Pretty Woman


1h 59m 1990

Brief Synopsis

A millionaire turns a streetwalker into a lady for one weekend.

Film Details

MPAA Rating
Genre
Comedy
Romance
Drama
Romantic Comedy
Release Date
1990
Production Company
Harrison Marsh
Distribution Company
Walt Disney Studios Distribution
Location
Los Angeles, California, USA

Technical Specs

Duration
1h 59m

Synopsis

The Pygmalion-like transformation of a young Los Angeles prostitute.

Crew

Adell Aldrich

Script Supervisor

Carlos Alomar

Song

Lee Ashley

Music Arranger

Rick Avery

Stunt Coordinator

Elinor Bardach

Costumes

Mychael Bates

Property Master Assistant

Ron Batzdorff

Photography

Ben Beaird

Key Grip

Gary Beaird

Grip

Carl Boles

Lighting Technician

David Bowie

Song

David Bowie

Song Performer

Albert Brenner

Production Designer

Tom Briggs

Transportation Captain

Lew Brown

Song

Thomas R Bryant

Assistant Editor

Philip Caplan

Camera Operator

Peter Cetera

Song Performer

Pat Chapman

Production Coordinator

Ronald D Chong

Dga Trainee

Sidney Clare

Song

Natalie Cole

Song Performer

Anthony R Collier

Dolly Grip

Tom Connole

Assistant Camera Operator

Craig Conwell

Assistant Editor

Peter Cox

Song

Dianne Crittenden

Casting Director

Scott Cutler

Song

Robert Dawson

Main Title Design

Brad Dechter

Original Music

William Dees

Song

Frank Del Boccio

Assistant Camera Operator

Stanley Donen

Other

Tommy Dorsett

Assistant Editor

Richard Drummie

Song

Bettiann Fishman

Assistant Director

Robert Fitzgerald

Sound Editor

Becky Foster

Song

David Foster

Song

Diane Frazen

Assistant

John Frusciante

Song

Kenny G.

