“And Cole’s life was so contradictory,” Winkler continues. “Here’s a man who was married for 38 years, but a man who was also gay in a time when it was considered extremely taboo. Cole and Linda’s relationship was very unique, to say the least, and I knew exploring their relationship would be fascinating.”

After initial interest, De-Lovely truly began to take shape when Winkler and producing partner Rob Cowan met with the Cole Porter Trust and The Porter Estate about making a new Porter film. The Trust and Estate were hoping to popularize Porter’s music for a new generation of listeners, and they appreciated Winkler’s background producing film musicals like New York, New York and ‘Round Midnight. The filmmakers told the Trust they were only interested if they had the freedom to tell Porter’s story as they saw fit.

The Trust and Estate were very helpful in putting together the film. Because Porter’s songs have been so popular through time, the rights to use them are expensive, and it would have been cost prohibitive without their support. Their assistance was also invaluable in granting access to Porter’s personal effects and various documents and letters, which lend an even greater authenticity to the story.

In choosing a screenwriter to weave together a tapestry of Porter’s life, the filmmakers called upon Jay Cocks, an Oscar® nominee for Gangs of New York. Cocks had previously written a script for Winkler about the lives of Billy Strayhorn and Duke Ellington. Winkler asked Cocks if he was interested and Cocks quickly agreed; the two worked together to research and shape the story.

From the beginning, the filmmakers were set on doing something more original than a straight biographical film. “A biopic is just trying to give you the facts,” says producer Cowan. “We wanted to do something bigger, something that would give the essence of the man but also move people, touch them and open their eyes a bit about relationships.”

“We wanted to find a way to get into Porter’s head,” adds Winkler, “so we came up with the theatrical device of having Porter watch his life unfold onstage at a theater. It became a way to tie his life together and also to bring his music into play.” It also gave the film an impressionistic feel and helped free up the story’s structure.

“Looking back at your life through the prism of time, as Porter’s doing in the film, you often see things in a different way,” continues Winkler. “We took advantage of that. We were very true to the spirit of Cole and his music, but we didn’t limit ourselves to the biographical or historical sequence of events. A composer looking back on his life would use his own songs as a sort of soundtrack to his memories.”

“It’s really what makes the whole thing work,” says producer Charles Winkler. “He’s essentially having his life flash before his eyes, and it lends the story poignancy and brings gravity to it from the very beginning. It also helps the production numbers make sense so we could showcase Porter’s music.”

And what music! Everyone involved in the production was continuously thrilled by Porter’s innovative lyrics and melodies.

“The strength of Porter’s music is that he was a very complicated man who wrote complicated lyrics and music,” says Winkler. Porter also dealt with a universal subject matter: love. “We use ‘In the Still of the Night’ at the beginning and end of the film,” Winkler continues, “and one of the lyrics is ‘Do you love me as I love you? Are you my life to be?’ He is constantly questioning what love is about, as we all do. That’s one of the reasons his music has lasted so long.”

You’re the Nile, you’re the Tow’r of Pisa, You’re the smile on the Mona Lisa. I’m a worthless check, a total wreck, a flop, But if, baby, I’m the bottom You’re the top!

The Man
Kevin Kline’s introduction to Cole Porter came when he saw a friend in a performance of “Anything Goes” in his hometown of St. Louis, Missouri. Since then he’s gone on to become an Academy Award® winning actor (A Fish Called Wanda) and a two-time Tony winner for his musical performances on Broadway (“On the Twentieth Century” and “The Pirates of Penzance”). Like any musical theater performer worth their chops, Kline had long admired Porter as a songwriter, but he had never given much though to Porter the man. That all changed when Irwin Winkler asked him to play the composer in De-Lovely.

Kline, Winkler, and Cowan worked together on Winkler’s last directorial outing, Life as a House. “Kevin gave a wonderful performance in that film, and I was very happy with our working relationship,” says Winkler. “He’s so incredibly talented, and he’s an actor willing to take risks. As we worked on the script, I knew we had to have him as Cole.”

“Kevin’s very particular about what he wants to do,” adds Cowan. “But it was key for us to get somebody who was going to pull out the detail of the role. Porter was very detailed and intricate, and Kevin’s portrayal is just as detailed and intricate, right down to his mannerisms and playing the piano. Kevin loves doing the research and the detail work; he really embodied the character.”

“When Irwin first proposed the idea of me playing Cole, I was intrigued and terrified at the same time,” says Kline. “Having been an aspiring pianist and composer when I was in school, I thought it would be a nice way to get back in that world, and I love Porter’s music so much.”

