ographical. There's a very important
distinction for us.
"The issues of divorce and of rela-
tionships have so many different vicis-
situdes," adds Herskovitz, "that you
don't have to draw upon the particular
details of your life.
"And, also, I respect very much the
privacy of my children, of my ex-wife,
of my friends. I wouldn't in any way
portray the details of my own life in a
way that was recognizable to anyone.
The Brandeis University graduate
was a class act even back in college days,
when he first started to focus on film-
making. After graduation, he won
acceptance to the American Film
Institute, where he met and was to team
up with fellow Directing. Fellow Zwick.
After some seasons of
writing/directing TV series such as
Family and The White Shadow, he
joined Zwick in writing Special
Bulletin, about nuclear bomb-packing
terrorists targeting Charleston, S.C.
The show was anything but a
bomb, winning accolades and
applause for the two men, who went
from creating Special Bulletin to the
special bull sessions of thirtysome-
thing," one of TV's proudest
moments.
As for Zwick, the pride he shows in
his work extends to film, where he has
directed the Academy Award-winning

"

Glory, Legendi of the Fall, Courage
Under Fire and The Siege. He first gar-

nered applause for collaborating with
Woody Allen on Love and Death, and
received laudatory love letters for pro-
ducing Shakespeare in Love.
"What I've always discovered," says
Zwick, a child of divorce and a
Harvard grad who refuses to look at
life from an ivy tower, "is the things
that are the most important to me and
the most profound — when I really
presume to dig and articulate them —
never turn out to be personal. They
always become universal.
"It's not about the facts of the
thing, it's about the truth of the thing.
And I think that's what we're trying to
go for.
The name of the game is success,
and the two have had their share over
the years. Is there some formula in
avoiding formulaic writing?
"Our process is still mysterious even
to me," says Zwick. "It is something
having to do with our friendship, which
next year will be 25 years old, and our
partnership, which has been that long as
well. And it becomes increasingly
unconscious and more fun."
"We do everything together that we
DIVORCE on page 88

Baby
omen

Actress Sela Ward
enjoys playing a role
that celebrates age.

EIRIK KNUTZEN

Special to the Jewish News

Armed with an Emmy Award and a
huge international audience for her
work in the dramatic series Sisters as
Teddy Reed, the struggling artist
and recovering alcoholic, Sela Ward
auditioned for the leading lady in
one of Pierce Brosnan's early James
Bond films four years ago.
She was 39, looking sexy, feel-
ing sensuous and ready to share
her life experience in the romantic
role. The exotic brunette was on
top of the world going through
her paces with casting &rectors
and producers for about 30 min-
utes. Her exuberance lasted until
she received the parting words of
the film's director: "What I really
want is Sela 10 years ago."
Ward, who received kudos for her
portrayal of Jewish TV journalist
Jessica Savitch in Almost Golden: The
Jessica Savitch Story, was floored, feel-
ing as though she bad been tossed
off the top of a 20-story building.
"He simply wasn't interested ---
he wanted a younger person than
myself," she recalls, still singed by
the experience. "I was horrified,
thinking, 'Oh, my God, does that
mean I'm not sexually viable any-
more? Am I too old to play a leading
lady opposite Pierce Brosnan, who's
[nearly four years] older than I am?'
It was a bitter pill to swallow, but
reflected the reality of our industry."
Seething, the slim, trim and
radiant former fashion model
went home to seek comfort and
security in the arms of her loving
husband and baby son.
"After thinking about it for
awhile, it made me laugh," she
says, "because it seems to me that
the men need to play opposite
someone young in order to feel
virile. I would much rather see a
relationship between people that

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