During a discussion at the Venice Film Festival, Richard Gere reflected on one of the most iconic scenes from the 1990 romantic comedy Pretty Woman.In the film, Gere’s character, Edward Lewis, plays a haunting piano piece in a luxurious hotel ballroom, setting the stage for a tender and intimate moment with Julia Roberts’ Vivian Ward.
This scene, celebrated for its emotional depth and cinematic impact, was completely improvised by Gere and wasn’t part of the “play something moody,” which led to the spontaneous creation of the now-famous scene.
Gere, a skilled pianist, composed and performed the piece on the spot, adding an unscripted layer of vulnerability and complexity to Edward’s character. This improvisation transformed what could have been a simple romantic moment into a significant turning point in the film, showcasing Edward’s introspective side.
It allowed Vivian, and by extension the audience, to view him as more than a polished businessman, hinting at a deeper, perhaps wounded, humanity beneath his exterior.
Gere, who has often joked about Pretty Woman being “a little tiny movie” with modest expectations, now acknowledges the magic of its unscripted moments.
Despite initially calling the role underwritten, he recognizes how this impromptu addition provided the character with depth and helped solidify the film’s lasting cultural impact.
Though Pretty Woman became a massive success, grossing over $463 million worldwide, Gere has since admitted that he no longer plays the piece from the piano scene.
It remains an indelible part of film history, and its raw authenticity continues to resonate with audiences decades later.
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