“We got incredible commitment from Kevin,” says Winkler. “He worked on this project for almost nine months, honing his piano skills, working with a voice coach – he was a consummate professional, and turns in a stunning performance as a result.”

In addition to the challenge of portraying a historical figure, Kline was attracted to the film for its exploration of Cole and Linda Porter’s relationship. “It’s a unique love story, a particular kind of love Cole and Linda had for one another,” says Kline. “We weren’t going to pull any punches about his homosexuality and wanted to portray the truth – and from all the biographies I read he was rather unapologetically promiscuous – but Linda was Cole’s muse, his inspiration, and taskmistress. The bottom line is that they had a deep and abiding love for one another that was their own, that was unique, and that was very refreshing to play.”

Though Linda knew about Cole’s sexuality, she didn’t accept it when he was indiscreet. “Unlike today, there was a time where it wasn’t everyone’s business what one did in one’s bedroom, or in any other rooms for that matter,” Kline says. “People didn’t talk about such things and Cole kept his private life to himself. But apparently when he came to Hollywood he ‘went Hollywood,’ and biographers concur that things got out of control and he ran the risk of his indiscretions becoming public.” That’s when Cole and Linda separated for a period of time and Linda went back to Paris. “But once Cole had his accident,” Kline continues, “Linda came back and never again left his side, and that’s a matter of historical fact.”

As mentioned, the filmmakers wanted to showcase Kline’s music skills. Kline worked diligently to perfect his piano playing onscreen – a daunting task when portraying someone who made his living by composing on a keyboard. Another impressive aspect of Kline’s performance was his insistence upon singing his songs live while filming. Years ago, when he was making the film of The Pirates of Penzance, he was frustrated when he had to record a song then lip-sync to match the recording weeks later during filming. “It takes much of the spontaneity out of it,” says Kline. “You’re unable to invest real emotion into it because you’re trying to match your lips to what you sang before. The possibility of some wonderful, organic acting accident or impulse was destroyed.” Kline suggested singing live to Winkler, who understood and liked the idea, and technology makes it possible now to get a good recording while filming, so the production strived to do live recording whenever possible. “It helped keep the lyrics fresh every time,” says Kline. “Instead of performing or singing in a void, it was more about acting in the moment.”

“Most of Kevin’s singing in the movie, literally about 90%, was done live on set,” says Charles Winkler. “That’s unheard of.”

“Music has this transformative animal power,” Kline says, “and whenever you’re acting with music, it lifts things to another plane. Shakespeare does the same thing because there’s music in the language itself.”

All told, everyone involved has praise for Kline’s performance. “It’s a really big role for Kevin,” says Cowan. “Sometimes he was in make-up for five hours, he had to practice and play the piano, he had to dance in a number of scenes, obviously he sings a lot – it was a big undertaking and he did a masterful job.”

His co-star, Ashley Judd, echoes Cowan’s praise. “I knew Kevin would be beautifully suited to this film,” she says. “He’s such a committed actor; I’ll always remember his devotion and passion. He is Cole Porter, right down to his handwriting. While we were shooting I was looking at some music he had written on and I said, ‘Do you make your Y’s like that?’ He said, ‘No, but Cole Porter did.’ He’s really gone the distance.”

When asked what Porter would think if he were alive to see the film, Kline says, “I would hope he’d approve. I think he’d appreciate that we were trying to interpret his life in as entertaining yet authentic a way as possible while also celebrating his genius.”

Night and day you are the one, Only you beneath the moon and under the sun, Whether near to me or far It’s no matter, darling, where you are I think of you night and day.

The Muse
The world may never have discovered Cole Porter’s genius if it wasn’t for his wife, Linda. “Porter didn’t have the kind of success he wanted until after he met Linda,” says Winkler. “He was the genius behind his songs, but Linda helped very, very much in arranging opportunities for him and pushing him towards success.”

Linda was Porter’s companion, guardian, best friend, and conscience; there was no one in the world more important to him. Interestingly enough, Linda was a force in her own right before she even met Porter; she came from money and was a member of high society. Their partnership, however, made them both even stronger and more high profile.

One example of Linda’s strength and her importance in Cole’s life is dramatized in the film. After Porter’s horseback riding accident, Linda was the person who maintained they should never amputate his legs, despite the incredible pain the accident left him with. “She said he was a man of such pride it would have killed his spirit, thus killing his music,” Winkler says. “After Linda died, they eventually went ahead and amputated Porter’s leg – and he never wrote again. She knew Porter better than anyone in the world.”

