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The series was a big success, making national names of its cast including O'Neal. Several were offered movie roles, including Mia Farrow, Rosemary's Baby (1968), and Barbara Parkins, Valley of the Dolls (1967), and O'Neal was keen to do films. [17] During the series' run O'Neal appeared in a pilot for a proposed series, European Eye (1968). [18]
The Driver is a 1978 American crime thriller film written and directed by Walter Hill, and starring Ryan O'Neal, Bruce Dern and Isabelle Adjani.The film featured only unnamed characters, and follows a getaway driver for robberies whose exceptional talent has prevented him being caught.
The Thief Who Came to Dinner is a 1973 American comedy film directed by Bud Yorkin. Based on the novel by Terrence Lore Smith, the film stars Ryan O'Neal and Jacqueline Bisset, with Charles Cioffi, Warren Oates, and in an early appearance, Jill Clayburgh.
Love Story is a 1970 American romantic drama film written by Erich Segal, who was also the author of the best-selling 1970 eponymous novel.It was produced by Howard G. Minsky, [4] and directed by Arthur Hiller, starring Ali MacGraw, Ryan O'Neal, John Marley, Ray Milland and Tommy Lee Jones in his film debut.
[5] Eventually the two stars were John Hurt and Ryan O'Neal. Burrows thought O'Neal "would have been great as the gay cop" but was cast as the straight cop. [5] The film was one of six relatively low budgeted films rushed into production by Paramount Pictures in 1981 prior to an impending director strike, with budgets between $4–8 million ...
Tough Guys Don't Dance is a 1987 crime mystery comedy-drama film written and directed by Norman Mailer based on his novel of the same name. It is a murder mystery/film noir piece. It was screened out of competition at the 1987 Cannes Film Festival. [4] The film received a mixed reaction from critics and was a box office bomb.
Chances Are is a 1989 American romantic comedy film directed by Emile Ardolino and starring Cybill Shepherd, Robert Downey Jr., Ryan O'Neal, and Mary Stuart Masterson in Panavision. The original music score was composed by Maurice Jarre. [2]
The film received mixed reviews from critics. Janet Maslin, then of The New York Times, complimented the casting, expressing that O’Neal and Melato might seem odd selections, but both ably filled their respective roles; Maslin also admired the scenes between O’Neal and Warden, finding that the two actors are "perfectly teamed."