Hello, my name is Justin Klu, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club.

And today, we're going to get a little bit romantic with Nora Ephron, the name that always

comes up when people talk about great romantic comedies.

But also a career that spanned long before that, having made her name in journalism, novels,

screenplays.

She worked for Esquire, and her brand of essay was very personal, kind of revealing, and

talking about stuff that, especially women, didn't talk about in big publications.

And with a biting wit that made her something of an heir to Dorothy Parker,

which is an interesting contrast to the films that rocketed her to a different kind of superstardom,

which are much more sentimental and...

With fluffy.

Yeah, fluffy. That's the word I'm looking for.

Now, I was interested in looking into Nora Ephron as a topic for this podcast because, well,

first of all, when we talk about female filmmakers in the podcast, we have typically talked

about high art filmmakers and also exploitation filmmakers.

But what we haven't talked about is arguably the most successful and influential female

filmmaker of her era, which is Nora Ephron.

I mean, like, looking at her filmography, you wouldn't know that, though.

Sleepless in Seattle, when Harry met Sally, which she wrote.

And you got male.

And you got male.

...