Edward and Connie Sumner are a wonderfully-maintained middle-aged couple living the American dream. Together with their eight-year-old son, a dog and a housekeeper, they share an enviable life in the suburbs of New York City. But no life goes unchallenged: This happy marriage, dampened by the routines of affluence, falls prey to an outsider when Connie has a fateful collision with a stranger on a Soho street. It’s an encounter which assaults her with mystery, spontaneity, charm--and risk. It will pull Connie into an affair which will become her obsession.
When Edward innocently learns that his wife has lied to him, suspicion propels him to uncover the devastating details of her infidelity. Tormented by the knowledge, he confronts her lover, only to discover a level of rage within himself that he could never have imagined.
Can a marriage so infected by guilt and anger find a way to recover?
Director Adrian Lyne spins a web of passion and pain in Unfaithful, which he describes as “an erotic thriller about the body language of guilt.” Richard Gere, Diane Lane and Olivier Martinez star. Lyne also produces with G. Mac Brown. The screenplay is by Alvin Sargent and William Broyles, Jr..
Lyne has distinguished himself as one of the cinema’s leading directors with such films as Foxes,Jacob's Ladder (1990),Flashdance (1983),
9 1/2 Weeks, Fatal Attraction (1987), Indecent Proposal (1993) and “Lolita.” Unfaithful carries Lyne’s exploration of relationships to new levels of intensity and danger. The triangle formed by Richard Gere, Diane Lane, and French star Olivier Martinez (known to American audiences through his international hits The Horseman on the Roof and The Chambermaid on the Titanic, as well as Before Night Falls) is a startling and suspenseful vision of, as Lyne puts it, “The smoke screens we put up to hide our guilt.”
Unfaithful is a project that Adrian Lyne has nurtured for many years. Its genesis stretches all the way to 1968, when La Femme Infidèle, one of the acknowledged masterworks of French New Wave director Claude Chabrol, made its appearance. “It was one of my favorite films, really,” says Lyne, “kind of a Hitchcockian piece wherein a husband gradually became aware that his wife was having an affair. I always loved it, and I used it as a basis for this film, very loosely.”
Lyne has always shown a strong concern for emotional relationships in his work, particularly those relationships that are affected by deception and crises of trust. “Guilt and sexuality are a fascinating part of that,” he says. “I think all of us have a breaking point, where we potentially could be pushed over the edge. What does it take to bring us that far? I’m very interested in the details of deception and suspicion. This is a story in which it may actually be easier for the audience to forgive a murderer than an adulteress, which is insane, of course!”
After Richard Gere first read the screenplay, he felt haunted by it. “It was a very textured, very intimate screenplay that was not only interesting, but disturbing to me,” he explains. “You can’t get started on a project unless that mystery and disturbance are there somewhere – an itch that you’ve got to give the time and energy to figure out. What flaw is it in us that can be touched so quickly into violence? I’ve always been interested in the idea that we’re all unknowable to each other. In this case we’re dealing with a normal, recognizable American family who have somehow stopped growing. They’ve settled into something that is very nice and it works for them, but it’s not taking them anyplace forward. It’s not bringing more love; it’s not bringing more intimacy; it’s not bringing more truth. So in their separate ways, these people are discovering some kind of black-hole areas inside themselves. There are levels of intimacy that just aren’t being dealt with between these people. We’re all closed up on many levels. We all have layers of armor around us, and I think that’s what we all liked about this story: If we look in the mirror of the movie, we can see ourselves.”
For Gere, the role of the very ordinary Edward Sumner was a departure. “Being normal is so hard!” he laughs. “It’s much easier being abberrant. You know, my career’s been peopled with a lot of outsiders. This is not a dashing guy in any way. This is not a guy who’s going to win a fistfight. Adrian was always saying to me, ‘Richard no, no! That’s the old Richard. I want the new Richard! I don’t want the guy who could have been the halfback. I want the guy who watched the game!’ So an Everyman quality was what I was looking for here.”
“When I saw Richard in the Robert Altman film Dr. T and the Women (2000), ” says Adrian Lyne, “it seemed then that he’d reached a kind of plateau; he had a kind of serenity and niceness that I hadn’t seen before. I thought it was interesting how he was used in that film. If you look at him in this one, I think you’ll be surprised. One day he went home to his wife wearing the wardrobe he wears in the film, and his wife looked at him, gave him a big hug and said, ‘You’re just an ordinary guy in this one!’ So I was kind of thrilled about that, really. We’ve worked to reverse everything that you’ve expected of him in the past--even his walk. And it’s quite a revelation to see him in this. In fact, it’s Olivier Martinez who is playing a character closer to the Richard Gere of twenty years ago.”
