Nancy Jane Meyers
Nancy Jane Meyers (conceived December 8, 1949) is an American movie executive, maker and screenwriter. She is the essayist, maker and executive of a few big-screen triumphs, including The Parent Trap (1998), What Women Want (2000), Something's Gotta Give (2003), The Holiday (2006), It's Complicated (2009) and The Intern (2015).[1]
Early life
Meyers was conceived in Philadelphia,[2] to father, Irving Meyers, an official at a democratic machines maker, and mother, Patricia Meyers (née Lemisch),[3] an inside creator who likewise filled in as a volunteer with the Head Start Program and the Home for the Blind.[4] The more youthful of two little girls, she was brought up in a Jewish family in the Drexel Hill area.[5] After perusing writer Moss Hart's self-portrayal Act One at twelve years old, Meyers wound up inspired by theater and began to act in nearby stage preparations. Her enthusiasm for screenwriting didn't develop until she saw Mike Nichols' film The Graduate in 1967.[5]
Meyers went to Lower Merion High School in Lower Merion, Pennsylvania.[6] In 1970, Meyers moved on from American University with a degree in journalism.[7][8]
Vocation
In the wake of moving on from school,https://en.gravatar.com/nancymerr#pic-1 https://speakerdeck.com/mer https://stanford.academia.edu/nancymer https://www.udemy.com/user/nancy-mre/ https://about.me/nancymer https://www.openstreetmap.org/user/Nancy%20mre Meyers went through a year working in open TV in Philadelphia. At the point when she was 22 years of age, Meyers moved to Los Angeles, living with her sister, Sally, in the Coldwater Canyon area.[5] She immediately found a new line of work as a Production Assistant on the CBS game show The Price Is Right.[1][4]
Motivated by the mainstream TV appear, The Mary Tyler Moore Show, Meyers chose she needed to compose. She in the long run got fill in as a story editorial manager where she read contents, composed inclusion, and worked with screenwriters on ventures that the makers were creating. One of the organizations she worked at was maker Ray Stark's organization, Rastar.[6] She stirred her way up from that point to thinking of her own scripts.[1] Two years subsequent to coming to Los Angeles, Meyers had the option to leave her place of employment to concentrate on a profession in screenwriting and took movie making classes where she associated with executives, for example, Martin Scorsese.[5] To help herself, she began a little cheesecake business in the wake of seeing the responses to a cake she made for a supper party.[4] She was in the end procured as a story supervisor by film maker Ray Stark, who later terminated her after she questioned the way that two journalists were each dealing with a similar content without the other knowing.[4]
1980s
In the late 1970s, Meyers began work with Charles Shyer when she was a story editorial manager in the film division at Motown. The pair progressed toward becoming companions and, alongside Harvey Miller, made the content for the parody Private Benjamin (1980) together, a film about a ruined young lady who joins the U.S. Armed force after her significant other passes on their wedding late evening during sex.[4] Starring entertainer Goldie Hawn, who alongside Meyers and Shyer official delivered the task, it was Hawn's specialist who made Warner Brothers official Robert Shapiro purchase the content after for all intents and purposes "everyone [had] turned it down. Everyone. More than once," as per Meyers.[4] Meyers portrayed that it was so difficult to get the film made, taking note of, "Each and every studio in Hollywood read it and passed on it... One studio called Goldie and said 'on the off chance that you make this film it's a profession ender.'"[9] Contrary to the customary way of thinking at the time, that a female lead with no male star was film industry poison, Private Benjamin ended up one of the greatest film industry hits of the year 1980, netting about $70 million altogether. It was selected for an Academy Award for Best Writing, as were Hawn and her co-star, Eileen Brennan, for their exhibitions, and won the group a Writers Guild of America Award for Best Original Screenplay.[4] likewise, the film produced an equivalent titled fleeting yet Golden Globe-winning TV arrangement that broadcast from 1981 until 1983.[10]
