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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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(distant street noise)
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Faye Dunaway:
Can we shoot?
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We need to shoot!
I'm here now, come on!
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I really would like to shoot.
I really-- I'm sitting here,
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- I really would like to shoot.
- Laurent Bouzereau: Yes, we are.
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- (paper flapping)
- Okay. Uh,
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- you tell me
when you're ready, Faye.
- Ready.
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- (marker claps)
- Are we rolling?
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Laurent:
We're rolling.
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Here's the amazing thing.
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Today is March 29th.
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Now, on March 29, 1977,
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- you took this picture.
- Oh, wow.
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Laurent:
Yeah.
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Show the picture to camera.
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(shutter snaps)
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It's exactly 45 years ago.
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Faye:
Wow. It's an awfully long time.
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Laurent:
When you look at
this picture today,
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what do you see?
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Faye:
Well, I remember the moment.
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I had won the Oscar
for "Network" the night before,
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and closer to 5 o'clock,
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Terry O'Neill tried
to persuade me
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to come to the pool at dawn
when the sun came up
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because he didn't want
a traditional kind of picture
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with the actress standing
with the Oscar and that.
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But he staged this.
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What I loved is that,
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"Is that all there is?"
was kind of the theme to it.
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Because at my feet are all
of the morning newspapers
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announcing the wins and also
a posthumous Peter Finch Oscar
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because he passed away
three months earlier.
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So, it was bittersweet
and this is a classic place,
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Beverly Hills Hotel
and swimming pool.
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So anyway,
it was an amazing night.
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It was really crazy.
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Very, very, um, memorable.
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♪
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Do you know me?
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Well, uh,
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I think I would've remembered.
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Have we ever met?
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Faye Dunaway in one word...
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"un-dismissible."
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Well, I'm Miss Bonnie Parker,
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and this here is
Mr. Clyde Barrow.
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We rob banks.
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Faye's a legend, an inspiration,
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a force of nature,
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a literal
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and absolute genius
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of an acting artist.
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And Faye is my chum.
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It's a funny, dirty, little job.
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Alchemy.
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It's the relationship
between a lens and a face.
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You can't pigeonhole her
as a movie star.
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You see a Faye Dunaway movie,
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and you see something
completely different.
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You don't see Faye Dunaway.
You see Bonnie Parker.
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You see Laura Mars.
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You see Wanda Wilcox.
You see Joan Crawford.
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Hollywood royalty.
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Mesmerizing.
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You know, it's very rare
that you get somebody
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who's so striking-looking
that's got acting chops.
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And she had a confidence because
Faye knew she could bring it.
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- I'm scared!
- So am I!
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- What are you scared for?
You've got the gun!
- Yes!
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Liam Dunaway O'Neill:
My mom is a very strong woman,
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and I think that's one
of the reasons
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why she was so good at acting
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is because she would
keep her emotions inside.
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And then when she had to act
a scene, she would let it out.
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I told him, Lou!
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I've been telling him
every day for a week!
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I am sick of telling him!
Now, you tell him!
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- (slams receiver)
- Liam: If you go back
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and you watch
all of my mom's movies,
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I think she's all of
her characters in one,
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in real life because she put
a little bit of herself
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into every character,
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and she put a little bit
of her character into herself.
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I was never arrogant that way.
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I knew I needed a look,
and I got one.
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Faye Dunaway in one word?
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Complicated.
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Johnny Carson:
Who's one of the worst people
you know in Hollywood?
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Bette Davis:
That I worked with?
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Johnny:
Or that you wouldn't wanna
work with again. If--
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One million dollars,
Faye Dunaway.
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(audience laughter)
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Everybody you can put
into this chair
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- will tell you
exactly the same thing.
- (Carson laughs)
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Robin Morgan:
You will read people
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with their superficial
comments about Faye.
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She's volatile,
she's difficult, temperamental,
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aggressive. Yeah, well,
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that's also true.
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But she's equally fastidious,
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caring, deeply caring,
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and she has an eye
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and a temperament for detail
that I think tips that balance
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into what people
call difficult.
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And I think before you start
to make superficial judgments
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about someone like Faye,
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you have to look deeper
at the artist.
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(beep)
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(quiet set chatter)
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This is the worst seat
in the world.
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I'm not happy
with anything here.
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I wanna sit at an angle.
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I don't wanna sit straight on.
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So the shoulders are there?
Does that look better, darling,
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- or shall I come
straight like that?
- Laurent: No, looks nice.
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Faye:
It's the work, you know?
It takes what it takes.
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People think it's simple and,
"Oh, this and that. Be real."
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But there's so many details.
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I do a makeup,
and I do a hair.
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You know, you have to get there
early enough
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till you have the exact time.
So, if you get there there,
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and you don't have the time,
you're nervous and frantic.
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If you come early
you have your preparation,
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you have an organization.
It's just a lot of stuff
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that has to fit together
like a puzzle.
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I need a glass of water,
not a bottle!
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speaker:
Got it. Hold on.
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Faye:
And it's supposed
to liberate you.
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And it's difficult
because it's tense, all of it.
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- Laurent: Alright, Faye,
put down the book.
- speaker: Put down the book.
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In a minute!
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- (beep)
- So, now you see what it is
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about me. (sighs)
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Not easy.
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Laurent:
It's not easy,
but it gets the results.
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We'll see, we'll see.
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I just seem to always have
wanted to be an actress,
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or I always knew that that's
what I wanted to pursue anyway,
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you know, from a very early age
in the South
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when I was 5, 6 years old.
And I'd always grown up
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feeling that I could achieve
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what I wanted to achieve
if I worked hard enough.
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I mean that is, in fact,
the American dream, isn't it?
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(gentle music playing)
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I was born Dorothy Faye Dunaway
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on January 14, 1941.
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Dorothy Faye is the little girl
with brown hair
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who stood in the middle of
a dirt road in Bascom, Florida
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and played hopscotch
and mother-may-I.
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But I haven't been
Dorothy Faye for a long time.
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She might've been written
out of the script. (laughs)
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We hope not, right?
(laughs) She hasn't been.
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She's very important to me,
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and that's who I wanna
go back to sometimes.
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But, Faye is someone
that perhaps I have created.
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It's a persona that is related
very much to my work.
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It's specific to my career.
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That's the actress,
I suppose.
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And Dorothy Faye is that
little girl from the South.
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That still is
a deep part of me,
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and I have to stay close to
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because she's, you know,
integral to who I am.
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My mother and my father,
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they were young
when they married,
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and I don't think they had
a very good relationship
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because he had
the disease of alcoholism.
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True, serious illness,
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and he wasn't
bringing money home.
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He might've been drinking
too much even then.
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So, my mother sent a letter
to the War Department,
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asking them to draft my father,
and they did.
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He was a cook.
He worked in the kitchen.
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And they sent the check
to her every month,
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00:08:04,651 --> 00:08:07,904
and we were able to pay off
bills and pay off the house.
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00:08:07,904 --> 00:08:12,617
But, my mother had a great
sense of doing things right
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and also taking things
into her own hands
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when they didn't work.
That's what I learned
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by being with her
and seeing how she operated.
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And that's what it takes
to make things work.
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My mom was very close to Grace,
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and we would go to her
little farm in South Carolina,
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and my mom was always trying
to, like, take care of her.
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Faye:
I've always been
close with her.
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I mean,
she taught me everything.
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She had backbone,
and she fought very hard
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in a very difficult life
with very little money,
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and difficulties
with my father.
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And my mother
always wanted more.
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So, she taught me to achieve.
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She taught me to do the best,
to get straight A's,
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to work hard, no matter what.
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And I'm glad that she did.
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But it was also
pretty demanding.
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I was trained to be the best,
and I was.
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I got some--
an idea in my mind,
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00:09:02,542 --> 00:09:05,086
and I was gonna try to
achieve it. That's my mother.
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- We'll start with that guy.
- Oh Lord. (laughs)
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Well, this is me
and my beloved brother, Mac,
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00:09:13,845 --> 00:09:16,556
the sweetest boy in the world,
except for Liam.
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00:09:16,556 --> 00:09:17,891
I always thought
he was so sweet,
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and I was such a kind of
go-getter, after my mother,
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that I felt guilty and I felt
I wish I were more like him.
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♪
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My brother, his name
was Mac Simmion Dunaway,
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00:09:29,486 --> 00:09:31,279
and he's younger than me,
two years younger,
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00:09:31,279 --> 00:09:34,074
and he was, I thought,
a lot sweeter than me.
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00:09:34,074 --> 00:09:35,283
But I envied that.
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00:09:35,283 --> 00:09:38,203
I envied that he was so lovely
and charming and sweet.
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I was with him at his bedside
just before he passed,
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00:09:42,123 --> 00:09:44,959
which I'm happy about.
I'm glad that I was there.
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00:09:44,959 --> 00:09:47,837
He just had contracted
some kind of illness
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00:09:47,837 --> 00:09:50,423
without us really expecting it.
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00:09:50,423 --> 00:09:51,966
Heartbreaking that we lost him.
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He was a wonderful man,
had a great life.
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00:09:56,513 --> 00:09:58,264
Liam:
This one was interesting,
I think,
219
00:09:58,264 --> 00:09:59,557
'cause I'd never
seen it before,
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00:09:59,557 --> 00:10:01,643
and there's no time or date
or anything like that--
221
00:10:01,643 --> 00:10:03,144
Absolutely, that is what it is.
It's Mannheim, Germany.
222
00:10:03,144 --> 00:10:05,939
It's when my father
was stationed in Germany,
223
00:10:05,939 --> 00:10:08,650
and we were outside
one of the parks there.
224
00:10:08,650 --> 00:10:10,694
And my brother and my father
225
00:10:10,694 --> 00:10:12,654
are standing exactly
the same way.
226
00:10:12,654 --> 00:10:14,906
You can see. Sweet. Very sweet.
227
00:10:14,906 --> 00:10:16,574
He was stationed there
in the Army,
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00:10:16,574 --> 00:10:19,244
and we spent two years there.
229
00:10:19,244 --> 00:10:22,747
The time pattern of my life
was established very early
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00:10:22,747 --> 00:10:26,084
when we began to travel
with my father in the Army.
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00:10:26,084 --> 00:10:28,670
Every two years, he was
transferred somewhere else,
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00:10:28,670 --> 00:10:31,423
and we went from Florida
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00:10:31,423 --> 00:10:35,051
to Arkansas and Texas,
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00:10:35,051 --> 00:10:36,344
and then to Germany,
235
00:10:36,344 --> 00:10:39,723
and back to Utah
which is dreary and very arid.
236
00:10:39,723 --> 00:10:43,268
And it was a rhythm that
was not pleasant sometimes.
237
00:10:43,268 --> 00:10:45,812
It was painful because you had
to pick up and leave friends
238
00:10:45,812 --> 00:10:47,147
and people that
you loved and knew,
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00:10:47,147 --> 00:10:49,691
and there was
no kind of holding on.
240
00:10:49,691 --> 00:10:51,526
No kind of... It was...
241
00:10:51,526 --> 00:10:54,112
I don't think
it's good to do that
242
00:10:54,112 --> 00:10:55,822
but, I mean,
I liked it at the time,
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00:10:55,822 --> 00:10:57,449
mostly because there was
something new,
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00:10:57,449 --> 00:10:58,658
and I was always curious,
245
00:10:58,658 --> 00:11:00,285
and I always wanted
to see new places.
246
00:11:00,285 --> 00:11:03,455
But it was a mixture.
It was both bad and good.
247
00:11:03,455 --> 00:11:05,623
I'm interested to know at what
point you got interested
248
00:11:05,623 --> 00:11:08,710
in acting, and decided,
or had a vague decision,
249
00:11:08,710 --> 00:11:12,881
- at least, to be an actress.
- I, I can always remember,
you say, a very vague,
250
00:11:12,881 --> 00:11:16,259
a-an unspoken kind
of leaning towards it.
251
00:11:16,259 --> 00:11:18,094
I always did plays.
I always played games
252
00:11:18,094 --> 00:11:20,638
where I was acting or dressing
up and things like that.
253
00:11:20,638 --> 00:11:22,891
There was
neighborhood playhouses,
254
00:11:22,891 --> 00:11:24,642
and I auditioned
when I was 13
255
00:11:24,642 --> 00:11:26,895
for the part of
Nurse Kelly in "Harvey."
256
00:11:26,895 --> 00:11:29,439
And I played that in this
neighborhood playhouse
257
00:11:29,439 --> 00:11:31,649
in Dugway Proving Ground, Utah,
258
00:11:31,649 --> 00:11:33,985
which was an Army base
where my father was.
259
00:11:33,985 --> 00:11:37,030
That was something I did because
I was interested in that.
260
00:11:37,030 --> 00:11:38,615
I was always interested in that,
261
00:11:38,615 --> 00:11:41,534
but that was parallel
to my family experience,
262
00:11:41,534 --> 00:11:42,702
which was painful.
263
00:11:43,244 --> 00:11:45,747
The marriage had crumbled.
It was falling apart,
264
00:11:45,747 --> 00:11:49,751
and the acting was a way
to escape from the difficulties
265
00:11:49,751 --> 00:11:52,879
that existed in my family life,
in my home life.
266
00:11:52,879 --> 00:11:55,173
I mean, it was hurting us
as well, the children,
267
00:11:55,173 --> 00:11:58,968
so my mother wanted a divorce,
and we went back to Florida.
268
00:11:58,968 --> 00:12:01,054
Pierre Berton:
Did you have a happy childhood
or an unhappy one?
269
00:12:01,054 --> 00:12:04,140
- I read a bit about it--
- Both, really. Not-Not terribly.
270
00:12:04,140 --> 00:12:05,809
It was, um, it was--
271
00:12:05,809 --> 00:12:07,894
Well, there was a divorce in
the family when I was older,
272
00:12:07,894 --> 00:12:10,689
but the childhood itself was,
was, um,
273
00:12:10,689 --> 00:12:12,941
not particularly unhappy.
274
00:12:12,941 --> 00:12:15,110
I remember that my relationship
with my mother, for example,
275
00:12:15,110 --> 00:12:18,863
was very close, you know?
It was not until really my teens
276
00:12:18,863 --> 00:12:20,073
that there was the divorce,
277
00:12:20,073 --> 00:12:21,533
and that certainly
is an adjustment
278
00:12:21,533 --> 00:12:24,828
because that is difficult
emotionally, and I imagine,
279
00:12:24,828 --> 00:12:28,373
financially, it was
a bit less of an easy life.
280
00:12:28,373 --> 00:12:30,000
We lived in Tallahassee,
281
00:12:30,000 --> 00:12:32,210
and I went to Leon High School.
282
00:12:32,210 --> 00:12:35,005
Tried out to be a cheerleader,
became a cheerleader.
283
00:12:35,005 --> 00:12:37,215
There was a drama club as well,
284
00:12:37,215 --> 00:12:41,219
and I had a couple of roles
in the productions there.
285
00:12:41,219 --> 00:12:42,762
After I graduated,
286
00:12:42,762 --> 00:12:45,432
I went to Florida State
University for one year,
287
00:12:45,432 --> 00:12:47,308
and then I transferred
to the University of Florida
288
00:12:47,308 --> 00:12:49,644
because I had a boyfriend
who was there.
289
00:12:50,145 --> 00:12:54,149
But winning a beauty contest
was de rigueur in the South.
290
00:12:54,149 --> 00:12:56,317
This is a very important thing.
You had to win one.
291
00:12:56,317 --> 00:12:57,485
You had to win one.
292
00:12:57,485 --> 00:12:59,279
And I tried a number of times,
293
00:12:59,279 --> 00:13:01,406
and I was always runner-up
to May Queen,
294
00:13:01,406 --> 00:13:04,409
six votes that I didn't get,
that someone else got.
295
00:13:04,409 --> 00:13:07,912
And then, when I finally
became Sweetheart of Sigma Chi,
296
00:13:07,912 --> 00:13:10,331
(laughs) my darling boyfriend
at that time,
297
00:13:10,331 --> 00:13:12,917
Eugene Page, who's no longer
with us, unfortunately,
298
00:13:12,917 --> 00:13:15,754
he was part of this,
299
00:13:15,754 --> 00:13:17,839
and when I won that,
I thought, that's it.
300
00:13:17,839 --> 00:13:19,090
I've done it now.
301
00:13:19,090 --> 00:13:20,717
And in spite of the fact that
302
00:13:20,717 --> 00:13:22,177
Gene and I were very close,
303
00:13:22,177 --> 00:13:24,262
I had to go and live my life.
304
00:13:24,262 --> 00:13:26,723
I had to go and do
what I wanted to do,
305
00:13:26,723 --> 00:13:28,391
to be an actress.
And so,
306
00:13:28,391 --> 00:13:30,977
I then researched
and found a school
307
00:13:30,977 --> 00:13:33,271
that was interesting because
it was Boston University,
308
00:13:33,271 --> 00:13:37,150
and it had visiting directors
from the New York stage.
309
00:13:37,150 --> 00:13:40,779
So I got accepted,
and I went to Boston University
310
00:13:40,779 --> 00:13:43,281
just after I became
Sweetheart of Sigma Chi.
311
00:13:44,240 --> 00:13:45,950
Okay, what's next? Ah. This is--
312
00:13:45,950 --> 00:13:48,328
Liam:
I think it's a--
some kind of Roman--
313
00:13:48,328 --> 00:13:49,412
It's me playing Medea
314
00:13:49,412 --> 00:13:51,289
when I was in college,
315
00:13:51,289 --> 00:13:54,918
and that's the chorus
and that's the gladiator.
316
00:13:54,918 --> 00:13:57,462
That's a play production
that I was in when I was young.
317
00:13:57,462 --> 00:13:59,297
Jimmy Carter:
Were you a terribly
ambitious young girl
318
00:13:59,297 --> 00:14:01,174
when you were a teenager
that got you out
319
00:14:01,174 --> 00:14:03,760
- in this crazy business
in the first place?
- I had a lot of desire.
320
00:14:03,760 --> 00:14:05,929
And a lot of, um, energy.
321
00:14:05,929 --> 00:14:08,181
And a lot of, um,
you know,
322
00:14:08,181 --> 00:14:10,892
determination to do good work.
323
00:14:10,892 --> 00:14:12,268
Jimmy:
Did you ever get down
and frustrated,
324
00:14:12,268 --> 00:14:13,561
didn't think you were
gonna make it,
325
00:14:13,561 --> 00:14:15,271
or did you always know
that you had that goal set
326
00:14:15,271 --> 00:14:16,981
- and you were gonna make it?
- All the time!
327
00:14:16,981 --> 00:14:19,150
Every day down and frustrated
and, you know,
328
00:14:19,150 --> 00:14:21,194
had to pull yourself up
and talk to yourself,
329
00:14:21,194 --> 00:14:23,405
and I think that there's a lot
of character building
330
00:14:23,405 --> 00:14:25,824
and strength that goes into,
when one is fearful
331
00:14:25,824 --> 00:14:28,618
and when one takes on
a large task.
332
00:14:28,618 --> 00:14:31,538
♪
333
00:14:31,538 --> 00:14:34,499
Six days after I graduated
from Boston University,
334
00:14:34,499 --> 00:14:38,169
I went on Broadway in New York
to play with Emlyn Williams
335
00:14:38,169 --> 00:14:40,672
in "A Man for All Seasons,"
and, at the same time,
336
00:14:40,672 --> 00:14:43,341
I worked in the training program
for Lincoln Center Repertory.
337
00:14:43,341 --> 00:14:46,761
‘Cause Robert Whitehead,
the great producer, with Kazan,
338
00:14:46,761 --> 00:14:49,014
had seen me
play things up in Boston.
339
00:14:49,764 --> 00:14:53,351
Barry Primus:
Faye was in the company
of Lincoln Center led by Kazan,
340
00:14:53,351 --> 00:14:55,186
and everybody wanted
to be in this company.
341
00:14:55,186 --> 00:14:56,855
You had to audition for it.
342
00:14:56,855 --> 00:14:58,314
But, to be in the company
you had to spend,
343
00:14:58,314 --> 00:15:01,401
almost eight or nine months
in the training program.
344
00:15:01,401 --> 00:15:03,820
We didn't think
about going to Hollywood.