Indeed, the charismatic young French star plays the kind of cocksure charmer that Gere had virtually patented during the early days of his career. The character of Paul is a winning ladies’ man who lives entirely for the moment. “For me,” says Martinez, “Paul is an innocent. He doesn’t know what is going to happen, and he has no control over his future. I was very interested by this angle of the character. He’s like a child; he’s free … too free. He’s not a manipulator, but he’s a game-player. In the movie, we don’t always know exactly who he is; there’s a certain kind of mystery about him. He’s not a heavy, complicated ambiguous character. And this is quite different from anything I’ve done before.”
For Martinez, it was a role full of challenges. “First,” he says, “the language: speaking English is definitely a challenge! And yes, the sex scenes were a challenge. But this is a movie, and things are faked, just like a fight scene in which nobody really gets beaten up or killed. And I’m not coming from this very deep, Stanislavsky method. It’s true that this was my first time doing these explicit love scenes--and it’s not my favorite thing to do, because I’m quite shy! I needed to forget myself, so I could maintain the character. But everybody was nice, and we were all in the same boat, so it was fine. Adrian and Diane were very relaxed about it; I was the one who was rigid and uptight! They made me more relaxed, and I think that made my character more likable.”
Although the character of Paul had not originally been conceived as French, Adrian Lyne felt instinctively that Olivier Martinez was the right choice for the role. “I had seen The Horseman on the Roof, and I thought he was very good in it,” says Lyne.
“He’s very funny in this. He’s got a nice sense of humor. The fact that he’s French adds another layer, too. The most ordinary, mundane things are far more interesting when you watch them from a French or Italian or Latin person--the gestures; the sense of humor, are all so different and fascinating to watch. I think it helps one understand how Connie might have leapt into this affair--he’s very beguiling, really, doing ordinary stuff.
“The idea that this supposedly happily-married woman with a child should go and have an affair with this man is horrifying. However, I think when women see Olivier Martinez on the street like she did, even though they won’t admit it to their friends, I think they will understand why she went upstairs with this guy.”
Lyne cast Diane Lane in the role of Connie for a variety of compelling reasons, not the least of which was her critically-acclaimed performance in Tony Goldwyn’s A Walk on the Moon. “It was a wonderful film,” says Lyne, “and Diane was very sympathetic and vulnerable in it; you really liked her. And I thought that, given that Connie has a child, and she’s happily married, she’s got an awful lot working against her. So you’ve got to make pretty damn certain that she’s likable. And also, she’s a fine actress. When you think about it, there are very few beautiful actors and actresses that don’t have an element of toughness about them. It sort of comes with the package – the sexuality and the toughness. Diane projects both the sexuality and a niceness, which is rare. There’s a sort of knowing quality. What’s nice in this, I think, is that you really believe she’s someone who tries to do the right thing but doesn’t succeed.”
“This is an issue that everyone, sooner or later, can identify with,” says Diane Lane. “To some degree we’re all touched by this human flaw of the wandering eye. And the question is, how does it play itself out? Does it wreck homes? Do people grow from it? At the beginning of the story, Connie is unquestioning of her marriage. She loves her husband and child, and she’s happy in her life. Her whole world is defined by who she is in her marriage. In a certain way, her relationship with Edward is taken for granted. But I think that what often happens with relationships in the long term is that you stay within the frame of the person that you knew; that you met. And suddenly you may feel that you’re not only that person all the time. We go through changes, and you don’t always realize that until something sparks you to see yourself in a different light. That’s what makes Connie vulnerable.”
For Richard Gere and Diane Lane, Unfaithful was a happy reunion. They had co-starred once before, when Lane was still a teenager, in Francis Ford Coppola’s The Cotton Club. “I loved working with Diane,” Gere says. “I was crazy about her. I’m equally crazy about her now. She’s matured into such a beautiful woman and a wonderful actress. I think that knowing each other before has brought a lot of ease to the relationship, the kind of normalcy of people who have spent years together. That doesn’t always come easy. You just meet an actor or actress a couple of weeks before you start shooting, and you’re kind of pumping it with what you think a normal relationship will be. Although Diane and I had not seen each other much in the interim since Cotton Club, it was very easy to pick that up.”