Music

Michael A. Genne

Camera Operator

Richard Gere

Music

Richard Gere

Song Performer

Per Gessle

Song

Gary W Goldstein

Coproducer

Antoinette Gordon

Set Designer

Jeremy Gordon

Sound Editor

Raja Gosnell

Editor

Johnny Greenan

Song

David Haber

Art Director

David Lee Hagberg

Sound Editor

Judy Hallin

Assistant

Wendy S Hallin

Production Assistant

Jack Hayes

Original Music

Donald G Helderle

Foreman

Karen Hernandez

Song Performer

Karen Hernandez

Song

George Herthel

Location Manager

Michael Hilkene

Sound Editor

James Newton Howard

Music

James Newton Howard

Original Music

David J Hudson

Sound

Craig Isaac

Production Assistant

Sandy Isaac

Assistant

Doug Jackson

Sound Editor

Claudio Jacobellis

Production Assistant

Sundae Jahant

Production Assistant

Chris Jargo

Adr Editor

Jimmie Johnson

Song

Randy Johnson

Boom Operator

Ross Judd

Assistant Camera Operator

David Michael Katz

Production Assistant

Elyse Katz

Production Assistant

Anthony Kiedis

Song

Gary Krivacek

Sound Editor

Bill Labounty

Song

Ron Lambert

Color Timer

J. F. Lawton

Screenplay

John Lennon

Song

A J Leonardi

Other

Daniel J Lester

Costume Supervisor

Garrett Lewis

Set Decorator

Eric Lindemann

Sound Editor

Carlane Passman Little

Set Costumer

Sam Lorber

Song

Harrison Marsh

Cable Operator

Michael Mason

Music

Joe Mayer

Adr Editor

Mel Metcalfe

Sound

Arnon Milchan

Producer

Bob Mills

Makeup

Charles Minsky

Director Of Photography

Shawn Murphy

Music

Priscilla Nedd-friendly

Editor

Frank B Nieves

Foreman

Carol A. O'connell

Hair

Johnny O'keefe

Song

Roy Orbison

Song

Roy Orbison

Song Performer

Keith Orefice

Electrician

Christopher Otcasek

Song Performer

Dave Owen

Song

Martin Page

Song

Marty Paich

Music Conductor

Earl Palmer

Song Performer

Robert Palmer

Song Performer

Robert Palmer

Song

Thomas Pasatieri

Music

Thomas Pasatieri

Music Conductor

Thomas Pasatieri

Music Arranger

Terry Porter

Sound

Allen Powell

Song

Greg Prestopino

Song

Roger J Pugliese

Unit Production Manager

Carolyn Quinn

Assistant

Steven Reuther

Producer

Blair Richwood

Other

Julie Rosser

Assistant

Ken Scaife

Construction Coordinator

Robert Schaper

Music

Michael L Schwake

Dolly Grip

Ellen H. Schwartz

Assistant Director

Ellen Segal

Music Editor

Sharyn Shimada-huggins

Production Assistant

Thomas W Small

Sound Editor

Chad Smith

Song

Jonathan Southard

Assistant

Allen E Taylor

Production Accountant

Tom E Thomas

Transportation Coordinator

Linda Thompson

Song

Ken Tosic

Lighting Technician

Wallace Uchida

Location Assistant

Marilyn Vance-straker

Costume Designer

Walter Von Huene

Associate Producer

Harry Warren

Song

Jim Webb

Sound Mixer

Jane Wiedlin

Song

Jane Wiedlin

Song Performer

John O Wilde

Sound Editor

Matthew Wilder

Song

Clarence Williams

Song

Spencer Williams Jr.

Song

Lauren Wood

Song Performer

Lauren Wood

Song

Kim Wozniak

Accounting Assistant

Eugene Wright

Song Performer

Douglas Yellin

Assistant

Rick A Young

Property Master

Gary Zink

Special Effects Coordinator

Laura Ziskin

Executive Producer

Dori Zuckerman

Casting

Film Details

MPAA Rating
Genre
Comedy
Romance
Drama
Romantic Comedy
Release Date
1990
Production Company
Harrison Marsh
Distribution Company
Walt Disney Studios Distribution
Location
Los Angeles, California, USA

Technical Specs

Duration
1h 59m

Award Nominations

Best Actress

1990
Julia Roberts

Articles

Pretty Woman


Pretty Woman (1990), directed by Garry Marshall and starring Julia Roberts and Richard Gere was a modern-day Cinderella story. Or a Cinderella story with a twist. Prince Charming is a businessman and Cinderella is a street walker. Like Cinderella, she gets her fella in the end. It's a Disney film, after all.

The original script, titled 3000 by J.F. Lawton, was much darker. Vivian (Roberts) is a drug-addicted hooker who is rescued for a week by Edward (Gere) and then returned to the streets. Of course it had to be changed. Roberts described the original script as "a really dark and depressing, horrible, terrible story about two horrible people and my character was this drug addict, a bad-tempered, foulmouthed, ill-humored, poorly educated hooker who had this weeklong experience with a foulmouthed, ill-tempered, bad-humored, very wealthy, handsome but horrible man and it was just a grisly, ugly story about these two people." The author concurred, "the original story of 3000 was basically like the movie Pretty Woman except for the ending - he didn't fall in love with her in the original script, and she does end up back on the street." Lawton, a 28 year-old film trailer editor and aspiring screenwriter had directed scenes from the script for the Sundance Institute (Robert Redford's incubator for aspiring filmmakers in Utah). It was bought by Vestron Pictures to be shot as a low-budget film using the original script.

Gary Goldstein, a producer at Vestron thought Julia Roberts would be ideal as Vivian after seeing her in Mystic Pizza (1988) and sent the script to her agent, Elaine Goldsmith. Roberts, despite her description of the original screenplay "chased it down like a dog. I just loved it. My reaction to her was a balance of intrigue and fear - the same balance I felt toward Daisy in Mystic Pizza and Shelby in Steel Magnolias [1989]." As Roberts was falling in love with the character of Vivian, Vestron went out of business. Goldstein still had the rights to the script, and Roberts had no films lined up.