345
00:15:03,820 --> 00:15:05,530
We were thinking
about being on the stage,
346
00:15:05,530 --> 00:15:07,449
and so we were in
an extremely exciting
347
00:15:07,449 --> 00:15:10,869
and enviable place
by being with Kazan.
348
00:15:10,869 --> 00:15:13,038
reporter:
What do you think of
the new Lincoln Center group?
349
00:15:13,038 --> 00:15:15,248
Well, I must think a lot of it.
I've worked a long time on it.
350
00:15:15,248 --> 00:15:16,624
We've brought
this bunch together,
351
00:15:16,624 --> 00:15:19,044
and it's a very exciting group.
352
00:15:19,044 --> 00:15:21,087
Very fresh and young, eager.
353
00:15:21,713 --> 00:15:25,133
And, uh, high-spirited.
Wonderful group of people.
354
00:15:25,508 --> 00:15:28,094
- reporter: You mean
the actors, don't you?
- Yeah.
355
00:15:28,094 --> 00:15:31,639
Barry:
Kazan would locate
the part within the actor.
356
00:15:31,639 --> 00:15:34,726
That was his secret.
He said, "The material I use
357
00:15:34,726 --> 00:15:39,064
is the life that the actor
has led up to this moment."
358
00:15:39,064 --> 00:15:40,857
Faye:
Kazan taught me how to act.
359
00:15:40,857 --> 00:15:43,443
He taught me my feelings
were my strength.
360
00:15:43,443 --> 00:15:45,236
I used to think
they made me look weak
361
00:15:45,236 --> 00:15:48,698
and that I was weak if I cried
or felt sad or depressed.
362
00:15:48,698 --> 00:15:50,867
And he taught me
to use those feelings.
363
00:15:50,867 --> 00:15:52,118
He says, "They're who you are.
364
00:15:52,118 --> 00:15:54,162
They make you strong.
They don't make you weak."
365
00:15:54,162 --> 00:15:55,580
Jimmy: You know,
when you meet little girls,
366
00:15:55,580 --> 00:15:57,457
and they wanna be an actress
like you when they grow up,
367
00:15:57,457 --> 00:16:00,335
- what do you tell them?
- Get a good education.
368
00:16:00,335 --> 00:16:02,003
Become a person.
369
00:16:02,003 --> 00:16:04,547
And education
is a big part of that.
370
00:16:04,547 --> 00:16:08,093
And then, when you can bring
something to the profession,
371
00:16:08,093 --> 00:16:10,053
come in.
But don't come out saying,
372
00:16:10,053 --> 00:16:11,805
"Oh, I wanna be an actress
and get in front of a camera,"
373
00:16:11,805 --> 00:16:15,350
because a million other people
will be there before you,
374
00:16:15,350 --> 00:16:16,434
or simultaneously,
375
00:16:16,434 --> 00:16:18,353
and it's just not the way
that it's gonna happen.
376
00:16:18,353 --> 00:16:20,730
You have to develop
your own uniqueness.
377
00:16:21,106 --> 00:16:23,983
I was getting a salary
on Broadway at that time,
378
00:16:23,983 --> 00:16:26,528
but it wasn't that much.
But I was a young actress.
379
00:16:26,528 --> 00:16:30,490
I was auditioning for things.
I finally got "Hogan's Goat."
380
00:16:30,490 --> 00:16:31,991
This was written
by William Alfred,
381
00:16:31,991 --> 00:16:33,785
who became my great mentor
and friend.
382
00:16:33,785 --> 00:16:37,497
And it was Off-Broadway,
but it was a beautiful role
383
00:16:37,497 --> 00:16:40,291
and written in blank verse
with an Irish accent.
384
00:16:40,291 --> 00:16:42,919
(Irish accent)
Daughter of a mighty Father,
385
00:16:42,919 --> 00:16:45,588
maiden patron of the May,
386
00:16:45,588 --> 00:16:48,800
angel forms around thee gather,
387
00:16:48,800 --> 00:16:51,094
Macula non est in te.
388
00:16:51,094 --> 00:16:52,971
My mom in her 20s,
389
00:16:52,971 --> 00:16:55,932
she really turned
more of parental guidance
390
00:16:55,932 --> 00:16:58,101
to William Alfred,
391
00:16:58,101 --> 00:17:00,770
who she had met
on "Hogan's Goat."
392
00:17:00,770 --> 00:17:03,690
He was a professor at Harvard.
393
00:17:03,690 --> 00:17:05,233
He was also a writer,
394
00:17:05,233 --> 00:17:08,069
and they kind of
just bonded.
395
00:17:08,069 --> 00:17:10,405
I remember there's
a picture of them together,
396
00:17:10,405 --> 00:17:13,199
and they're just literally
at two ends of the desk,
397
00:17:13,199 --> 00:17:15,410
and there's just like
a typewriter in the middle,
398
00:17:15,410 --> 00:17:17,787
and you can see
they're just working.
399
00:17:17,787 --> 00:17:19,205
And that was
their relationship.
400
00:17:19,205 --> 00:17:20,540
And he would always read books,
401
00:17:20,540 --> 00:17:22,959
so he got my mom into
more reading and learning
402
00:17:22,959 --> 00:17:24,753
and educating herself,
and being
403
00:17:24,753 --> 00:17:27,339
a master of her craft.
404
00:17:27,339 --> 00:17:29,716
Bill Alfred was my father, basically.
405
00:17:29,716 --> 00:17:31,092
My father in art.
406
00:17:31,092 --> 00:17:33,011
I would always go up there
with my scripts,
407
00:17:33,011 --> 00:17:34,846
and we would sit
in his living room,
408
00:17:34,846 --> 00:17:36,514
and he would fiddle and say,
409
00:17:36,514 --> 00:17:39,351
"Well, this is what maybe the
playwright was thinking about."
410
00:17:39,351 --> 00:17:42,604
So, he helped me enormously,
and he showed me how to work.
411
00:17:42,604 --> 00:17:43,772
♪
412
00:17:43,772 --> 00:17:47,067
But the play, "Hogan's Goat,"
was a surprise hit.
413
00:17:47,067 --> 00:17:48,651
You know,
everyone came to see it.
414
00:17:48,651 --> 00:17:50,278
Jackie Onassis
came one night.
415
00:17:50,278 --> 00:17:53,323
And the reviews were very good.
Not just for me,
416
00:17:53,323 --> 00:17:55,367
but for the play as well.
417
00:17:55,367 --> 00:17:57,660
That's when Hollywood
came knocking.
418
00:17:57,660 --> 00:18:01,706
And the casting director,
Joyce Selznick,
419
00:18:01,706 --> 00:18:03,208
was in the audience,
420
00:18:03,208 --> 00:18:06,336
and she recommended me
to Sam Spiegel,
421
00:18:06,336 --> 00:18:08,505
who was a very big
Hollywood producer.
422
00:18:08,505 --> 00:18:10,715
He had produced
"The African Queen,"
423
00:18:10,715 --> 00:18:13,551
"On the Waterfront"
with Marlon Brando,
424
00:18:13,551 --> 00:18:17,222
"Lawrence of Arabia,"
and he became a friend.
425
00:18:17,222 --> 00:18:19,391
Platonic. Never-- There was
never any romance between us,
426
00:18:19,391 --> 00:18:23,103
but he believed in me, and he
put me into my first film,
427
00:18:23,103 --> 00:18:24,145
"The Happening."
428
00:18:24,145 --> 00:18:25,855
Are you scared?
429
00:18:27,482 --> 00:18:28,525
Yes, I'm scared.
430
00:18:28,733 --> 00:18:31,111
I don't think
you're really scared yet.
431
00:18:31,111 --> 00:18:33,071
It was glorious!
You kidding?
432
00:18:33,071 --> 00:18:35,949
(laughs) I was in shape.
433
00:18:35,949 --> 00:18:37,742
I used to do
100 sit-ups every morning
434
00:18:37,742 --> 00:18:40,036
because I had these bare
midriff things I had to wear.
435
00:18:40,036 --> 00:18:42,247
It was the first film I did.
Can you imagine?
436
00:18:42,247 --> 00:18:45,166
A young actress in this world
of movie-making,
437
00:18:45,166 --> 00:18:46,960
which is glamorous
and thrilling.
438
00:18:46,960 --> 00:18:50,714
You and Rad made up your minds
to go and sell the place?
439
00:18:50,714 --> 00:18:54,217
- You're gonna have to talk
to Rad about that, Henry.
- Okay.
440
00:18:54,217 --> 00:18:56,177
Only I hope you folks
don't wait too long.
441
00:18:56,177 --> 00:18:58,888
In "Hurry Sundown,"
I played the farm wife.
442
00:18:58,888 --> 00:19:02,684
Jane Fonda played the wealthier
wife with Michael Caine
443
00:19:02,684 --> 00:19:04,060
that I wanted to play,
444
00:19:04,060 --> 00:19:06,312
but I got the role
of the poor Southern woman
445
00:19:06,312 --> 00:19:09,190
who was with John Phillip Law.
But I took it also because
446
00:19:09,190 --> 00:19:10,525
it reminded me of my mother.
447
00:19:10,525 --> 00:19:12,861
And the role of the farm wife
was something
448
00:19:12,861 --> 00:19:15,530
that I knew from my grandmother
when I was growing up.
449
00:19:15,530 --> 00:19:18,283
And it was a good experience
in the end.
450
00:19:20,285 --> 00:19:23,788
(clears throat) Good afternoon.
This is the Barrow gang.
451
00:19:23,788 --> 00:19:25,457
(trash can clatters)
452
00:19:25,457 --> 00:19:27,959
Now, if everybody will just take
it easy, nobody will get hurt.
453
00:19:27,959 --> 00:19:29,169
Mark Harris:
"Bonnie and Clyde,"
454
00:19:29,169 --> 00:19:31,755
in its preparation
and in its preproduction,
455
00:19:31,755 --> 00:19:34,299
was really a kind of men's club.
456
00:19:34,299 --> 00:19:37,344
It was written by Robert Benton
and David Newman.
457
00:19:37,344 --> 00:19:38,803
Arthur Penn was the director.
458
00:19:38,803 --> 00:19:42,640
Warren Beatty was the star,
but also the producer
459
00:19:42,640 --> 00:19:46,353
and the kind of driving force
in wanting to get it made.
460
00:19:46,353 --> 00:19:48,855
But, they waited to cast
461
00:19:48,855 --> 00:19:50,732
quote-unquote "the girl."
462
00:19:50,732 --> 00:19:52,150
Who's the girl gonna be?
463
00:19:52,150 --> 00:19:55,904
- (soft music playing)
- (plane roaring)
464
00:19:57,822 --> 00:20:01,326
Faye:
I went to the Beverly Wilshire
Hotel in Los Angeles
465
00:20:01,326 --> 00:20:03,161
‘cause that's where Warren
had a suite
466
00:20:03,161 --> 00:20:05,038
in the very top of the hotel,
467
00:20:05,038 --> 00:20:08,500
and Arthur Penn was there.
And we auditioned in the suite,
468
00:20:08,500 --> 00:20:11,503
and I read some scenes
of "Bonnie and Clyde."
469
00:20:11,503 --> 00:20:15,382
And Arthur basically said
he wanted me to do it.
470
00:20:15,382 --> 00:20:17,008
Warren was less sure,
471
00:20:17,008 --> 00:20:19,969
but, in the end, Arthur Penn
committed himself to me.
472
00:20:19,969 --> 00:20:22,764
He actually told Warren
that if I didn't play it,
473
00:20:22,764 --> 00:20:24,391
he wasn't gonna do it.
474
00:20:24,391 --> 00:20:27,310
Annette Insdorf:
It was Penn who insisted
on Faye Dunaway.
475
00:20:27,310 --> 00:20:31,898
Although the other actresses
being considered included
476
00:20:31,898 --> 00:20:34,401
Jane Fonda, Tuesday Weld,
477
00:20:34,401 --> 00:20:36,653
Natalie Wood, Leslie Caron,
478
00:20:36,653 --> 00:20:40,198
and, my, my, the film
would've been different
479
00:20:40,198 --> 00:20:42,534
with any of the other actresses
480
00:20:42,534 --> 00:20:44,869
because of a special sensibility
481
00:20:44,869 --> 00:20:47,664
that Faye Dunaway
brought to that part.
482
00:20:47,664 --> 00:20:48,998
Faye:
I mean, I was a Southerner.
483
00:20:48,998 --> 00:20:51,376
You know, I mean,
you saw in "Bonnie and Clyde"
484
00:20:51,376 --> 00:20:53,211
that I was home free.
485
00:20:53,211 --> 00:20:54,754
And the accent is a part of it.
486
00:20:54,754 --> 00:20:57,215
(Southern accent)
Oh, big Clyde Barrow!
487
00:20:57,215 --> 00:20:58,383
You're just like your brother!
488
00:20:58,383 --> 00:21:01,052
- Uh-huh!
- Ignorant,
uneducated hillbilly!
489
00:21:01,052 --> 00:21:02,721
Listen, the only
special thing about you
490
00:21:02,721 --> 00:21:04,931
is your peculiar ideas
about love-makin',
491
00:21:04,931 --> 00:21:07,058
which is no love-makin' at all!
492
00:21:07,392 --> 00:21:08,810
"Bonnie and Clyde,"
493
00:21:08,810 --> 00:21:11,104
the studios didn't like it.
They didn't wanna show it.
494
00:21:11,104 --> 00:21:13,356
And Warren, at one point,
495
00:21:13,356 --> 00:21:15,233
in Warren's inimitable way,
496
00:21:15,233 --> 00:21:16,901
laid right down on the floor
and says,
497
00:21:16,901 --> 00:21:18,445
"Sell me the picture."
498
00:21:18,445 --> 00:21:20,530
And they said, "Oh,
get up from the floor, kid.
499
00:21:20,530 --> 00:21:22,323
Get-- What are you talk--
Get up."
500
00:21:22,323 --> 00:21:23,908
And he didn't.
He just stood there, said,
501
00:21:23,908 --> 00:21:27,287
"Sell me the picture.
I'll be back with a check
this afternoon."
502
00:21:27,287 --> 00:21:30,415
He left. Well, you know,
they then are saying,
503
00:21:30,415 --> 00:21:32,250
"Oh, God, he showed it to Fox.
504
00:21:32,250 --> 00:21:34,210
"Or he showed it
to another studio.
505
00:21:34,210 --> 00:21:36,087
And they're interested,
and now..."
506
00:21:36,087 --> 00:21:37,714
So, it worked.
507
00:21:38,590 --> 00:21:42,260
Mark: "Bonnie and Clyde"
came out in the summer of 1967,
508
00:21:42,260 --> 00:21:43,762
but it took five
or six months
509
00:21:43,762 --> 00:21:46,431
before the movie
really started to take off
510
00:21:46,431 --> 00:21:48,683
and be popular
across the country.
511
00:21:48,683 --> 00:21:50,477
And that was right
at this interesting moment
512
00:21:50,477 --> 00:21:53,980
when everything in old
Hollywood was falling apart.
513
00:21:53,980 --> 00:21:57,942
The production code, which had
governed the content of movies
514
00:21:57,942 --> 00:22:01,821
for many decades,
had finally been dismantled.
515
00:22:01,821 --> 00:22:04,699
So, there was suddenly
this window
516
00:22:04,699 --> 00:22:08,119
when you could have
very adult movies.
517
00:22:08,119 --> 00:22:10,288
But nobody,
including the people
518
00:22:10,288 --> 00:22:11,623
who were making the movies,
519
00:22:11,623 --> 00:22:15,377
knew quite how far
those movies could go.
520
00:22:15,377 --> 00:22:17,295
(gunshot, alarm ringing)
521
00:22:17,295 --> 00:22:20,173
James Gray:
With "Bonnie and Clyde,"
you got the sense that
522
00:22:20,173 --> 00:22:21,883
the Band-Aid
had been ripped off.
523
00:22:21,883 --> 00:22:23,677
All of a sudden, you saw...
524
00:22:23,677 --> 00:22:27,305
anguish. Real anguish.
You heard about
525
00:22:27,305 --> 00:22:29,724
Clyde's sexual impotence.
526
00:22:29,724 --> 00:22:32,352
You saw her
intensely frustrated
527
00:22:32,352 --> 00:22:34,229
and lonely,
528
00:22:34,229 --> 00:22:35,980
and her humanity validated.
529
00:22:35,980 --> 00:22:38,441
But also, her sadness,
530
00:22:38,441 --> 00:22:39,984
and that was not something
we'd seen before
531
00:22:39,984 --> 00:22:41,194
with that kind of frankness.
532
00:22:41,194 --> 00:22:43,822
How long did it take them
to shoot you up the way they did
533
00:22:43,822 --> 00:22:45,740
in, uh, in the end of
"Bonnie and Clyde"?
534
00:22:45,740 --> 00:22:47,117
Faye:
Yeah, it was incredible.
535
00:22:47,117 --> 00:22:49,244
It took, um...
I think we did it--
536
00:22:49,244 --> 00:22:51,121
I think we did it twice,
on two days,
537
00:22:51,121 --> 00:22:53,456
and there were about
four cameras going on each one.
538
00:22:53,456 --> 00:22:54,499
That was incredible.
539
00:22:54,499 --> 00:22:57,168
- (gunfire)
- (screaming)
540
00:23:16,104 --> 00:23:17,480
(gunfire stops)
541
00:23:17,480 --> 00:23:20,025
Julie Salamon:
The shootout
and the death scene
542
00:23:20,025 --> 00:23:24,696
was shocking, and part of it
was that you liked them.
543
00:23:24,696 --> 00:23:26,614
And it was echoing something
544
00:23:26,614 --> 00:23:28,533
that was going on
across the country.
545
00:23:28,533 --> 00:23:31,995
In '63, President Kennedy
was assassinated,
546
00:23:31,995 --> 00:23:35,373
and then a few years later,
his brother, Robert Kennedy,
547
00:23:35,373 --> 00:23:37,625
running for President,
was assassinated,
548
00:23:37,625 --> 00:23:40,503
and Martin Luther King
was assassinated.
549
00:23:40,503 --> 00:23:43,131
Those were also
incredibly turbulent times
550
00:23:43,131 --> 00:23:44,883
and very frightening
551
00:23:44,883 --> 00:23:46,760
because it just felt
like everything
552
00:23:46,760 --> 00:23:49,763
that we had been told
and everything we had known
553
00:23:49,763 --> 00:23:52,182
was being turned upside down,
554
00:23:52,182 --> 00:23:55,685
and I think "Bonnie and Clyde,"
in this very seductive way,
555
00:23:55,685 --> 00:23:59,606
just brought that
right into the movie theater.
556
00:24:00,273 --> 00:24:01,775
(chattering in French)
557
00:24:01,775 --> 00:24:04,319
This is Faye's
first time in Paris.
558
00:24:04,319 --> 00:24:08,281
reporter:
Will you tell us just shortly,
uh, your stage experience?
559
00:24:08,281 --> 00:24:10,408
Three years stage
experience in New York
560
00:24:10,408 --> 00:24:12,077
with the Lincoln Center
Repertory Company.
561
00:24:12,077 --> 00:24:14,245
Two years with that,
one year on Broadway.
562
00:24:14,245 --> 00:24:15,997
As a result of this fame
563
00:24:15,997 --> 00:24:17,707
that came as a result
of "Bonnie and Clyde,"
564
00:24:17,707 --> 00:24:19,876
it was a very frantic
and hectic time.
565
00:24:19,876 --> 00:24:23,630
I don't have anything against
fame, but it can be difficult
566
00:24:23,630 --> 00:24:26,007
because you don't have
a lot of privacy sometimes.
567
00:24:26,007 --> 00:24:29,427
But, it's something that
I accept and am grateful for
568
00:24:29,427 --> 00:24:32,597
because there are people
who like my work.
569
00:24:32,597 --> 00:24:34,641
When one becomes successful,
it's an opportunity.
570
00:24:34,641 --> 00:24:37,435
- It's a freedom, really.
Success is freedom.
- Pierre: Yes, of course, it is.
571
00:24:37,435 --> 00:24:38,645
You can choose
what you wanna do.
572
00:24:38,645 --> 00:24:40,772
You can choose
what's most exciting for you.