“It was like going home,” says Diane Lane of her professional reunion with Gere. “It was shelter in a storm. So much had been asked of me because we filmed all the scenes between Connie and Paul first, before Richard joined us. Eighteen years before, I was eighteen years old working with him. Now he’s grown up, and I’ve grown up. Richard is a deeply feeling person and, perhaps through his Buddhism, he’s refined how sensitive he always was into something much greater. He was very nurturing and very supportive during the filming, and always there to champion me and not just be concerned for himself. I cannot express how rare that is, and how welcome it was at that moment for me.”
It had been the psychological nudity of the erotic scenes that posed the biggest challenge for Lane, not the physical. “I didn’t have a lot of struggle with that,” she explains. “It’s not as if I wasn’t informed as to what would be required of me, so I was at peace with it. Incrementally, of course, you’re giving away things to the camera. I was more naked in this movie, take after take and angle after angle, than I’ve been in my entire personal life! You’ve got to get used to it. A lot of actors have had this experience in their careers. Now I’m in that club of knowing what it feels like. For me, the challenge was the emotional work that was required for those scenes – the vulnerability that Connie feels, and her torment about the sexual relationship. That was where my work really came in. Adrian’s sense of humor definitely helped. He’s very skilled at putting actors at ease to get what he needs out of them. He really has that gift. It also helped that Olivier was very giving and very concerned during the filming of those scenes.”
Throughout the production of Unfaithful, which was filmed mostly in Manhattan and the Westchester County suburb of White Plains, Lyne worked closely with costume designer Ellen Mirojnick and production designer Brian Morris to maintain a highly realistic look for the film, one that was richly-textured yet monochromatic The color red, for example, was only used in a single key scene. “The color choices throughout the film are consistently muted,” says Morris, “contributing to a general feeling of moodiness.”
Lyne has always preferred filming in real locations, and Unfaithful was no exception. The Sumner’s home is a 19th-century farmhouse on four acres of land in White Plains, while Paul’s loft is an actual Soho floor-through. “The locations were, in most cases, altered and completely re-decorated,” says Morris. “In the film, we have a visual contrast between the ordered, perfect world of Edward Sumner; a world that is conventionally predictable. It’s the world of a man whose life is planned security: safety bars, chains, armor, family. And then there is the world of Paul Martel, a free spirit, whose life is a spontaneous one filled with scattered objects and spur-of-the-moment assignations. Paul’s loft is layered with objects acquired over time from all over the world, with piles of books that have not yet found a bookshelf.
“By contrast,” Morris continues, “Edward’s house is decorated with objects and furniture from the best shops Manhattan and the affluent suburbs have to offer. Nothing is out of place; therefore, nothing is a surprise. The house has a sense of completion to it. It reflects Edward’s need for security, but at the same time, allows us to understand Connie’s restlessness, especially when she is confronted with Paul’s space, which is in a state of comfortable chaos. His loft is so full of surprises that it allows Connie to be seduced by the sense of mystery and adventure in the atmosphere itself, not just by the character of Paul.”
Costume designer Ellen Mirojnick also worked to keep the clothes natural, yet visually informative for the audience. “The idea was to make the characters look real,” she explains. “We dealt with the story of a real family; real people, and we have a very human director who’s very sensitive to the genuineness of people. Something that Adrian is able to do, probably better than any other director working today, is to seize on the human-ness in each character. So these must never feel like costumes. It must feel like you’ve knocked on a neighbor’s door, and out came the neighbor. Adrian encourages you to work from a very naturalistic, very humanistic ground. If it doesn’t ring true, and it doesn’t ring genuine--take it off the body, and put something else on. You shouldn’t really notice the clothes in this film, unless they’re making a story point. They have to have an emotional resonance for the audience.
“Olivier is Parisian, so his character reflects that fact. Olivier had a lot of input into his look, and he made suggestions based on what he wears at home in Paris, and what other men wear in Paris. I’m always happy to encourage that kind of creative collaboration from actors; then I edit it as I see fit.”
Unfaithful is very much of a New York movie; its locations included such well-known New York destinations as The Strand Bookstore, the Village East Cinema, Grand Central Station, and the bars and restaurants of Chelsea, Soho, Wall Street, and Tribeca. Like Lyne’s other New York films, Fatal Attraction and Jacob’s Ladder, it depicts New York as a vibrant, vital, sexy city, one in which voluptuousness and danger coexist and seduce the unwary.
