Skip to main content

Julia Roberts clarifies why she hasn’t been in a rom-com for 20 years

The Pretty Woman star admitted that she is rarely offered scripts of a decent level. In an interview with New York Times Magazine, Julia Roberts explained why the last 20 years have switched from romantic comedies like Pretty Woman and Notting Hill to dramas like Bringing Ben Back and Gaslit. According to the Oscar-winning actress, she always wants to do something else, not what she is doing at the moment. "When I'm doing a comedy, I think how good it would be to just sit at the table with a cup of tea and sob over something. Then I do it and think: "I wish I could laugh in a beautiful dress now!" Roberts also noted that she rarely comes across worthy comedy scripts. "If I read a Notting Hill-level script or something as wildly hilarious as Best Friend's Wedding, I would." Julia Roberts' last notable role in a romantic comedy was Kiki in America's Darling. Subsequently, the actress appeared in "Valentine's Day" by Garry Marshall and his "Horrible Ladies, "but in minor roles. According to the actress, in addition to the high requirements for the material, her work and choice of roles were also influenced by the presence of three children. Roberts cited Ol Parker's Ticket to Heaven as the first worthwhile screenplay in 20 years. "But even then, I thought: "Catastrophe! It will only work if George Clooney is in the picture ." Somehow, George thought it would only work if I was in the picture." Thus, everything coincided, and in October 2022, the romantic comedy "Ticket to Heaven" will be released, where Roberts and Clooney played ex-spouses who go to Bali to prevent their daughter from "making the same mistake they made 25 years ago".

from Celebrity Insider https://ift.tt/pnOqDTN
via IFTTT https://ift.tt/zLGkwS8

Comments

Popular posts from this blog

The Miracle Club review – Maggie Smith can’t save this rocky road trip to Lourdes

Laura Linney is upstaged by older co-stars Smith and Kathy Bates in this sentimental tale about a group of Dublin women who go on a spiritual journey together Who’s up for a golden-hued heartwarmer set in 60s Ireland starring Kathy Bates and Maggie Smith about women with secret fears and dreams going on a church trip to Lourdes and finally finding the real miracle is their new compassion for each other? The answer to this question could well have been … me. I have a liking for a gentle tale and there is nothing necessarily wrong with, just occasionally, showing Ireland and the church of this period with something other than outrage and horror. But The Miracle Club does not at any time, to use a discredited metaphor, throw away its crutches and walk. And it’s painful to note that this is largely because of the way film can’t convincingly use that estimable actor Laura Linney in a central role. She is upstaged by the older, fruitier performances and doesn’t hold her own with a more seri...

Omen (Augure) review – Baloji offers secrets and sorcery in Congolese homecoming

Musician and film-maker’s story about a Belgian-Congolese man who takes his white wife to DRC to meet the family is complex, risky and bold Congolese-born rapper, musician and film-maker Baloji (né Serge Baloji Tshiani) was a prizewinner at Cannes last year with this feature directing debut: a dynamic, teemingly populated, multistranded and tonally elusive picture which I initially thought would benefit from comparisons with Jordan Peele’s horror classic Get Out. In fact, it’s more complicated than that. Koffi (Marc Zinga) is a Congolese man living in Belgium and married to a white woman, Alice (Lucie Debay). They are about to have twins and Koffi feels that he cannot put it off any further: whatever his family will think, the couple must journey back to the Democratic Republic of the Congo to let them see Alice and let them get used to the idea. It particularly means propitiating his fiercely conservative mother Mujila (Yves-Marina Gnahoua). He takes care to shave off his westernis...

REVEALED: Karan Johar’s Dharma Productions merges Dharmatic Entertainment to simplify operations

Dharmatic Entertainment, the digital arm of Dharma Productions, has now officially merged with its parent company, as per a recent article in The Economic Times. The story says that the move is part of Dharma’s plan “to consolidate operations amid the changing entertainment landscape”. It also said that the merger application was fast-tracked and has already been approved by both companies’ shareholders and creditors, according to official filings. This is one of Dharma Productions’ first big steps since entrepreneur Adar Poonawalla bought a 50% stake in the company for Rs. 1,000 crores last year, valuing Dharma at Rs. 2,000 crores. Another significant decision taken by Dharma head-honcho after the merger was to start a distribution arm. In a recent interview with Komal Nahta, KJo confessed that the partnership with Adar Poonawalla gave him the impetus to get into distribution. The Economic Times article further revealed that the amalgamation of Dharmatic Entertainment and Dharma Pro...