573
00:24:40,772 --> 00:24:42,607
Bonnie and Clyde
are very big here in France,
574
00:24:42,607 --> 00:24:43,983
and they have been
for a long time,
575
00:24:43,983 --> 00:24:47,153
even though the film
has only just now arrived.
576
00:24:47,153 --> 00:24:50,865
The French have for months been
buying Bonnie and Clyde songs,
577
00:24:50,865 --> 00:24:53,827
neckties, hats, dresses,
car accessories.
578
00:24:53,827 --> 00:24:57,539
People came in costumes
of the American 1930s
579
00:24:57,539 --> 00:24:59,833
to see the Paris premiere
of the film
580
00:24:59,833 --> 00:25:03,545
and to see its stars,
Faye Dunaway and Warren Beatty.
581
00:25:03,545 --> 00:25:06,047
Mark: Her look,
which really did spark
582
00:25:06,047 --> 00:25:08,299
a major fashion trend,
583
00:25:08,299 --> 00:25:10,135
was intentionally anachronistic.
584
00:25:10,135 --> 00:25:14,055
Because if you look at pictures
of the real Bonnie Parker,
585
00:25:14,055 --> 00:25:16,808
she did not look like
Faye Dunaway. And so,
586
00:25:16,808 --> 00:25:20,729
this was a highly stylized,
visually,
587
00:25:20,729 --> 00:25:23,064
highly romanticized version
588
00:25:23,064 --> 00:25:26,151
of Bonnie and Clyde,
which was appropriate
589
00:25:26,151 --> 00:25:29,404
because this is partly
a movie about celebrity
590
00:25:29,404 --> 00:25:30,989
and about seeking celebrity.
591
00:25:30,989 --> 00:25:33,575
And that part
of the story is true.
592
00:25:33,575 --> 00:25:36,661
- Come on, smile. Hey...
- (shutter snaps)
593
00:25:36,661 --> 00:25:39,039
Faye:
The look for Bonnie
was established
594
00:25:39,039 --> 00:25:40,915
by Theadora Van Runkle.
595
00:25:40,915 --> 00:25:43,501
She was a great friend
of mine for many, many years,
596
00:25:43,501 --> 00:25:46,004
and she was a divine
costume designer.
597
00:25:46,004 --> 00:25:49,174
And so, after Bonnie,
she did "Thomas Crown" for me,
598
00:25:49,174 --> 00:25:52,927
with these very short
miniskirts and ruffly things.
599
00:25:52,927 --> 00:25:55,221
And this woman, very feminine,
but very aggressive.
600
00:25:55,221 --> 00:25:57,515
Alright, Eddy! I'm immoral!
601
00:25:57,515 --> 00:26:00,518
So is the world!
I'm here for the money, okay?
602
00:26:00,518 --> 00:26:02,312
My character was
a private investigator,
603
00:26:02,312 --> 00:26:03,855
and she was a dresser.
604
00:26:03,855 --> 00:26:06,691
She did these incredible looks
every time she was in public,
605
00:26:06,691 --> 00:26:08,610
and that was just
the choice we made.
606
00:26:08,610 --> 00:26:09,861
In a lot of my films,
607
00:26:09,861 --> 00:26:12,364
the clothes
have created statements.
608
00:26:12,364 --> 00:26:14,199
I know what I am.
609
00:26:15,658 --> 00:26:17,994
Don't put your labels
on me, Eddy.
610
00:26:17,994 --> 00:26:19,913
Julie: The story of
"The Thomas Crown Affair"
611
00:26:19,913 --> 00:26:23,208
is about Thomas Crown,
played by Steve McQueen,
612
00:26:23,208 --> 00:26:26,002
and he has these guys
rob a bank, and, of course,
613
00:26:26,002 --> 00:26:28,630
it's the quote-unquote
"perfect crime."
614
00:26:28,630 --> 00:26:30,840
And the insurance company,
615
00:26:30,840 --> 00:26:33,635
they send this high-powered
insurance investigator
616
00:26:33,635 --> 00:26:35,345
to help the Boston Police.
617
00:26:35,345 --> 00:26:39,516
And that insurance investigator
(laughs) is Faye Dunaway,
618
00:26:39,516 --> 00:26:42,310
Vicki, and, of course,
619
00:26:42,310 --> 00:26:45,897
they both are very intrigued
by each other to put it mildly.
620
00:26:45,897 --> 00:26:47,399
Steve McQueen:
Whose head are you after?
621
00:26:47,399 --> 00:26:49,275
- Yours.
- Mine?
622
00:26:50,443 --> 00:26:51,903
Yours.
623
00:26:52,654 --> 00:26:54,280
(laughing)
624
00:26:54,656 --> 00:26:56,616
Julie:
She's very much of the moment.
625
00:26:56,616 --> 00:26:57,992
It's the '60s.
626
00:26:57,992 --> 00:27:00,829
The women's movement
is coming into the forefront,
627
00:27:00,829 --> 00:27:02,831
so she's this independent woman
628
00:27:02,831 --> 00:27:06,543
who was so cool
and so self-possessed.
629
00:27:06,543 --> 00:27:10,005
Robin: Nobody who's ever
seen that movie
630
00:27:10,005 --> 00:27:12,966
would argue that
perhaps the chess game
631
00:27:12,966 --> 00:27:16,011
is the most erotic piece
of filmmaking ever made.
632
00:27:16,011 --> 00:27:17,137
Do you play?
633
00:27:20,432 --> 00:27:22,267
Try me.
634
00:27:22,267 --> 00:27:23,601
And there's not a word spoken!
635
00:27:24,185 --> 00:27:28,314
It's just chess moves.
It's fingers. It's looks.
636
00:27:28,314 --> 00:27:29,649
Annette:
It's a chess game!
637
00:27:29,649 --> 00:27:32,277
But, she and Steve McQueen,
638
00:27:32,277 --> 00:27:35,238
they play it so well
that it is a silent game,
639
00:27:35,238 --> 00:27:37,532
and it's all in the looks,
640
00:27:37,532 --> 00:27:38,950
and, boy, does that work.
641
00:27:38,950 --> 00:27:40,577
And you know she's in control.
642
00:27:40,577 --> 00:27:42,287
Check.
643
00:27:43,329 --> 00:27:46,082
He and I had
a wonderful chemistry, actually,
644
00:27:46,082 --> 00:27:47,625
because he was
an actor for sure,
645
00:27:47,625 --> 00:27:49,210
but he was also Steve.
646
00:27:49,210 --> 00:27:52,297
He had a persona that was
something that defined him
647
00:27:52,297 --> 00:27:55,300
perhaps more than
this quote-unquote "acting."
648
00:27:55,300 --> 00:27:57,719
Mark:
There's a story
that Steve McQueen
649
00:27:57,719 --> 00:27:59,846
disparagingly referred to her
650
00:27:59,846 --> 00:28:02,557
either as Dun-fadeaway
651
00:28:02,557 --> 00:28:04,267
or Fadin'-away.
652
00:28:04,267 --> 00:28:05,435
Because she was thin.
653
00:28:05,435 --> 00:28:08,813
She was, like, disappearing
and losing weight.
654
00:28:08,813 --> 00:28:12,817
There's a big demand that
you be very, very, very thin.
655
00:28:14,152 --> 00:28:16,654
And that you fit everything.
And that you look great.
656
00:28:16,654 --> 00:28:19,574
And you get a half an hour
for lunch,
657
00:28:19,574 --> 00:28:21,201
from the time they break,
658
00:28:21,201 --> 00:28:25,789
to you eat, go to the toilet,
brush your teeth,
659
00:28:25,789 --> 00:28:27,332
and get back on set.
660
00:28:27,332 --> 00:28:29,959
Absolutely, there is
much more pressure on a woman.
661
00:28:29,959 --> 00:28:32,003
The clothes are very demanding.
662
00:28:32,003 --> 00:28:34,172
But, you're going
at such a pace
663
00:28:34,172 --> 00:28:36,341
you don't have time
to eat very much.
664
00:28:36,341 --> 00:28:39,052
Sharon Stone: In truth,
you just don't get to eat
665
00:28:39,052 --> 00:28:41,513
three healthy meals a day
and fit the clothes
666
00:28:41,513 --> 00:28:42,931
that come off the runway.
667
00:28:42,931 --> 00:28:46,434
You just really don't.
And Faye and I know that.
668
00:28:46,434 --> 00:28:47,519
(shutter snaps)
669
00:28:47,894 --> 00:28:49,354
Robin:
All the great photographers
photograph Faye
670
00:28:49,354 --> 00:28:51,940
- 'cause she is a fashion icon.
- (shutter snaps)
671
00:28:51,940 --> 00:28:55,402
Jerry Schatzberg, of course,
photographed Faye beautifully.
672
00:28:55,402 --> 00:28:57,654
They were an item in the '60s,
673
00:28:57,654 --> 00:28:59,739
and are still great friends.
674
00:28:59,739 --> 00:29:01,825
And he's
a formidable photographer
675
00:29:01,825 --> 00:29:03,827
as well as director himself.
676
00:29:03,827 --> 00:29:06,079
Jerry Schatzberg:
I got a call from "Esquire,"
677
00:29:06,079 --> 00:29:11,167
and they said they would like me
to photograph a new actress.
678
00:29:11,167 --> 00:29:13,169
- (shutter snapping)
- And I was really happy
to meet Faye,
679
00:29:13,169 --> 00:29:15,547
and we did some
wonderful photographs.
680
00:29:15,547 --> 00:29:18,299
In the middle of the shoot,
she started crying.
681
00:29:18,299 --> 00:29:21,302
And I thought maybe
I had said something,
682
00:29:21,302 --> 00:29:23,388
but I couldn't
really tell at first.
683
00:29:23,388 --> 00:29:25,682
Faye: I don't know.
I think probably I wanted
684
00:29:25,682 --> 00:29:28,893
to have a vulnerability
for these stills
685
00:29:28,893 --> 00:29:32,147
and, you know, you think
of something that is sad for you
686
00:29:32,147 --> 00:29:33,773
and makes you cry.
687
00:29:33,773 --> 00:29:37,277
Life is emotional,
and it's easy to tap into that.
688
00:29:37,277 --> 00:29:39,654
Jerry:
The lunches we had
led to dinners,
689
00:29:39,654 --> 00:29:42,323
and we just liked
talking to one another.
690
00:29:42,323 --> 00:29:43,783
We started spending time.
691
00:29:43,783 --> 00:29:45,910
After a while, she knew
692
00:29:45,910 --> 00:29:49,581
that I was aiming to
get into making films,
693
00:29:49,581 --> 00:29:51,166
and she started
asking me questions
694
00:29:51,166 --> 00:29:53,418
about the film I was
working on. And that's how
695
00:29:53,418 --> 00:29:56,046
we got started with
"Puzzle of a Downfall Child."
696
00:29:56,046 --> 00:30:00,842
Would you want to take a picture
of me now, as I am?
697
00:30:00,842 --> 00:30:02,969
Well, uh, I didn't
bring my camera.
698
00:30:02,969 --> 00:30:06,639
No, but you would not
because I am imperfect!
699
00:30:06,639 --> 00:30:09,726
I-- My makeup has worn off,
I look horrible.
700
00:30:09,726 --> 00:30:11,019
You know you look
wonderful though,
701
00:30:11,019 --> 00:30:13,563
so you should stop knocking
yourself down like that.
702
00:30:13,563 --> 00:30:15,273
Barry:
I was in a play called "Huey,"
703
00:30:15,273 --> 00:30:18,401
and Jerry saw me on that
and thought I would be good
704
00:30:18,401 --> 00:30:21,071
for the role. But, of course,
he checked with Faye,
705
00:30:21,071 --> 00:30:24,074
and Faye said, "Yeah,
well sure. That'd be great."
706
00:30:24,074 --> 00:30:27,035
And Faye was so gorgeous
in the film,
707
00:30:27,035 --> 00:30:29,662
and it appealed to her
708
00:30:29,662 --> 00:30:31,122
because it was another
side of herself.
709
00:30:31,122 --> 00:30:32,999
You know, couldn't think
of anything more different
710
00:30:32,999 --> 00:30:35,043
than Bonnie in this part.
711
00:30:35,043 --> 00:30:38,296
Faye:
The character was
Lou Andreas Sand,
712
00:30:38,296 --> 00:30:41,466
but it was based on a model
by the name of Anne St. Marie.
713
00:30:41,466 --> 00:30:45,345
And she was a top, top model.
Just owned the city.
714
00:30:45,345 --> 00:30:47,514
And Jerry's photographed
her many times.
715
00:30:47,514 --> 00:30:50,058
She kept a list of photographers
she didn't like anymore,
716
00:30:50,058 --> 00:30:51,851
and she would say
that she wouldn't work for them.
717
00:30:51,851 --> 00:30:55,021
The camera gives you 15,
20 pounds.
718
00:30:55,021 --> 00:30:59,234
Thin as you are, may I suggest
you drop five or seven pounds.
719
00:30:59,234 --> 00:31:00,276
Five or seven.
720
00:31:00,276 --> 00:31:02,529
Certainly, the character
based on Anne
721
00:31:02,529 --> 00:31:06,491
was very tortured
by relationships in the past,
722
00:31:06,491 --> 00:31:08,785
and she had a lot
of darkness in her as well.
723
00:31:08,785 --> 00:31:10,662
And, you know,
it's a difficult thing,
724
00:31:10,662 --> 00:31:11,996
sometimes I would think,
725
00:31:11,996 --> 00:31:13,873
coming to terms
with being a model,
726
00:31:13,873 --> 00:31:15,500
because her whole career
was based on
727
00:31:15,500 --> 00:31:18,044
how she looked
through a lens, a camera.
728
00:31:18,044 --> 00:31:21,047
So, that was something
that was very akin
729
00:31:21,047 --> 00:31:24,259
to what I experienced
as an actress in, in film.
730
00:31:24,259 --> 00:31:27,971
I'm not adding up to anything,
am I, Aaron?
731
00:31:27,971 --> 00:31:30,682
I'm not making any sense,
am I? It won't--
732
00:31:30,682 --> 00:31:31,933
Barry:
Yes, you are.
733
00:31:31,933 --> 00:31:35,603
As a matter of fact,
there was a period of time
734
00:31:35,603 --> 00:31:37,313
when you weren't doing too well.
735
00:31:37,689 --> 00:31:38,982
Was that when you were ill?
736
00:31:39,399 --> 00:31:41,693
Faye:
I was able to relate
to this character.
737
00:31:41,693 --> 00:31:42,777
I mean, who was it who said
738
00:31:42,777 --> 00:31:44,237
I walked around
in a cloud of drama?
739
00:31:44,237 --> 00:31:46,322
I think it was Kazan.
(laughs)
740
00:31:46,322 --> 00:31:48,366
That you never know
what's gonna happen next.
741
00:31:48,366 --> 00:31:51,953
It could be true, and I was--
had periods, you know,
742
00:31:51,953 --> 00:31:55,040
where I was very depressed
and I was very moody
743
00:31:55,040 --> 00:31:57,709
and actually have,
we might as well say,
744
00:31:57,709 --> 00:31:59,836
a bipolar diagnosis.
745
00:32:00,420 --> 00:32:02,714
It's a very real thing.
It's bipolar.
746
00:32:02,714 --> 00:32:04,215
It's manic depressive
747
00:32:04,215 --> 00:32:06,384
is another name
for this illness.
748
00:32:06,384 --> 00:32:10,472
And it's an imbalance,
a biological imbalance.
749
00:32:10,472 --> 00:32:13,183
You can be up high,
you can be manic,
750
00:32:13,183 --> 00:32:14,893
you can be very depressed
is the other place to be.
751
00:32:14,893 --> 00:32:17,020
So, I do have mood swings,
up and down.
752
00:32:17,020 --> 00:32:19,397
And it was happening
early on as well, I think.
753
00:32:19,397 --> 00:32:21,608
And they only became
more evident
754
00:32:21,608 --> 00:32:23,902
as I grew later in my life.
755
00:32:23,902 --> 00:32:25,904
- (indistinct)
- Will you stop angering me?
756
00:32:25,904 --> 00:32:27,572
♪
757
00:32:27,572 --> 00:32:29,657
Liam:
My mom always had
depression issues,
758
00:32:29,657 --> 00:32:30,992
bipolar issues,
759
00:32:30,992 --> 00:32:34,162
but it wasn't until
a couple of years ago,
760
00:32:34,162 --> 00:32:37,040
where I had watched my mom
go through, like, really hard,
761
00:32:37,040 --> 00:32:39,668
hard times and hit rock bottom.
762
00:32:39,668 --> 00:32:41,920
So, I kind of got to the point
where I said, "Hey, listen,
763
00:32:41,920 --> 00:32:44,172
like, let's get you
to this clinic in Boston,"
764
00:32:44,172 --> 00:32:46,508
where she went to lectures
and classes,
765
00:32:46,508 --> 00:32:48,968
and they got her
on the right stuff,
766
00:32:48,968 --> 00:32:51,096
and she came out
like a whole new person.
767
00:32:51,096 --> 00:32:53,139
I worked with a group of doctors
768
00:32:53,139 --> 00:32:56,142
who analyzed my behavior,
and who, who gave me
769
00:32:56,142 --> 00:32:57,560
prescriptions for pills
770
00:32:57,560 --> 00:32:59,062
that they thought
would be good for me,
771
00:32:59,062 --> 00:33:01,606
and they have helped.
So, I am quieter,
772
00:33:01,606 --> 00:33:02,982
but throughout my career,
773
00:33:02,982 --> 00:33:05,402
people know that
there were tough times.
774
00:33:05,402 --> 00:33:07,112
But I don't need to make
an excuse about it.
775
00:33:07,112 --> 00:33:09,447
I'm still responsible
for my actions.
776
00:33:09,447 --> 00:33:11,783
But this is what
I came to understand
777
00:33:11,783 --> 00:33:14,119
was the reason for them.
It's something
778
00:33:14,119 --> 00:33:16,538
you need to be aware of,
and you need to try
779
00:33:16,538 --> 00:33:19,541
to do the right thing
to take care of it.
780
00:33:19,541 --> 00:33:21,710
Jerry:
Unfortunately,
781
00:33:21,710 --> 00:33:25,630
something happened in her life
that then, uh, we, uh,
782
00:33:26,673 --> 00:33:27,841
had to break up.
783
00:33:27,841 --> 00:33:30,969
Well, I went over to Italy,
and I did a film
784
00:33:30,969 --> 00:33:32,470
with Mastroianni,
785
00:33:32,470 --> 00:33:34,806
and, uh, I did fall
in love with him,
786
00:33:34,806 --> 00:33:38,101
and we had a relationship
for a couple of years.
787
00:33:38,101 --> 00:33:40,478
Jerry: I would say
if I'm gonna lose somebody,
788
00:33:40,478 --> 00:33:42,480
it might as well be to
Marcello Mastroianni.
789
00:33:42,480 --> 00:33:45,358
I got the feeling
I'm a part of a plan.
790
00:33:45,358 --> 00:33:48,111
I come out all alone. (laughs)
791
00:33:48,111 --> 00:33:50,822
But it's nice, anyway.
I don't say it isn't.
792
00:33:51,322 --> 00:33:53,616
Faye:
Marcello Mastroianni,
793
00:33:53,616 --> 00:33:54,826
well, he was the king of Europe.
794
00:33:54,826 --> 00:33:58,538
He was the most famous
actor in Italy.
795
00:33:58,538 --> 00:34:00,290
Are you married?
796
00:34:02,459 --> 00:34:05,420
- Just about.
- (cigarette pack rustling)
797
00:34:05,420 --> 00:34:08,506
Is she in Milan?
Do you live together?
798
00:34:09,591 --> 00:34:11,009
Yes, for a while now.
799
00:34:11,009 --> 00:34:12,761
Faye:
And, you know,
we were together,
800
00:34:12,761 --> 00:34:14,346
but he was married,
801
00:34:14,346 --> 00:34:17,640
and it's tricky because in
a Catholic country like Italy,
802
00:34:17,640 --> 00:34:20,185
you couldn't have divorce.
803
00:34:20,185 --> 00:34:22,479
So, it had to be backstreet.
