FILM 1803: ALL THE PRESIDENT'S MEN

FILM 1803: ALL THE PRESIDENT'S MEN

TRIVIA: Frank Wills, the security guard who discovered the break-in at the Watergate complex, plays himself.

The two lead actors memorized each other's lines so that they could both interrupt each other in character. This unsettled a lot of the actors they were playing opposite, leading to a greater sense of verisimilitude.

One scene involving Robert Redford on the phone is done in a continuous six-minute single take with the camera tracking in slowly. Towards the end Redford makes a mistake - he calls the phone caller by the wrong name - but as he stays in character it simply appears genuine and this was the take used in the final cut.

To prepare for their roles, actors Robert Redford and Dustin Hoffman hung out in the Washington Post newsroom for several weeks, observing reporters and attending staff meetings. Once, when Redford was standing in a hallway, a group of high school students came through on a tour of the newspaper offices. The students immediately started taking pictures of Redford with their pocket cameras. At that point, Bob Woodward walked by. Redford told the students, "Wait a minute! Here's the real Bob Woodward, the guy I'm playing in the movie! Don't you want to take a picture of him?" The students said no, and walked on. Hoffman also recalled that he had been asked by the paper's science reporter to fetch a new typewriter ribbon. Due to Hoffman's long hair and casual dress, the science reporter had mistaken him for a copy boy. 

The film introduced the catchphrase "follow the money", which was absent from the book, or any documentation of Watergate.

The telephone number that Robert Redford dials for the White House is the real number of the White House Switchboard: 456-1414.

Washington Post boss Katherine Graham, who was initially very apprehensive about the film using the paper's name, loved the film and later wrote a letter of praise and approval to star and co-producer Robert Redford.

Actress Jane Alexander's Oscar nominated performance for Best Actress in a Supporting Role runs for only around just over eight minutes in total screen-time.

Chris Carter often quotes this movie as one of his bigger inspirations for The X-Files(1993), wherein a prominent character used the Deep Throat codename. Perhaps not coincidentally, one of the names on Woodward and Bernstein's list of CREEP employees is "Scully."

Robert Redford's first choice for the role of Carl Bernstein was Al Pacino.

This feature film contains twenty-five telephone conversations in which audiences are privy to both sides of the dialogue exchange.

The film cast includes five Oscar winners: Dustin Hoffman, Robert Redford, Jason Robards, Martin Balsam and F. Murray Abraham; and five Oscar nominees: Jack Warden, Hal Holbrook, Ned Beatty, Lindsay Crouse and Jane Alexander.

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.

Robert Redford actually met Richard Nixon. When he was 13, Redford was presented an award for athletic prowess by the man who would go on to be President. Even then, Redford said he found the man to be rather creepy.

FILM 1757: THE POST

FILM 1757: THE POST 

TRIVIA: In all of the scenes depicting President Nixon on the phone in the Oval Office, Nixon's actual voice is heard from White House tapes. 

In scenes involving the Pentagon Papers, the actual Daniel Ellsberg's original documents were used as genuine props, including the pages that were scattered over the floor of Benjamin C. Bradlee (Tom Hanks)' home.

In his memoir, the real Daniel Ellsberg claimed that walking out of RAND with the Pentagon Papers (and returning them) over the course of months was a calculated risk, since he had never had his bag checked by security, but he did not know for sure if it was not policy to do so.

Steven Spielberg wanted to have his film released as quickly as possible given the parallels between its theme and the burgeoning political 'fake news' climate in the U.S. According to Meryl Streep, the physical shoot started in May (2017) and finished at the end of July (2017) and Spielberg had it cut two weeks later, an unprecedented feat. The gestation from script to final cut lasted a modest 9 months.

Never having previously collaborated with director Steven Spielberg in a director/actor capacity, Meryl Streep was flabbergasted to learn that Spielberg never rehearses with his actors. Co-star Tom Hanks was well aware of this idiosyncrasy but decided, in gleeful anticipation of a 'diva' reaction, not to tell Streep. Despite her initial shock, Meryl and Steven got along extremely well during the shoot with Spielberg being so impressed with her character transformation, he had difficulty restraining himself from constantly complimenting her every take on set.

Benjamin Bradlee (Tom Hanks character) in real life had a son named Ben Bradlee Junior who is depicted in the film Spotlight (played by John Slattery). The film is based on the true story about about the Boston Globe newspaper uncovering a major scandal.

The Post is dedicated to Nora Ephron, once married to Carl Bernstein who with Bob Woodward uncovered the Watergate scandal in 1972 as reporters for The Washington Post.

Tom Hanks has a connection with both of the film's main characters' real-life individuals. Hanks actually personally knew Ben Bradlee (who Hanks portrays in the film), and he met Kay Graham (who Meryl Streep portrays in the film) the day before she died.

Coincidentally, Benjamin C. Bradlee and wife Sally Quinn were Long Island neighbors of Steven Spielberg for many years, and they knew each other socially.

With this film, his fifth collaboration with Steven Spielberg, Tom Hanks broke his tie with Harrison Ford to be the actor that Spielberg has directed the most times. Ford has also been directed by Spielberg five times, but his scene in E.T. the Extra-Terrestrial (1982) was cut from the final film.

Michael Stuhlbarg is in three of the movies nominated for best picture Oscars: The Shape of Water, Call Me By Your Name, and The Post, but he was not nominated himself.

The Post marks the 28th collaboration between Williams (composer of the film's score) and Spielberg. The score uses a combination of both orchestral and sparse, light electronic elements throughout.