Meyers and Shyer's next venture, Irreconcilable Differences (1984),https://tinychat.com/room/nancymer http://yourlisten.com/nancymer https://hubpages.com/@nancymre denoted Shyer's directorial debut. Shelley Long and Ryan O'Neal played a Hollywood couple whose fixation on progress wrecks their association with their girl, played by eight-year-old Drew Barrymore. Discharged to a blended gathering by pundits, the joint effort turned into a moderate film industry with a gross of $12.4 million,[11] however got numerous Golden Globe designations, including Best Actress gestures for Long and Barrymore.[12] Also in 1984, Meyers, Shyer and Miller wrote Protocol, another satire featuring Goldie Hawn, in which she depicted a mixed drink server who counteracts the death of a meeting Arab Emir, and in this manner is extended to an employment opportunity with the United States Department of State as a convention official.[13] Hawn supposedly disdained their screenplay and contracted Buck Henry for a significant update, provoking the trio to go into discretion to settle their differences.[14] While neither Meyers nor Shyer wound up associated with creating or coordinating the film, it fared somewhat greater in the cinema world than Irreconcilable Differences, accumulating $26.3 million in total.[15]
Meyers in the long run came back to delivering with Baby Boom (1987), https://pastebin.com/u/nancymer https://nancymer.livejournal.com/profile https://www.kdpcommunity.com/s/profile/005f4000004nvQe?language=en_US a film about a New York City female official, who unexpectedly turns into the gatekeeper of her removed cousin's 14-month-old girl. The film denoted her presentation joint effort with Diane Keaton. The impetus for the task was a progression of circumstances that Meyers and Shyer and their companions had encountered while dealing with an existence with a fruitful vocation and a developing family.[14] Baby Boom was positively gotten by pundits and spectators the same. It was designated for a Golden Globe Award for Best Motion Picture - Musical or Comedy and earned a good $1.6 million in its opening end of the week in the US, and roughly $26.7 million during in its whole run.[16][17] As with Private Benjamin the film was trailed by a fleeting TV arrangement featuring Kate Jackson.[18]
1990s
In 1990, Meyers and Shyer, working from prior material just because, re-collaborated with Keaton to redo the 1950 Vincente Minnelli film Father of the Bride. Featuring Steve Martin as a dad losing his little girl and his financial balance simultaneously, their 1991 rendition was discharged to commonly positive gathering. It turned into a hit among spectators, bringing about the pair's greatest money related achievement yet at an overall gross of $90 million.[19] A continuation of the film which revolved around the development of the family, entitled Father of the Bride Part II, was created in 1995.[20] Loosely dependent on the first's 1951 spin-off Father's Little Dividend, it to a great extent repeated the accomplishment of its antecedent at the crate office.[21] A third portion, likewise wrote by Meyers and Shyer, neglected to materialize.[22]
Likewise in 1991, Meyers added to the content for the gathering parody Once Upon a Crime (1992), coordinated by Eugene Levy, and ended up one out of a few content specialists counseled to take a shot at the Whoopi Goldberg satire Sister Act (1992).[23] Her next venture with Shyer was I Love Trouble (1994), a parody spine chiller about an offspring correspondent and a prepared feature writer who pursue a similar story, that was roused by screwball comedies of the 1930s and 1940s, for example, His Girl Friday and Woman of the Year.[24] Written for and featuring Julia Roberts and Nick Nolte, the film was not generally welcomed by pundits however netted over $30 million in film industry receipts in the United States.[25][26] While the content for Toast of the Town, another Meyers/Shyer joint effort, that Meyers portrayed as "a Depression-period satire about a community young lady who goes to the huge city, loses her qualities and afterward discovers them once more," found no purchasers, another undertaking called Love Crazy neglected to appear after lead entertainer Hugh Grant dropped out of the task following quite a while of negotiations.[27][28]