And I really--
804
00:34:22,479 --> 00:34:24,230
(laughs) Foolish girl.
805
00:34:24,230 --> 00:34:26,191
I really kinda got
into it for a while,
806
00:34:26,191 --> 00:34:28,193
I mean, because he
meant so much to me.
807
00:34:28,193 --> 00:34:31,738
I would fly into Fiumicino
with a brown wig
808
00:34:31,738 --> 00:34:35,325
and go to a place where we had
a person arranging things.
809
00:34:35,325 --> 00:34:37,327
I mean, it was all very,
you know,
810
00:34:37,327 --> 00:34:39,496
romantic and illusional.
811
00:34:39,496 --> 00:34:42,082
Delusional perhaps.
812
00:34:42,082 --> 00:34:43,875
It’s hard to say.
You're young
813
00:34:44,209 --> 00:34:47,712
and there are interesting
people that you meet.
814
00:34:47,712 --> 00:34:51,091
And so, that was certainly
the case with him.
815
00:34:51,758 --> 00:34:52,884
That was the way it was.
816
00:34:52,884 --> 00:34:54,803
And then, finally,
it was too much.
817
00:34:54,803 --> 00:34:56,221
Finally, I was ready
to leave it.
818
00:34:56,221 --> 00:35:00,016
Marcello Mastroianni was quoted
in a woman's magazine,
819
00:35:00,016 --> 00:35:02,727
saying the most extraordinary
things about you.
820
00:35:02,727 --> 00:35:03,853
The most complimentary.
821
00:35:03,853 --> 00:35:06,731
The most fantastic woman
he's ever known in his life.
822
00:35:06,731 --> 00:35:09,567
Well, I think that's very nice.
823
00:35:09,567 --> 00:35:11,695
I don't know, that's a whole
other can of peas.
824
00:35:11,695 --> 00:35:13,947
- That you'd rather not open up.
- I think not.
825
00:35:13,947 --> 00:35:15,365
Ah. Are you sad though
826
00:35:15,365 --> 00:35:17,742
with the, the breakup
of that relationship?
827
00:35:17,742 --> 00:35:19,577
No, I'm not at all.
828
00:35:19,577 --> 00:35:21,246
And, uh... I mean, I am,
829
00:35:21,246 --> 00:35:23,206
you know, in certain,
certain--
830
00:35:23,206 --> 00:35:25,250
Yes. Yes and no. I'm not--
831
00:35:25,250 --> 00:35:26,960
Things happen as they happen,
I think.
832
00:35:26,960 --> 00:35:28,670
I do have some kind of...
833
00:35:29,421 --> 00:35:32,340
belief that it was--
what happened was right
834
00:35:32,340 --> 00:35:34,926
and necessary for him,
as well as me.
835
00:35:34,926 --> 00:35:36,970
He made a bit of a furor
there for a while,
836
00:35:36,970 --> 00:35:38,430
but I don't think it was--
837
00:35:38,430 --> 00:35:40,348
I think he's very well now,
and I think, you know,
838
00:35:40,348 --> 00:35:42,684
we-we gained from it.
Whatever it was.
839
00:35:42,684 --> 00:35:44,602
And that's all
I'm gonna tell you. (laughs)
840
00:35:44,602 --> 00:35:45,603
♪
841
00:35:45,603 --> 00:35:48,523
I've got sort of
two-year sequences in my life,
842
00:35:48,523 --> 00:35:51,234
and I think that definitely
dates back to the time
843
00:35:51,234 --> 00:35:53,611
when we were traveling
with my father in the Army.
844
00:35:53,611 --> 00:35:56,156
Every two years, you know,
you had to pick up and go.
845
00:35:56,156 --> 00:35:58,283
You had to leave the friends
that were there.
846
00:35:58,783 --> 00:36:02,370
And I think I learned
not to be too close to people
847
00:36:02,370 --> 00:36:05,081
because you're gonna
lose them anyway.
848
00:36:05,081 --> 00:36:06,958
So, you may as well move away.
849
00:36:06,958 --> 00:36:08,460
There's going to be an end,
850
00:36:08,460 --> 00:36:11,046
and the end, I think,
was very painful for me.
851
00:36:11,046 --> 00:36:14,758
And now, I think I-- that still
is part of my life that way.
852
00:36:14,758 --> 00:36:17,385
And I think that was a pattern
that was set up very early,
853
00:36:17,385 --> 00:36:19,137
and I noticed
in my relationships
854
00:36:19,137 --> 00:36:21,765
they lasted about two years.
855
00:36:21,765 --> 00:36:23,641
You know, I could've still
been with Marcello.
856
00:36:23,641 --> 00:36:26,061
In many ways,
he was the love of my life.
857
00:36:26,061 --> 00:36:28,271
And also, I've always
been about work.
858
00:36:28,271 --> 00:36:30,982
I need my work.
It fulfills me.
859
00:36:30,982 --> 00:36:33,109
It makes me feel good
about myself.
860
00:36:33,109 --> 00:36:35,153
And I feel a sense
of my own strength,
861
00:36:35,153 --> 00:36:38,615
and I feel
I can achieve something.
862
00:36:38,615 --> 00:36:39,783
So, to me,
what I need is my work.
863
00:36:39,783 --> 00:36:42,327
I don't need, necessarily,
another person.
864
00:36:42,327 --> 00:36:43,828
But I know it's wrong.
865
00:36:43,828 --> 00:36:47,082
I know one should have
other people in one's life.
866
00:36:47,082 --> 00:36:49,000
But, work was the thing
I could always turn to.
867
00:36:49,000 --> 00:36:50,251
It was the thing
that never let me down.
868
00:36:50,251 --> 00:36:52,545
It was what I did,
and it was solid.
869
00:36:53,254 --> 00:36:56,841
I don't see anyone
for very long, Mr. Gittes.
870
00:36:56,841 --> 00:36:58,968
It's difficult for me.
871
00:36:59,969 --> 00:37:01,346
Hawk Koch:
On "Chinatown,"
872
00:37:01,346 --> 00:37:03,682
I was told to call Faye
873
00:37:03,682 --> 00:37:08,103
to come out from New York to LA
to do wardrobe fittings.
874
00:37:08,103 --> 00:37:10,855
And I said, "Hi, Miss Dunaway.
I'm Howard Koch,
875
00:37:10,855 --> 00:37:13,483
"and I'm the first
assistant director on the movie.
876
00:37:13,483 --> 00:37:16,236
"And just calling you
to say that, you know,
877
00:37:16,236 --> 00:37:19,656
we need you out here next week.
We'll fly you out."
878
00:37:19,656 --> 00:37:21,074
And then she said to me,
879
00:37:21,074 --> 00:37:22,617
"You're Sagittarius,
aren't you?"
880
00:37:23,660 --> 00:37:24,536
"Uh, yes."
881
00:37:24,536 --> 00:37:26,538
She said,
"Oh, we won't get along."
882
00:37:26,538 --> 00:37:29,749
- (claps armrest)
- Whoa. (laughs)
883
00:37:29,749 --> 00:37:31,376
Okay. (laughs)
884
00:37:31,376 --> 00:37:33,420
So, that was
my introduction to Faye.
885
00:37:33,420 --> 00:37:36,047
You see,
I'm Mrs. Evelyn Mulwray.
886
00:37:36,047 --> 00:37:37,716
You know, Mr. Mulwray's wife?
887
00:37:38,466 --> 00:37:41,845
Not, uh, that Mulwray?
888
00:37:41,845 --> 00:37:44,597
Yes, Mr. Gittes, that Mulwray.
889
00:37:44,597 --> 00:37:47,600
Laurent:
What reputation did
she have at that point?
890
00:37:47,600 --> 00:37:49,019
Hawk:
That she was difficult.
891
00:37:49,019 --> 00:37:51,938
Faye was difficult but serious,
and a terrific actress.
892
00:37:51,938 --> 00:37:53,106
That's the reputation.
893
00:37:53,106 --> 00:37:54,816
There's no point in
gettin' tough with me--
894
00:37:54,816 --> 00:37:57,819
I don't get tough with anyone,
Mr. Gittes.
895
00:37:57,819 --> 00:37:59,195
My lawyer does.
896
00:37:59,195 --> 00:38:00,822
(tense music playing)
897
00:38:00,822 --> 00:38:05,201
"Chinatown" is
a film noir detective story,
898
00:38:05,201 --> 00:38:07,579
and then it becomes
something so much deeper.
899
00:38:07,579 --> 00:38:10,457
It's a story about
large-scale corruption
900
00:38:10,457 --> 00:38:13,418
in a business-type sense,
and more importantly,
901
00:38:13,418 --> 00:38:15,545
familial corruption.
902
00:38:15,545 --> 00:38:21,343
The kind of horrors that people
in power do to the powerless.
903
00:38:21,343 --> 00:38:23,595
And at the time, again,
904
00:38:23,595 --> 00:38:26,931
it was tied into the things
going on in the larger world.
905
00:38:26,931 --> 00:38:28,641
President Richard Nixon:
People have gotta know
906
00:38:28,641 --> 00:38:31,019
whether or not
their president is a crook.
907
00:38:31,019 --> 00:38:32,437
Well, I'm not a crook.
908
00:38:32,437 --> 00:38:34,105
Roman Polanski:
You see, it all happened at
909
00:38:34,105 --> 00:38:35,398
the beginning
of the Watergate.
910
00:38:35,398 --> 00:38:37,609
When I came here,
it all started.
911
00:38:37,609 --> 00:38:40,779
And during those eight weeks,
we were bombarded
912
00:38:40,779 --> 00:38:44,657
by all news media
with what was going on.
913
00:38:44,657 --> 00:38:47,160
And the parallels
were so obvious
914
00:38:47,160 --> 00:38:48,995
that it obviously
inspired us
915
00:38:48,995 --> 00:38:51,081
to go more even
in this direction
916
00:38:51,081 --> 00:38:53,833
and try to dig
into certain things
917
00:38:53,833 --> 00:38:56,795
that had to do with Los Angeles
and its history.
918
00:38:56,795 --> 00:38:59,297
Jack Nicholson:
They're blowin' these farmers
outta their land
919
00:38:59,297 --> 00:39:00,507
and then pickin' it up
for peanuts.
920
00:39:00,507 --> 00:39:02,884
You have any idea what this land
would be worth
921
00:39:02,884 --> 00:39:04,844
with a steady water supply?
922
00:39:04,844 --> 00:39:07,889
About 30 million
more than they paid for it.
923
00:39:07,889 --> 00:39:11,601
Julie:
It felt like everything you
thought was right was wrong,
924
00:39:11,601 --> 00:39:14,813
and everything you thought
was moral was immoral.
925
00:39:14,813 --> 00:39:19,776
And that feels even more
powerful and more relevant.
926
00:39:19,776 --> 00:39:21,861
♪
927
00:39:21,861 --> 00:39:23,655
Faye:
It was a mysterious woman, too,
928
00:39:23,655 --> 00:39:25,198
which is fun to play,
first of all,
929
00:39:25,198 --> 00:39:27,492
because I have to know what
she's thinking all the time,
930
00:39:27,492 --> 00:39:30,286
and that particular character
nobody else knew
931
00:39:30,286 --> 00:39:31,496
what she was thinking,
932
00:39:31,496 --> 00:39:33,873
so that they easily misconstru--
mis-misconstrued
933
00:39:33,873 --> 00:39:36,459
- what she was saying or doing.
- David Sheehan: Yeah, yeah.
934
00:39:36,459 --> 00:39:38,837
As did Gittes,
the Nicholson character.
935
00:39:38,837 --> 00:39:41,715
Jack:
You've already got
one going, Mrs. Mulwray.
936
00:39:42,632 --> 00:39:45,301
- Oh. (weak laugh)
- Jack: Does, uh, my talking
937
00:39:45,301 --> 00:39:47,637
about your father upset you?
938
00:39:47,637 --> 00:39:49,848
Faye:
Why, no. (sighs)
939
00:39:49,848 --> 00:39:53,852
Yes. A little.
You see, Hollis and my f--
940
00:39:55,687 --> 00:39:59,607
my father had, um,
a falling out, finally.
941
00:40:00,233 --> 00:40:03,862
Evelyn Mulwray was dynamite.
She was a great character.
942
00:40:03,862 --> 00:40:05,780
You know, Roman Polanski
did a good movie.
943
00:40:05,780 --> 00:40:07,741
We had difficult times,
he and I,
944
00:40:07,741 --> 00:40:10,035
but he's a great film director.
945
00:40:12,662 --> 00:40:14,789
There you go. (laughs)
946
00:40:14,789 --> 00:40:17,876
That's Polanski and me
in "Chinatown."
947
00:40:17,876 --> 00:40:19,419
Roman the Terror.
948
00:40:19,419 --> 00:40:21,087
But he thought
I was a terror also,
949
00:40:21,087 --> 00:40:25,300
I'm sure, so... We had
a pretty complicated time.
950
00:40:25,300 --> 00:40:26,718
Jack helped, though.
951
00:40:26,718 --> 00:40:29,179
Nicholson being there made
all the difference.
952
00:40:29,637 --> 00:40:31,723
Hawk:
For this particular movie,
953
00:40:31,723 --> 00:40:35,060
it was all about the hair,
the makeup, the dress,
954
00:40:35,060 --> 00:40:36,936
the whole thing of Mrs. Mulwray,
955
00:40:36,936 --> 00:40:40,732
and she made it difficult
on all of us because--
956
00:40:40,732 --> 00:40:42,859
and I'm sure
you've heard about Blistex.
957
00:40:42,859 --> 00:40:45,487
- (beep)
- Laurent: When did
you discover Blistex?
958
00:40:45,487 --> 00:40:48,031
On my lips,
I can't speak without it.
959
00:40:48,031 --> 00:40:50,200
Hawk:
Lee Harman, who was
our great makeup man,
960
00:40:50,200 --> 00:40:52,369
had a tube of Blistex.
961
00:40:52,369 --> 00:40:53,536
And between every shot,
962
00:40:53,536 --> 00:40:56,081
he'd have to put Blistex
on her lips.
963
00:40:56,081 --> 00:40:57,624
It was her security blanket.
964
00:40:57,624 --> 00:40:59,793
But, for Roman
and for the rest of us...
965
00:40:59,793 --> 00:41:02,420
Oy vey, what a pain
in the ass. (laughs)
966
00:41:02,420 --> 00:41:04,756
‘Cause it took time,
967
00:41:04,756 --> 00:41:06,633
and you wanna keep it rolling.
968
00:41:06,633 --> 00:41:09,094
- (restaurant chatter)
- (soft music playing)
969
00:41:09,094 --> 00:41:11,846
I remember this one time,
we're shooting in a restaurant
970
00:41:11,846 --> 00:41:13,348
called the Windsor Restaurant.
971
00:41:13,348 --> 00:41:15,558
It's a two-shot
of Faye and Jack,
972
00:41:15,558 --> 00:41:18,436
and, originally,
she didn't have the hat on.
973
00:41:18,436 --> 00:41:20,355
So, as we're about to shoot,
974
00:41:20,355 --> 00:41:22,941
one hair on Faye's head
975
00:41:22,941 --> 00:41:24,401
just stuck up.
976
00:41:24,401 --> 00:41:26,903
So, Roman said, "Faye!
Faye, you have one hair!
977
00:41:26,903 --> 00:41:29,698
Can you just,
you know, just..."
978
00:41:29,698 --> 00:41:32,200
And Faye went, "Okay, okay,"
and put it down.
979
00:41:32,200 --> 00:41:35,370
And I said,
"Okay, ready, and..."
And the hair popped up.
980
00:41:35,370 --> 00:41:36,996
It was a very tense moment
981
00:41:36,996 --> 00:41:39,457
and, you know, my hair
was deeply marcelled,
982
00:41:39,457 --> 00:41:41,668
which means they have
to force it into waves.
983
00:41:41,668 --> 00:41:43,420
And I have
naturally curly hair,
984
00:41:43,420 --> 00:41:44,629
so my hair doesn't wanna do
985
00:41:44,629 --> 00:41:46,464
what another person
tells it to do.
986
00:41:46,464 --> 00:41:48,049
And there was
a hair sticking up.
987
00:41:48,049 --> 00:41:50,969
Susie Germaine, the hairdresser,
she comes in...
988
00:41:50,969 --> 00:41:53,638
(imitates spray)
with the spray. Get it down.
989
00:41:53,638 --> 00:41:55,640
"Okay, ready, and..."
990
00:41:55,640 --> 00:41:57,434
The hair pops up again.
991
00:41:57,434 --> 00:42:01,146
Roman literally walks around
992
00:42:01,146 --> 00:42:03,440
and pulls the hair
993
00:42:03,440 --> 00:42:05,275
out of Faye's head.
994
00:42:05,275 --> 00:42:06,526
I've been around a long time.
995
00:42:06,526 --> 00:42:08,528
Even then, I had been
around a long time.
996
00:42:08,528 --> 00:42:10,155
I never heard
some of those words.
997
00:42:10,155 --> 00:42:13,116
That's enough to set off
the manic depression. (laughs)
998
00:42:13,116 --> 00:42:15,118
I just-- I said-- I--
999
00:42:15,118 --> 00:42:17,245
Well, it was offensive.
You don't do that.
1000
00:42:17,245 --> 00:42:21,166
So, I went to my trailer,
and it was a whole situation.
1001
00:42:21,583 --> 00:42:24,002
Hawk: Finally, we got
her back to the set,
1002
00:42:24,002 --> 00:42:26,463
but Anthea Sylbert,
costume designer,
1003
00:42:26,755 --> 00:42:28,882
put a hat on her. (laughs)
1004
00:42:28,882 --> 00:42:32,677
So, we started the scene over,
and she shot it with a hat on,
1005
00:42:32,677 --> 00:42:35,096
so we didn't have to worry
about the hair popping up.
1006
00:42:35,972 --> 00:42:37,223
Now,
1007
00:42:37,599 --> 00:42:40,226
I think you know
all you need know about me.
1008
00:42:41,519 --> 00:42:43,480
I didn't want publicity.
I didn't want to go into
1009
00:42:43,480 --> 00:42:45,982
any of this, then or now.
1010
00:42:46,900 --> 00:42:47,776
Is that all?
1011
00:42:48,026 --> 00:42:50,653
After that hair incident,
Jack nicknamed me.
1012
00:42:50,653 --> 00:42:52,989
"Dread," he called me.
The Dreaded Dunaway
1013
00:42:52,989 --> 00:42:54,366
was his name for me.
1014
00:42:54,366 --> 00:42:56,368
He still to this day
calls me Dread.
1015
00:42:56,368 --> 00:42:57,452
And I love it.
1016
00:42:57,452 --> 00:42:58,912
Now I wanna know how it happened
1017
00:42:58,912 --> 00:43:01,664
and I wanna know why and I wanna
know before Escobar gets here
1018
00:43:01,664 --> 00:43:03,667
because I don't wanna
lose my license.
1019
00:43:03,667 --> 00:43:05,835
I don't know
what you are talking about.
1020
00:43:05,835 --> 00:43:07,712
Th-This is the craziest,
the most insane--
1021
00:43:07,712 --> 00:43:09,089
- Jack: Stop it!
- (gasps)
1022
00:43:09,089 --> 00:43:10,715
Faye:
One of the most shocking scenes
1023
00:43:10,715 --> 00:43:14,511
was the moment of revelation
that Evelyn Mulwray
1024
00:43:14,511 --> 00:43:17,055
had, in fact, been raped
by her own father,
1025
00:43:17,055 --> 00:43:21,184
and a child from that
relationship was her daughter
1026
00:43:21,184 --> 00:43:22,477
and her sister.
1027
00:43:22,477 --> 00:43:24,187
What's her name?
1028
00:43:24,187 --> 00:43:25,772
(Faye panting)
1029
00:43:25,772 --> 00:43:27,524
Faye:
Katherine.
1030
00:43:27,524 --> 00:43:29,025
Katherine who?
1031
00:43:31,236 --> 00:43:32,821
She's my daughter.
1032
00:43:33,697 --> 00:43:35,198
- (slaps)
- I said I want the truth!
