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Tootsie - Wikipedia. Tootsie is a 1. 98.

American comedy film directed by Sydney Pollack and starring Dustin Hoffman, with a supporting cast that includes Bill Murray, Jessica Lange, Teri Garr, Dabney Coleman, Charles Durning, Geena Davis (in her acting debut), and Doris Belack. The film tells the story of a talented but volatile actor whose reputation for being difficult forces him to adopt a new identity as a woman in order to land a job. The film was adapted by Larry Gelbart, Barry Levinson (uncredited), Elaine May (uncredited) and Murray Schisgal from the story by Gelbart and Don Mc. Guire. The film was a major critical and financial success, the second most profitable film of 1. Academy Awards including Best Picture; Lange was the only winner, for Best Supporting Actress. In 1. 99. 8, the Library of Congress deemed the film "culturally, historically, or aesthetically significant" and selected it for preservation in the National Film Registry.

The theme song to the film, "It Might Be You," which was sung by singer- songwriter. Stephen Bishop, whose music was composed by Dave Grusin, and whose lyrics were written by Alan and Marilyn Bergman, was a Top 4. U. S., and also hit No. U. S. adult contemporary chart.

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Michael Dorsey (Dustin Hoffman) is a respected but perfectionist actor. Nobody in New York wants to hire him anymore because he is difficult to work with. According to his long- suffering agent George Fields (Sydney Pollack), Michael's attention to detail and difficult reputation led a commercial he worked on to run significantly over- schedule, because the idea of a tomato sitting down was "illogical" to him. After many months without a job, Michael hears of an opening on the popular daytime soap opera. Southwest General from his friend and acting student Sandy Lester (Teri Garr), who tries out for the role of hospital administrator Emily Kimberly, but doesn't get it. In desperation, and as a result of his agent telling him that "no one will hire you", he dresses as a woman, auditions as "Dorothy Michaels" and gets the part. Michael takes the job as a way to raise $8,0.

Jeff Slater (Bill Murray) and to star Sandy, titled Return to Love Canal. Michael plays his character as a feisty, feminist administrator, which surprises the other actors and crew who expected Emily to be (as written) another swooning female in the plot. His character quickly becomes a television sensation.

When Sandy catches Michael in her bedroom half undressed (he wanted to try on her clothes in order to get more ideas for Dorothy's outfits), he covers up by professing he wants to have sex with her. They have sex despite his better judgment about her self- esteem issues. Michael believes Sandy is too emotionally fragile to handle the truth about him winning the part, especially after noticing her strong resentment of Dorothy. Their relationship, combined with his deception, complicates his now- busy schedule.

Exacerbating matters further, he is attracted to one of his co- stars, Julie Nichols (Jessica Lange), a single mother in an unhealthy relationship with the show's amoral, sexist director, Ron Carlisle (Dabney Coleman). At a party, when Michael (as himself) approaches Julie with a pick- up line that she had previously told Dorothy she would be receptive towards, she throws a drink in his face. Later, as Dorothy, when he makes tentative advances, Julie—having just ended her relationship with Ron per Dorothy's advice—confesses that she has feelings about Dorothy which confuse her, but is not emotionally ready to be in a romantic relationship with a woman. Meanwhile, Dorothy has her own admirers to contend with: older cast member John Van Horn (George Gaynes) and Julie's widowed father Les (Charles Durning). Les proposes marriage, insisting Michael/Dorothy "think about it" before answering; he leaves immediately and returns home to find co- star John, who almost forces himself on Dorothy until Jeff walks in on them. John apologizes for intruding and leaves. The tipping point comes when, due to Dorothy's popularity, the show's producers want to extend her contract for another year.

Michael finds a clever way to extricate himself. When the cast is forced to perform the show live, he improvises a grand speech on camera, pulls off his wig and reveals that he is actually the character's twin brother who took her place to avenge her. Sandy and Les, who are all watching at home, react with the same level of shock as the cast and crew of the show. The one exception is Jeff, who was aware of his roommate's "dual role" and remarks, "That is one nutty hospital!" The revelation allows everybody a more- or- less graceful way out. Julie, however, is so outraged that she slugs him in the stomach in front of the cast once the cameras have stopped rolling before storming off.

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Some weeks later, Michael is moving forward with producing Jeff's play. He awkwardly makes peace with Les in a bar, and Les shows tentative support for Michael's attraction to Julie. Later, Michael waits for Julie outside the studio. Julie resists talking but finally admits she misses Dorothy.

Michael confesses, "I was a better man with you as a woman than I ever was with a woman as a man." At that, she forgives him and they walk off, Julie asking him to lend her a dress. Production[edit]In the 1. Watch Online Watch Bernie Full Movie Online Film. Charles Evans decided to get into movie- making. It was an industry which his brother, Robert Evans, was successful in as an actor, producer, and studio executive. Evans told the Los Angeles Times in 1. I enjoy movies very much. I have the time to do it.

AIRPLANES. Piston-engine airplanes in the movies are unusually subject to engine failure. This failure mode is unique to filmdom - engine coughs, keeps running. And over one million other books are available for Amazon Kindle. Learn more. Jan 5 Thursday 7pm, Whittier: Whittier Area Peace and Justice Coalition Free Movie Night Education Inc., How Money and Politics Are Changing Our Schools @ St. 84 minutes: Country: United States: Box office: $973,525. Conversations with Other Women is a 2005 bittersweet romantic drama film directed by Hans Canosa, written.

And I believe if done wisely, it can be a profitable business."[3] His first foray into film production was a massive success. Playwright Don Mc. Guire had written a play in the early 1.

