Klute - crew, film crew

The entire team, the film crew of the film "Klute"
Klute (1971)
Timing: 1:54 (114 min)
Klute - TMDB rating
6.796/10
417

Film crew

Director

Producer

David Lange
Producer

Executive Producer

C. Kenneth Deland
Executive Producer

Writer

Andy Lewis
Writer
David E. Lewis
Writer

Casting

Alixe Gordin
Casting

Editor

Art Direction

George Jenkins
Art Direction

Costume Design

Photo Ann Roth #4680

Ann Roth

Ann Roth
Costume Design

Set Decoration

John Mortensen
Set Decoration

Makeup Artist

Irving Buchman
Makeup Artist

Original Music Composer

Michael Small
Original Music Composer

Unit Production Manager

Ed Fay
Unit Production Manager

Co-Producer

David Lange
Co-Producer

Director of Photography

Photo Gordon Willis #11809

Gordon Willis

Gordon Willis
Director of Photography

Camera Operator

Assistant Art Director

John Jay Moore
Assistant Art Director

Script Supervisor

Barbra Bjorkman
Script Supervisor

Hairstylist

Paul McGregor
Hairstylist

Screenplay

Andy Lewis
Screenplay
David P. Lewis
Screenplay

Assistant Editor

Irene Bowers
Assistant Editor

Assistant Director

William C. Gerrity
Assistant Director

Production Assistant

Mary Hughes
Production Assistant

Sound

Hairdresser

Bob Grimaldi
Hairdresser

Title Designer

Arthur Eckstein
Title Designer

What's left behind the scenes

  • The role of Bree Daniels was offered to Barbra Streisand.
  • The film became a calling card for cinematographer Gordon Willis, later nicknamed the "Prince of Darkness" for his ability to work in extremely low light. In addition to the dim lighting, Willis uses a number of unconventional techniques in his work with the image. Willis’s cinematography made such an impression on professionals that he was invited to work on a high-budget adaptation of the novel "The Godfather."
  • As part of her preparation for the role of Bree, actress Jane Fonda spent a week in New York observing high-class call girls and madams; she even accompanied the girls to nightclubs where they went to find clients; Fonda was worried that men weren't showing any interest in her; she almost decided that she wasn't suitable for the role and asked director Alan J. Pakula (1928-1998) to release her from her contractual obligations and give the role to Faye Dunaway, but he refused.
  • Jane Fonda was worried, in particular, that as a budding feminist, she shouldn't be playing a prostitute. Fonda shared these concerns with veteran feminists, and they allayed her doubts. To put an end to the thought that she was made of different stuff, the actress began to recall several call girls she had known in France, who worked for the famous madam Claude. She remembered that all of them, without exception, had experienced sexual abuse in childhood, and used this detail in developing the image of her character. This nuance also helped her understand Bree's motives for becoming a prostitute.
  • In the original script, Bree’s psychiatrist was a man, but Bree decided during rehearsals that her character would never, ever confide in a man, and asked for the psychiatrist to be a woman. She even asked for the scenes with the psychiatrist to be filmed at the very end of the shooting period, so she would have time to fully get into the image of her character.
  • In the scenes with the psychiatrist, the actresses mostly improvised. Pakula shot with only one camera, although he later admitted that he would have been better off shooting with two cameras, because the reaction of Vivian Nathan (1916-2015), who played the psychiatrist, to what was being said was extremely interesting, but the lens was focused on Jane Fonda.
  • The sets for Brie's apartment were built in a pavilion at a New York studio, and Jane Fonda was allowed to spend the night there. At the director's request, a working toilet was even installed on the set within these decorations. The actress herself participated in the design of the apartment's interior; she came up with the idea that her character would be fond of reading romance novels and keeping a cat at home. Fonda remembered an actress from private acting classes taught by Lee Strasberg (1901-1982); this actress claimed that she had been called by John F. Kennedy (1917-1963) himself from time to time. Fonda decided that her character could also boast such an “achievement,” and a photograph of Kennedy with a personally signed autograph appeared on the wall in the apartment's decorations.
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