Nora Ephron had a complicated-but lucrative-relationship with technology. Marcia Fieldstone’s radio show as “Disappointed in Denver,” lamenting to the radio host, “Every time I come close to orgasm, he goes to make himself a sandwich.” Disappointed, indeed. Nora Ephron made a cameo in Sleepless in Seattle. She wrote openly in her essay “My Life As An Heiress” about writing the film for the money, and would later blanche at the idea that she might one day become “some queen of romance.” In 2006 Ephron admitted that romantic comedies are “almost all I’ve been able to get made,” suggesting a contrast between the purview of Ephron’s films and Ephron herself. is now synonymous with the modern day rom-com, Ephron’s reasons for writing it were, well, less than romantic. George Rose/Hulton Archive/Getty ImagesĪlthough When Harry Met Sally. Nora Ephron poses during a 1978 portrait session in Los Angeles. wasn’t written for the reason you’d expect. The piece made it into her first essay collection, Crazy Salad, as did her interview with then much-raged-about porn actress and star of Deep Throat, Linda Lovelace. ![]() Ephron was dispatched by Esquire to cover the burgeoning Women’s Movement, and to profile its major players, including Gloria Steinem and Betty Friedan. Nora Ephron once found herself in the crosshairs of the women’s liberation movement.įollowing her success as a journalist, Ephron became an essayist for outlets like Esquire, where her essay “ A Few Words About Breasts” helped to establish her as a feminist voice of her generation. ![]() ![]() "But Dorothy Schiff, the owner, said 'If they can parody us, they can write for us,' and one week into a two-week tryout, they hired Nora."Įphron’s stint at Newsweek would later be a highlight of the Amazon drama Good Girls Revolt. "When the Pest (get it?), a perfect visual replica of the paper, appeared, the editors at the Post wanted to sue," Navasky wrote in a piece about Ephron following her death for The Nation. After college, Ephron scored a job at Newsweek as a mail girl, but her big break came when her friend Victor Navasky asked her to write a parody of Leonard Lyons’s New York Post column for Monocle. Nora Ephron broke into journalism in a unique way.Įphron aspired from a young age to be two things: A journalist living in New York City and the next Dorothy Parker. Ephron’s parents, Hollywood screenwriters Phoebe and Henry Ephron, based their 1961 play and subsequent film Take Her, She’s Mine on letters Nora sent home while attending Wellesley College. Nora Ephron was fictionalized from an early age.Įphron made her living telling other people’s stories, but she’s inspired some, too-dating back to her teen years. In honor of what would have been Ephron's 80th birthday on May 19th, below are some fun facts about the creator’s life and work. But beyond that, Ephron was a star in her own right, writing prolifically about her experiences of being a woman, from the 1970s up until the time of her death in 2012 from pneumonia brought on by acute myeloid leukemia. , Sleepless in Seattle, and You’ve Got Mail are widely credited with saving the romantic comedy genre. If romantic comedies are synonymous with anyone, it’s writer-director Nora Ephron, whose landmark movies When Harry Met Sally.
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