Nancy Meyers is unstoppable. The director of new comedy can cite stars such as Meryl Streep and Diane Keaton as her regular cast members, and each of her recent films have earned over $200 million at the box office.But this success isn't all down to the quality of the plot or acting; Meyers is as well known for her delectable taste in wall paper as she is for her ability to make feature length films out of middle-class woes. She's credited both with being one of the most powerful female directors in Hollywood and with providing most of the content on.We took a look back over Meyers' films and the many impressive interiors therein.
Iris Falls Estate is your own private sanctuary nestled onto a ridgetop of the tallest mountain in the Eastern U.S. General Construction Features of House. Redfin is America’s virtual brokerage, with local Redfin Agents who host video-chat tours, sell for more without buyers stepping through your door, and drive a digital lending and closing experience.
Prepare to enter the world of Nancy Meyers: queen of the cream interior.1. Father of the Bride (1991)Meyer favourite Steve Martin plays a father struggling to come to terms with his daughter becoming a bride. The 'Father of the Bride' house went for over $1.35 millionThe luxury family home took centre stage in 1995's Father of the Bride Part II, in the gripping plot that sees Banks considering selling the house but then, eventually, changing his mind. In the real world, the 4397-square-foot beast of a house was put up for sale in 2011 with a starting offer of $1.35 million.2. Parent Trap (1998)Lohan's ginger hair is probably the most daring shade in the Meyer colour scheme. The concept of separating twin sisters and taking them thousands of miles away from one another after a divorce is actually also a little daring, but it gives Meyer the occasion to fabricate ideal homes on both sides of the Atlantic. Helen Hunt as Darcy Maguire and Mel Gibson as Nick Marshall, both delighted that his eyes match the wallpaper Credit:MELINDA SUE GORDONWhat do women want?A man who matches his walls with his eye colour, apparently. Meyers based the colour scheme of Mel Gibson's apartment on his blue eyes, and she also added splashes of orange.
'We had a lot of Frank Sinatra songs in the movie, and I discovered that orange was one of his favorite colors,' Nancy explains, sounding pretty pleased with her clever idea. Interior decoration at its most inspired.4. The Hamptons beach house in Something’s Gotta Give, 2003A crusty old womaniser strolls into the lives of a middle class family, dates the daughter for a bit before deciding that her middle-aged mum seems a more substantial option. The house used as Amanda's mansion in the film is in San Marino, CaliforniaTwo women on either side of the Atlantic have just had relatively traumatic relationship breakdowns and need to escape from their very comfortable homes for a bit. This being a Nancy Meyers film, their solutions were obvious: go and stay in somebody else's very comfortable home for a bit.Inevitably, it works wonders. The excitement induced by well-crafted skirting boards and exposed rustic brickwork leads to such giddy highs that Kate Winslet's Iris falls for Jack Black's cheeky Miles.Cameron Diaz's Amanda, meanwhile, spends most of the film bleating about how 'cute' Iris's little English cottage is and grinning by the fireplace.
Poor Amanda has a brief spell of boredom when adjusting to life in the Surrey cottage, but - as so often happens when one tires of the English countryside - Jude Law strolls in and provides romantic fulfilment. The Santa Barbara house (which is actually located in the Hidden Valley area of New York) went on the market for $12 million in 2012.
It comes with a list of famous past residents, apparently including American comedian of the earlier 20th century W.C Fields.7. The Intern, 2015In Meyers' latest effort, Anne Hathaway plays Jules Osten, founder and CEO of an online fashion site and boss of many including intern Ben Whitaker (Robert De Niro). But what sounds like a film about female empowerment in the workplace quickly becomes a film about a nice kitchen.
Angry and rebellious to begin with, Iris falls into a whirlwind of self-punishment as she mourns this loss. She dresses up in her mother's gaudiest artifacts, covering her own shorn hair with a slatternly wig, and goes on the prowl.
Desperate for consolation and sexually reckless, she drifts into a string of raw, dangerous encounters that send her heading for oblivion. Adler did not force the film toward a redemptive ending, it would seem as if there were no way out of Iris's flamboyant despair. Morton embodies the role with furious intensity and with a raw yet waifish presence that brings both Emily Watson and Claire Danes to mind, Ms.
Adler directs the film in ways that live up to its title. This story of a descent into mad grief does indeed get under the surface of things.
Stark juxtapositions (during sex, Iris sees her mother's coffin burning), vertiginous angles, pounding drumbeats and skittish, hand-held camera work all heighten the film's visceral effect. Slow-motion images of Iris swaying drunkenly on a dance floor freeze her lonely image in the viewer's mind. The film stands by as Iris breaks away from her steady boyfriend, picks up strangers, creates a rift with her sister, tries to seduce the sister's husband and otherwise severs the link with any stable life. Moving into a bare, brightly colored apartment with an armful of soon-to-be-dead flowers, she surrounds herself with physical manifestations of her altered mental state. She might seem terminally embittered and lost if Ms.
Morton did not so powerfully convey her fragility, showing the urgency with which Iris craves some kind, any kind of comfort.