The time was “Tootsie” It looked a lot like other films I’ve worked on but when I look back, years later, it is truly unique. Sydney Pollack was the director of the seven-month long production. The unexpectedly turbulent clash between confrontational views, unrelenting pressure and outrageous comedic moments created tension. At this point in his career, Sydney always had creative control over his films, but there were some unusual contractual obligations in place before he signed on to direct that meant he had to share the creative control with Dustin Hoffman, the film’s brilliant and disarmingly uninhibited star who was a long-time promoter of the original “Tootsie” script. They are also known for their assertive personalities.
There were lesser-known participants who brought strong viewpoints to the production as well; among them was screenwriter Murray Schisgal, a close friend of Dustin’s. During the months of filming, Hoffman and Schisgal spent many weekends at Dustin’s house in Connecticut going over scenes that were scheduled for the upcoming week. Many times these weekend collaborations led to an avalanche Monday morning of new ideas, which brought to a halt production planning for week one. Pollack and Hoffman were also confronted in a series of dramatic, if not surprising, disagreements. The two men had distinctly different opinions about how crucial aspects of the story should be portrayed, and as the shooting went on, it was those differences that came to typify much of the film’s behind-the-scenes turmoil.
The reason for their famous disagreements is largely due to stark contrasts between style and personality. Sydney was known for being very disciplined and conventional in his approach to the story. He was classically attuned and attentive to the plotline. Each scene was not an end in themselves, but a contribution. “the arc of the piece.”Dustin was always focused in on the story, but his process of handling the material was flexible and malleable. This was combined with his unique and brilliant instinct for spontaneity, and ad-lib. Sydney knew that this was impossible. His intention was to make each scene the best in the movie. Each scene had a unique weight, a distinct pace, and a different importance to the movie. The efforts to mesh the differing ideas between Pollack and Hoffman were the project’s greatest challenge from the earliest days of shooting. Sometimes, a conversation that started in the middle of filming would quickly turn into a heated argument. Several disagreements led to dramatic changes to scenes that were being shot. There was tension on the sets at times, which led to production delays almost immediately.
There were many additional challenges creatively. The lengthy and exacting process of transforming Dustin into a convincing woman had been the focus of everyone’s efforts from the earliest days of preproduction. His makeup was always in constant state of refinement and modification. The relationship between Jessica Lange’s character and Dustin’s male character Michael, the out-of-work actor, kept being revised, along with the ever-expanding part of Dustin’s roommate played by the incomparable Bill Murray. It was difficult to create a live soap opera with a working TV studio as a film stage when shooting started.
Even though these issues were complex, the fact that the production was so far behind schedule early on in the production process overshadowed everything. It was leading to something no film company wants: increased scrutiny from the studio.
Despite all the challenges, there were moments that made everyone feel that something special was happening. Hoffman’s relish for playing Dorothy, a dowdy, disarmingly intelligent, middle-aged, southern woman, instantly became legendary from the earliest days of shooting. When he was being filmed as Dorothy, Dustin’s manner changed completely. Dustin, an outspoken star, became a straight-talking Southern belle. His immersion in this beautiful, feminine character was admired by everyone on the show. Hoffman, dressed in Dorothy’s costume, would spend his time with the crew between shots. He knew each person by name and entertained a hilarious and insightful commentary about their supposedly private activities. His inclusive and engaging style enthralled everyone including Sydney, who often could not keep from laughing uncontrollably at Dustin’s off-stage antics.
Despite these positive aspects, production was still behind schedule. Sydney became more concerned. To find solutions, he held several lunch meetings with his production crew. At one of them, musing almost to myself, I mentioned how much fun it was to be around Dustin when he was playing Dorothy – that if we could just talk to her, we would be fine.
Sydney took it in immediately “Hold on a second.”As he looked around at all the anxious faces in that room, he smiled. “We just might be on to something here. What if we did that? What if the next time we have to talk with him about script changes we wait until he’s Dorothy! What the hell?”
A few days later, when Sydney proposed a fairly substantial script change, I was waiting outside Dustin’s dressing room when he stepped out made-up and dressed as Dorothy. I explained the changes Sydney wanted to make as we walked towards the rehearsal set. After I had finished, I waited for a while before asking him his thoughts. Dustin’s reply in a rich, feminine Southern accent was clear and unhesitating. “Oh my, what a lovely idea. Why yes, by all means, let’s try it!”
I was thunderstruck.
The creative differences and script revisions continued during the final months of filming. But, Sydney almost always got what he wanted by waiting to ask Dorothy permission to make any changes. It was amazing. It was crazy. While their personal differences were still present, they were now finding mutually beneficial options. When “Tootsie”When the movie was finally released, the enthusiasm of the audience proved that the decisions they made together were ultimately for the greater good of the story.
Six years later, Dustin and I were working on another film. “Rain Man.”Because we had time to relax one afternoon before filming began, I was talking to him in his trailer. We discussed how the filming process works. “Tootsie,”Before asking him about script changes, we had waited to see if he was actually playing Dorothy. Dustin was fascinated by the stories and recalled every detail. But as we reminisced over the names of people we worked with, Dustin became more quiet. His expression became more relaxed. His expression was almost sad, almost wistful.
“What’s up?”Finally, I asked.
“Oh, I don’t know.”He smiled to him. “I guess it sounds kind of weird, but sometimes I really miss Dorothy.”
I couldn’t have been more pleased.
From “Best Seat in the House: An Assistant Director Behind the Scenes of Feature Films.”BearManor Media granted permission to use this text. Copyright © 2022 by David McGiffert
