Cinema, Mike Nichols was dismissed along with Stanley Kubrick, Richard Lester and Norman Jewsion as a director whose work was less than meets the eye. Like many hot directors in the 1960s, Nichols wore his style on his sleeve. The two films that insured his A-list status, Who's Afraid Of Virginia Woolf? (1966) and The Graduate (1967), gleefully utilised all the toys available to a thirtysomething boy wonder of that period: self-conscious editing and cinematography, stylised production design, hypernaturalistic acting, and a willingness to break down the crumbling dicates of the Hays Code. Until the mid-'70s, Nichols, like many of his peers, embraced the European ideal of the personal filmmaker. He continued to choose projects that gave cinematic expression to a tragicomic sensibility forged in the mid-1950s and early '60s when the director was then best known as one of half of the improvisational duo, Nichols and May.
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Moviemaker MIKE NICHOLS had to be drafted in at the last minute to help GEORGE CLOONEY perfect his German in new period thriller THE GOOD GERMAN. The CLOSER director is fluent in German and assisted Clooney when it was clear the lines he'd learned phonetically from a dialect coach were nonsense. Clooney, who ... learned to speak a little Farsi for the STEVEN SODERBERGH film, explains, "We had this dialect coach on the set who clearly didn't speak a word of German. "The dialect coach said, `Perfect, yah that was gud.' Then he went away and I recorded the dialogue. "The months passed and Steven called me up and said, `Listen, the German doesn't make sense, nobody understands it.' "Mike Nichols speaks fluent German, so Mike and Steven and I went into a looping stage and I had to redo all of my German with Mike Nichols as my German coach."
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The costume designer is Albert Wolsky; co-producer is Mike Haley. The visual effects supervisor is Richard Edlund, ASC. The film is edited by John Bloom and Antonia Van Drimmelen; the production designer is Victor Kempster. The director of photography is Stephen Goldblatt, ASC, BSC. Executive producers are Celia Costas, Ryan Kavanaugh and Jeff Skoll. The film is produced by Tom Hanks and Gary Goetzman.
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Nora Ephron's autobiographical novel chronicling the breakup of her marriage to investigative journalist Carl Bernstein (ALL THE PRESIDENT'S MEN) is adapted for the big screen by director Mike Nichols and solidly acted by Meryl Streep and Jack Nicholson. Rachel Samstat (Streep) is Ephron's stand-in,...
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