Toward the end of principal photography, Lyne reflected on the experience of making Unfaithful. “What’s exciting in the end,” he said, “is the actors. That’s why I do it --for the thrill of those moments when you feel they’ve chipped a bit of themselves off and given it to you. That’s the best feeling, and I’ve had lots of moments like that on this film--when, after a take, I’ll say to myself, ‘Damn! They were good!’ ”
ABOUT THE CAST
RICHARD GERE (Edward) is one of America’s foremost actors, known for his roles in such films as “Mothman Prophecies, The (2002),” “Officer and A Gentleman, An (1982),” “Days of Heaven (1979),” “American Gigolo,” “Yanks,” “Pretty Woman (1990)
,” and the highly successful courtroom drama “Primal Fear (1996).” He recently starred in two popular romantic comedies: Robert Altman’s Dr. T and the Women (2000),” in which he appeared with Helen Hunt, Liv Tyler, Farrah Fawcett and Kate Hudson, and Garry Marshall’s “Runaway Bride,” where he created boxoffice chemistry with Julia Roberts as a cynical reporter writing about a commitment-phobic woman.
Gere began acting at the University of Massachusetts, where he was a philosophy major. After spending full sessions with the Provincetown Playhouse and Seattle Repertory Theatre, he performed in a number of New York plays, notably the title role in “Richard Farina: Long Time Coming and Long Time Gone,” in addition to two plays by Sam Shepard, “Back Bog Beast Bait” and “A Killer’s Head.”
His career was established with performances in the Broadway rock opera “Soon” and the New York production of “Habeus Corpus,” and he won widespread recognition playing Danny Zuko in the Broadway and London productions of the hit musical “Grease.”
Gere has many credits as an accomplished classical actor, including the Lincoln Center presentation of “A Midsummer Night’s Dream” and London’s Young Vic Theatre production of “The Taming of the Shrew.”
His motion picture debut came in 1978 with the Oscar®-winning “Days of Heaven,” for which he received the Italian equivalent of the Academy Award®. Among his subsequent films were Richard Brooks’s “Looking for Mr. Goodbar” (filmed after but released before “Days of Heaven”), Robert Mulligan’s “Bloodbrothers,” John Schlesinger’s “Yanks,” and Paul Schrader’s “American Gigolo.” Gere then returned to the Broadway stage in “Bent,” winning the Theatre World Academy Award and rave reviews for his role as a homosexual prisoner at the Dachau concentration camp who loses his life rather than deny his identity.
His next film was the 1982 blockbuster “An Officer and a Gentleman.” This was followed by “Breathless,” “Beyond the Limit,” “The Cotton Club,” “Power,” “No Mercy,” and “Miles From Home.” In 1990, he starred with Andy Garcia in Mike Figgis’s hit “Internal Affairs” as well as with Julia Roberts in that year’s top-grossing film, Garry Marshall’s “Pretty Woman.” The following year, he made a guest appearance in Japanese director Akira Kurosawa’s “Rhapsody in August.”
Gere has also executive-produced three of the films in which he has starred: “Final Analysis,” “Mr. Jones,” and “Sommersby.” He was the first actor to agree to appear in “And the Band Played On,” the HBO adaptation of Randy Shilts’s book about the first five years of AIDS in America. Gere played the fictional role of a choreographer.
Gere’s first book, “Pilgrim,” published in 1997 by Little, Brown and Company, is a collection of images that represent his twenty-five-year journey into Buddhism. With a foreword by His Holiness the Dalai Lama, the book is Gere’s personal vision of this ancient and spiritual world. An outspoken human rights advocate, Gere has done much to draw attention to the tragedy that has been unfolding in Tibet under Chinese occupation. He is the founder of the Gere Foundation, which contributes to numerous health, education, and human rights projects and is especially dedicated to promoting awareness of Tibet and its endangered culture.
DIANE LANE (Connie), a professional actress since the age of six, made her motion picture debut co-starring with Laurence Olivier when she was twelve. That film, George Roy Hill’s “A Little Romance,” put her on the cover of TIME magazine, and began a movie career that has continued without interruption.