Because of Linda and Cole’s relationship, being Linda wasn’t always easy; finding an actress to play Linda wasn’t easy either. “Linda is a tough character,” says producer Cowan. “It’s a period piece, so you have to be able to feel and look period, and that’s not as easy as it sounds. Linda is very strong willed, but vulnerable as well, so we needed an actress that could pull that off, too.” They found their Linda in acclaimed actress Ashley Judd.

“We were worried we wouldn’t be able to get Ashley, but her agent gave her the script and she loved it,” says Winkler. “She’s a wonderful actress, she has great training – we were thrilled to get her.”

“She’s extremely appealing and charming, which was essential to the character,” adds Charles Winkler, “and she has this great inner and outer beauty about her. She has a very strong sense of self and sense of direction, and that comes across in the character.”

Judd did plenty of research for her role, and was amazed at what a fascinating person Linda was. She also found a bit of a kindred spirit. “Linda was born and raised in Littlehole, Kentucky, which endeared her to me instantly,” says Judd. “She was extraordinarily stylish and had a fantastic eye for art and talent. She was very sophisticated, very clever, and very culturally alive.”

In addition to helping Porter’s career in overt ways, Judd found small things that also demonstrated Linda’s devotion to Cole and helped her build a more complete picture of the woman she was to portray onscreen. “She had an amazing room built for Cole at their home in Paris so he could work,” she says. “It had a white floor, white walls, white piano, white pencils, and she had a wall removed and replaced it with a large, wall-sized piece of frosted glass which was left plain around the shape of a beautiful tree growing in their courtyard. She knew how easily distracted he was, so he had the tree to look at for beauty and inspiration, but he couldn’t see what else was going on outside.” Knowing these details enabled Judd to fully embody the role and bring Linda to life.

Cole and Linda’s day-to-day lifestyle was one of the most colorful aspects of their relationship, Judd feels. “The people they surrounded themselves with were extraordinary,” she says, “whether it was the Irving Berlins or the Duke and Duchess of Windsor. They were funny and charming and could not stand bores; they were social icons.”

Her talent as an actress and the research she did made Judd very confident on set – except in one arena. Despite her famous family’s musical background (her mother, Naomi, and sister, Wynonna, are known to millions separately and as The Judds), Ashley hadn’t sung in public before…until now. Ashley sings “True Love,” part of “Anything Goes,” and the reprise of “In the Still of the Night” in the film.

“The only thing Ashley was really worried about was singing,” says Winkler. “She didn’t want to be compared to her family. She’s a very confident woman, but she said, ‘I really have to sing those songs?’ I said, ‘Yep, you’ve got to sing them.’ And she went into the studio and was wonderful at it.”

The filmmakers set out to make Cole and Linda’s story touching, and with Kline and Judd’s performances they feel like they got what they wanted. Of his co-star, Kline has great praise. “Ashley’s was the hardest character, in a way,” says Kline, “and she beautifully avoided playing the self-pitying, long-suffering wife tolerating this impossible husband, but found the love and forgiveness in the character. She is very instinctual and very smart about acting. When I saw the film, she really moved me.”

Locusts in trees do it, bees do it, Evenly highly educated fleas do it, Let’s do it, let’s fall in love.

The Performers
One of the most original aspects of De-Lovely is its stellar musical cast; an impressive collection of today’s top rock and pop talent was assembled to sing and dance their way through the film. Casting these musical talents was a deliberate move on the part of the filmmakers. “We wanted to attract a broader audience,” says Winkler. “Many people know Porter’s music is amazing, but it was written a long time ago; the artists who originally recorded the songs are gone and many young people don’t know who Porter is. We wanted to help create a new generation of Porter fans, and having modern pop artists singing these consummate songs does just that.”

One of the first musicians the filmmakers approached was seven-time Grammy Award winner Alanis Morissette. “She came up to our office for a meeting,” says Winkler, “and I said I’d like her to sing ‘Let’s Do It, Let’s Fall in Love.’ She looked at me and just said, ‘I’ll do that.’ She didn’t even hesitate. She already knew and loved Cole Porter.” And as the filmmakers approached musician after musician, they got the same reaction; everyone they talked to knew who Porter was and loved his songs.

“Up until the last day of shooting we were still getting calls from artists asking if we had room for them in the film,” says Winkler. “You’re going to find more and more pop singers doing Cole Porter.”

In addition to name recognition, the filmmakers felt having different performers from such different genres gives each song immediate texture and context. “There’s something about each artist that fits each song and the tone of the song,” says Cowan. “It helps give more weight and meaning to each number.”

It was important that each artist understood how their performance fit in context with the story; they approached their roles as actors, not just rock stars. “Each artist added their own flavor and creative style to their song,” says Charles Winkler, “but they respected the story and modulated their performances to fit within the whole. They were all just fantastic.”

