While Julia Roberts has long been heralded as one of “America’s sweethearts,” both in reference to her starring role in the 2001 rom-com and her affable demeanor, the actress doesn’t necessarily see…
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound. Then digital angels stepped in, and glory, glory, hallelujah!
While Julia Roberts has long been heralded as one of “America’s sweethearts,” both in reference to her starring role in the 2001 rom-com and her affable demeanor, the actress doesn’t necessarily see herself the same way.
“I didn’t feel like it was the beauty pageant sash, like ‘America’s sweethearts.’ It was the name of the movie I was in so it just seemed an easy, ‘Oh, okay, let’s just stitch those two things together,’” she told Patricia Arquette during their Actors on Actors conversation.
“I’m very unemotional about stuff like that,” she continued, noting that she knows Arquette reacts differently to public opinion. “I don’t feel like I have to then live up to something or that it’s some sort of pressure understanding of me. I feel like it sort of shows, in fact, a greater sense of protection between me as a person and me as an actor.”
When asked whether she feels there’s a disparity between her public persona and her personal understanding of who she is, she admitted that she does see a gap. “I think it used to be completely different and now I think it’s just different,” she said. “But also, I’ve never been a person that attracted the ‘musician energy’ where people see a musician in the grocery store and you’d be like, ‘Oh my god.’”
Instead, Roberts reveals that people who stop her in public usually treat her like an old friend. “I get this kind of energy like, ‘Oh, you cut your hair … it’ll grow back.’”
She continued, “I think people see me more as like their neighbor or ‘My daughter looks just like you.’ Those are the kinds of things people come up and approach me with as opposed to an energy that’s more than I can handle.”
“Actors on Actors” will air June 18 and June 20 on PBS.