For 20 years– in between 1982’s An Officer and a Gentleman and 2002’s Chicago— Richard Gere was a hot box-office product, able to summon such crackling chemistry with Julia Roberts in Pretty Woman that Paramount re-united the duo nearly a years later for the pseudo-sequel Runaway Bride-to-be. Then something occurred: Gere slowly stopped starring in mainstream studio films. Although this plight is regular for actresses, Gere keeps that mainstream Hollywood’s motive to dump him had nothing to do with age– and everything to do with another aspect entirely.That factor: China,
the country that financial resources much of Hollywood nowadays. Not so coincidentally,it’s also the nation that Gere– a practicing Tibetan Buddhist and long time good friend of the religious beliefs’s exiled leader, the Dalai Lama– infamously disparaged throughout the 1993 Oscars when he went off-script while presenting the art-direction category. “There are absolutely films that I cannot be in
because the Chinese will state,’Not with him,'”Gere tells The Hollywood Press reporter in a brand-new interview.”I just recently had an episode where somebody said they could not finance a film with me because it would upset the Chinese. “In the years since drawing Oscar audience attention to
China’s “horrendous, horrendous human rights situation, “Gere has remained dogged in his cause– calling a boycott of the 2008 Olympics, pressing China to make Tibet independent, and speaking up against the country in myriad interviews.While the actor has actually managed to preserve a neat profession acting in independent movies– proof arriving this April and Might with Norman and The Dinner– Gere reveals that even smaller-budget productions have balked at bringing him on board. “There was something I was going make with a Chinese director, and 2 weeks before we were going to shoot, he called saying,’Sorry, I cannot do it,'”explains Gere.
“We had a secret call on a protected line. If I had actually dealt with this director, he, his family would never ever have been enabled to leave the country ever once again, and he would never work.” However don’t get it twisted– Gere isn’t regretting that he isn’t scoring parts in franchise films and blow- ’em-up hits. For beginners: ever since the profession tidal shift, Gere hasn’t had to “place on a tuxedo again”for any contractually obliged red-carpet appearance, which the actor is simply “great”with. Second of all, Gere states, in a scrumptious Hollywood burn:”I’m not thinking about playing the wizened Jedi in your tentpole.” Lastly and essential, however, Gere has something that Hollywood does not nowadays: money and, in combination, liberty. “I achieved success enough in the last 3 years that I can manage
to do these [smaller sized movies] now,”the Pretty Lady actor says, essentially telling China and its funded Hollywood pictures
,” The feeling is mutual.” < img alt src=http://media.vanityfair.com/photos/5510278dd34b7410110115fd/master/h_590,c_limit/pretty-woman-25th-anniversary-bts-ss01.jpg > Julia Roberts, in her renowned streetwalking
outfit, however without the platinum wig, behind the scenes with director Garry Marshall.Photo: © Buena Vista Pictures/From Everett Collection.
Roberts was fresh off an Oscar nomination for Steel Magnolias, however it wasn’t until after Pretty Female was released that she became a real megastar.Photo: © Buena VistaPictures/From Everett Collection.< img alt src =http://media.vanityfair.com/photos/551027912bf4321c29316f76/master/h_590,c_limit/pretty-woman-25th-anniversary-bts-ss03.jpg > Richard Gere had actually broken out nearly a years previously in American Gigolo and An Officer and a Gentleman; like Roberts, Pretty Female made him a bigger star than ever.Photo: © Buena Vista Pictures/From Everett Collection.< img alt src=http://media.vanityfair.com/photos/551027982bf4321c29316fcc/master/h_590,c_limit/pretty-woman-25th-anniversary-bts-ss05.jpg > Inning accordance with film writer J.F. Lawton, if it weren’t for the instant chemistry
between Gere and Roberts, Pretty Woman may have kept its initial, darker ending.Photo: © Buena Vista Pictures/From Everett Collection. Film writer Lawton credits Marshall’s”unbelievable pop instincts”for giving Pretty Lady the fairy-tale ending he knew audiences would want.Photo: © Buena Vista Pictures/From Everett Collection.
< img alt src= http://media.vanityfair.com/photos/5510279bd34b741011011655/master/h_590,c_limit/pretty-woman-25th-anniversary-bts-ss07.jpg > Marshall says he is”from the school of
delighted endings, “which becomes part of how Pretty Lady’s story changed.Photo: © Buena Vista Pictures/From Everett Collection.
Manufacturer Laura Ziskin contributed the final line of this famous last scene: “She rescues him right back.”
Image: © Buena Vista Pictures/From Everett Collection.