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SOMETHING'S GOTTA GIVE

About The Production
Throughout her remarkable—and remarkably successful—two decade long career as a screenwriter and, now, director, Nancy Meyers has insightfully dissected the contemporary struggles between men and women. In an era when movies often sacrifice credible relationships in favor of technological wizardry, Meyers' films remain focused on how human beings relate to each other in love and family. Something's Gotta Give continues this tradition and expands on it.

"Pretty much everything I've written has paralleled something in my own life," notes the filmmaker. "I must confess that I'm a little fascinated with the older-man-younger-woman scenario. "The other thing that interested me," Meyers continues, "was in a way the opposite of all that: Falling in love and emotionally opening up later in life. I just think that people falling in love late in life is as real and powerful as it is when they're 25."

In Something's Gotta Give, Meyers combined both those interests and, in addition, decided to explore the younger-man-older-woman relationship." Dealing with love between men and women beyond middle age wasn't a concern," Meyers states. "There's a universality to what happens between Harry and Erica. Love is love, and it doesn't matter at what age it happens, except maybe it hurts more, the older you get."

As Meyers conceived her story - even before the actual writing process - she decided upon the actors deemed perfect to essay the roles of Harry Sanborn and Erica Barry, respectively the uncommitted playboy and successful, divorced playwright, both of whom embark on an emotional adventure unlike any they imagined. The two actors she envisioned were Jack Nicholson and Diane Keaton.

Meyers had not yet worked with Nicholson, a genuine motion picture icon whose career seems to be going even stronger now than when he first became a star more than 30 years ago. But she already had a long history with Keaton, who had starred in several films Meyers co-wrote, including Baby Boom, Father of the Bride and Father of the Bride II.

Keaton recalls the first time she read Meyers' work, the script for Baby Boom. "I loved it. I mean, what's not to love?" she says. "There was some fantastic writing in it. Her writing was always like ‘coming home' in a way for me"

"Nancy fought to cast me in Baby Boom," Keaton continues, " and this aspect of her personality is something amazing. It's like a dog with a bone, babe. If she wants to make it happen, it happens. And that's the way it is. Nancy is not only a great writer, she's a ‘balls to the floor' producer. I'm not kidding. You don't come any stronger. She knows what she wants."

After Meyers had worked out the first act, "I pitched it to Jack even though I only had a general view of what would happen next," she recalls. "I went up to his house in L.A., and he seemed very interested. Jack liked the subject matter, and he was encouraging, so I went on writing in hopes that he would like the final result. Diane also expressed interest in reading the script when it was completed. It took me about 10 months to write it, and about four or five months into the process I called Jack and Diane and said, ‘It'll take about another five months, but I think we may have something here.'"

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