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Professione: reporter (1975) Poster

Trivia

The video rights to this film were given to Nicholson by MGM as compensation for a film project that fell through.
Jump to: Spoilers (1)
The execution of a prisoner in this film is not staged. It consists of actual footage of a real execution.
Wanting to protect a piece of art that he loved, Jack Nicholson bought the rights to the film shortly after its release and kept it out of circulation for many years. In 2003, he entered into negotiations with Sony about allowing the film back into the public domain.
According to director Bernardo Bertolucci: "Michaelangelo Antonioni, a great director, had to wait six years after "The Passenger" to find the money to do a movie. Someone like Antonioni shouldn't be unemployed for six years."
In the DVD commentary, Nicholson states that Antonioni constructed the entire hotel so that the final shot could be accomplished, though he suggests that the entire hotel was built on hinges instead of simply the bars outside the window. This assertion is incorrect as production photos and several books testify. The shot was made by opening the bars which were on hinges and allowing the camera to pass through and be picked up outside. What also attracted the director to this building is it used to be a church and was across the street from a bullfight ring.
Michelangelo Antonioni claimed never to be entirely satisfied with any of his films. He hated the cuts that MGM imposed on his film but felt that the full version of Professione: reporter (1975) would have come close to satisfying his high standards. At one point, he tried to have his name removed from the credits.
When Michelangelo Antonioni received his honorary Oscar in 1995, the Academy asked Jack Nicholson to present it to him.
Maria Schneider argued with Michelangelo Antonioni about her nude scene. Having just made Ultimo tango a Parigi (1972), she was worried about being constantly perceived as a sex object. As it transpired, the scene in question is shot from a distance and is very discreet.
Jack Nicholson observed that Michelangelo Antonioni regarded his actors as "moving space" and nothing more.
The entire movie is supposed to have taken place in just one day, this is the reason that the film has no night-time scenes. Director Michelangelo Antonioni mentioned the fact in a 1986 interview, where he said "Actually the entire story takes place in a short period of one day, from early morning until some time before sunset."
Since the famous penultimate shot was continuous, it had to be done near dusk so as to minimize the lighting contrasts between the hotel room and the exteriors.
In the scene where Jack Nicholson's character lies down in an orange grove, the oranges weren't orange enough and had to be painted.
Maria Schneider was suffering from excruciating back pain during filming and would often be in a medicated muddle towards the end of the day when her pain meds kicked in. In one scene, Jack Nicholson had to physically prop her up.
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Antonioni originally wanted Donald Sutherland for the part of the reporter.
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The receptionist in hotel Oriente in Barcelona is Joan Gaspart, son of the homonymous hotel-tycoon, who would later become president of FC Barcelona.
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After initially refusing the role, Maria Schneider did not sign until the film was several weeks into production.
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The last of three English language films that Michelangelo Antonioni made for MGM after Blow-Up (1966) and Zabriskie Point (1970).
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The book lying in the floor beside the body of the real Mr. Robertson is The Soul Of The Ape by Eugène N. Marais. The book is non-fiction and is about Marais' time living in the wild Northern Transvaal for three years at close quarters with a troop of chacma baboons in the early 1900s.
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Given Michelangelo Antonioni's love of architecture, it's quite surprising that this is the first time he filmed in Barcelona, a city famed for its distinctive Gaudi buildings.
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The M-G-M lion which normally precedes the opening credits of M-G-M films has been supplanted by "BEGINNING OUR NEXT 50 YEARS . . . The lion then returns in the centre with GOLDEN ANNIVERSARY on either side of it.
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Spoilers 

The trivia item below may give away important plot points.

Michelangelo Antonioni's reasoning for the extremely elaborate final shot was that he simply didn't want to film a death scene.

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