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Director Critical Essay: Nancy Meyers

Blair Franco

COMM 351: Film Process and Product

Professor Karen Dunn, Summer 2010

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The film industry is inundated with successful directors, most of which are men. Who stops to

think about this when selecting a film to watch at the box office or on DVD? Most people do not.

Women do not tend to be as well known in the film industry for being directors. Though the list

of successful female directors may pale in comparison, one who stands among the elite is Nancy

Meyers.

Nancy Jane Meyers was born on December 8, 1949 in Philadelphia, Pennsylvania (IMDb, 2010).

Meyers broke in to the world of film in the 1980’s as a writer (IMDb, 2010). Her first major film

was Private Benjamin (IMDb, 2010). As a graduate of American University in Washington,

D.C., Meyers achieved a bachelor’s degree in journalism (AU Online, 2009).The first film she

directed was in 1998, Disney’s The Parent Trap, in which Meyers also wrote and acted (IMDb,

2010). Since that time, Meyers has gone on to write, direct, and produce several successful films.

As a filmmaker, Nancy Meyers has written, directed, and produced films that are relatable to an

assortment of milestones in any person’s life, especially a woman’s. She finds a way to take her

own personal experiences, put a fictional twist to them, and create films in which audiences can

relate to the main characters on multiple levels. The result of her efforts and skill of her craft

have generated some extremely successful romantic comedy films. This style aligns most with

that of a classicism format.

The films selected for this director critique include, Something’s Gotta Give (2003), The Holiday

(2006), and It’s Complicated (2009). Meyers’ filmmaking style tends to follow the traditional

line of classic paradigm. Each of the three films, follow the dynamics of such by being, “strong

in story, star, and production values, with a high level of technical achievement, and edited

according to conventions of classical cutting” (Giannetti, 2011). To grasp every important aspect

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needed for this critique, each film was viewed twice. Once as a spectator of films in search of the

techniques learned throughout the semester and a second time to learn more about Meyers as a

director and writer with the commentary turned on.

Story

Something’s Gotta Give (2003) is a story about a woman, Erica Barry, played by Diane Keaton,

who is on a journey of rediscovery. And the story of a man, Harry Sanborn, played by Jack

Nicholson, who is on his own journey of self-discovery; neither of which either character was

planning on. The story is told primarily in dual narration as told by Nicholson’s and Keaton’s

characters. At times, single narration occurs, for instance the beginning is told from Nicholson’s

point of view, which helps the spectator relate to Nicholson’s character as the story progresses.

The two get to know one another and deny any real feelings for each other until they both

realize, in their own time, there is no one better suited for them. They confess their true feelings

and in the final scene of the film the spectator, in a panning shot of the new family, catches a

glimpse of a wedding ring on Keaton’s character’s finger.

The Holiday (2006) is a story about two women – Amanda, played by Cameron Diaz and Iris,

played by Kate Winslet – living on two separate continents. Both Diaz’s and Winslet’s

characters are successful professionals who have been unlucky in love. Both are utterly fed up

with their relationships with men and decide on a whim to swap houses for the Christmas

holiday. The spectator watches as the two women take individual journeys of self-discovery and

unexpectedly find love. The first thirty minutes of the film is told, using nonsynchronous sound,

in a monologue by Winslet. During the monologue, the spectator gets an insider’s view of the

ensemble cast and visually learns a little bit about each rather than through character dialogue.

The film is told in dual narration based on each character’s story.

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It’s Complicated (2009) is a story about a divorced woman, Jane Adler, played by Meryl Streep

and her off again, on again relationship with her ex-husband, Jack Adler, played by Alec

Baldwin. Add to the mix, a budding new relationship with, Adam Shaffer, played by Steve

Martin. Streep’s character is finally beginning to feel comfortable in her own skin, after being

divorced for ten years when her ex-husband starts to realize he still has feelings for her. The

narration is primarily told from Streep’s character’s perspective. Streep’s character is a

successful pastry chef who owns her own bakery and decides to remodel her home to reflect how

she foresees the rest of her life: single. Her friends are mostly either divorced or widowed which

aid in her self-confidence for where she is in life.

Photography and Cinematography

Nancy worked with a different Director of Photography, DP, on each of her films. In

Something’s Gotta Give (2003), she partnered with Michael Ballhaus (Columbia Pictures, 2003).

Ballhaus has also been the DP for such films as The Departed, Good Fellas, and Working Girl

(IMDb, 2010). In this film, Meyers and Ballhaus used deep-focus and medium shots throughout,

and angles used were primarily eye level. This technique helped the spectator connect with the

characters. An example of this would be the dinner scene when Keaton’s and Nicholson’s

characters are first getting to know one another at the beach house. The use of lyrical shots

throughout the film, gives it a romantic quality which adds to the connection between character,

camera, and spectator.