Enter Steve Reuther, a producer who liked the script. He and Arnon Milchan got involved and managed to interest both Universal and Touchstone Films (a division of Disney). After a bidding war, the rights to 3000 were sold to Touchstone for $17 million. With the sale came a happy ending. Garry Marshall had just directed Beaches (1988) for Touchstone. "Garry was a little nervous about making the ending too upbeat, because the script was well respected in Hollywood and he didn't want to be accused of being the guy who turned it into fluff," remembered Lawton, who was asked to do another draft of the script. "I did two drafts that made it more of a love story - they got together at the end. I took out the fact that he had a girlfriend he was cheating on with her and a few other things, and Disney's reaction was that I'd gone too far, lightened it up too much." Lawton was fired and another writer, Stephen Metcalfe, was hired to do a fourth draft, and Robert Garland for a fifth, and Barbara Benedek for a sixth. "Garry Marshall had a bunch of writers punching up material, one-liner people. At that point I threw up my hands. I heard rumors they were thinking of hiring me back, but that never happened," Lawton added.

Marshall's first meeting with Roberts was just as confusing. Roberts said, "He was saying 'I don't understand you. Some say you can't dress her up. Some say you can't dress her down. What do I do with you?' And I'd say, 'I don't understand you. You're funny but this script is bad and I don't understand what kind of job I'm trying to get.' So we both asked each other a lot of questions and even then until like the moment before we started to shoot the movie, I still was slightly bewildered and stayed in that state the whole filming of the movie."

Disney wasn't convinced that Roberts was the right woman for the role. Marshall tested her against several different actors, including Tom Conti, Sam Neill and Charles Grodin. "So we did the scene, and of course Charles is ad-libbing and was hysterical. In the middle of the scene I saw Julia suddenly take a stance and she started holding her own against Grodin. I had found her funny bone." It was only when Roberts told Disney that she would make another movie instead that they decided to go with her. Her salary was $300,000.

Finding a leading man proved just as challenging. John Travolta had auditioned and Richard Gere was suggested, but they learned that Gere had already read 3000 and rejected it. Roberts and Marshall went to Gere's apartment in New York to persuade him. Returning from the bathroom, Marshall saw the two sitting together. "They were bathed in this eerie light, and they looked so good together that I thought, 'We just have to get Richard.' I told Julia she had to persuade him to come on board." Eventually, they succeeded and the cast was rounded out by Jason Alexander, Hector Elizondo, Laura San Giacomo, and Ralph Bellamy.

The filming of Pretty Woman began on July 24, 1989 and locations included the Regent Beverly Wilshire hotel on Rodeo Drive (the only hotel that would allow its exterior and lobby to be filmed), the former Ambassador Hotel, and various sites in San Francisco, including the War Memorial Opera House. Sets were built in Burbank to double as the hotel rooms and Edward's office. Roberts prepared for her part by talking to prostitutes on Hollywood Boulevard and learned that the girls weren't just prostitutes, but women with hopes and dreams and goals. It would be something she would inject into the character. Filming finished on October 18th and the movie was released on March 23, 1990.

Pretty Woman was an immediate smash. The critics were generally positive. Roger Ebert, writing for The Chicago Sun-Times was surprised that "Pretty Woman is such an innocent movie - that it's the sweetest and most openhearted love fable since The Princess Bride [1987]. Here is a movie that could have marched us down mean streets into the sinks of iniquity, and it glows with romance. [...] Gere and Roberts work easily together; we sense that their characters not only like one another, but feel comfortable with one another. The catch is, neither one trusts the feeling of comfort. They've been hurt so often, they depend on a facade of cynical detachment. Everything is business. He offers her money to spend one week with him, she accepts, he buys her clothes, they have sex and of course (this being the movies) they fall in love. [...] I mentioned that the movie is sweet and innocent. It is; it protects its fragile love story in the midst of cynicism and compromise. The performances are critical for that purpose. Gere plays new notes here; his swagger is gone, and he's more tentative, proper, even shy. Roberts does an interesting thing; she gives her character an irrepressibly bouncy sense of humor and then lets her spend the movie trying to repress it. Actresses who can do that and look great can have whatever they want in Hollywood. There could indeed be, I suppose, an entirely different movie made from the same material - a more realistic film, in which the cold economic realities of the lives of both characters would make it unlikely they could stay together. And, for that matter, a final scene involving a limousine, a fire escape and some flowers is awkward and feels tacked on. But by the end of the movie I was happy to have it close as it does." The film had its detractors who were tired of the "whore with a heart of gold" theme, notably critic Gary Giddins who wrote, "In the insidious Pretty Woman all women who aren't explicitly identified as tramps are gold-digging wives or snooty shopkeepers. It's the kind of working-class fantasy that wants the men in the audience to identify with a ruthless corporate pirate and the women to identify with a simple but grand-hearted streetwalker who, given a chance, could be a lady's lady....The attempted laughs (few succeed) are at her expense. She's so stupid she doesn't know how to eat pâté, so stupid that she doesn't know opera involves music. Yet she wins the heart of her zillionaire client after six days of baths and blowjobs, revealing to one and all of her essential girlish decency....Needless to say (this whole review is needless but it's my job), Roberts turns Gere into a decent fellow who abandons his corporate raider ways."

