![]() ![]() “With that (second) cut, you’ve lost the reason why Katie makes the selfless decision to let Hubbell go, which means you’ve also lost the climax of the story and the essence of her character,” Streisand argued later. The second showed what Katie was willing to sacrifice to protect her beloved husband. The first, she argued, showed what Katie lost by going to Hollywood. Streisand fought hard to keep both scenes. A scene cut from the film shows Hubbell and Katie making an earlier visit to that site during World War II. "The Way We Were" ends at the Pulitzer Fountain in front of the Plaza Hotel in 1952. ![]() Redford coped by remaining stubbornly cavalier, often strolling onto set at the last minute. Both unsure of herself and endlessly controlling, Streisand micromanaged everything. Of course, Pollack and Stark continued to fight over the budget. A line of dialogue where his character apologizes for being a bad lover was deleted.Īdditional cuts came after filming. As Redford’s part was pumped up, so was his ego. ![]() However, a film about whether the nice Jewish woman and the gorgeous blond man will connect was a safer bet.Īnd so the political themes were trimmed (and with those cuts went an angry Laurents, who, as the writer, couldn’t protect his screenplay from other people’s rewrites). That meant the romantic element had to grow, too.Ī big movie about the McCarthy era was risky. Making Redford’s part bigger resulted in Streisand’s part becoming smaller.Īlso, signing a star the size of Redford - his agent negotiated $1.2 million, $200,000 more than Streisand -meant the budget had to increase. It was a casting coup, a first-time teaming of two of the era’s biggest box-office stars. ![]()
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