For The Holiday (2006), Nancy partnered with Director of Photography, Dean Cundey. Cundey

has also worked with Meyers as the DP for What Women Want and The Parent Trap (IMDb,

2010). Other films he has been DP for include: Apollo 13, Jurassic Park, and all three Back to

the Future films (IMDb, 2010). Cundey’s style seems very similar to that of Ballhaus’ but with a

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slightly different quality. For instance, Cundey chose to utilize more low angle shots in this film

which suggest the female characters in a position of power and ultimately in control (i.e. the

breakup scene between Cameron Diaz and Edward Burns where Cameron looks down from the

balcony on Edward’s character for what he has done to her). Cundey also seemed to use more

two shots which was great for getting a sense of distance between characters and helped establish

proxemic patterns. As for lighting techniques, Cundey also made use of the available light both

in England and Los Angeles locations. His use of soft focus photography and side lighting gave

the film a romantic quality.

As for It’s Complicated (2009), Nancy worked with John Toll as the Director of Photography.

Toll also has an impressive resume of films in which he has been the DP. Some films include

Almost Famous, Vanilla Sky, and Braveheart (IMDb, 2010). The cinematography styles Toll

used were similar to those of Something’s Gotta Give and The Holiday. Toll made use of

available lighting which is noticeable to the viewer in many outdoor scenes, such as the garden

scene with Streep’s and Baldwin’s characters. Side lighting was usually used to illuminate the

female characters and give off an innocent glow, like in the courtyard scene where Streep’s

character is feeling extremely guilty about her affair with Baldwin’s character.

Mise en Scene

Meyers primarily kept the emphasis on the characters rather than on the visual scenery in the

mise en scene used in Something’s Gotta Give (2003). The composition and design of the set

made the characters more believable and relatable. For example, Keaton’s character’s beach

house was symbolic to her lifestyle, warm and inviting but empty. The colors of the rooms in her

character’s home were subtle neutrals and the décor was formal and feminine, yet cozy. Meyers

described Keaton’s character’s home as, “a reflection of her life; only one guest room, one sink

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in the bathroom,” (Columbia Pictures, 2003). The dominant contrasts at the beach house were in

the pops of color in paintings, flower arrangements, and bowls of fruit. Whereas in Nicholson’s

character’s home, the tones were masculine; rich dark woods and furniture, suggestive to the

level of his success .

In The Holiday (2006), Meyers had to create clear differences between lifestyles of the two main

characters. She did so with mise en scene by having Diaz’s character’s home extremely lavish

with all of the latest in technology entertainment. The color tones of Diaz’s character’s home

were light and very open spatially to suggest that it was a huge home. On the opposite end of the

spectrum was Winslet’s character’s home which was quaint, cozy, and quite small. The color

tones were darker with stone walls and the décor was functional to optimize space. Beyond the

detailing of the main characters’ homes, the mise en scene was in correspondence to the frame.

The characters were tightly shot mainly from the waist up, medium to close up, to keep the focus

on each person.

For It’s Complicated (2009), Meyers had the mise en scene set to portray Streep’s character as

being established and settled in her life as a divorced and eternally single woman. As one line in

a scene between Streep’s and Martin’s characters architectural meeting, Streep tells Martin to

design the bathroom with, “no his and her sinks; just hers” (Universal Studios, 2009). Her home

is warm and family-oriented with a large kitchen and huge table to seat more than just the

immediate family; which suggests her love of entertaining and cooking for others.

The proxemic patterns during each of the films danced from social to personal, personal to

intimate, and intimate to back to social depending on the stages in relationships among

characters at various points in the film. All three films were shot in closed form. The aspect

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ratios of all three films were primarily balanced both vertically and horizontally. The films were

in a ratio of 1.85:1, standard (Giannetti, 2011). Frames were mainly tight to keep the focus on the

development of the characters.

Editing

As a director, Nancy Meyers is very involved in just about every aspect of her films and the

editing process proved to be no exception. Meyers quotes Truffaut in Something’s Gotta Give

(2003) commentary saying, “making movies is an accumulation of details” (Columbia Pictures,

2003). Joe Hutshing was the editor for all three of Meyers’ films selected for this critique.

Hutshing seems to have a niche for romantic comedies. He has also been the editor on such films

as: Meet Joe Black, Jerry Maguire, and French Kiss (IMDb, 2010).

Throughout all three films, the cutting to continuity editing style is used which made each film

extremely smooth; scenes were more fluid rather than choppy. The transition between scenes, the

montage, in Something’s Gotta Give (2003) was quite creative. In addition to using establishing

shots, Hutshings edited the changing of locations and transitions in scenes by using objects such

as a waiter’s tray with a martini as the focal point when transitioning to a restaurant scene; rather

than showing the audience the exterior of the restaurant itself. Dissolves were seldom used. The

only noticeable dissolve in this film was when Keaton’s and Nicholson’s characters reconnect in

Paris and admit their feelings for one another. As for The Holiday (2003), there was a more

thematic montage. Due to the film having two stories, dissolves were more frequent to suggest

the passing of time as well as shifts in who’s story was being told and change of locations. In It’s

Complicated (2009), Hutshings brought in the use of double exposures along with the technique

of focusing on objects during transition. For instance, using overlapping shots as transitions in

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scenes from day to night and also in focusing on loaves of bread when transitioning to the

bakery.

