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New arrival: Lola holds baby Amy Hart Redford, Provo, spring 1971. (Courtesy of Robert Redford)

As Bill McKay in The Candidate (1972), a movie planned as part of a trilogy commenting on aspects of modern American life (Courtesy of Robert Redford/Wildwood Enterprises)

The wit of The Candidate suggested a voice of originality in contemporary cinema. (Courtesy of Robert Redford/Wildwood Enterprises)

Joking with Paul Newman and director George Roy Hill during the making of The Sting, 1973 (Courtesy of George Roy Hill)

With Pollack and Barbra Streisand at Malibu during the making of The Way We Were, 1973. “All credit for that movie’s success goes to Sydney.” (Courtesy of Sydney Pollack)

With Mia Farrow in The Great Gatsby, 1974 (Courtesy of Robert Redford. Photograph: Paramount Pictures)

With Dustin Hoffman in All the President’s Men, 1976. “Dustin and I were like chalk and cheese, very different in every way. But that drove up the energy.” (Courtesy of Robert Redford/Wildwood Enterprises)

Returning to the American Academy of Dramatic Arts in Manhattan, where his favorite actor, Jason Robards Jr., a fellow graduate, was honored in 1978 (Courtesy of the American Academy of Dramatic Arts, New York)

The Electric Horseman, 1979. “It seemed to say a lot about integrity.” (Courtesy of Sydney Pollack. Photograph: Columbia Pictures)

“The Electric Horseman was such a hard script to crack,” said Sydney Pollack. “It finally came down to romantic chemistry. Bob and Jane [Fonda] could deliver Tracy and Hepburn any day.” (Courtesy of Sydney Pollack. Photograph: Columbia Pictures)

The first planning meeting for the embryonic Sundance Institute and arts center, near Redford’s home in Provo Canyon. Redford is fourth from left, with brother-in-law Sterling Van Wagenen seated, looking up at him. (Courtesy of Robert Redford/Sundance Institute)

The contentious hair-washing scene in Out of Africa, with Meryl Streep. “Sydney was overcontrolling,” says Redford. (Courtesy of Sydney Pollack. Photograph: Universal Pictures)

Chatting with Sterling Van Wagenen, the Sundance Institute’s first director. Their friendship would falter over which films to support in the mid-1980s. (Courtesy of Robert Redford/ Sundance archive)

Base Camp, Sundance, today. “It’s about creative exploration in the open air,” says Redford. (Ree Ward Callan/Sundance archive)

Redford during a June lab week at Sundance. “A lot of talking, a lot of sharing, a lot of experimentation.” (Courtesy of Robert Redford/Sundance archive)

Directing for the first time: Ordinary People, with Timothy Hutton and Mary Tyler Moore, in Chicago, 1980 (Courtesy of Robert Redford/ Wildwood Enterprises)

With Barry Levinson, director of The Natural, 1984 (Courtesy of Robert Redford)

With girlfriend Sonia Braga at Cannes, 1988 (Courtesy of Ree Ward Callan)

Receiving the Academy Award for directing Ordinary People, 1981 (Courtesy of Robert Redford)

Greenhouse Glasnost, an international initiative, was mounted at Sundance with the Soviet Academy of Sciences, to raise awareness of global warming and environmental risk, in 1989. (Courtesy of Robert Redford/Sundance archive)

On the set of Sydney Pollack’s Havana, with Lena Olin, 1990 (Courtesy of Robert Redford. Photograph: Universal Pictures)

With Brad Pitt and Craig Sheffer in A River Runs Through It, 1992. It was a film Redford had a deep feeling for. (Courtesy of Robert Redford/Wildwood Enterprises)

Directing Rob Morrow and Martin Scorsese in Quiz Show, one of Redford’s most acclaimed films, 1995 (Courtesy of Robert Redford/Wildwood Enterprises)

Working with Kristin Scott Thomas on location in Montana for The Horse Whisperer, 1998. Redford preferred the far longer version to the one that was released. (Courtesy of Robert Redford/Wildwood Enterprises)

Golf in Georgia, with Matt Damon and Will Smith, on location for The Legend of Bagger Vance, 2000. Redford was always