Born in New York City, the daughter of drama coach Burt Lane and singer Colleen Farrington, she first appeared onstage in Andrei Serban’s “Medea” at La Mama Experimental Theater. Over the next five years she appeared in Serban’s productions of such classics as “Electra,” “The Trojan Women,” “The Good Woman of Szechuan,” and “As You Like It,” both in New York and at theater festivals around the world. She went on to perform in Joseph Papp’s productions of “The Cherry Orchard” and “Agamemnon” at Lincoln Center and “Runaways” at The Public Theater before starring in “A Little Romance.”
Additional film credits include four by Francis Ford Coppola “Jack,” “The Outsiders,” “Rumble Fish” and “The Cotton Club,” the futuristic adventure “Judge Dredd” opposite Sylvester Stallone, the critically-acclaimed independent feature “My New Gun,” and Sir Richard Attenborough’s “Chaplin,” in which she played Paulette Goddard. Among her other films are Peter Masterson’s “The Only Thrill” with Diane Keaton, Sam Shepard and Robert Patrick, “Murder at 1600” with Wesley Snipes, and Walter Hill’s epic western, “Wild Bill” with Jeff Bridges. Recently she has starred in a string of acclaimed films including Jay Russell’s “My Dog Skip,” Wolfgang Petersen’s “The Perfect Storm,” and Tony Goldwyn’s directorial debut, “A Walk on the Moon,” for which she received a Spirit Award as Best Actress.
Most recently, Lane was seen in Daniel Sackheim’s “The Glass House,” with Stellan Skarsgaard and Leelee Sobieski, and Brian Robbins’s “Hardball,” with Keanu Reeves.
Lane has a particularly impressive roster of television credits. Last year she was seen opposite Bill Pullman in TNT’s “The Virginian,” which Pullman directed. It was based on the classic novel by Owen Wister. She played Stella in the CBS telecast of Tennessee Williams’s “A Streetcar Named Desire” opposite Jessica Lange and Alec Baldwin. She received an Emmy® nomination as Outstanding Lead Actress for the mini-series “Lonesome Dove.” She starred opposite Gena Rowlands in the Hallmark Hall of Fame drama “Grace and Glorie” on CBS, and starred with Donald Sutherland, Cicely Tyson and Anne Bancroft in the epic CBS miniseries “The Oldest Living Conferderate Widow Tells All,” based on the best-selling novel by Allan Garganus.
OLIVIER MARTINEZ (Paul Martel) Has been called one of the best kept secrets in France. After schooling at France’s Conservatoire National Superieur d'Art Dramatique, Martinez leapt from theatre to television and then to films.
His first film role came in 1992 co-starring with Yves Montand in Jean Jacques Beineix’ “IP5.’ In 1994, Martinez won a Cesar Award for Most Promising Young Actor for his role in Bertrand Blier's 1993 drama “1,2,3 Soleil” opposite Marcello Mastroianni.
Martinez first gained international notice with the 1995 film “Horseman on the Roof,’ in which he played a dashing 19th Century Italian cavalry officer who falls in love with a married woman, played by Juliette Binoche.
Additional film credits include Bertrand Blier’s “Mon Homme,” Bigas Luna’s “The Chambermaid on the Titanic,” Mario Camus’ “La Ville des Prodiges,” Eric Barbier’s “Toreros” with Claude Brasseur, and Julian Schnabel’s critically acclaimed “Before Night Falls” with Javier Bardem.
Martinez will also begin production on the Showtime original movie “The Roman Spring of Mrs. Stone.” He stars opposite Helen Mirren as an Italian gigolo, in a role originally created by Warren Beatty.
CHAD LOWE (Bill Stone) has been a professional actor since the age of fifteen. Born in Dayton, Ohio, the son of a lawyer father and novelist mother, he moved with his family to Los Angeles when he was nine. There his neighbor, Martin Sheen, encouraged him to explore the world of acting. After high school, he went to New York and studied with Alan Savage. While there he appeared in the WPA Theatre production of Don Nigro’s “Grotesque Love Songs” and also played the title role in “Huckleberry Finn” at the Williamstown Theatre Festival in Massachusetts.