In Something’s Gotta Give (2003), Meyers tells the viewers during the commentary, how she

chose what scenes to keep and what scenes to cut. This provides the viewer with a clear

understanding that, as the director, she had the final say in every frame, shot, and scene

(Columbia Pictures, 2003). Meyers referenced her role in the editing room again during the

commentary of The Holiday (2006). She said, “I cut scenes during editing rather than working

the scene, editing it, then cutting it” (Columbia Pictures, 2006). Meyers clarifies for the viewer

that there is no need to over work a scene which she is certain will not be used in the final cut.

Sound

Each of Meyers’ films have a primary focus on utilizing synchronized sound. In Something’s

Gotta Give (2003), an example of this would be the scene between Keaton’s and Nicholson’s

characters on the beach. As they stroll along the beach, the viewer hears, and at times sees,

waves crashing in the background while the characters carry on a dialogue as they got to know

one another. In The Holiday (2006), the Santa Ana winds become a character at times; the viewer

sees the trees blowing and hears the rustling of the leaves. Winslet’s and Black’s characters

reference the wind at separate points telling one another, “don’t blow away” (Columbia Pictures,

2006).

Music has the ability to set the tone emotionally and connect the spectator with a specific scene

or the film as a whole. In each of Meyers’ films music is used to give characterization (Giannetti,

2011). Diane Keaton makes mention of music in the commentary of Something’s Gotta Give

(2003). She said, “Nancy played music everyday on set.” Meyers replied, “the movie will have

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music and it helps set the tone” (Columbia Pictures, 2003). In The Holiday (2006), music was

used not only to set the tone of the film but to transition between character stories and changes in

locations. In all three of Meyers’ films used for this critique, the last scene had a musical overlay

rather than allowing the spectator to really hear the final moments of dialogue between the

characters. This style added to each of the films romantic, upbeat endings.

The Auteur Theory

The true author of each of these films was without a doubt, Nancy Meyers. She was the director,

writer, and producer for all three films. As the spectator watched the films, it became clear who

had full control of almost every aspect of each film, Meyers. During a second viewing of The

Holiday (2006), in the commentary of the film, Meyers tells the viewers a little bit more about

her directorial style and objective as a filmmaker:

“When I am directing, I always stand at the monitor to watch the movie because the only

person who gets to see what it really looks like is the camera operator…standing by the

camera is distracting because there is so much going on. I like the frame around their [the

actors] heads. I don’t want to see everything outside of the frame. If I had the talent to

operate the camera, that’s what I’d love to do because you’d have the ultimate control

there. Being at the monitor, I get to see it the way the audience sees it.”

Meyers points out her number one priority as being in total control of her films (Columbia

Pictures, 2006). She knows exactly what the writer is trying to portray since she was the writer of

all three films. She understands what the stories are about because, as she states during another

portion of her commentary for The Holiday (2006), “everything you write becomes really

personal. Even though, best efforts were to separate myself from these characters – I really

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couldn’t. They ended up all being personal stories for me” (Columbia Pictures, 2006). Can

anyone possibly be more attached to the outcome of a film than that of a single person who has

full creative control? The director cannot worry about offending the writer, and when the two are

one in the same, the author is in her truest form.

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References

Dean Cundey. (2010). The Internet Movie Database (IMDb). Retrieved August 5, 2010 from

http://www.imdb.com/name/nm0005678/

Film Director Meyers ’70 Lands ‘NY Times Magazine’ Cover. (2009). American University

Online (AU). Retrieved August 5, 2010, from http://www.american.edu/americantoday/

campus-news/20091218-nancy-meyers-nytimes.cfm

Giannetti, L. (2011). Understanding Movies (12th

ed.). Boston: Allyn & Bacon, Pearson

Education, Inc.

Joe Hutshing. (2010). The Internet Movie Database (IMDb). Retrieved August 5, 2010 from

http://www.imdb.com/name/nm0404528/

John Toll. (2010). The Internet Movie Database (IMDb). Retrieved August 5, 2010 from

http://www.imdb.com/name/nm0001799/

Kolin, P. C. (2007). Successful Writing at Work (8th

ed.). Boston: Houghton Mifflin Company.

Meyers, Nancy (Director/Producer/Writer). (2009). It’s Complicated [DVD]. United States:

Universal Studios.

Meyers, Nancy (Director/Producer/Writer). (2006). The Holiday [DVD]. United States:

Columbia Pictures.

Meyers, Nancy (Director/Producer/Writer). (2003). Something’s Gotta Give [DVD]. United

States: Columbia Pictures.

Michael Ballhaus. (2010). The Internet Move Database (IMDb). Retrieved August 5, 2010 from

http://www.imdb.com/name/nm0000841/

Nancy Meyers. (2010). The Internet Movie Database (IMDb). Retrieved July 24, 2010, from

http://www.imdb.com/name/nm0583600/