Having turned down Paramount CEO Sherry Lansing's idea to coordinate the 1996 satire blockbuster The First Wives Club,[4] Meyers in the end concurred on making her directorial debut with The Parent Trap (1998), after the marking of an advancement manage Walt Disney Pictures in 1997.[29] A revamp of the equivalent titled 1961 unique dependent on Erich Kästner's tale Lottie and Lisa, it featured Lindsay Lohan in her movie debut, in a double job of antagonized twin sisters who attempt to rejoin their since quite a while ago separated from guardians, played by Dennis Quaid and Natasha Richardson.[29] Lohan's giving a role as twins constrained Meyers to shoot the movie moving control, a prerequisite she considered rather confused. "I truly didn't have the foggiest idea how to do it," she said. "We had a prep day to go over the procedure, and before the day's over I had somewhat better understanding. Be that as it may, I moved toward the motion picture like it wasn't an impacts film; I simply attempted to make it authentic."[29] Released to positive surveys from pundits, The Parent Trap got $92 million worldwide.[30]
2000s
In 1998, after the accomplishment of The Parent Trap and her partition from Shyer,https://disqus.com/by/nancymer/ https://www.buzzfeed.com/nancymer https://issuu.com/nancymer https://www.ted.com/profiles/14224996 http://www.pearltrees.com/nancymer https://www.codecademy.com/profiles/nancymer Disney's Touchstone Pictures executive Joe Roth requested that Meyers recreate a unique content named Head Games about a man who picks up the ability to hear everything ladies are thinking, a thought initially brought about by The King of Queens makers Cathy Yuspa and Josh Goldsmith.[28] Subsequently, Meyers wrote two drafts of the content before consenting to coordinate, yet as Roth left the studio in January 1999, Disney expelled the movie and the task in the end went to Paramount.[31] By the next year, Mel Gibson and Helen Hunt had marked on to star in driving jobs and the undertaking had been retitled What Women Want.[31] Released in 2000 to blended surveys, it turned into the then-best movie at any point coordinated by a lady, taking in $183 million in the United States, and netting upward of $370 million worldwide.[32][33]
Following her separation, Meyers composed and coordinated the post-separate from satire Something's Gotta Give (2003), featuring Diane Keaton and Jack Nicholson as an effective 60-something and 50-something, who discover love for one another at an alternate time of life, regardless of being direct inverses.
Early life
Meyers was conceived in Philadelphia,[2] to father, Irving Meyers, an official at a democratic machines maker, and mother, Patricia Meyers (née Lemisch),[3] an inside creator who likewise filled in as a volunteer with the Head Start Program and the Home for the Blind.[4] The more youthful of two little girls, she was brought up in a Jewish family in the Drexel Hill area.[5] After perusing writer Moss Hart's self-portrayal Act One at twelve years old, Meyers wound up inspired by theater and began to act in nearby stage preparations. Her enthusiasm for screenwriting didn't develop until she saw Mike Nichols' film The Graduate in 1967.[5]
Meyers went to Lower Merion High School in Lower Merion, Pennsylvania.[6] In 1970, Meyers moved on from American University with a degree in journalism.[7][8]
Vocation
In the wake of moving on from school,https://en.gravatar.com/nancymerr#pic-1 https://speakerdeck.com/mer https://stanford.academia.edu/nancymer https://www.udemy.com/user/nancy-mre/ https://about.me/nancymer https://www.openstreetmap.org/user/Nancy%20mre Meyers went through a year working in open TV in Philadelphia. At the point when she was 22 years of age, Meyers moved to Los Angeles, living with her sister, Sally, in the Coldwater Canyon area.[5] She immediately found a new line of work as a Production Assistant on the CBS game show The Price Is Right.[1][4]
Motivated by the mainstream TV appear, The Mary Tyler Moore Show, Meyers chose she needed to compose. She in the long run got fill in as a story editorial manager where she read contents, composed inclusion, and worked with screenwriters on ventures that the makers were creating. One of the organizations she worked at was maker Ray Stark's organization, Rastar.[6] She stirred her way up from that point to thinking of her own scripts.[1] Two years subsequent to coming to Los Angeles, Meyers had the option to leave her place of employment to concentrate on a profession in screenwriting and took movie making classes where she associated with executives, for example, Martin Scorsese.[5] To help herself, she began a little cheesecake business in the wake of seeing the responses to a cake she made for a supper party.[4] She was in the end procured as a story supervisor by film maker Ray Stark, who later terminated her after she questioned the way that two journalists were each dealing with a similar content without the other knowing.[4]