1033
00:43:35,198 --> 00:43:37,575
What we do in movies
is we usually do that
1034
00:43:37,575 --> 00:43:38,952
and that (laughs)
1035
00:43:38,952 --> 00:43:41,413
and the hand comes quite close,
but it doesn't slap.
1036
00:43:41,413 --> 00:43:43,039
Well, it doesn't work,
of course.
1037
00:43:43,039 --> 00:43:45,875
I said finally to Jack,
"You're gonna have to slap me.
1038
00:43:45,875 --> 00:43:49,254
Just go ahead and do it."
And he said, "You sure, Dread?"
1039
00:43:49,254 --> 00:43:52,007
And so I said, yeah.
So then, we did it again,
1040
00:43:52,007 --> 00:43:53,049
and it worked.
1041
00:43:53,049 --> 00:43:54,342
She's my sister.
1042
00:43:55,677 --> 00:43:58,388
She's my daughter.
(whimpers)
1043
00:43:58,388 --> 00:44:00,974
- My sister, my daughter--
- (slapping)
1044
00:44:00,974 --> 00:44:02,976
Jack:
I said I want the truth!
1045
00:44:02,976 --> 00:44:05,645
- (screams, gasps)
- (glass breaking)
1046
00:44:06,688 --> 00:44:11,109
She's my sister and my daughter!
1047
00:44:11,109 --> 00:44:13,278
Sharon: Faye's such
an extraordinary actress
1048
00:44:13,278 --> 00:44:15,655
and her ferocious intent
1049
00:44:15,655 --> 00:44:18,783
with her characters was
something I really admired.
1050
00:44:18,783 --> 00:44:20,660
For a beautiful woman
1051
00:44:20,660 --> 00:44:23,955
to take a bite out of
characters like that
1052
00:44:23,955 --> 00:44:28,460
is so unusual
and so rarely offered.
1053
00:44:28,460 --> 00:44:32,255
(gunshots)
1054
00:44:32,255 --> 00:44:33,798
Better get out of here!
1055
00:44:33,798 --> 00:44:36,718
- Lena, it's me! (screams)
- (gunshots)
1056
00:44:36,718 --> 00:44:37,802
Annette:
In the early '70s,
1057
00:44:37,802 --> 00:44:39,804
we are now making
films about women
1058
00:44:39,804 --> 00:44:41,306
who can be independent.
1059
00:44:41,306 --> 00:44:45,727
Women who are no longer
defining themselves
1060
00:44:45,727 --> 00:44:48,813
purely in terms
of being mothers and wives.
1061
00:44:48,813 --> 00:44:51,858
And that-that marked the '70s,
in society,
1062
00:44:51,858 --> 00:44:53,276
as well as on screen.
1063
00:44:53,276 --> 00:44:54,361
What good are you?
1064
00:44:54,361 --> 00:44:56,321
I'm your father, Lena.
1065
00:44:56,321 --> 00:44:58,073
So what?
1066
00:44:58,073 --> 00:44:59,657
You wanna read me
nursery rhymes?
1067
00:44:59,657 --> 00:45:01,242
It's a little late for that.
1068
00:45:01,242 --> 00:45:03,995
This was not somebody
who was typecast.
1069
00:45:03,995 --> 00:45:07,499
She was playing very different
kinds of characters
1070
00:45:07,499 --> 00:45:09,334
with very different looks.
1071
00:45:09,334 --> 00:45:12,253
Anything Faye Dunaway
was going to be in,
1072
00:45:12,253 --> 00:45:13,380
I wanted to see it.
1073
00:45:13,380 --> 00:45:15,215
I saw it happen.
1074
00:45:15,215 --> 00:45:17,175
With your own eyes?
1075
00:45:19,344 --> 00:45:20,845
In a nightmare.
1076
00:45:20,845 --> 00:45:23,223
The '70s was
just like a goldmine.
1077
00:45:23,223 --> 00:45:25,266
It was an incredible
time for film.
1078
00:45:25,266 --> 00:45:26,935
That's when things
started happening
1079
00:45:26,935 --> 00:45:28,853
in a major kind of way,
1080
00:45:28,853 --> 00:45:30,522
and the big one was "Network."
1081
00:45:30,522 --> 00:45:33,983
I want you to get up now.
1082
00:45:33,983 --> 00:45:37,278
I want all of you
to get up out of your chairs.
1083
00:45:37,278 --> 00:45:40,824
I want you to get up right now
and go to the window,
1084
00:45:40,824 --> 00:45:44,327
open it, and stick your head out
and yell,
1085
00:45:44,327 --> 00:45:45,954
"I'm as mad as hell,
1086
00:45:45,954 --> 00:45:48,623
and I'm not going to
take this anymore!"
1087
00:45:48,623 --> 00:45:49,958
Faye:
When the script was sent to me,
1088
00:45:49,958 --> 00:45:52,043
I read it, and I said yes.
1089
00:45:52,043 --> 00:45:54,004
And everyone didn't
want me to do it.
1090
00:45:54,004 --> 00:45:55,588
They said
she didn't have a heart,
1091
00:45:55,588 --> 00:45:56,881
and she didn't have a soul.
1092
00:45:56,881 --> 00:45:59,801
She was a TV baby.
That's all she knew.
1093
00:45:59,801 --> 00:46:02,721
Television and ratings
and that's what made her tick.
1094
00:46:02,721 --> 00:46:05,682
I seem to be inept
at everything.
1095
00:46:05,682 --> 00:46:07,726
Except my work.
1096
00:46:07,726 --> 00:46:10,020
I'm good at my work.
1097
00:46:10,020 --> 00:46:12,522
So, I confine myself to that.
1098
00:46:12,522 --> 00:46:16,067
All I want out of life is
a 30 share and a 20 rating.
1099
00:46:16,067 --> 00:46:18,319
Annette: The script was
by Paddy Chayefsky,
1100
00:46:18,319 --> 00:46:22,532
and he was, I think,
using the character of Diana
1101
00:46:22,532 --> 00:46:25,452
and Faye Dunaway's
body and soul
1102
00:46:25,452 --> 00:46:27,203
to critique what he saw as
1103
00:46:27,203 --> 00:46:29,789
the worst excesses
of television.
1104
00:46:29,789 --> 00:46:33,168
Namely that mentality
that we have to be number one.
1105
00:46:33,168 --> 00:46:34,753
We have to have
all the profits.
1106
00:46:34,753 --> 00:46:38,089
Who cares who gets trampled
in the process?
1107
00:46:38,089 --> 00:46:41,301
We've got the number-one show
in television!
1108
00:46:41,301 --> 00:46:44,179
(audience cheering)
1109
00:46:44,179 --> 00:46:46,765
And at next year's affiliates
meeting, I'll be standing here,
1110
00:46:46,765 --> 00:46:48,933
telling you we've got
the top five!
1111
00:46:48,933 --> 00:46:50,268
(cheering continues)
1112
00:46:50,268 --> 00:46:51,853
Paddy Chayefsky:
Now, you're talking about
1113
00:46:51,853 --> 00:46:54,939
a multi, multi,
multi-million dollar industry.
1114
00:46:54,939 --> 00:46:57,776
As big as steel,
as big as electronics.
1115
00:46:57,776 --> 00:47:00,403
It's an enormous industry.
And right now,
1116
00:47:00,403 --> 00:47:03,615
it's an industry dedicated
to one thing, profit,
1117
00:47:03,615 --> 00:47:07,285
and the only responsibility they
have is to their stockholders.
1118
00:47:07,285 --> 00:47:09,704
- The interesting thing--
- And that, I think,
is worth knowing,
1119
00:47:09,704 --> 00:47:11,664
that what you see on television
1120
00:47:11,664 --> 00:47:14,000
is what's getting money
for the network.
1121
00:47:14,000 --> 00:47:15,794
And it's not true.
1122
00:47:15,794 --> 00:47:18,463
Faye:
I think it's necessary
to expose
1123
00:47:18,463 --> 00:47:19,881
what that process is,
1124
00:47:19,881 --> 00:47:22,467
as it goes on
in contemporary times.
1125
00:47:22,467 --> 00:47:24,052
And it just seemed to me that
1126
00:47:24,052 --> 00:47:25,845
you had to play her.
You had to get it out there.
1127
00:47:25,845 --> 00:47:28,640
And Sidney Lumet
was a fantastic director.
1128
00:47:28,640 --> 00:47:31,142
Sidney Lumet:
And I had said to Faye,
when I first met her,
1129
00:47:31,142 --> 00:47:34,145
"I know what the first question
is gonna be from you,
1130
00:47:34,145 --> 00:47:37,232
"and that you're gonna ask me,
where is her vulnerability?
1131
00:47:37,232 --> 00:47:39,901
"And I'm gonna tell you
right now, she has none.
1132
00:47:39,901 --> 00:47:42,153
"And if you try
to get any in (laughs),
1133
00:47:42,153 --> 00:47:43,822
I'll cut it
out of the movie."
1134
00:47:43,822 --> 00:47:45,156
I've been telling you people
1135
00:47:45,156 --> 00:47:46,908
since I took this job
six months ago
1136
00:47:46,908 --> 00:47:49,369
that I want angry shows.
1137
00:47:49,369 --> 00:47:51,496
I don't want conventional
programming on this network.
1138
00:47:51,496 --> 00:47:54,374
I want counterculture.
I want anti-establishment.
1139
00:47:54,374 --> 00:47:56,626
David Itzkoff:
Dunaway, at this point
in her career,
1140
00:47:56,626 --> 00:47:58,712
is, of course, an A-list star.
1141
00:47:58,712 --> 00:48:01,798
She was the first person to be
officially cast in the film.
1142
00:48:01,798 --> 00:48:03,717
She's already got her
Oscar nominations
1143
00:48:03,717 --> 00:48:05,635
for "Bonnie and Clyde"
and for "Chinatown,"
1144
00:48:05,635 --> 00:48:09,097
and an actor that Sidney Lumet
and Paddy Chayefsky
1145
00:48:09,097 --> 00:48:11,683
wanted very badly
for this part.
1146
00:48:11,683 --> 00:48:14,352
This was essentially
a lone woman
1147
00:48:14,352 --> 00:48:17,022
working in
a male-dominated industry
1148
00:48:17,022 --> 00:48:19,357
who really had
power and control,
1149
00:48:19,357 --> 00:48:22,444
and was seeking more power
in her department.
1150
00:48:22,444 --> 00:48:26,031
I'm talking about a six dollar
cost per thousand show.
1151
00:48:26,031 --> 00:48:29,034
I'm talking about 100,
130,000 dollar-minutes!
1152
00:48:29,034 --> 00:48:31,036
Do you wanna figure out
the revenues of a strip show
1153
00:48:31,036 --> 00:48:33,038
that sells for
100,000 bucks a minute?
1154
00:48:33,038 --> 00:48:34,831
One show like that could pull
this whole network
1155
00:48:34,831 --> 00:48:36,833
right out of the hole!
Now, Frank,
1156
00:48:36,833 --> 00:48:38,209
it's being handed to us
on a plate.
1157
00:48:38,209 --> 00:48:40,837
- Let's not blow it.
- (intercom buzzes)
1158
00:48:40,837 --> 00:48:43,465
Julie:
Women can be powerful,
and when they become powerful,
1159
00:48:43,465 --> 00:48:45,508
power corrupts.
1160
00:48:45,508 --> 00:48:47,844
And she proved the point.
1161
00:48:47,844 --> 00:48:49,387
Talk about equality for women,
1162
00:48:49,387 --> 00:48:51,556
she could be as mean
and single-minded
1163
00:48:51,556 --> 00:48:54,351
and devastating as any man.
1164
00:48:54,351 --> 00:48:57,145
And you know what? It was
kind of exciting to see that
1165
00:48:57,145 --> 00:48:59,022
as a young woman starting out.
1166
00:48:59,022 --> 00:49:01,483
I've heard it said by women
who have seen "Network"
1167
00:49:01,483 --> 00:49:04,361
that the, uh, character
you created in the picture,
1168
00:49:04,361 --> 00:49:07,405
uh, might set the woman's
movement back 50 years.
1169
00:49:07,405 --> 00:49:09,199
I have a very
definite opinion on that.
1170
00:49:09,199 --> 00:49:11,409
I think that for, for years,
1171
00:49:11,409 --> 00:49:13,661
uh, and I'm not actively
involved in the movement,
1172
00:49:13,661 --> 00:49:15,288
God knows I'm for it,
1173
00:49:15,288 --> 00:49:18,124
um, but what we've been
trying to get away from
1174
00:49:18,124 --> 00:49:21,294
is stereotypical
women's roles that,
1175
00:49:21,294 --> 00:49:23,963
that reflect an
inaccurate view of,
1176
00:49:23,963 --> 00:49:25,840
of what a woman really is.
1177
00:49:25,840 --> 00:49:28,176
Now, you cannot then say,
"Well, yes,
1178
00:49:28,176 --> 00:49:30,220
but she always has
to be nice at the end."
1179
00:49:30,220 --> 00:49:32,138
- (both laugh)
- It's a kind of hypocrisy
1180
00:49:32,138 --> 00:49:34,307
which I don't think
real feminists are gonna feel.
1181
00:49:34,307 --> 00:49:37,268
Now, my task,
I felt the largest task I had,
1182
00:49:37,268 --> 00:49:40,814
I think, in this
was to infuse the role
1183
00:49:40,814 --> 00:49:43,858
with some sense
of what she is, in fact,
1184
00:49:43,858 --> 00:49:45,443
giving up and paying for it.
1185
00:49:45,443 --> 00:49:48,196
It was just
very important to understand
1186
00:49:48,196 --> 00:49:51,282
the lengths
to which she had developed
1187
00:49:51,282 --> 00:49:55,286
without normal human emotions
and decency,
1188
00:49:55,286 --> 00:49:57,288
and there was a way
somehow to let her soul,
1189
00:49:57,288 --> 00:49:59,290
or her lack of soul,
seep through.
1190
00:49:59,290 --> 00:50:00,834
And the moment
I think that happened
1191
00:50:00,834 --> 00:50:02,836
was with William Holden
at the end
1192
00:50:02,836 --> 00:50:05,213
where we're splitting up.
1193
00:50:05,213 --> 00:50:08,508
What exactly is it
you want me to do?
1194
00:50:08,925 --> 00:50:11,553
I just want you to love me.
1195
00:50:13,138 --> 00:50:16,725
I just want you to love me,
primal doubts and all.
1196
00:50:18,309 --> 00:50:20,937
I don't know how to do that.
1197
00:50:21,354 --> 00:50:23,898
I mean, that's the look.
It's...
1198
00:50:23,898 --> 00:50:25,608
"I can't.
1199
00:50:27,068 --> 00:50:28,528
Just can't."
1200
00:50:28,528 --> 00:50:30,321
I don't want your pain.
1201
00:50:30,321 --> 00:50:32,449
I don't want your menopause
or decay and death!
1202
00:50:32,449 --> 00:50:35,326
- I don't need you, Max!
Now, get out of--
- You need me!
1203
00:50:36,036 --> 00:50:37,662
You need me badly.
1204
00:50:37,662 --> 00:50:39,789
Faye:
You know, she was tragic,
in my view.
1205
00:50:40,081 --> 00:50:43,335
And that look,
that's a lost person in hell.
1206
00:50:44,919 --> 00:50:46,504
And she's not gonna get out.
1207
00:50:47,047 --> 00:50:47,881
(door shuts)
1208
00:50:47,881 --> 00:50:51,343
(applause)
1209
00:50:52,093 --> 00:50:54,179
And the winner is...
1210
00:50:55,347 --> 00:50:57,932
Faye Dunaway in "Network."
1211
00:50:57,932 --> 00:51:01,227
(applause, cheering)
1212
00:51:05,857 --> 00:51:07,150
(nervous laugh)
1213
00:51:07,150 --> 00:51:09,194
Well, I didn't expect
this to happen quite yet,
1214
00:51:09,194 --> 00:51:12,030
but I do thank you very much,
and I'm very grateful.
1215
00:51:12,030 --> 00:51:15,450
I would like especially
to thank Sidney Lumet,
1216
00:51:15,450 --> 00:51:18,536
Paddy Chayefsky,
Howard Gottfried,
1217
00:51:18,536 --> 00:51:20,872
uh, Danny Melnick,
1218
00:51:20,872 --> 00:51:23,667
and the great generosity
1219
00:51:23,667 --> 00:51:27,545
of a rare group of actors,
company of actors,
1220
00:51:27,545 --> 00:51:30,840
in particular William Holden,
Robert Duval,
1221
00:51:31,508 --> 00:51:34,511
- and Peter Finch. Thank you.
- (applause)
1222
00:51:34,511 --> 00:51:35,887
(applause fades out)
1223
00:51:35,887 --> 00:51:37,555
♪
1224
00:51:37,555 --> 00:51:40,642
(street chatter)
1225
00:51:51,236 --> 00:51:53,113
Oh, that's wonderful. Oh!
1226
00:51:53,113 --> 00:51:56,908
Liam:
And they set it up so everyone
can, like, partake in it.
1227
00:51:56,908 --> 00:51:58,410
Oh, that's amazing.
1228
00:51:58,410 --> 00:52:00,704
- (laughs)
- Margaret Roth: That is so cool.
1229
00:52:01,496 --> 00:52:02,580
Ah...
1230
00:52:02,580 --> 00:52:04,874
Couple more. Maybe
you're looking, just like that.
1231
00:52:06,334 --> 00:52:08,294
Robin:
Thirty minutes from now,
there are gonna be
1232
00:52:08,294 --> 00:52:11,381
a few hundred people in here
to welcome Faye Dunaway to
1233
00:52:11,715 --> 00:52:15,051
probably the most
exhaustive career retrospective
1234
00:52:15,051 --> 00:52:17,262
of her ex-husband
Terry O'Neill.
1235
00:52:17,262 --> 00:52:21,099
And, of course, perhaps
the greatest shot of his career,
1236
00:52:21,516 --> 00:52:24,978
Faye Dunaway, the morning
after she won her Oscar.
1237
00:52:24,978 --> 00:52:26,938
♪
1238
00:52:26,938 --> 00:52:28,606
Liam:
My dad was a photographer.
1239
00:52:28,606 --> 00:52:29,774
He was born in England,
1240
00:52:29,774 --> 00:52:32,235
so he was just an English guy
through and through.
1241
00:52:32,235 --> 00:52:35,238
I guess his specialty was
putting someone in a place,
1242
00:52:35,238 --> 00:52:38,116
letting that person
be themselves,
1243
00:52:38,116 --> 00:52:39,659
and then taking the picture
1244
00:52:39,659 --> 00:52:41,995
because it directly
represents them
1245
00:52:41,995 --> 00:52:44,539
instead of someone
just setting it up.
1246
00:52:44,539 --> 00:52:46,332
I have a funny picture
that no one's ever seen
1247
00:52:46,332 --> 00:52:48,418
- that I took with, uh, Dad.
- What?
1248
00:52:48,418 --> 00:52:50,170
Liam:
Before he died,
we were visiting
1249
00:52:50,170 --> 00:52:53,048
the Beverly Hills Hotel,
and there's this huge sign
1250
00:52:53,048 --> 00:52:54,632
on the pool that says
1251
00:52:54,632 --> 00:52:57,427
-"No photography
in the pool area."
- (Faye laughs)
1252
00:52:57,427 --> 00:52:59,679
And I got Dad to, like,
stand by the sign,
1253
00:52:59,679 --> 00:53:02,307
and just kinda do one of those
things holding a camera.
1254
00:53:02,307 --> 00:53:03,975
- It was just a great,
great photo.
- That's lovely.
1255
00:53:03,975 --> 00:53:06,102
Robin:
I always called Terry
a journalist with a camera,
1256
00:53:06,102 --> 00:53:07,437
not a pen.
1257
00:53:07,437 --> 00:53:09,647
You know, he needed
a photograph that told a story.
1258
00:53:09,647 --> 00:53:11,566
And he did that
with that photograph.
1259
00:53:11,566 --> 00:53:15,153
He actually persuaded
a major Hollywood star,
1260
00:53:15,153 --> 00:53:17,530
on the night that
she collects her Oscar,
1261
00:53:17,530 --> 00:53:20,450
to be poolside at
6:00 a.m. the next morning.
