I'll Have What She's Having: How Nora Ephron's Three Iconic Films Saved the Romantic Comedy by Erin Carlson

Author:Erin Carlson [Carlson, Erin]
Language: eng
Format: azw3
Tags: Famous, Biography &#38, Performing Arts, Performing Arts / Film / General, Biography &#38, Biography &#38, Autobiography / Rich &#38, Autobiography / Entertainment &#38, Autobiography / Women
Publisher: Hachette Books
Published: 2017-08-28T16:00:00+00:00

JESSICA’S DAD: Tell us where he is. Right this minute.

JESSICA: NY.

SAM: What is that?

JESSICA’S DAD: No Way.

SAM: That’s NW.

JESSICA: New York. He’s on his way to New York.

Delia called it collaboration; Nora called it a miracle.

Colleagues noticed the director brighten when Delia was around. Viewed by many as the sweetest of the sisters, Delia became a liaison between Nora and those afraid to challenge her. “Working with Nora in Hollywood was like traveling in an armored vehicle,” she wrote. “Once she left a studio meeting for a few minutes and everyone fell on me, giving me all the script notes they didn’t have the nerve to tell her. This happened as well on our movie sets all the time. And I, blessed (or doomed) to be the middle child—always understanding everyone else’s point of view—would tell Nora their notes/concerns/complaints, which she sometimes listened to and as frequently dismissed with a face. From seeing it so often, I can make the face, too. It’s just scrunching up a bit, nothing too extreme.”

When Reitano couldn’t convince Nora of something in the cutting room, he occasionally used Delia to get through to her: “If Delia agreed she’d say, ‘I’ll take care of it.’ And the next day Nora would be more open to the idea.”

Delia, no fool, would only approach Nora with ideas she supported herself. Bringing others’ alterations and that of her own, “I often drove her crazy because I was certain she wasn’t going to do what I wanted even when she promised she would,” wrote Delia, noting: “I was right, she didn’t always listen. Sometimes she would boss me around, and then I would go home and try to boss my husband around. This did not go over well.”

When in Seattle, Delia was joined by her other half, Jerry, whom she’s called her destiny. She believed Sleepless was about love, not just love in the movies; perhaps she coined MFEO because she lived it. Said Delia, “I don’t think there’s a million people that you can fall in love with.… I actually think to make a great match is a very lucky thing.”

Though Delia’s romanticism rang loud and clear, the question of whether Nora drank her own Kool-Aid was up for debate. The question transfixed journalists who continued to see her as Nora Ephron, media scourge and woman scorned. When Rolling Stone asked circa 1993 how she managed to believe in romance after three marriages, she replied: “If I weren’t a romantic, why would I keep doing it? There’s no one who’s more romantic than a cynic.” The question eluded even those close to her, with Delia telling Premiere that same year, “the reason why she has such a wonderful marriage now is that even after being so terribly hurt, she kept believing in love. But romantic—I just don’t know about romantic.” Among those who knew her, she freely dispensed practical love advice. While Sleepless costumer Judy Ruskin complained about a no-good lover and a lamp on her nightstand that broke, Nora turned on a dime and said, “Get rid of the boyfriend and get rid of the lamp.

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