1980s
In the late 1970s, Meyers began work with Charles Shyer when she was a story editorial manager in the film division at Motown. The pair progressed toward becoming companions and, alongside Harvey Miller, made the content for the parody Private Benjamin (1980) together, a film about a ruined young lady who joins the U.S. Armed force after her significant other passes on their wedding late evening during sex.[4] Starring entertainer Goldie Hawn, who alongside Meyers and Shyer official delivered the task, it was Hawn's specialist who made Warner Brothers official Robert Shapiro purchase the content after for all intents and purposes "everyone [had] turned it down. Everyone. More than once," as per Meyers.[4] Meyers portrayed that it was so difficult to get the film made, taking note of, "Each and every studio in Hollywood read it and passed on it... One studio called Goldie and said 'on the off chance that you make this film it's a profession ender.'"[9] Contrary to the customary way of thinking at the time, that a female lead with no male star was film industry poison, Private Benjamin ended up one of the greatest film industry hits of the year 1980, netting about $70 million altogether. It was selected for an Academy Award for Best Writing, as were Hawn and her co-star, Eileen Brennan, for their exhibitions, and won the group a Writers Guild of America Award for Best Original Screenplay.[4] likewise, the film produced an equivalent titled fleeting yet Golden Globe-winning TV arrangement that broadcast from 1981 until 1983.[10]
Meyers and Shyer's next venture, Irreconcilable Differences (1984),https://tinychat.com/room/nancymer http://yourlisten.com/nancymer https://hubpages.com/@nancymre denoted Shyer's directorial debut. Shelley Long and Ryan O'Neal played a Hollywood couple whose fixation on progress wrecks their association with their girl, played by eight-year-old Drew Barrymore. Discharged to a blended gathering by pundits, the joint effort turned into a moderate film industry with a gross of $12.4 million,[11] however got numerous Golden Globe designations, including Best Actress gestures for Long and Barrymore.[12] Also in 1984, Meyers, Shyer and Miller wrote Protocol, another satire featuring Goldie Hawn, in which she depicted a mixed drink server who counteracts the death of a meeting Arab Emir, and in this manner is extended to an employment opportunity with the United States Department of State as a convention official.[13] Hawn supposedly disdained their screenplay and contracted Buck Henry for a significant update, provoking the trio to go into discretion to settle their differences.[14] While neither Meyers nor Shyer wound up associated with creating or coordinating the film, it fared somewhat greater in the cinema world than Irreconcilable Differences, accumulating $26.3 million in total.[15]
Meyers in the long run came back to delivering with Baby Boom (1987), https://pastebin.com/u/nancymer https://nancymer.livejournal.com/profile https://www.kdpcommunity.com/s/profile/005f4000004nvQe?language=en_US a film about a New York City female official, who unexpectedly turns into the gatekeeper of her removed cousin's 14-month-old girl. The film denoted her presentation joint effort with Diane Keaton. The impetus for the task was a progression of circumstances that Meyers and Shyer and their companions had encountered while dealing with an existence with a fruitful vocation and a developing family.[14] Baby Boom was positively gotten by pundits and spectators the same. It was designated for a Golden Globe Award for Best Motion Picture - Musical or Comedy and earned a good $1.6 million in its opening end of the week in the US, and roughly $26.7 million during in its whole run.[16][17] As with Private Benjamin the film was trailed by a fleeting TV arrangement featuring Kate Jackson.[18]
1990s