1262
00:53:20,450 --> 00:53:22,994
- (slide projector clicks)
- And he took 12 shots,
1263
00:53:22,994 --> 00:53:26,331
and off she went to bed again.
It took 15 minutes.
1264
00:53:26,331 --> 00:53:28,333
It, many times,
has been described
1265
00:53:28,333 --> 00:53:31,044
as probably the greatest
Hollywood shot of all time.
1266
00:53:31,044 --> 00:53:34,422
And it was very indicative of
Terry's need to tell a story.
1267
00:53:35,090 --> 00:53:38,343
He said, "The morning after
you're gonna wake up,
1268
00:53:38,343 --> 00:53:41,471
and your life
will have changed dramatically."
1269
00:53:42,055 --> 00:53:43,348
Liam:
When my parents met,
1270
00:53:43,348 --> 00:53:45,725
my mom was married
to Peter Wolf,
1271
00:53:45,725 --> 00:53:49,396
who was a rock star
in the J. Geils Band.
1272
00:53:49,396 --> 00:53:52,440
My dad was also married
to a lady named Vera
1273
00:53:52,440 --> 00:53:54,526
who was
an actress-slash-model.
1274
00:53:54,526 --> 00:53:57,112
They were both married,
both in relationships,
1275
00:53:57,112 --> 00:53:59,614
and they just kind of
sparked this interest.
1276
00:53:59,614 --> 00:54:02,784
I mean, I think that's how it
works most of the time, right?
1277
00:54:02,784 --> 00:54:04,703
Faye:
Terry was taking
photographs of me,
1278
00:54:04,703 --> 00:54:07,038
and we kind of started to get
to know each other
1279
00:54:07,038 --> 00:54:08,289
and like each other.
1280
00:54:08,289 --> 00:54:10,333
Things had not been
working out with Peter
1281
00:54:10,333 --> 00:54:11,876
in terms of what we truly want.
1282
00:54:11,876 --> 00:54:13,712
He was younger than I was,
1283
00:54:13,712 --> 00:54:16,715
and we didn't want
the same things anymore.
1284
00:54:16,715 --> 00:54:18,550
And so, I ended it.
1285
00:54:18,550 --> 00:54:20,760
It was hard because I had
to kind of give him
1286
00:54:20,760 --> 00:54:23,638
the papers by surprise.
1287
00:54:23,638 --> 00:54:25,390
But, more than that,
I did want to have a child,
1288
00:54:25,390 --> 00:54:27,183
as part of a woman's experience.
1289
00:54:27,183 --> 00:54:28,727
Look at that. (laughs)
1290
00:54:28,727 --> 00:54:30,061
Liam:
Little... little baby pictures.
1291
00:54:30,061 --> 00:54:33,898
Yeah. This one. This is great.
This was way early on.
1292
00:54:33,898 --> 00:54:36,568
"Who's the best boy in
the world?" I used to say.
1293
00:54:36,568 --> 00:54:39,946
And he would say, "Me, me."
It's so nice.
1294
00:54:41,906 --> 00:54:45,201
Laurent:
I wanted you to talk to us
about being a mom.
1295
00:54:45,201 --> 00:54:47,037
(sniffles) Oh, God.
1296
00:54:47,037 --> 00:54:50,582
There is nothing that's more,
more important to me.
1297
00:54:50,582 --> 00:54:53,710
I don't know why. I was
most important to my mother.
1298
00:54:53,710 --> 00:54:57,714
She had her heart set always
on having a child,
1299
00:54:57,714 --> 00:54:59,841
and she planned for it,
and I don't know whether
1300
00:54:59,841 --> 00:55:03,094
I got that from her
as I was growing up...
1301
00:55:03,094 --> 00:55:05,430
I-- It meant very much to me.
1302
00:55:05,805 --> 00:55:08,933
And there came a moment
where the work had taken over
1303
00:55:08,933 --> 00:55:11,728
to the point
where it was too late, really,
1304
00:55:11,728 --> 00:55:14,898
for me to have a child
in a biological sense.
1305
00:55:14,898 --> 00:55:17,650
So, I found my son, Liam,
1306
00:55:17,650 --> 00:55:20,195
and I adopted him with Terry,
1307
00:55:20,195 --> 00:55:21,780
and I was overjoyed, really,
1308
00:55:21,780 --> 00:55:23,531
when it evolved
the way that it did
1309
00:55:23,531 --> 00:55:25,575
because I certainly know
1310
00:55:25,575 --> 00:55:29,537
that he's everything to me.
Everything.
1311
00:55:29,537 --> 00:55:32,332
I never care to discuss
my adoption with my parents.
1312
00:55:32,332 --> 00:55:34,250
And my mom doesn't like
to talk about it,
1313
00:55:34,250 --> 00:55:37,128
especially in a business where
everyone is in your business,
1314
00:55:37,128 --> 00:55:39,130
or likes to think that
they can be in your business.
1315
00:55:39,130 --> 00:55:42,801
So I think that that's one
of things she kept to herself
1316
00:55:42,801 --> 00:55:45,136
and didn't want
everyone else knowing.
1317
00:55:45,136 --> 00:55:47,555
Faye:
I wanted that to be
private and personal,
1318
00:55:47,555 --> 00:55:50,517
and I didn't want it to be
out there in all the world.
1319
00:55:50,517 --> 00:55:52,602
And I wanted to keep him safe.
1320
00:55:52,602 --> 00:55:54,813
That was my major priority.
1321
00:55:54,813 --> 00:55:57,774
And people still want to pry
about it and talk about it
1322
00:55:57,774 --> 00:55:59,818
and I don't see
the point in that.
1323
00:55:59,818 --> 00:56:02,987
And I don't choose
to reveal everything to people.
1324
00:56:03,238 --> 00:56:05,824
Liam:
I was less than a week old
when I was adopted.
1325
00:56:05,824 --> 00:56:06,866
And to this day, I mean,
1326
00:56:06,866 --> 00:56:08,785
I don't know
who my biological parents were,
1327
00:56:08,785 --> 00:56:10,829
my birth mother,
that's what you call it.
1328
00:56:10,829 --> 00:56:15,250
But, to me, it's like a parent
is the person who raised you.
1329
00:56:15,250 --> 00:56:16,584
So, for me,
1330
00:56:16,584 --> 00:56:18,336
you grow up with your parents.
They're your parents
1331
00:56:18,336 --> 00:56:19,838
your whole life.
There's no one else.
1332
00:56:19,838 --> 00:56:23,174
(muffled chatter)
1333
00:56:23,174 --> 00:56:26,886
♪
1334
00:56:30,348 --> 00:56:31,641
My parents were married.
1335
00:56:31,641 --> 00:56:34,019
They did actually
get married in 1983,
1336
00:56:34,019 --> 00:56:36,354
three years after I was born.
1337
00:56:36,354 --> 00:56:37,689
And I grew up
1338
00:56:37,689 --> 00:56:41,568
and I split time between
London and New York City.
1339
00:56:41,568 --> 00:56:43,403
My mom had a place
in New York City,
1340
00:56:43,403 --> 00:56:44,863
300 Central Park West,
1341
00:56:44,863 --> 00:56:48,700
and my dad had a place in
London right behind Harrods.
1342
00:56:48,700 --> 00:56:52,537
- (music continues)
- (inaudible)
1343
00:57:05,050 --> 00:57:07,510
♪
1344
00:57:14,851 --> 00:57:17,228
I just remember it always
being busy.
1345
00:57:17,228 --> 00:57:19,773
There were always people there.
There were always people
1346
00:57:19,773 --> 00:57:21,566
hanging out,
having a good time,
1347
00:57:21,566 --> 00:57:23,401
lots of laughing.
1348
00:57:23,401 --> 00:57:24,736
It was odd
because we would have people
1349
00:57:24,736 --> 00:57:26,237
come to the house to do things.
1350
00:57:26,237 --> 00:57:28,740
You know, instead of people
going out to get a haircut,
1351
00:57:28,740 --> 00:57:32,327
they would come into my house,
give me a haircut, because,
1352
00:57:32,327 --> 00:57:34,746
back then,
they were the megastars.
1353
00:57:34,746 --> 00:57:36,748
They couldn't just take
their kids to the park.
1354
00:57:36,748 --> 00:57:39,084
You can't do those
normal activities
1355
00:57:39,084 --> 00:57:41,753
without getting hounded
by people, much like today.
1356
00:57:41,753 --> 00:57:44,756
Many years ago,
Joan Crawford told a reporter
1357
00:57:44,756 --> 00:57:47,592
that of all the young actresses
on the way up,
1358
00:57:47,592 --> 00:57:50,261
only one had the makings
of a true star,
1359
00:57:50,261 --> 00:57:51,763
and that was Faye Dunaway.
1360
00:57:51,763 --> 00:57:54,933
- Liam: This is stuff
that Dad took...
- Faye: What? Tell me.
1361
00:57:54,933 --> 00:57:58,019
Liam: ...that are Polaroids
that no one's ever seen before.
1362
00:57:58,019 --> 00:58:00,271
- And that we have about--
- Oh, my God.
1363
00:58:00,271 --> 00:58:02,107
Yeah. We have about
20 pages of ‘em.
1364
00:58:02,107 --> 00:58:03,608
- You do?
- Yeah.
1365
00:58:03,608 --> 00:58:05,360
- This is the Crawford stuff.
- Yeah.
1366
00:58:05,819 --> 00:58:07,904
- Faye: Wow.
- Liam: There's a funny
story about--
1367
00:58:07,904 --> 00:58:09,781
- Faye: Tell me.
- Liam: Probably about
10 years ago.
1368
00:58:09,781 --> 00:58:11,741
We were looking
through Dad's archive.
1369
00:58:11,741 --> 00:58:13,993
He said, "Whoa-whoa-whoa, wait.
That picture's not mine.
1370
00:58:13,993 --> 00:58:15,829
"I never shot Joan Crawford.
I never met her.
1371
00:58:15,829 --> 00:58:17,539
I never-- you know,
anything like that."
1372
00:58:17,539 --> 00:58:19,582
And Robin had to stop him
1373
00:58:19,582 --> 00:58:21,793
and he was like,
"No, no, no, that's Faye."
1374
00:58:21,793 --> 00:58:23,628
Like, it looked
so realistic and everything
1375
00:58:23,628 --> 00:58:25,088
- and he was just like...
- Faye: Yeah.
1376
00:58:25,088 --> 00:58:27,048
- Oh, that's wonderful.
- Didn't even remember it.
1377
00:58:27,048 --> 00:58:30,051
Gene Shalit:
Do you feel, in any way,
a kinship
1378
00:58:30,051 --> 00:58:33,221
to Joan Crawford?
Is she anything like you are?
1379
00:58:33,221 --> 00:58:35,890
Oh, I feel an enormous kinship.
1380
00:58:35,890 --> 00:58:37,767
Enormous.
1381
00:58:37,767 --> 00:58:40,645
Um, "Is she like me?"
is a different question
1382
00:58:40,645 --> 00:58:43,273
because there are,
I think, in me,
1383
00:58:43,273 --> 00:58:46,651
to be honest, some tendencies.
I don't know. I'll have to--
1384
00:58:46,651 --> 00:58:49,654
I've never completely examined
that, but I can do that.
1385
00:58:49,654 --> 00:58:51,531
But, a kinship, yes.
1386
00:58:52,657 --> 00:58:54,242
We're ready for you,
Miss Crawford.
1387
00:58:54,492 --> 00:58:56,077
(puts down mirror)
1388
00:58:56,077 --> 00:58:58,621
Michael Koresky:
Before "Mommie Dearest"
and after "Mommie Dearest"
1389
00:58:58,621 --> 00:59:00,498
it's a different
Faye Dunaway.
1390
00:59:00,498 --> 00:59:02,500
Let's go.
1391
00:59:02,500 --> 00:59:04,544
It's a different conception
of Faye Dunaway.
1392
00:59:04,544 --> 00:59:07,922
Throughout the late '60s
and throughout the '70s,
1393
00:59:07,922 --> 00:59:10,633
we're talking about one of the
most respected actors working.
1394
00:59:10,633 --> 00:59:14,054
So, there's no reason to think
that "Mommie Dearest"
1395
00:59:14,054 --> 00:59:18,016
would be anything other
than a rich, serious film,
1396
00:59:18,016 --> 00:59:20,852
exploring the life
of another Hollywood legend.
1397
00:59:20,852 --> 00:59:23,188
Come on.
You've got everything you want.
1398
00:59:23,188 --> 00:59:25,273
No, I don't. I want a baby.
1399
00:59:25,273 --> 00:59:26,983
A baby?
1400
00:59:26,983 --> 00:59:28,193
Yeah.
1401
00:59:28,193 --> 00:59:31,404
There are moments in your life
when things make sense
1402
00:59:31,404 --> 00:59:32,864
and it did at that time.
1403
00:59:32,864 --> 00:59:35,784
I'd just been married to Terry,
just had a baby,
1404
00:59:35,784 --> 00:59:39,788
and, somehow, that was,
financially, a good prospect.
1405
00:59:39,788 --> 00:59:43,208
It wasn't really, and it was
the wrong thing for me to do,
1406
00:59:43,208 --> 00:59:45,293
but it was one of the mistakes.
1407
00:59:45,543 --> 00:59:47,212
- Darling?
- (baby fussing)
1408
00:59:47,212 --> 00:59:50,298
Remember what I told you
about adopted children?
1409
00:59:51,466 --> 00:59:53,718
Adopted children are luckiest
1410
00:59:53,718 --> 00:59:56,763
- because they were chosen.
- (giggles) That's right.
1411
00:59:56,763 --> 01:00:00,141
I feel like "Mommie Dearest" was
released 40 years too early.
1412
01:00:00,517 --> 01:00:02,560
Joan Crawford, her passing
1413
01:00:02,560 --> 01:00:05,563
was so recent when
that book was published.
1414
01:00:05,563 --> 01:00:07,482
Christina Crawford
was the first person
1415
01:00:07,482 --> 01:00:09,401
to ever write a tell-all book
1416
01:00:09,401 --> 01:00:11,903
about this Hollywood star
1417
01:00:11,903 --> 01:00:15,115
and what life was like
behind that glitzy curtain.
1418
01:00:16,032 --> 01:00:19,411
I don't want her growing up
a spoiled Hollywood brat
1419
01:00:19,411 --> 01:00:21,162
just because
she's Crawford's daughter.
1420
01:00:21,162 --> 01:00:24,082
Nobody had ever really talked
about those skeletons
1421
01:00:24,082 --> 01:00:26,001
because Hollywood
actors and actresses,
1422
01:00:26,001 --> 01:00:29,587
they were so protected,
and they were just idolized
1423
01:00:29,587 --> 01:00:32,298
as perfect human beings.
1424
01:00:32,298 --> 01:00:33,883
Now, we talk about
mental illness.
1425
01:00:33,883 --> 01:00:35,593
Now, we talk about
child abuse.
1426
01:00:35,593 --> 01:00:37,804
Back then,
it wasn't talked about.
1427
01:00:37,804 --> 01:00:39,264
And to have this book
come out
1428
01:00:39,264 --> 01:00:42,600
- that just reveals
all of it was overwhelming.
- Ow!
1429
01:00:42,600 --> 01:00:44,102
- (crying)
- You be quiet!
1430
01:00:44,102 --> 01:00:46,187
You're always rummaging
through my drawers,
1431
01:00:46,187 --> 01:00:47,939
trying to find a way
to make people look at you!
1432
01:00:47,939 --> 01:00:50,108
Why are you always looking
at yourself in the mirror?
1433
01:00:50,108 --> 01:00:51,860
Roger Ebert:
Faye Dunaway is uncanny
1434
01:00:51,860 --> 01:00:53,278
in her performance
as Crawford.
1435
01:00:53,278 --> 01:00:55,697
It's like watching a ghost
to see her on the screen.
1436
01:00:55,697 --> 01:00:56,948
But, "Mommie Dearest"
is basically
1437
01:00:56,948 --> 01:00:59,951
just a pointless record
of neurotic child abuse.
1438
01:00:59,951 --> 01:01:02,787
One of the most depressing films
in a long time.
1439
01:01:02,787 --> 01:01:04,456
I agree with you.
Well-made, but depressing.
1440
01:01:04,456 --> 01:01:06,458
The way the film has been
structured, you sit there
1441
01:01:06,458 --> 01:01:07,667
and wait
for the beating scenes.
1442
01:01:07,667 --> 01:01:09,336
And when you're in the audience
thinking that,
1443
01:01:09,336 --> 01:01:10,962
you sort of feel lousy.
1444
01:01:10,962 --> 01:01:13,631
Sharon:
Everybody wants to make fun
of her for "Mommie Dearest,"
1445
01:01:13,631 --> 01:01:15,550
but you tell me
how you play that part.
1446
01:01:15,550 --> 01:01:18,553
And ask yourselves,
was it Faye,
1447
01:01:18,553 --> 01:01:22,140
or was it the way
they shot the scene?
1448
01:01:22,140 --> 01:01:25,268
That wasn't
Faye Dunaway's error.
1449
01:01:25,268 --> 01:01:27,687
The joke is on the director.
1450
01:01:27,687 --> 01:01:29,898
The joke
is not on the artist.
1451
01:01:29,898 --> 01:01:33,818
And if the director puts
the artist in that position,
1452
01:01:34,736 --> 01:01:36,446
shame on the director.
1453
01:01:36,446 --> 01:01:39,324
Don't fuck with me, fellas!
1454
01:01:40,575 --> 01:01:43,244
This ain't my first time
at the rodeo.
1455
01:01:43,244 --> 01:01:46,164
Frank Perry:
The woman lived her life
almost as grand opera.
1456
01:01:46,164 --> 01:01:49,501
She was performing while
she was having these rages,
1457
01:01:49,501 --> 01:01:51,461
in my judgment at least,
and, uh,
1458
01:01:51,461 --> 01:01:54,339
and so those
were conscious choices.
1459
01:01:54,339 --> 01:01:55,924
I would do 'em again.
1460
01:01:55,924 --> 01:01:58,968
Faye: Frank Perry didn't
help me shape the scenes.
1461
01:01:58,968 --> 01:02:01,012
I wish he had come in
and said, "Come on, Faye,
1462
01:02:01,012 --> 01:02:02,972
that's too far.
Come on. Pull it back."
1463
01:02:02,972 --> 01:02:04,808
I mean, I'm a professional.
I would've done that.
1464
01:02:04,808 --> 01:02:07,018
But, I got engrossed
in trying to achieve
1465
01:02:07,018 --> 01:02:09,771
what the script seemed
to be requiring of me.
1466
01:02:09,771 --> 01:02:12,691
And it might've kicked
into my bipolar,
1467
01:02:12,691 --> 01:02:16,027
this mania, this irritation,
this mood swing.
1468
01:02:16,611 --> 01:02:20,865
Carol Ann! I asked you to keep
the children quiet today!
1469
01:02:21,491 --> 01:02:25,286
Now, for Christ's sake,
get them out of the garden!
1470
01:02:25,286 --> 01:02:26,121
I'm sorry, Joan.
1471
01:02:26,121 --> 01:02:29,416
She was scary.
She's frightening.
1472
01:02:29,416 --> 01:02:32,377
I was on the edge of my seat
sometimes, thinking,
1473
01:02:32,377 --> 01:02:33,670
"Am I gonna get fired?"
1474
01:02:33,670 --> 01:02:35,672
And Frank would remind me,
1475
01:02:35,672 --> 01:02:37,674
"Don't do this,
or you're gonna get fired,"
1476
01:02:37,674 --> 01:02:39,467
from the beginning!
"Don't look so good,
1477
01:02:39,467 --> 01:02:40,969
"or I'm gonna have to fire you,
1478
01:02:40,969 --> 01:02:42,929
and I have
no control over this."
1479
01:02:42,929 --> 01:02:45,140
So, who was in charge?
1480
01:02:45,140 --> 01:02:46,975
I mean, it's a terrible way
to work,
1481
01:02:46,975 --> 01:02:50,645
thinking you're gonna
get fired at any time.
1482
01:02:50,645 --> 01:02:51,730
(gasps)
1483
01:02:52,063 --> 01:02:54,190
Faye:
Rutanya Alda said
that there was
1484
01:02:54,190 --> 01:02:56,484
like a fearfulness
of me on the set.
