Julia Roberts disapproves of Notting Hill sequel idea involving divorce

In a recent interview, Richard Curtis discussed the potential for a sequel to the beloved film Notting Hill, revealing that Julia Roberts was not interested in the script he proposed. This script suggested that Roberts' character, Anna Scott, and Hugh Grant's character, William Thacker, would be going through a divorce, a concept that Roberts dismissed as a 'poor idea.' Despite Roberts' unwillingness to explore this narrative, Grant expressed an interest in such a sequel, believing it could depict their characters going through an 'ugliest imaginable divorce.' He envisioned this sequel featuring children caught in a custody battle, highlighting the emotional turmoil of the separation. Furthermore, the conversation indicates a stark contrast between Roberts’ perspective on her character and Grant's more cynical viewpoint, portraying different attitudes toward the characters' relationship post-film. Roberts also shared her discomfort while portraying a movie star in Notting Hill, revealing that she almost didn’t take the role due to the awkwardness she felt in dressing as a glamorous actress. During the filming of the iconic scene where she declares, 'I'm just a girl,' she opted to wear her own clothes instead of costume offerings, showing how personally invested and uncomfortable she felt in that portrayal. This candid reflection adds depth to her character's identity in the film and invites further discussion on the pressures of female representation in Hollywood, particularly in romantic comedies. The end of Notting Hill, where Grant's character is seen reading a book on a park bench, was also mentioned, which served as a subtle nod from the late director Roger Michell. The discussions surrounding Notting Hill and any potential sequels reflect broader conversations about how characters evolve and the expectations placed on romantic leads after a major cinematic success. There is an inherent challenge in continuing stories that have concluded on an uplifting note, as sequels risk tarnishing the original narratives by introducing themes of divorce and distress. Despite the humorous angle suggested by Grant, the theme of divorce carries heavy implications. It brings into question what audiences desire from sequels—whether they crave deeper character studies or prefer to preserve the fairy-tale endings they originally enjoyed. In conclusion, the debate around a Notting Hill sequel underscores a notable clash between the creators and the actors involved, revealing differing visions for their characters' futures. The conversations not only highlight the personal sentiments of Roberts and Grant but also resonate with the audience's expectations and the complex narrative choices that sequels often face. As the film industry continues to revive classic movies, understanding these dynamics is crucial for gauging audience reactions and ensuring that any new productions respect the original narratives while offering fresh perspectives.