The end result is a who’s who of modern music, and each artist’s fan are certain to be impressed by their cinematic appearances. “Porter’s songs were sung by the great voices and personalities of his time,” says Judd. “In that sense it’s perfectly consistent to have the likes of Alanis Morissette and Sheryl Crow and Diana Krall singing these fantastic songs.”

De-Lovely showcases its music in a variety of ways. Some of the artists play characters directed by Cole onstage, such as Morissette and French powerhouse Lara Fabian. Others sing at events the Porters are attending, like Robbie Williams at the Porters’ wedding or Elvis Costello at one of the Porter’s Venetian masquerade balls. At other times, the music is used abstractly, akin to the great MGM musicals which Porter wrote. For example, legendary MGM studio head Louis B. Mayer (Peter Polycarpou) takes Cole on a studio tour and the entire cast breaks into an impromptu performance of “Be a Clown.” “This multi-layered use of music creates a very unique movie experience,” says Charles Winkler.

Director Winkler says, “It’s amazing to have such an impressive collection of musicians in one film, and we’re thrilled they feel so passionate about the project. Their love of Porter’s music brings an unbelievable energy to De-Lovely.”

There’s something wild about you, child, that’s so contagious, Let’s be outrageous, let’s misbehave. They say that bears have love affairs, and even camels; We’re merely mammals, let’s misbehave.

The Music And The Look
Producing and arranging the music and recording sessions for a film about one of the most revered composers of all time – obviously that’s no small task. The filmmakers needed someone who could understand and showcase the incredible songs, fit them into a film spanning forty years, arrange them for different voices and styles, and work with an incredibly eclectic array of musical talent – all without tearing their hair out. They called upon veteran composer and producer Stephen Endelman.

“This was a dream project,” says Endelman. “This film offered an opportunity to explore the fusion of music and drama in a new and refreshing way, as well as to work with some of the best music ever written.”

Once Endelman signed on, he and the filmmakers immediately began getting the music ready. They started by sitting around the piano at Kevin Kline’s apartment exploring each song as it occurred in the script. “It was a perfect way to bring our group into Porter’s world,” says Endelman, “to explore the relationship between the songs and the emotional impact they have on the film’s main characters.”

The next stage was a three-day workshop in New York with Kevin Kline, Winkler, and a group of actor-singers where they went through the songs and defined tempos, keys and structure. “The structure of each song was fundamental,” says Endelman, “because it would help define how Irwin was going to set up each shot.” The songs in De-Lovely have never been presented together before – they’re all from different periods in time and different shows, so there was no model for how to integrate them into the drama of a script. “For me, the challenge was to create individual arrangements for each song that would work strung together, much like in a traditional musical,” says Endelman. “Also, the arrangements were complicated. They were to be old and new, traditional and non-traditional all at once and in every song.”

Next Endelman started recording the songs with the musical performers. Each performer worked with Endelman on matching the tone and emotion of their recording with what was called for by the script. Then Endelman supervised the on-camera recording of the songs. Though the songs were recorded in studio with the artists, many of the vocal music performances (and all of Kevin Kline’s) were also recorded live on set. Though it was more complicated, Endelman was glad to have done so.

“What Stephen brought to the production was invaluable,” says Charles Winkler. “The music setups and recordings and rehearsals for this film were complicated, and he was wonderful in bringing it all together very purely. He was able to roll with things, and he was there on set letting everyone know what would and wouldn’t work. He was able to deal with everyone on a musical level, a political level, and a creative level – it just wouldn’t have worked without him.”

It was just one of those nights, Just one of those fabulous flights, A trip to the moon on gossamer wings, Just one of those things.

Producing and arranging the music and recording sessions for a film about one of the most revered composers of all time – obviously that’s no small task. The filmmakers needed someone who could understand and showcase the incredible songs, fit them into a film spanning forty years, arrange them for different voices and styles, and work with an incredibly eclectic array of musical talent – all without tearing their hair out. They called upon veteran composer and producer Stephen Endelman.

“This was a dream project,” says Endelman. “This film offered an opportunity to explore the fusion of music and drama in a new and refreshing way, as well as to work with some of the best music ever written.”

Once Endelman signed on, he and the filmmakers immediately began getting the music ready. They started by sitting around the piano at Kevin Kline’s apartment exploring each song as it occurred in the script. “It was a perfect way to bring our group into Porter’s world,” says Endelman, “to explore the relationship between the songs and the emotional impact they have on the film’s main characters.”