1485
01:02:56,484 --> 01:02:57,652
Well, that's because
the character
1486
01:02:57,652 --> 01:02:59,654
was written fearful,
I suppose.
1487
01:02:59,654 --> 01:03:03,241
But I don't recall
bad things with Rutanya.
1488
01:03:03,241 --> 01:03:05,618
You know, sometimes I guess
I've been unkind to people
1489
01:03:05,618 --> 01:03:07,287
or seemingly cruel.
1490
01:03:07,287 --> 01:03:10,832
I haven't meant to be,
and it's not in my nature to be.
1491
01:03:10,832 --> 01:03:12,751
I don't willfully want to be.
1492
01:03:12,751 --> 01:03:14,419
I'm sort of led by
1493
01:03:14,419 --> 01:03:17,505
extremes of nature sometimes,
I suppose.
1494
01:03:17,505 --> 01:03:22,594
No... wire... hangers!
1495
01:03:22,594 --> 01:03:23,887
(dress rustling)
1496
01:03:24,095 --> 01:03:26,598
What's wire hangers
doing in this closet
1497
01:03:26,598 --> 01:03:28,433
when I told you,
1498
01:03:28,433 --> 01:03:32,228
no wire hangers ever?!
1499
01:03:32,228 --> 01:03:35,899
Mara Hobel:
There were quite a few
takes of that particular scene.
1500
01:03:35,899 --> 01:03:37,359
I do remember a lot
of coverage on Faye Dunaway
1501
01:03:37,359 --> 01:03:40,195
because of that incredible mask
she was wearing,
1502
01:03:40,195 --> 01:03:43,073
and the lighting and those eyes
with that makeup.
1503
01:03:43,073 --> 01:03:46,284
You live in the most beautiful
house in Brentwood,
1504
01:03:46,284 --> 01:03:49,287
- and you don't care...
- Mommie! (screaming)
1505
01:03:49,287 --> 01:03:52,374
...if your clothes look
hunchbacked from wire hangers?!
1506
01:03:52,374 --> 01:03:55,710
- (screaming continues)
- Mara Hobel was the little girl
that I had to hit,
1507
01:03:55,710 --> 01:03:59,381
and I was crazy worried about it
1508
01:03:59,381 --> 01:04:00,799
and very sympathetic.
1509
01:04:00,799 --> 01:04:02,717
And I tried to make sure
she was alright,
1510
01:04:02,717 --> 01:04:04,719
and that we had done it
in such a way
1511
01:04:04,719 --> 01:04:06,638
that she didn't actually
get hurt.
1512
01:04:06,638 --> 01:04:09,224
It was a difficult role.
Very difficult.
1513
01:04:09,224 --> 01:04:10,809
Tina!
1514
01:04:10,809 --> 01:04:12,811
(insects chirping)
1515
01:04:12,811 --> 01:04:14,396
Bring me the axe!
1516
01:04:15,897 --> 01:04:18,400
Mara:
I never felt afraid
1517
01:04:18,400 --> 01:04:20,985
during any of our
physical scenes together.
1518
01:04:20,985 --> 01:04:23,238
I trusted her immensely.
1519
01:04:23,655 --> 01:04:26,366
She was incredible to me.
1520
01:04:26,366 --> 01:04:29,703
It makes me sad
that she... (sniffles)
1521
01:04:29,703 --> 01:04:32,997
doesn't have fond memories of...
1522
01:04:33,832 --> 01:04:36,292
doing "Mommie Dearest"
because I loved it.
1523
01:04:36,292 --> 01:04:37,794
Michael:
At the time it came out,
1524
01:04:37,794 --> 01:04:39,170
it was perceived
as a disaster
1525
01:04:39,170 --> 01:04:41,047
and it was something
that Faye Dunaway
1526
01:04:41,047 --> 01:04:42,632
had a really hard time
1527
01:04:42,632 --> 01:04:44,676
rebounding from,
for a very long time.
1528
01:04:45,051 --> 01:04:47,220
Mark:
You have to give
Pauline Kael credit
1529
01:04:47,220 --> 01:04:49,889
for being one of
the few critics of the time
1530
01:04:49,889 --> 01:04:52,183
to really take
that movie seriously
1531
01:04:52,183 --> 01:04:53,601
and I always
remember the line
1532
01:04:53,601 --> 01:04:56,604
that Pauline Kael wrote in
the "New Yorker" which is,
1533
01:04:56,604 --> 01:04:59,774
"You can laugh at the movie,
but you can't laugh at her."
1534
01:04:59,774 --> 01:05:02,235
That performance
by Faye Dunaway,
1535
01:05:02,235 --> 01:05:07,198
it absolutely should've been
her next Oscar nomination.
1536
01:05:07,198 --> 01:05:08,825
- (lights click)
- (curious music playing)
1537
01:05:08,825 --> 01:05:11,161
Rutanya Alda: I actually
paid money to see it
1538
01:05:11,161 --> 01:05:13,705
on one of the big theaters
on Broadway
1539
01:05:13,705 --> 01:05:16,708
when it opened.
The theater was full.
1540
01:05:16,708 --> 01:05:18,877
And then,
people started laughing.
1541
01:05:18,877 --> 01:05:22,422
And laughing and laughing
and I went,
1542
01:05:22,422 --> 01:05:26,426
"Whoa." I-I-I was shocked.
I didn't expect that.
1543
01:05:26,760 --> 01:05:29,888
But they thoroughly
enjoyed the movie.
1544
01:05:29,888 --> 01:05:31,264
They loved the movie.
1545
01:05:31,514 --> 01:05:35,143
They loved it in a whole
other way as it's become.
1546
01:05:35,143 --> 01:05:37,520
"Mommie Dearest"
has a life of its own
1547
01:05:37,520 --> 01:05:41,191
that has legs
that no one expected.
1548
01:05:41,191 --> 01:05:42,400
Frank:
The film is now being shown
1549
01:05:42,400 --> 01:05:44,194
at a lot of places
at midnight,
1550
01:05:44,194 --> 01:05:46,738
like "Rocky Horror
Picture Show," you know?
1551
01:05:46,738 --> 01:05:48,031
And that's wonderful.
1552
01:05:48,156 --> 01:05:51,117
Kids come, apparently,
and bring hangers and cleanser
1553
01:05:51,117 --> 01:05:53,411
and talk to the screen
and... (laughs)
1554
01:05:53,411 --> 01:05:55,413
- Gene Shalit: It's gonna get
to be a cult film.
- Well,
1555
01:05:55,413 --> 01:05:58,083
that would be wonderful,
I think.
1556
01:05:58,083 --> 01:06:00,126
Mara:
Throughout these 40 years,
1557
01:06:00,126 --> 01:06:02,087
it's so interesting
that one film can evoke
1558
01:06:02,087 --> 01:06:05,173
such a different reaction
out of everyone.
1559
01:06:05,173 --> 01:06:08,176
You know, some people
see it as this over-the-top,
1560
01:06:08,176 --> 01:06:10,261
outrageous, campy comedy.
1561
01:06:10,261 --> 01:06:15,058
(lip-syncing movie)
What's wire hangers
doing in this closet?!
1562
01:06:15,058 --> 01:06:17,686
I can see that side of that.
I absolutely can.
1563
01:06:17,686 --> 01:06:20,105
On the other hand,
I've also have had people
that have come up to me
1564
01:06:20,105 --> 01:06:21,940
and said that they started
watching it
1565
01:06:21,940 --> 01:06:23,191
and had to shut it off
1566
01:06:23,191 --> 01:06:25,318
because it reminded them
of their own childhood.
1567
01:06:25,318 --> 01:06:27,028
I've had people
that have said to me,
1568
01:06:27,028 --> 01:06:29,447
"It gave me the courage
to actually come forward
1569
01:06:29,447 --> 01:06:31,282
and say I was abused."
1570
01:06:31,282 --> 01:06:33,952
Do you feel
you made some mistakes?
1571
01:06:33,952 --> 01:06:36,705
- The things you chose to do?
- Faye: Mm...
1572
01:06:36,705 --> 01:06:40,250
I might take Crawford back.
1573
01:06:40,250 --> 01:06:44,254
But, I really wouldn't
because I did like her so much.
1574
01:06:44,254 --> 01:06:48,091
The only reason is because
she was very larger than life
1575
01:06:48,091 --> 01:06:51,803
and I wouldn't--
I don't want to be that myself.
1576
01:06:52,303 --> 01:06:54,305
And there's an inevitable
tendency of people,
1577
01:06:54,305 --> 01:06:56,141
who both work in the industry
1578
01:06:56,141 --> 01:06:58,309
and, and the audience,
to associate.
1579
01:06:58,309 --> 01:07:00,103
To think you're like
the parts you play.
1580
01:07:00,395 --> 01:07:02,480
Life is hills
and valleys sometimes.
1581
01:07:02,480 --> 01:07:04,190
You're not always
gonna be up there doing--
1582
01:07:04,190 --> 01:07:06,818
making the right choices,
being perfect.
1583
01:07:06,818 --> 01:07:08,862
You're gonna have moments
where you think,
1584
01:07:08,862 --> 01:07:10,947
"Why did I ever do that?"
1585
01:07:10,947 --> 01:07:12,991
So, that's something that
1586
01:07:12,991 --> 01:07:15,493
you can't control sometimes.
1587
01:07:15,785 --> 01:07:17,245
Julie:
It is shocking, though,
1588
01:07:17,245 --> 01:07:21,249
to see that here was this
person who was so iconic,
1589
01:07:21,249 --> 01:07:23,209
her characters were so linked
1590
01:07:23,209 --> 01:07:26,338
to this 10-year period
of massive change.
1591
01:07:26,629 --> 01:07:30,592
And by the time the '80s
came around, that was over.
1592
01:07:30,884 --> 01:07:33,678
The world is at last my oyster.
1593
01:07:33,678 --> 01:07:35,347
Julie: You know,
you had the Reagan years.
1594
01:07:35,347 --> 01:07:37,265
It was a whole
different ballgame
1595
01:07:37,265 --> 01:07:40,727
and where was the place
for Faye Dunaway in that?
1596
01:07:40,727 --> 01:07:43,480
Look, I drink.
1597
01:07:43,480 --> 01:07:46,441
When I drink, I move
in a wrong direction.
1598
01:07:46,441 --> 01:07:48,735
Liam:
My mom was an alcoholic.
1599
01:07:48,735 --> 01:07:50,195
She always used to say that
1600
01:07:50,195 --> 01:07:52,530
her drink of choice
was just a gin martini.
1601
01:07:52,530 --> 01:07:55,200
And she would drink them,
especially with William Alfred.
1602
01:07:55,200 --> 01:07:56,659
They used to have
martinis together.
1603
01:07:56,659 --> 01:07:58,661
She always jokes that,
you know, on her deathbed,
1604
01:07:58,661 --> 01:08:00,997
she's like,
"Just bring me a dry martini."
1605
01:08:00,997 --> 01:08:03,333
"One last one before I go out"
kinda thing.
1606
01:08:03,333 --> 01:08:05,543
But, when I was growing up,
I remember my mom
1607
01:08:05,543 --> 01:08:08,213
going to the alcohol
treatment centers.
1608
01:08:08,213 --> 01:08:11,257
And then slowly over time,
she got sober.
1609
01:08:11,257 --> 01:08:12,884
She got sobriety.
1610
01:08:12,884 --> 01:08:14,052
Faye:
I mean, I went through a period
1611
01:08:14,052 --> 01:08:16,304
where I had problems
with alcohol,
1612
01:08:16,304 --> 01:08:18,723
as did my father.
It's an inherited thing.
1613
01:08:18,723 --> 01:08:22,811
I'm in program and have been
for about 15 years.
1614
01:08:22,811 --> 01:08:24,562
And I knew what that was like
1615
01:08:24,562 --> 01:08:26,272
because it had been
part of my experience
1616
01:08:26,272 --> 01:08:28,858
and that, I think, was
helpful when I did "Barfly."
1617
01:08:28,858 --> 01:08:30,235
When you run off like this,
1618
01:08:30,235 --> 01:08:32,529
I feel like you're trying
to get away from me.
1619
01:08:32,529 --> 01:08:35,323
- Mickey Rourke: Hey, baby.
- (lights match)
1620
01:08:35,323 --> 01:08:37,283
I'm doin' this for us.
1621
01:08:37,283 --> 01:08:40,578
We'll be able to drink
with class. (blows)
1622
01:08:40,578 --> 01:08:43,748
We don't have to be barflies
right down to the grave.
1623
01:08:43,748 --> 01:08:45,667
I didn't wanna do the movie.
1624
01:08:45,917 --> 01:08:49,129
My grandfather, my uncle,
1625
01:08:49,671 --> 01:08:51,256
and my father
1626
01:08:51,256 --> 01:08:54,843
all drank themselves to death
before they were 50.
1627
01:08:54,843 --> 01:08:58,304
You know, my father drank
himself to death at 47,
1628
01:08:58,304 --> 01:09:00,432
and I met-- I only met him
for the first time
1629
01:09:00,432 --> 01:09:02,308
the year before when he was 46.
1630
01:09:02,308 --> 01:09:04,185
So, I didn't wanna do a movie
1631
01:09:04,185 --> 01:09:08,606
where I was glorifying
being an alcoholic.
1632
01:09:08,606 --> 01:09:12,777
And Barbet Schroeder chased me
from New York to LA to London.
1633
01:09:12,777 --> 01:09:14,237
And then, when I met Faye,
1634
01:09:14,237 --> 01:09:16,781
it kinda changed
my mind a little.
1635
01:09:16,781 --> 01:09:18,575
I was very in awe of her.
1636
01:09:18,575 --> 01:09:21,036
I was kind of
a little intimidated,
1637
01:09:21,036 --> 01:09:22,579
and I don't get intimidated.
1638
01:09:22,579 --> 01:09:24,998
But, she'd been somebody
I did look up to,
1639
01:09:24,998 --> 01:09:26,791
and I don't look up
to very many.
1640
01:09:26,791 --> 01:09:31,004
I had never worked with anybody
who was like a legendary hero.
1641
01:09:31,004 --> 01:09:33,298
I can't stand people.
1642
01:09:35,633 --> 01:09:37,260
I hate them.
1643
01:09:38,720 --> 01:09:40,138
Oh, yeah?
1644
01:09:40,138 --> 01:09:43,099
What I would hear
through the grapevine,
1645
01:09:43,099 --> 01:09:45,602
"We got Faye Dunaway
and Mickey Rourke.
1646
01:09:45,602 --> 01:09:47,812
Which one of ‘em
is gonna explode first?"
1647
01:09:47,812 --> 01:09:49,647
‘Cause she had a bit
of a reputation,
1648
01:09:49,647 --> 01:09:52,025
and I, I imagine
I probably had one.
1649
01:09:52,025 --> 01:09:54,235
And people were
waiting for...
1650
01:09:55,487 --> 01:09:58,448
that.
And it never fuckin' happened.
1651
01:09:58,990 --> 01:10:01,034
Pour me one, then.
1652
01:10:01,618 --> 01:10:04,454
Deglamorizing is always
interesting. You know? (laughs)
1653
01:10:04,454 --> 01:10:07,332
You don't wanna play
these queens forever. (laughs)
1654
01:10:07,332 --> 01:10:09,417
And to get human, to get real,
1655
01:10:09,417 --> 01:10:11,336
and, you know,
I was in very good hands
1656
01:10:11,336 --> 01:10:12,545
with Barbet Schroeder,
the director.
1657
01:10:12,545 --> 01:10:14,089
Mickey Rourke
was great to work with.
1658
01:10:14,089 --> 01:10:16,508
Very generous actor
that I liked very much.
1659
01:10:16,508 --> 01:10:18,051
But, it was a chance for me
to come back
1660
01:10:18,051 --> 01:10:20,387
in a vulnerable role as well.
1661
01:10:20,387 --> 01:10:22,305
I kept coming to set
on the testing,
1662
01:10:22,305 --> 01:10:24,015
and Barbet Schroeder,
who directed it, said,
1663
01:10:24,015 --> 01:10:26,518
"No, you still look too good.
The hair's too good." (laughs)
1664
01:10:26,518 --> 01:10:28,853
So, we had to keep working
to bring it down.
1665
01:10:28,853 --> 01:10:31,189
It wasn't something
that I normally do
1666
01:10:31,189 --> 01:10:33,191
but if it's right for the role,
you wanna do it,
1667
01:10:33,191 --> 01:10:34,567
and you do do it.
1668
01:10:34,567 --> 01:10:36,528
You always start
from reality, you know?
1669
01:10:36,528 --> 01:10:38,530
And I went, first of all,
to a bar on 9th Avenue
1670
01:10:38,530 --> 01:10:40,573
where the world
of the film existed,
1671
01:10:40,573 --> 01:10:41,700
down to the fights, everything.
1672
01:10:41,700 --> 01:10:43,535
And the humor,
and the dancing...
1673
01:10:43,535 --> 01:10:46,037
But there was a woman
there who was very,
1674
01:10:46,037 --> 01:10:47,706
ironically, very like Wanda.
1675
01:10:47,706 --> 01:10:50,083
She had a tragedy in her life
that she never recovered from,
1676
01:10:50,083 --> 01:10:51,418
and yet she was very warm
1677
01:10:51,418 --> 01:10:53,044
and very funny
and, you know, very touching.
1678
01:10:53,044 --> 01:10:56,798
Mickey:
When Faye got to the set,
she was ready to go to work.
1679
01:10:57,382 --> 01:11:00,719
And so whatever I did,
she was right fucking there.
1680
01:11:00,719 --> 01:11:02,262
And she was there.
1681
01:11:02,554 --> 01:11:05,056
I could see the wheels
turning in her eyes,
1682
01:11:05,056 --> 01:11:06,516
in her expression,
1683
01:11:06,516 --> 01:11:08,935
in how she delivered
her next line.
1684
01:11:08,935 --> 01:11:12,522
(gasps) Nothing ever works
right in this life.
1685
01:11:12,522 --> 01:11:13,732
Mickey:
She would always add
1686
01:11:13,732 --> 01:11:16,234
a little different twist
to each take.
1687
01:11:16,234 --> 01:11:19,070
We call that
working moment to moment.
1688
01:11:19,070 --> 01:11:20,739
(softly)
It's alright.
1689
01:11:21,406 --> 01:11:22,824
(Faye gasps)
1690
01:11:23,533 --> 01:11:25,410
Laurent:
Now, you knew Terry O'Neill.
1691
01:11:25,410 --> 01:11:26,995
Oh, I knew--
Terry and I were mates.
1692
01:11:26,995 --> 01:11:30,707
Terry was never afraid
to speak what was on his mind
1693
01:11:30,707 --> 01:11:32,876
‘cause he was just
a regular guy.
1694
01:11:32,876 --> 01:11:34,336
I loved Terry.
1695
01:11:34,336 --> 01:11:35,879
Laurent:
How did you meet him?
1696
01:11:35,879 --> 01:11:38,256
When I met Faye,
he was there at the house.
1697
01:11:38,840 --> 01:11:41,760
They were just at the end
of their relationship.
1698
01:11:41,760 --> 01:11:43,762
- (somber music playing)
- Liam: To be honest,
1699
01:11:43,762 --> 01:11:46,598
I don't remember
my parents getting divorced.
1700
01:11:46,598 --> 01:11:48,600
You know, I was about 7
when they got divorced,
1701
01:11:48,600 --> 01:11:52,270
so prior to their divorce,
they had been living separately
1702
01:11:52,520 --> 01:11:55,523
in London
and New York for years.
1703
01:11:55,523 --> 01:11:58,109
So, we would kind of
go back and forth
1704
01:11:58,109 --> 01:11:59,319
and my dad would
come to New York,
1705
01:11:59,319 --> 01:12:01,112
or I would go to London
with my mom.
1706
01:12:01,112 --> 01:12:05,116
But, it slowly kinda started
to dissipate over time,
1707
01:12:05,116 --> 01:12:08,620
so I probably only saw
my dad once or twice a year.
1708
01:12:08,620 --> 01:12:10,246
I would either go to London,
1709
01:12:10,246 --> 01:12:11,456
or if he was traveling
to New York,
1710
01:12:11,456 --> 01:12:13,708
I would get to see him.