The pro and con debate over Pretty Woman continues to this day and critical essays are still written on the subject. Despite the debate, for Julia Roberts the film was nothing short of a career launcher. She became a star overnight, earned an Academy Award nomination and for almost twenty years was the highest-paid woman in Hollywood. Pretty Woman has remained the role with which she is most associated. It's hard to read any article written about her that doesn't have the title appear in it somewhere. As for Touchstone, Pretty Woman was a real-life Cinderella story. To date, it has grossed over $463 million dollars.

Producer: Arnon Milchan, Steven Reuther
Director: Garry Marshall
Screenplay: J.F. Lawton
Cinematography: Charles Minsky
Art Direction: David Haber
Music: James Newton Howard
Film Editing: Priscilla Nedd; Raja Gosnell (uncredited)
Cast: Richard Gere (Edward Lewis), Julia Roberts (Vivian Ward), Ralph Bellamy (James Morse), Jason Alexander (Philip Stuckey), Laura San Giacomo (Kit De Luca), Alex Hyde-White (David Morse), Amy Yasbeck (Elizabeth Stuckey), Elinor Donahue (Bridget), Hector Elizondo (Barney Thompson), Judith Baldwin (Susan).
C-119m. Letterboxed. Closed Captioning. Descriptive Video.

by Lorraine LoBianco

SOURCES:
Ebert, Roger "Pretty Woman" The Chicago Sun-Times 23 Mar 90
Giddins, Gary Natural Selection: Gary Giddins on Comedy, Film, Music and Books
Spada, James Julia: A Life
The Internet Movie Database
Pretty Woman