The next stage was a three-day workshop in New York with Kevin Kline, Winkler, and a group of actor-singers where they went through the songs and defined tempos, keys and structure. “The structure of each song was fundamental,” says Endelman, “because it would help define how Irwin was going to set up each shot.” The songs in De-Lovely have never been presented together before – they’re all from different periods in time and different shows, so there was no model for how to integrate them into the drama of a script. “For me, the challenge was to create individual arrangements for each song that would work strung together, much like in a traditional musical,” says Endelman. “Also, the arrangements were complicated. They were to be old and new, traditional and non-traditional all at once and in every song.”

Next Endelman started recording the songs with the musical performers. Each performer worked with Endelman on matching the tone and emotion of their recording with what was called for by the script. Then Endelman supervised the on-camera recording of the songs. Though the songs were recorded in studio with the artists, many of the vocal music performances (and all of Kevin Kline’s) were also recorded live on set. Though it was more complicated, Endelman was glad to have done so.

“What Stephen brought to the production was invaluable,” says Charles Winkler. “The music setups and recordings and rehearsals for this film were complicated, and he was wonderful in bringing it all together very purely. He was able to roll with things, and he was there on set letting everyone know what would and wouldn’t work. He was able to deal with everyone on a musical level, a political level, and a creative level – it just wouldn’t have worked without him.”

It was just one of those nights, Just one of those fabulous flights, A trip to the moon on gossamer wings, Just one of those things.

Cole Porter
Cole Porter was born on June 9, 1891, in Peru, Indiana; he was named for his mother, Kate Cole, and his father, Sam Porter. Sam was a pharmacist, but Kate was the daughter of one of the richest men in Indiana at the time, James Omar Cole (known as J.O.). J.O. subsidized Cole’s parents’ income so his daughter, Kate, could continue her proper, wealthy lifestyle; as a result, Cole became accustomed to the same lifestyle and his taste for the finer things continued throughout his life.

Cole began piano lessons at age 6. He also studied the violin but quit because he preferred the sound of the piano. Cole composed his first song at age 10; it was called “Song of the Birds” and was written for his mother. Kate was a big supporter of Cole’s career from its earliest beginnings, publishing his early pieces and financing music projects in exchange for Cole solos and showcases.

Cole attended high school at Worcester Academy in Massachusetts and graduated valedictorian. He then went on to study at Yale College where his true career as a composer began to take shape. He wrote six full-scale productions and over 300 songs for various fraternities and student organizations while he was at Yale; many of his fight songs are still used by the university today.

Upon graduation from Yale, Cole enrolled in Harvard Law School (mainly to please his grandfather), but his focus was almost exclusively on his music. He soon left Harvard to move to New York, quickly becoming a part of the Manhattan social scene with his quick wit and engaging personality.

Cole’s first Broadway show, “See America First,” was produced in 1916; unfortunately, the show was a flop. Upset by the show’s less-than-stellar reception and ready for new adventures, Cole moved to Paris in 1917 in the midst of the first World War. During the war he enlisted in the French Foreign Legion, but many reports of his military involvement during that time were untrue or blown out of proportion, propagated by American press reports; it’s likely Cole was intentionally vague in interviews of the time, however, to justify his French residency to his family.

In 1918, Cole met American divorcee Linda Thomas, already a society figure and a wealthy woman in her own right. They became very close friends and married on December 19, 1919. Their nuptials also doubled their financial resources and social standing; it was a mutually beneficial relationship. With Linda’s support and guidance, Cole’s career finally took off. After several years of hard work and a few notable notices, he had his first big hit in 1928 with “Let’s Do It, Let’s Fall in Love” from the musical “Paris.” A string of subsequent hits soon cemented his position as one of America’s most important composers alongside such luminaries as Irving Berlin, George Gershwin, and Jerome Kern.

Cole suffered a horseback riding accident in 1937, fracturing both legs and causing him acute (and often excruciating) pain for the rest of his life. Doctors suggested amputation, but at Linda’s insistence they didn’t follow through with it; she felt it would destroy Cole’s spirit. The accident was a devastating occurrence, nonetheless, and the ensuing depression was deep and lasting. At Linda’s urging, however, he did continue to write. Cole experienced his last and greatest triumph with the Broadway production of “Kiss Me, Kate.” The production was considered an instant classic and won the first ever Tony Award for Best Musical.

Linda Porter passed away on May 20, 1954, a victim of emphysema; Cole was devastated. Without Linda standing guard, Cole’s right leg was amputated in 1958 and his spirit was broken; he never wrote another song. Cole died on October 15, 1964, and was buried between his wife and father.