Lowe went on to appear in numerous feature films, including “Your Guardian,” “Floating,” “Driven,” “Quiet Days in Hollywood,” “Highway to Hell,” “Nobody’s Perfect” and “Apprentice to Murder.” He also starred in numerous television movies including “The John Denver Story,” “The Apartment Complex,” “In the Presence of Mine Enemies,” “An Inconvenient Woman,” “So Proudly We Hail,” “April Morning,” “There Must Be a Pony,’ “Silence of the Heart,” and “No Means No.” He won an Emmy Award for his portrayal of AIDS patient Jesse McKenna in the series “Life Goes On.” His other television work includes recurring roles on “Now and Again,” “Popular” and “ER,” and he was a Guest Lead on “Touched By An Angel.”
Lowe is married to Academy Award winning actress Hilary Swank.
KATE BURTON (Tracy) has appeared in such films as The Ice Storm (Ang Lee), Celebrity (Woody Allen), August (Anthony Hopkins), The First Wives Club (Hugh Wilson), Big Trouble in Little China (John Carpenter) and Swimfan 85 (John Polson). On television, she has most recently been recurring as D.A. Susan Alexander on The Practice (ABC) and guest starred on Sidney Lumet’s 100 Centre St. (A&E) and Law and Order’sCriminal Intent (NBC), both episodes directed by Steve Shill. She spends her summers at The Williamstown Theater Festival, where she recently appeared in
The Winter’s Tale directed by Darko Tresniak. Kate is a recipient of an Emmy and a Theater World award. She recently brought her acclaimed Hedda Gabler to Broadway under the direction of Nicholas Martin.
MARGARET COLIN (Sally) is well known for her co-starring roles in the films “Independence Day” and “The Devil’s Own.” She also was a regular on the TV series “Now and Again,” in which she played the wife of Eric Close.
Born and raised in New York City, Colin attended the Baldwin School. She began her acting career in the soap opera “The Edge of Night.” Recurring roles on several series followed, including “The Wright Verdicts,” “Legwork,” and “Chicago Hope.” She also appeared in many TV movies, including “Swing Vote,” “Traveling Mad,” “A Time to Say Goodye,” “Hit and Run,” “The Return of Sherlock Holmes,” “Warm Hearts and Cold Feet,” and “Goodnight Sweet Wife.”
New York theatergoers have enjoyed her on Broadway in “Jackie,” in which she starred as Jacqueline Kennedy Onassis and received the Theater World Award, and off-Broadway in Manhattan Theater Club’s productions of “Psychopathia Sexualis,” “Sight Unseen,” and “Aristocrats.” For the latter, she received a Drama Desk nomination.
Colin’s other motion pictures include “The Adventures of Sebastian Cole,” “Terminal Velocity,” “The Butcher’s Wife,” “Something Wild,” “Like Father, Like Son,” “Three Men and a Baby,” “True Believer” and “Amos and Andrew.”
ERIK PER SULLIVAN (Charlie) is known to TV audiences across the country as “Dewey,” Frankie Muniz’s younger brother on Fox’s hit sitcom “Malcolm in the Middle.” He and his fellow cast members won The Hollywood Reporter Young Star award for best comedy ensemble. In his native Massachusetts, he received the WAVM Distinguished Young Achievement Award as well as citations from the Massachsetts Senate and House of Representatives for his achievement in film and TV. His film credits include “The Cider House Rules,” “Joe Dirt,” and “Wendigo.”
Born July 12, 1991, Erik is a Swedish/American who is fluent in both English and Swedish, and is a First Degree Black Belt in Tae Kwan Do. His other hobbies include racing his Razor scooter, mastering yo-yo tricks, fishing, and paintball.
DOMINIC CHIANESE (Wilson) has risen to fame in the role of Uncle Junior on the hit HBO series “The Sopranos.” He began his long career in 1952 with the American Savoyards, starring in such Gilbert and Sullivan operettas as “The Mikado” and “Patience.” He was awarded an undergraduate prize for acting at Brooklyn College, and went on to act in dramas and musicals at regional theaters including The Arena Stage, Center Stage, The Yale Rep, Long Wharf, the Walnut Street Theatre, and the New York Shakespeare Festival, among others.
His Broadway appearances include “The Rose Tattoo,” “The Water Engine,” “Oliver,” “Richard II,” “Requiem for a Heavyweight,” and “Scratch.” Among his films are “Dog Day Afternoon,” “Q and A,” “Godfather II,” “And Justice for All,” “All the President’s Men,” and “Fort Apache, The Bronx.” His other TV credits include “Kojak,” “East Side, West Side,” “Beacon Hill,” “Dark Shadows,” and a recurring role on “Law and Order.”
