A pivotal moment in the iconic film “Pretty Woman” was actually an unplanned improvisation, as revealed by its leading star, Richard Gere. During a Cartier masterclass event at the prestigious Venice Film Festival, Gere shared an intriguing behind-the-scenes detail about a notably “sexy” scene between him and his co-star, Julia Roberts.

This unexpected revelation came on Sunday when Gere explained that the scene where Roberts’ character, Vivian Ward, discovers his character, Edward Lewis, playing the piano at the Regent Beverly Wilshire Hotel was never originally scripted. “This was never in the script,” Gere confessed to the audience, referring to the memorable moment where Roberts’ character lies atop the piano during their intimate interaction.

Interestingly, Julia Roberts went to great lengths to prepare for her role as Vivian, even spending time with real prostitutes to bring authenticity to her performance. This dedication added layers to her portrayal that resonated deeply with audiences.

Gere elaborated on the scene’s impact, noting how its spontaneous creation became integral to the film’s narrative. “We didn’t know how we would use it later. It ended up being integral to the film,” he said, emphasizing how unplanned moments can sometimes become the most iconic parts of a movie. Jokingly downplaying the palpable chemistry between him and Roberts, Gere remarked, “No chemistry. I mean, this actor and this actress, obviously, had no chemistry between them. . . . I haven’t seen that in a long time, too. It was a sexy, sexy scene.”

In “Pretty Woman,” Gere portrays Edward Lewis, an affluent businessman who unexpectedly falls for Vivian Ward, a prostitute he hires to accompany him to social events. Reflecting on his role, Gere mentioned that his character was “almost criminally underwritten,” essentially defined by “a suit and a good haircut.” However, the improvised piano scene offered a unique depth to Edward’s character, allowing Vivian—and the audience—to see him in a new light. Gere noted that this moment revealed “a mysterious yearning and maybe a damaged quality to this guy that she didn’t know.”

The inspiration for this impromptu scene came from a conversation between Gere and the film’s director, Garry Marshall. Recalling their discussion, Gere said, “Garry asked me, ‘What do you do late at night in a hotel?'” Gere responded that he often played the piano when jet-lagged and staying in hotels. Marshall seized on this idea and suggested incorporating it into the film. Gere recounted how they improvised the scene with Marshall directing him to “play something moody,” which ultimately reflected Edward’s inner life.

This wasn’t the only instance of improvisation in “Pretty Woman.” In an interview with the American Film Institute, Marshall—who passed away in 2016—disclosed another unscripted moment involving a jewelry box. During a scene where Edward presents Vivian with a stunning necklace, Marshall instructed Gere to close the box abruptly on Roberts’ fingers. Her genuine laughter at this playful surprise was so authentic that it was included in the final cut of the film.

These spontaneous moments helped shape “Pretty Woman” into the beloved classic it is today, showcasing the magic that can happen when actors and directors embrace improvisation and authenticity in their storytelling.