In 1990, Meyers and Shyer, working from prior material just because, re-collaborated with Keaton to redo the 1950 Vincente Minnelli film Father of the Bride. Featuring Steve Martin as a dad losing his little girl and his financial balance simultaneously, their 1991 rendition was discharged to commonly positive gathering. It turned into a hit among spectators, bringing about the pair's greatest money related achievement yet at an overall gross of $90 million.[19] A continuation of the film which revolved around the development of the family, entitled Father of the Bride Part II, was created in 1995.[20] Loosely dependent on the first's 1951 spin-off Father's Little Dividend, it to a great extent repeated the accomplishment of its antecedent at the crate office.[21] A third portion, likewise wrote by Meyers and Shyer, neglected to materialize.[22]
Likewise in 1991, Meyers added to the content for the gathering parody Once Upon a Crime (1992), coordinated by Eugene Levy, and ended up one out of a few content specialists counseled to take a shot at the Whoopi Goldberg satire Sister Act (1992).[23] Her next venture with Shyer was I Love Trouble (1994), a parody spine chiller about an offspring correspondent and a prepared feature writer who pursue a similar story, that was roused by screwball comedies of the 1930s and 1940s, for example, His Girl Friday and Woman of the Year.[24] Written for and featuring Julia Roberts and Nick Nolte, the film was not generally welcomed by pundits however netted over $30 million in film industry receipts in the United States.[25][26] While the content for Toast of the Town, another Meyers/Shyer joint effort, that Meyers portrayed as "a Depression-period satire about a community young lady who goes to the huge city, loses her qualities and afterward discovers them once more," found no purchasers, another undertaking called Love Crazy neglected to appear after lead entertainer Hugh Grant dropped out of the task following quite a while of negotiations.[27][28]
Having turned down Paramount CEO Sherry Lansing's idea to coordinate the 1996 satire blockbuster The First Wives Club,[4] Meyers in the end concurred on making her directorial debut with The Parent Trap (1998), after the marking of an advancement manage Walt Disney Pictures in 1997.[29] A revamp of the equivalent titled 1961 unique dependent on Erich Kästner's tale Lottie and Lisa, it featured Lindsay Lohan in her movie debut, in a double job of antagonized twin sisters who attempt to rejoin their since quite a while ago separated from guardians, played by Dennis Quaid and Natasha Richardson.[29] Lohan's giving a role as twins constrained Meyers to shoot the movie moving control, a prerequisite she considered rather confused. "I truly didn't have the foggiest idea how to do it," she said. "We had a prep day to go over the procedure, and before the day's over I had somewhat better understanding. Be that as it may, I moved toward the motion picture like it wasn't an impacts film; I simply attempted to make it authentic."[29] Released to positive surveys from pundits, The Parent Trap got $92 million worldwide.[30]
2000s
In 1998, after the accomplishment of The Parent Trap and her partition from Shyer,https://disqus.com/by/nancymer/ https://www.buzzfeed.com/nancymer https://issuu.com/nancymer https://www.ted.com/profiles/14224996 http://www.pearltrees.com/nancymer https://www.codecademy.com/profiles/nancymer Disney's Touchstone Pictures executive Joe Roth requested that Meyers recreate a unique content named Head Games about a man who picks up the ability to hear everything ladies are thinking, a thought initially brought about by The King of Queens makers Cathy Yuspa and Josh Goldsmith.[28] Subsequently, Meyers wrote two drafts of the content before consenting to coordinate, yet as Roth left the studio in January 1999, Disney expelled the movie and the task in the end went to Paramount.[31] By the next year, Mel Gibson and Helen Hunt had marked on to star in driving jobs and the undertaking had been retitled What Women Want.[31] Released in 2000 to blended surveys, it turned into the then-best movie at any point coordinated by a lady, taking in $183 million in the United States, and netting upward of $370 million worldwide.[32][33]
Following her separation, Meyers composed and coordinated the post-separate from satire Something's Gotta Give (2003), featuring Diane Keaton and Jack Nicholson as an effective 60-something and 50-something, who discover love for one another at an alternate time of life, regardless of being direct inverses.
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