Pretty Woman

Pretty Woman (1990), directed by Garry Marshall and starring Julia Roberts and Richard Gere was a modern-day Cinderella story. Or a Cinderella story with a twist. Prince Charming is a businessman and Cinderella is a street walker. Like Cinderella, she gets her fella in the end. It's a Disney film, after all. The original script, titled 3000 by J.F. Lawton, was much darker. Vivian (Roberts) is a drug-addicted hooker who is rescued for a week by Edward (Gere) and then returned to the streets. Of course it had to be changed. Roberts described the original script as "a really dark and depressing, horrible, terrible story about two horrible people and my character was this drug addict, a bad-tempered, foulmouthed, ill-humored, poorly educated hooker who had this weeklong experience with a foulmouthed, ill-tempered, bad-humored, very wealthy, handsome but horrible man and it was just a grisly, ugly story about these two people." The author concurred, "the original story of 3000 was basically like the movie Pretty Woman except for the ending - he didn't fall in love with her in the original script, and she does end up back on the street." Lawton, a 28 year-old film trailer editor and aspiring screenwriter had directed scenes from the script for the Sundance Institute (Robert Redford's incubator for aspiring filmmakers in Utah). It was bought by Vestron Pictures to be shot as a low-budget film using the original script. Gary Goldstein, a producer at Vestron thought Julia Roberts would be ideal as Vivian after seeing her in Mystic Pizza (1988) and sent the script to her agent, Elaine Goldsmith. Roberts, despite her description of the original screenplay "chased it down like a dog. I just loved it. My reaction to her was a balance of intrigue and fear - the same balance I felt toward Daisy in Mystic Pizza and Shelby in Steel Magnolias [1989]." As Roberts was falling in love with the character of Vivian, Vestron went out of business. Goldstein still had the rights to the script, and Roberts had no films lined up. Enter Steve Reuther, a producer who liked the script. He and Arnon Milchan got involved and managed to interest both Universal and Touchstone Films (a division of Disney). After a bidding war, the rights to 3000 were sold to Touchstone for $17 million. With the sale came a happy ending. Garry Marshall had just directed Beaches (1988) for Touchstone. "Garry was a little nervous about making the ending too upbeat, because the script was well respected in Hollywood and he didn't want to be accused of being the guy who turned it into fluff," remembered Lawton, who was asked to do another draft of the script. "I did two drafts that made it more of a love story - they got together at the end. I took out the fact that he had a girlfriend he was cheating on with her and a few other things, and Disney's reaction was that I'd gone too far, lightened it up too much." Lawton was fired and another writer, Stephen Metcalfe, was hired to do a fourth draft, and Robert Garland for a fifth, and Barbara Benedek for a sixth. "Garry Marshall had a bunch of writers punching up material, one-liner people. At that point I threw up my hands. I heard rumors they were thinking of hiring me back, but that never happened," Lawton added. Marshall's first meeting with Roberts was just as confusing. Roberts said, "He was saying 'I don't understand you. Some say you can't dress her up. Some say you can't dress her down. What do I do with you?' And I'd say, 'I don't understand you. You're funny but this script is bad and I don't understand what kind of job I'm trying to get.' So we both asked each other a lot of questions and even then until like the moment before we started to shoot the movie, I still was slightly bewildered and stayed in that state the whole filming of the movie." Disney wasn't convinced that Roberts was the right woman for the role. Marshall tested her against several different actors, including Tom Conti, Sam Neill and Charles Grodin. "So we did the scene, and of course Charles is ad-libbing and was hysterical. In the middle of the scene I saw Julia suddenly take a stance and she started holding her own against Grodin. I had found her funny bone." It was only when Roberts told Disney that she would make another movie instead that they decided to go with her. Her salary was $300,000. Finding a leading man proved just as challenging. John Travolta had auditioned and Richard Gere was suggested, but they learned that Gere had already read 3000 and rejected it. Roberts and Marshall went to Gere's apartment in New York to persuade him. Returning from the bathroom, Marshall saw the two sitting together. "They were bathed in this eerie light, and they looked so good together that I thought, 'We just have to get Richard.' I told Julia she had to persuade him to come on board." Eventually, they succeeded and the cast was rounded out by Jason Alexander, Hector Elizondo, Laura San Giacomo, and Ralph Bellamy. The filming of Pretty Woman began on July 24, 1989 and locations included the Regent Beverly Wilshire hotel on Rodeo Drive (the only hotel that would allow its exterior and lobby to be filmed), the former Ambassador Hotel, and various sites in San Francisco, including the War Memorial Opera House. Sets were built in Burbank to double as the hotel rooms and Edward's office. Roberts prepared for her part by talking to prostitutes on Hollywood Boulevard and learned that the girls weren't