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Le Grand Finale
"Every movie should be so lucky as to wind up in Paris," notes producer Block, surely speaking for members of the Something's Gotta Give company fortunate enough to make the journey to the City of Lights for the final leg of filming, where they were joined by a fresh team of Gallic crewpersons. The first of several locations - all of them befittingly beautiful and historical - was Le Grand Colbert brasserie, a magnificent Belle Epoque dining room, which would be anyone's idea of the perfect place for a romantic Parisian rendezvous. Positively Proustian, Le Grand Colbert received minor and temporary renovations by production designer Jon Hutman to further enhance its fin de siècle atmosphere.

Other gorgeous locales included the Plaza Atheneé, perhaps the grandest of the city's grand hotels, the Pont d'Arcole, a lovely structure spanning the Seine and overlooking the Hotel de Ville on the Right Bank and the Conciergerie on the Left Bank.

Throughout the shoot, all agreed that bringing Something's Gotta Give to cinematic life was a joy. "I felt that Jack and Diane were part of the process with me early on, because I was writing the script with them in mind," says Meyers. "I felt bonded to them because I put myself out there in thinking, and hoping, that they would be in the movie. Jack took direction as well as any actor I've ever worked with. I already had a relationship with Diane stretching back many years where I felt I could say anything, and she would be okay with it. There was a certain looseness on the set and mutual respect that allowed us all to be ourselves."

"Jack is very soulful," continues Meyers, "and a master of the closeup. He finds moments to play like no one ever. Diane is so unique, a complete original. Her energy can really drive a scene. Jack and Diane were both very respectful of the script and very well prepared, which actually allowed them great freedom to try out different ways of playing the scenes."

Keaton took inspiration from her director. "With Nancy, there's always a sense of her saying, ‘Go ahead, do what you do. I enjoy watching you and I appreciate you.' It says so much for directors like Nancy who have that quality of being a great audience for their actors. That's the kind of director you want to work for because you want to give it a little bit more."

As for her onscreen romantic counterpart, "As audience members, we've watched Jack do everything," notes Keaton, "and he has become a legend. I knew him many years ago when we did Reds together, and now having done this was a much fuller experience because I got to know him much better. And knowing Jack is like Mr. Toad's Wild Ride. You don't know what hit you half the time. What's it like to be Jack Nicholson? Who knows? ‘Cause there's nobody like him, and there will never be anybody like him. Many great movie stars have incredible careers, but I don't think anyone's had as incredible a career as Jack. He's a real adventurer. I mean, he's a risk-taker as an actor, and in that way he's an artist like no one else. With Jack, the script is first, and when he read Nancy's script, that was the decisive moment for him. There's a real integrity about the choices Jack makes. He's very singular and authentic. Jack went where he had to go while filming this movie because we're telling a lovely, hopeful story for people, that there's a chance all of us can, in some way, find somebody's who's our perfect sparring partner."


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