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Legendary costume designer Ann Roth, winner of the Academy Award® for The English Patient and Oscar®-nominated another three times, had not before worked with De Niro when she was asked to join The Good Shepherd team. "Ann is mythic, just divine,” says Rosenthal. "She comes with very specific character choices herself.”

From her upbringing, the designer knew the types of people depicted in Eric Roth's script, and she was touched by the life of Edward Wilson. "When I first read it, I cried,” she confides. "I felt that it was insidious in the way this young man started out as a child, with a guileless sense of poetry and art; and just because he had a very fine mind and emulated his father to such a degree, he was sucked into another world.”

Of the entire production, she admits, "It's vast. If, for instance, you happen to be shooting three scenes in three different decades on the same day, it's a big puzzle.” To design the CIA's wardrobe, Roth recalled her days among the types who populate Eric Roth's story. "I remember as a little girl that I was not aware that my father changed his clothes very much,” she notes. "This was a period of serious suits.” To be true to the time, the many suits Roth had made for Damon, Pace and other intel officers were of the finest wool. "They are heavy; there were a lot of complaints,” says Roth. "But that's the way it was.”

For Jolie's character, Roth reflects, "I knew a lot of Clovers in my life. They went to finishing school; there was a glamour about them, but it was very homegrown.” Though Clover is from a prominent American family, ostentation is frowned upon, according to Roth. Clover does not wear the latest styles from Europe, but rather buys her clothes where her mother shops, or has them made by her mother's dressmaker.

The white gown the debutante dons for the Desert Island retreat the night she meets Wilson, for example, is a summer party dress that she had probably, according to Roth, "worn once before to a party.” After Clover and Edward are married, her new role as a proper political housewife is evident in her conservative choice of clothes.

During filming, director Robert De Niro's stamina never wavered. "I don't know how Bob lasts, but he's got the energy,” commends James G. Robinson. "He is an absolute perfectionist.”

At the same time, Jolie and Damon echo the cast's feelings of appreciation in De Niro's skill with actors. "He lets us be very bold,” says Jolie. "It's probably the best chance I've had to do some real work in a long time.”

"He's given all the actors permission to do things in a very natural way,” Damon concludes. "As Bob says, ‘It's like a novel, you let people read into it.'”

And of that novel, Ambassador Holbrooke best closes our story, "There's no way to understand the present without understanding how we got there. And The Good Shepherd tells us.”

Universal Pictures and James G. Robinson Present A Morgan Creek Production, A Tribeca/American Zoetrope Production: Matt Damon and Angelina Jolie star in The Good Shepherd, with Alec Baldwin, Tammy Blanchard, Billy Crudup, Robert De Niro, Keir Dullea, Martina Gedeck, William Hurt, Timothy Hutton, Lee Pace, Joe Pesci, Eddie Redmayne, John Sessions, Oleg Stefan, John Turturro. Casting for the film is by Amanda Mackey, CSA, Cathy Sandrich Gelfond, CSA and Sig De Miguel. Music is by Marcelo Zarvos and Bruce Fowler; the costume designer is Ann Roth. The film's editor is Tariq Anwar, and the production designer is Jeannine Oppewall. The Good Shepherd's director of photography is Robert Richardson, ASC. The executive producers are Francis Ford Coppola, David Robinson, Guy McElwaine, Howard Kaplan and Chris Brigham. The film is produced by James G. Robinson, Jane Rosenthal and Robert De Niro. The Good Shepherd is written by Eric Roth, and it is direc


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