Titled Would I Lie to You?, the play was shopped around Hollywood for several years until it came to the attention of comedian and actor Buddy Hackett in 1. Hackett, interested in playing the role of the talent agent, showed the script to Evans. Evans purchased an option on the play.

Delays in the film's production forced Evans to renew the option once or twice.[4]) During 1. Evans co- wrote a screenplay based on the film with director Dick Richards and screenwriter Bob Kaufman.[5] A few months into the writing process, Richards showed it to actor Dustin Hoffman, his partner in a company which bought and developed properties for development into films, but Hoffman wanted complete creative control, and Evans agreed to remove himself from screenwriting tasks.

Nordic Conversations Are Different – Virtual. Wayfarer. Silence.

It is something Americans hate. In your typical American conversation you’ll rarely find such a thing as a comfortable silence, a reflective silence, or a natural silence.

For the average American in a normal conversation there’s really only one type of silence and that is awkward silence. A type of silence that we’re taught from childhood to avoid at all costs. This stems in large part from the American conversational approach which I think can best be described as conversational layering with each person quickly layering on new overlapping information in rapid succession. Add in the fast- paced rapid- fire approach to speaking common among most Americans and you’ve got a recipe for frustration and perceived arrogance when talking to Nordics / Scandinavians (and other internationals). Unlike Americans, Nordics/Scandinavians have a conversational culture which treasures the silences.

This comes from a significantly increased comfort with silence compared to their American counterparts. Nordics/Scandinavians have a very turn- based structure and style. While the Finnish are notorious for the slow pacing of their conversations and their extreme comfort with what would otherwise be considered painfully uncomfortable periods of silence, it is a trend present to a lesser extent across all of the Nordic countries. The result is a conversational practice which is heavily turn based with definite gaps to signify the closure of a point.

In this way a traditional Nordic conversation much more closely resembles the structure of formal debate than a round table free- for- all discussion. Call The Midwife Episode 3 Black Baby more. Due to the near bilingualism of most Nordic citizens and the fact that many also speak American English with very mild accents, it is very easy for non- native speakers to forget that the Nordics are still not quite native speakers. This means that when the conversational silences occur during the natural flow of a conversation, they are amplified because of the added need to process, digest, and periodically search for missing words. Something confounded when talking with native English speakers due to our heavy use of regional slang and provincial idioms. In discussions with Danish friends and by closely exploring my own conversations, I’ve come to realize that this translates into a certain level of frustration among Nordics when talking with native speakers. It can often translate into the perception that the American (or other native speaker) is arrogant, dismissive, not paying attention, and/or rude.

Keeping in mind the two conversational styles I mentioned previously, here are a few areas where I’ve watched issues arise. Affirmation behavior. A common American practice to show continued engagement with a conversation is to give constant positive feedback. This can either be gestural (movement) or verbal (spoken) and comes in a variety of forms but usually includes movements such as head nods, finger pointing, and shoulder shrugs while the verbal includes words like “uhhumm”, “yup, yup, ya”, or “definitely”. While these are intended and expressed by Americans as a way of confirming engagement with the conversation, filling small gaps, and expressing agreement, interest or sympathy, I’ve found they often confuse non- native speakers who see them either as an interruption, inquiry, or dismissive attempt to speed the person up. Interruptions. Because we don’t employ nearly the same type of strictly turn- based conversation flow, as soon as there’s a brief pause it is viewed as an opening for responding. While this can be a challenge even among native speakers, it is a much larger issue when speaking with Nordics who often feel interrupted, ignored, or talked over.

This is where the two conversational styles clash the most dramatically as the Nordic is often pausing to collect their thoughts, breathe, and then continue their point at what feels like a comfortably rapid pace with the expectation that their conversational partner will similarly understand that they’re still expressing their whole thought before advancing the conversation. For Americans, particularly if they’re highly engaged in a conversation, they’ll endeavor to keep it moving at a fast pace in a rush to share ideas and thoughts. This means that anything more than the briefest pause to breathe will be viewed as either an opportunity or outright invitation to speak with longer gaps viewed as uncomfortable pauses. There is also a difficult to express set of rules for when you can interrupt for more clarification, disagreement, or to add details. Which in turn sometimes leads to conversational processes that override these acceptable interruption such as,  “No, no, no, let me finish…” and other statements which, while still present, seem to be radically less common among Nordics. Longer Sentences and Tangents. Nordics take pride in saying something simply and are famous for their directness.

I think this is partially cultural, but also comes from the nature of the Nordic languages which are often highly contextual and descriptive but tend not to have the same depth and breadth of synonyms as English. The lack of a word for ‘please’ in Danish is one such example of this in action. Watch Petals On The Wind Online Free HD more.

Nordics in general tend towards a more direct way of interacting with each other conversationally, particularly in the workplace, which can be quite shocking to Americans, particularly those from the Midwest and western part of the US where politically correct politeness is taken to an extreme. The end result is that not only do native speakers opt for longer and more complex sentences that may be necessary or popular among their Nordic counterparts, we will also use these subconsciously to fill or outright avoid uncomfortable silences. Where a simple “yes” might do, you’ll find ample situations where a long explanation or carefully framed answer is delivered instead. Perceived Unhappiness. The Nordic inclination towards increased levels of silence and more complete but less common responses can lead to perceptions of unhappiness, boredom, and discontent.

Since these attributes are often associated with conversational discomfort or disengagement among Americans, it is entirely possible for a fully engaged Dane to come across as upset or disconnected from the conversation.