just prostitutes, but women with hopes and dreams and goals. It would be something she would inject into the character. Filming finished on October 18th and the movie was released on March 23, 1990. Pretty Woman was an immediate smash. The critics were generally positive. Roger Ebert, writing for The Chicago Sun-Times was surprised that "Pretty Woman is such an innocent movie - that it's the sweetest and most openhearted love fable since The Princess Bride [1987]. Here is a movie that could have marched us down mean streets into the sinks of iniquity, and it glows with romance. [...] Gere and Roberts work easily together; we sense that their characters not only like one another, but feel comfortable with one another. The catch is, neither one trusts the feeling of comfort. They've been hurt so often, they depend on a facade of cynical detachment. Everything is business. He offers her money to spend one week with him, she accepts, he buys her clothes, they have sex and of course (this being the movies) they fall in love. [...] I mentioned that the movie is sweet and innocent. It is; it protects its fragile love story in the midst of cynicism and compromise. The performances are critical for that purpose. Gere plays new notes here; his swagger is gone, and he's more tentative, proper, even shy. Roberts does an interesting thing; she gives her character an irrepressibly bouncy sense of humor and then lets her spend the movie trying to repress it. Actresses who can do that and look great can have whatever they want in Hollywood. There could indeed be, I suppose, an entirely different movie made from the same material - a more realistic film, in which the cold economic realities of the lives of both characters would make it unlikely they could stay together. And, for that matter, a final scene involving a limousine, a fire escape and some flowers is awkward and feels tacked on. But by the end of the movie I was happy to have it close as it does." The film had its detractors who were tired of the "whore with a heart of gold" theme, notably critic Gary Giddins who wrote, "In the insidious Pretty Woman all women who aren't explicitly identified as tramps are gold-digging wives or snooty shopkeepers. It's the kind of working-class fantasy that wants the men in the audience to identify with a ruthless corporate pirate and the women to identify with a simple but grand-hearted streetwalker who, given a chance, could be a lady's lady....The attempted laughs (few succeed) are at her expense. She's so stupid she doesn't know how to eat pâté, so stupid that she doesn't know opera involves music. Yet she wins the heart of her zillionaire client after six days of baths and blowjobs, revealing to one and all of her essential girlish decency....Needless to say (this whole review is needless but it's my job), Roberts turns Gere into a decent fellow who abandons his corporate raider ways." The pro and con debate over Pretty Woman continues to this day and critical essays are still written on the subject. Despite the debate, for Julia Roberts the film was nothing short of a career launcher. She became a star overnight, earned an Academy Award nomination and for almost twenty years was the highest-paid woman in Hollywood. Pretty Woman has remained the role with which she is most associated. It's hard to read any article written about her that doesn't have the title appear in it somewhere. As for Touchstone, Pretty Woman was a real-life Cinderella story. To date, it has grossed over $463 million dollars. Producer: Arnon Milchan, Steven Reuther Director: Garry Marshall Screenplay: J.F. Lawton Cinematography: Charles Minsky Art Direction: David Haber Music: James Newton Howard Film Editing: Priscilla Nedd; Raja Gosnell (uncredited) Cast: Richard Gere (Edward Lewis), Julia Roberts (Vivian Ward), Ralph Bellamy (James Morse), Jason Alexander (Philip Stuckey), Laura San Giacomo (Kit De Luca), Alex Hyde-White (David Morse), Amy Yasbeck (Elizabeth Stuckey), Elinor Donahue (Bridget), Hector Elizondo (Barney Thompson), Judith Baldwin (Susan). C-119m. Letterboxed. Closed Captioning. Descriptive Video. by Lorraine LoBianco SOURCES: Ebert, Roger "Pretty Woman" The Chicago Sun-Times 23 Mar 90 Giddins, Gary Natural Selection: Gary Giddins on Comedy, Film, Music and Books Spada, James Julia: A Life The Internet Movie Database

Quotes

Trivia

Miscellaneous Notes

Released in United States Spring March 23, 1990

Released in United States on Video October 19, 1990

Released in United States 1990

Released in United States July 1990

Released in United States December 1990

Shown at Deauville Film Festival August 31 - September 9, 1990.

Shown at Taormina Film Festival, Italy July 20-29, 1990.

Shown at Cairo International Film Festival December 3-16, 1990.

The script was developed at the Sundance Institute.

Began shooting July 24, 1989. Completed shooting October 18, 1989.

According to the July 1991 issue of Esquire magazine, Robert Garland, Stephen Metcalfe and Barbara Benedek contributed to the final screenplay.

Released in United States Spring March 23, 1990

Released in United States on Video October 19, 1990

Released in United States 1990 (Shown at Deauville Film Festival August 31 - September 9, 1990.)

Released in United States July 1990 (Shown at Taormina Film Festival, Italy July 20-29, 1990.)

Released in United States December 1990 (Shown at Cairo International Film Festival December 3-16, 1990.)