Debuting filmmaker Jacob Bernstein delivers a relocating biographical mural of his mother, a late Nora Ephron, in his rarely personal documentary co-directed with Nick Hooper. Chronicling a life and career of a screenwriter/director of such hits as Silkwood, When Harry Met Sally, Sleepless in Seattle and Julie Julia, Bernstein takes full advantage of his entrance to family members and luminary family-friends. Everything is Copy—Ephron’s sign that, for a writer, all that happens in life, from good to bad, is fodder—is receiving a universe premiere during a New York Film Festival before to airing on HBO in March.
Ephron (1941-2012) was enthralled in a uncover business universe early on, flourishing adult in Beverly Hills as a daughter of screenwriters Phoebe and Henry Ephron, whose credits embody Carousel, Desk Set and Daddy Long Legs. After graduating from Wellesley College in 1962, she changed to New York and landed a pursuit during a New York Post, carrying proven her abilities by essay for a Post satire during a journal strike. Her position led to a array of essays for such magazines as Esquire, excerpts of that are review in a film by stars including Lena Dunham, Reese Witherspoon, Meg Ryan, Rita Wilson and Gaby Hoffmann, all photographed in sheer black white.
Her matrimony to famed Washington Post publisher Carl Bernstein notoriously finished in acrimony, that she acerbically fictionalized in her best-seller Heartburn. For what might be a initial time, Bernstein comments about his antithesis to a Mike Nichols film version—”No doubt about it, we didn’t wish that film made,” he tells his son–and reveals that he usually concluded to extend Ephron a divorce if he was awarded corner control of their dual sons and if a film portrayed him as a clinging father.
In one of a film’s some-more inspiring moments, Bernstein wonders aloud if a book and film had influenced his son’s feelings towards him.
“For a while, it did,” Jacob admits.
A slew of famous faces attest as to Ephron’s multiple of sharp, spiteful amusement and proposal warmth, a latter of that came to fuller front after her matrimony to author Nick Pileggi, described by some-more than one crony as a good adore of her life. Among those charity observations are Tom Hanks, Rob Reiner, Steven Spielberg, Meryl Streep, Gay Talese and Barry Diller, a latter humorously recalling that Ephron had dismissed him from their high propagandize newspaper.
Ephron’s 3 sisters—Delia, Amy and Hallie—are also interviewed, with visit co-operator Delia delivering an evocative Freudian slip.
“Two days before we died,” she starts one story, before realizing her mistake. “We died…do we trust that?” she asks, jolt her head.
The subject’s wit is also on plenty arrangement around clips from her televised interviews with such speak uncover hosts as Dick Cavett, Charlie Rose and David Letterman.
The film comprehensively covers Ephron’s multi-faceted career, from books to films to comic essays to plays. And while it spends many time on her hits, it doesn’t slight a time she served in “movie jail” with such flops as Lucky Numbers and Mixed Nuts.
The many inspiring apportionment of Everything is Copy concerns Ephron’s illness that led to her genocide during age 71. The film’s pretension proves ironic, as Ephron, who mined each aspect of her life for material, kept her deadly condition a tip from most everyone, including roughly all those closest to her. Longtime crony Liz Smith says that it was since Ephron was a “control freak” and this was one story she couldn’t control. Others contend it was since she wanted to keep operative and was disturbed she’d be denied a event if her health issues were known. Either way, her preference to sojourn silent merely adds another turn of complexity to a magnificently gifted lady who–judging by a tears openly issuing in a film–was as desired as she was admired.
Production: HBO Documentary Films, Consolidated Pictures
Director/screenwriter: Jacob Bernstein
Co-director: Nick Hooper
Producers: Carly Hugo, Matt Parker
Executive producers: Graydon Carter, Annabelle Dunne
Director of photography: Bradford Young
Editor: Bob Eisenhardt
Not rated, 89 min.