So, I think,
1711
01:12:13,708 --> 01:12:16,419
even though they finally
got divorced in '87,
1712
01:12:16,419 --> 01:12:19,964
I think it was over
for a few years before that.
1713
01:12:20,715 --> 01:12:22,884
Faye:
I don't know what
contributed to the divorce.
1714
01:12:22,884 --> 01:12:25,595
He was English, and I
didn't wanna live in England
1715
01:12:25,595 --> 01:12:27,055
completely.
Not for full-time.
1716
01:12:27,055 --> 01:12:29,599
I love England, still.
It's a great way of life.
1717
01:12:29,599 --> 01:12:30,975
But, at a certain moment,
1718
01:12:30,975 --> 01:12:34,145
I was Faye Dunaway,
and I'm an American actress,
1719
01:12:34,145 --> 01:12:35,730
and there aren't many jobs
1720
01:12:35,730 --> 01:12:37,774
for an American actress
in England.
1721
01:12:37,774 --> 01:12:41,444
And if I don't work,
I don't feel at my best.
1722
01:12:41,444 --> 01:12:44,239
I just wanted to be back
in my country
1723
01:12:44,239 --> 01:12:46,825
and performing in my way.
1724
01:12:47,826 --> 01:12:50,328
- Hi!
- (laughs)
1725
01:12:50,328 --> 01:12:52,831
We're making Faye
ready for Tel Aviv.
1726
01:12:52,831 --> 01:12:55,834
- (laughs)
- She gonna look beautiful.
1727
01:12:55,834 --> 01:12:58,169
- You're touching your hair.
- The ends of the hair.
1728
01:12:58,169 --> 01:12:59,421
hairdresser:
Yeah, just like this.
1729
01:12:59,421 --> 01:13:01,923
- When I do this...
- Faye: Okay, you got his hands?
1730
01:13:01,923 --> 01:13:03,008
speaker:
Yes.
1731
01:13:03,008 --> 01:13:05,010
That's wonderful.
1732
01:13:05,719 --> 01:13:08,513
Tova Laiter:
When it comes to actresses,
1733
01:13:08,513 --> 01:13:11,975
there was really
a big difference
1734
01:13:11,975 --> 01:13:13,309
with male actor.
1735
01:13:13,309 --> 01:13:15,020
It's great.
1736
01:13:15,020 --> 01:13:16,229
This is great.
1737
01:13:16,646 --> 01:13:19,858
Tova: In fact,
one of the biggest agents
1738
01:13:19,858 --> 01:13:21,484
once said to me,
1739
01:13:21,484 --> 01:13:23,528
he would rather represent men
1740
01:13:23,528 --> 01:13:27,282
because their career
is longer than women.
1741
01:13:27,282 --> 01:13:31,077
Women, as they head into 40,
1742
01:13:31,077 --> 01:13:33,538
you're not old enough
to play a grandmother,
1743
01:13:33,538 --> 01:13:35,081
and maybe now,
1744
01:13:35,081 --> 01:13:37,042
you're thinking
that you're not young enough
1745
01:13:37,042 --> 01:13:39,586
to be a love interest.
1746
01:13:40,128 --> 01:13:41,296
Faye:
I'm looking for roles
1747
01:13:41,296 --> 01:13:43,882
that just touch
the real issues
1748
01:13:43,882 --> 01:13:47,093
and the real feelings
that women have,
1749
01:13:47,093 --> 01:13:49,429
rather than this very
covered up, controlled,
1750
01:13:49,429 --> 01:13:51,848
exterior kind of persona.
1751
01:13:51,848 --> 01:13:53,808
And I felt that, um,
1752
01:13:53,808 --> 01:13:55,560
you know, having lived
in London for eight years
1753
01:13:55,560 --> 01:13:58,229
and being away
from my home, basically,
1754
01:13:58,229 --> 01:14:01,441
and I really was seeking and--
1755
01:14:01,441 --> 01:14:04,861
I'm developing roles of my own,
now that I'm producing.
1756
01:14:04,861 --> 01:14:08,406
I'm really looking for women
that are funny,
1757
01:14:08,406 --> 01:14:10,200
are vulnerable,
are complex,
1758
01:14:10,200 --> 01:14:13,661
and that I have a chance
to develop all of those areas.
1759
01:14:13,661 --> 01:14:16,414
I wanted to start
to initiate my own projects,
1760
01:14:16,414 --> 01:14:19,751
and so I moved to California
in that time.
1761
01:14:19,751 --> 01:14:23,380
I lived on Linda Crest Drive
in Beverly Hills
1762
01:14:23,380 --> 01:14:25,298
with a white house,
very pretty.
1763
01:14:25,298 --> 01:14:26,925
It has to do with producing,
1764
01:14:26,925 --> 01:14:28,468
you know,
because this is a town
1765
01:14:28,468 --> 01:14:30,929
where, in fact, all the business
actually takes place.
1766
01:14:30,929 --> 01:14:32,347
And I kind of find
that interesting.
1767
01:14:32,347 --> 01:14:34,766
It's a, it's a community.
1768
01:14:34,766 --> 01:14:36,935
Kate Capshaw (on mic):
And now, our final presenter.
1769
01:14:36,935 --> 01:14:40,939
Please let me introduce
the legendary Faye Dunaway.
1770
01:14:40,939 --> 01:14:45,485
- (applause)
- (soft music playing)
1771
01:14:45,485 --> 01:14:47,112
There's a river of tradition
1772
01:14:47,112 --> 01:14:49,948
that runs through this industry,
and through time,
1773
01:14:49,948 --> 01:14:52,992
of actresses who take on roles
that challenge
1774
01:14:52,992 --> 01:14:56,788
the conventional wisdom
about who a woman is.
1775
01:14:56,788 --> 01:14:59,249
And Sharon Stone
has done that.
1776
01:14:59,582 --> 01:15:04,421
Sharon, I salute you,
admire you, and love you.
1777
01:15:04,421 --> 01:15:06,923
Sharon:
I met Faye at a photo shoot,
1778
01:15:06,923 --> 01:15:08,800
pre the release of
"Basic Instinct,"
1779
01:15:08,800 --> 01:15:10,427
doing all the press for it.
1780
01:15:10,427 --> 01:15:11,928
And I said,
1781
01:15:11,928 --> 01:15:14,973
"May I watch you do
your photo shoot?"
1782
01:15:14,973 --> 01:15:18,101
And she said, "Sure, kid,
just stay outta my eyeline."
1783
01:15:18,101 --> 01:15:20,437
So, I stayed off to the side,
1784
01:15:20,437 --> 01:15:24,441
and I watched her,
and she was so good.
1785
01:15:24,441 --> 01:15:26,067
She was so professional,
1786
01:15:26,067 --> 01:15:29,154
and, I mean,
she's just so beautiful.
1787
01:15:29,154 --> 01:15:30,655
And we really just hit it off.
1788
01:15:30,655 --> 01:15:32,032
She was just so willing
1789
01:15:32,032 --> 01:15:35,660
to allow me
the opportunity to know her,
1790
01:15:35,660 --> 01:15:39,664
to learn from her,
to understand her experience.
1791
01:15:39,664 --> 01:15:43,043
And she offered me
a friendship
1792
01:15:43,043 --> 01:15:45,253
that I hadn't expected
1793
01:15:45,253 --> 01:15:47,172
from someone of her stature.
1794
01:15:47,172 --> 01:15:48,798
You always try to give back.
1795
01:15:48,798 --> 01:15:51,593
If you know what you're doing,
you need to share it.
1796
01:15:51,593 --> 01:15:54,137
You need to give it back
to the people that need it
1797
01:15:54,137 --> 01:15:56,765
and that deserve it.
I feel strongly about that.
1798
01:15:56,765 --> 01:15:58,725
It was a good feeling
to help Sharon
1799
01:15:58,725 --> 01:16:01,811
and we are still
good friends to this day.
1800
01:16:01,811 --> 01:16:03,563
- (studio audience laughter)
- I like the tent,
1801
01:16:03,563 --> 01:16:05,357
but wouldn't drapes
have been simpler?
1802
01:16:05,357 --> 01:16:07,317
- (laughter)
- We got termites.
1803
01:16:07,317 --> 01:16:08,735
But, you're a carpenter.
1804
01:16:08,735 --> 01:16:11,071
I guess they wanted
a really well-built meal.
1805
01:16:11,071 --> 01:16:12,238
(laughter)
1806
01:16:12,238 --> 01:16:14,282
Faye:
Robert Urich and I wanted
to do a sitcom
1807
01:16:14,282 --> 01:16:17,994
called "It Had To Be You."
It was my first venture, foray,
1808
01:16:17,994 --> 01:16:20,288
into this sitcom,
which is comedy.
1809
01:16:20,288 --> 01:16:21,998
Which wasn't my cup of tea, really.
1810
01:16:21,998 --> 01:16:23,708
I mean, I'm not
a comedic actress.
1811
01:16:23,708 --> 01:16:24,834
I'm a... (laughs)
1812
01:16:24,834 --> 01:16:27,045
down and dirty,
very dramatic actress.
1813
01:16:27,045 --> 01:16:29,172
But I wanted to have
a try at it.
1814
01:16:29,172 --> 01:16:31,716
Chris Andrews:
She was way ahead of the pack
in saying,
1815
01:16:31,716 --> 01:16:33,051
"You know what?
I wanna go do television.
1816
01:16:33,051 --> 01:16:35,845
"I wanna go do something
commercial and funny,
1817
01:16:35,845 --> 01:16:37,889
"and have a place
to go to work for, you know,
1818
01:16:37,889 --> 01:16:40,433
eight or nine months a year
and then have my time off."
1819
01:16:40,433 --> 01:16:43,395
And she could go off and do
something small and independent
1820
01:16:43,395 --> 01:16:44,604
and do something
on television,
1821
01:16:44,604 --> 01:16:45,814
and she could go back
to the theater,
1822
01:16:45,814 --> 01:16:47,273
but she had options.
1823
01:16:47,273 --> 01:16:49,734
But, when it came to films,
I think she chose really well.
1824
01:16:49,734 --> 01:16:52,612
She makes this film
with Emir Kusturica
1825
01:16:52,612 --> 01:16:54,406
called "Arizona Dream."
1826
01:16:54,406 --> 01:16:56,574
It is a surreal adventure
1827
01:16:56,574 --> 01:16:59,577
in which she costars
with Johnny Depp.
1828
01:16:59,577 --> 01:17:02,831
And it's not implausible
that his character
1829
01:17:02,831 --> 01:17:06,167
is romantically drawn
to this older woman.
1830
01:17:06,167 --> 01:17:07,460
Johnny Depp is a prince,
1831
01:17:07,460 --> 01:17:09,337
and I worked with him twice.
1832
01:17:09,337 --> 01:17:11,464
First was "Arizona Dream,"
1833
01:17:11,464 --> 01:17:12,674
and then after that, we did
1834
01:17:12,674 --> 01:17:15,760
"Don Juan DeMarco"
with Marlon Brando.
1835
01:17:15,760 --> 01:17:17,637
It was movies like "The Chamber"
1836
01:17:17,637 --> 01:17:19,931
with Gene Hackman
and Chris O'Donnell,
1837
01:17:19,931 --> 01:17:22,726
and "Gia" with Angelina Jolie
that was done for HBO
1838
01:17:22,726 --> 01:17:24,144
and she won the Golden Globe.
1839
01:17:24,144 --> 01:17:26,646
This means an enormous amount
to me tonight,
1840
01:17:26,646 --> 01:17:28,106
and I was completely thrown
1841
01:17:28,106 --> 01:17:30,150
because I really
didn't expect to win.
1842
01:17:30,150 --> 01:17:33,278
I... I don't know why.
You know, I mean--
1843
01:17:33,278 --> 01:17:35,655
But, the point is
I'm really grateful that I did,
1844
01:17:35,655 --> 01:17:37,949
and it means a lot
because I'm struggling, too.
1845
01:17:37,949 --> 01:17:40,744
And I'm trying-- I'm putting
my own projects together.
1846
01:17:40,744 --> 01:17:43,955
Chris:
By the '90s, you're getting
a lot of younger filmmakers
1847
01:17:43,955 --> 01:17:45,623
who'd been through film school
in the '80s,
1848
01:17:45,623 --> 01:17:47,459
and, of course,
they've grown up, like I was,
1849
01:17:47,459 --> 01:17:49,210
on '70s films.
1850
01:17:49,210 --> 01:17:51,629
So, I'm sure James Gray is like,
"Are you kidding me?
1851
01:17:51,629 --> 01:17:53,923
Like, I would get to direct
Faye Dunaway?"
1852
01:17:53,923 --> 01:17:56,217
Don't you know
what he does for Frank?
1853
01:17:57,635 --> 01:17:59,679
What?
1854
01:18:00,555 --> 01:18:03,391
How do you think
he gets the money for
all the things he buys you?
1855
01:18:03,391 --> 01:18:05,769
James:
There were some
actors in their 20s,
1856
01:18:05,769 --> 01:18:08,480
Mark Wahlberg, Charlize Theron,
and Joaquin Phoenix,
1857
01:18:08,480 --> 01:18:11,191
and then there were the
sort of older group of actors,
1858
01:18:11,191 --> 01:18:13,568
James Caan, Faye Dunaway,
Ellen Burstyn,
1859
01:18:13,568 --> 01:18:15,987
who were the sort of
'70s heroes that I had.
1860
01:18:15,987 --> 01:18:17,989
It was so great because
I remember the younger actors
1861
01:18:17,989 --> 01:18:21,659
always looking to the older
actor to learn something.
1862
01:18:21,659 --> 01:18:23,787
Faye:
"The Yards" was unique
1863
01:18:23,787 --> 01:18:25,705
because it had, like,
two generations
1864
01:18:25,705 --> 01:18:29,042
and so it was kind of
a congregational sort of thing
1865
01:18:29,042 --> 01:18:32,003
where the two generations
intermingled with each other.
1866
01:18:32,003 --> 01:18:35,674
Gray was a wonderful director,
so that was a good experience.
1867
01:18:35,674 --> 01:18:37,008
James:
It was incredibly intimidating,
1868
01:18:37,008 --> 01:18:39,719
but they were
terrific with me.
1869
01:18:39,719 --> 01:18:42,514
Whatever reputation
that she had in some ways
1870
01:18:42,514 --> 01:18:45,141
is also a comment
on how women are,
1871
01:18:45,141 --> 01:18:48,019
in some ways,
treated and judged
1872
01:18:48,019 --> 01:18:50,772
on a very different scale
than men.
1873
01:18:51,064 --> 01:18:54,693
So yeah, her story
is tremendously relevant.
1874
01:18:54,693 --> 01:18:56,695
Annette:
She directed a short film
1875
01:18:56,695 --> 01:18:58,697
which I thought was quite good.
"Yellow Bird."
1876
01:18:59,239 --> 01:19:01,616
It was adapted
from Tennessee Williams,
1877
01:19:01,616 --> 01:19:03,827
Williams himself
did the voiceover,
1878
01:19:03,827 --> 01:19:07,122
and it was shown at
the 2001 Cannes Film Festival.
1879
01:19:07,122 --> 01:19:10,834
So, she wasn't just
a screen divinity.
1880
01:19:10,834 --> 01:19:13,044
She was a hard-working
stage actress,
1881
01:19:13,044 --> 01:19:16,047
a screen actress,
a director of a short film,
1882
01:19:16,047 --> 01:19:18,174
and somebody who could
play Maria Callas.
1883
01:19:18,174 --> 01:19:20,552
Tom Snyder:
She is currently
enjoying, uh, her role
1884
01:19:20,552 --> 01:19:21,845
in the stage play
"Master Class"
1885
01:19:21,845 --> 01:19:24,180
at the Doolittle Theater
here in Los Angeles
1886
01:19:24,180 --> 01:19:25,348
through July 13th.
1887
01:19:25,348 --> 01:19:27,642
Getting great reviews
and standing ovations
1888
01:19:27,642 --> 01:19:29,436
when it comes to an end
for the curtain call.
1889
01:19:29,436 --> 01:19:31,980
Faye, welcome back
and thanks for coming to CBS.
1890
01:19:31,980 --> 01:19:35,233
"Master Class" is about,
uh, the great Maria Callas,
1891
01:19:35,233 --> 01:19:37,986
when she taught voice
at Juilliard.
1892
01:19:37,986 --> 01:19:40,697
Faye:
Yes. There was a moment
in her life,
1893
01:19:40,697 --> 01:19:42,365
late in her career,
1894
01:19:42,365 --> 01:19:43,575
early 50s she was,
1895
01:19:43,575 --> 01:19:46,119
where she held some held
some very famous
1896
01:19:46,119 --> 01:19:48,955
and well-attended master
classes at Juilliard.
1897
01:19:48,955 --> 01:19:50,999
And everybody
from Tennessee Williams
1898
01:19:50,999 --> 01:19:53,543
to Leonard Bernstein
was there.
1899
01:19:53,543 --> 01:19:57,756
No applause!
We're here to work.
1900
01:19:57,756 --> 01:20:00,050
You're not in a theater.
This is a classroom.
1901
01:20:00,050 --> 01:20:03,845
No folderol.
This is a master class.
1902
01:20:04,179 --> 01:20:06,473
Tova:
I saw the play in Los Angeles
1903
01:20:06,473 --> 01:20:08,558
when she was here,
1904
01:20:08,558 --> 01:20:10,977
and Faye transformed
to that character.
1905
01:20:10,977 --> 01:20:13,730
‘Cause if you look at both
of them, they don't look alike.
1906
01:20:13,730 --> 01:20:17,108
But, on the stage,
you saw Maria Callas.
1907
01:20:17,108 --> 01:20:19,277
Liam: So, she did
the play to begin with,
1908
01:20:19,277 --> 01:20:21,946
and then she bought
the rights after the play
1909
01:20:21,946 --> 01:20:23,448
to option and do the movie.
1910
01:20:23,448 --> 01:20:25,450
Isn't it tough to take
something from the stage
1911
01:20:25,450 --> 01:20:26,743
and put it on the screen?
1912
01:20:26,743 --> 01:20:29,913
Not really. So many plays have
become, "Crimes of the Heart..."
1913
01:20:29,913 --> 01:20:31,748
Tom: Oh, right. Uh, uh,
"Driving Miss Daisy" became--
1914
01:20:31,748 --> 01:20:33,541
"Driving Miss Daisy"
was a great, great movie,
1915
01:20:33,541 --> 01:20:35,377
and it was-- I actually saw that
on stage as well.
1916
01:20:35,377 --> 01:20:37,212
No, you-you do what's called
"opening it up."
1917
01:20:37,212 --> 01:20:39,047
I think this movie
probably oughta--
1918
01:20:39,047 --> 01:20:41,591
definitely oughta stay very true
to what McNally has written.
1919
01:20:41,591 --> 01:20:44,761
Liam:
When it comes to work,
my mom gets obsessed.
1920
01:20:44,761 --> 01:20:46,846
She wanted to tackle it all.
1921
01:20:46,846 --> 01:20:50,058
Writing it, directing it,
and being in it,
1922
01:20:50,058 --> 01:20:51,393
playing Maria Callas.
1923
01:20:51,393 --> 01:20:56,106
A career in the theater
demands total concentration.
1924
01:20:56,106 --> 01:20:58,900
100% detail.
1925
01:20:58,900 --> 01:21:00,819
The film eventually got
some financing,
1926
01:21:00,819 --> 01:21:03,988
and they started shooting
in Pontiac, Michigan
1927
01:21:03,988 --> 01:21:06,116
for two or three months,
1928
01:21:06,116 --> 01:21:07,367
and then they had
to shut down
1929
01:21:07,367 --> 01:21:09,661
because the money
was running out.
1930
01:21:09,661 --> 01:21:11,663
So, I came in
and helped take over
1931
01:21:11,663 --> 01:21:13,248
all the things
that needed to be done
1932
01:21:13,248 --> 01:21:16,001
to maybe kinda get
the production back on track.
1933
01:21:16,001 --> 01:21:19,921
But, it was too far gone.
The money just dried up.
1934
01:21:19,921 --> 01:21:23,341
As much as it was
a passion project for her,
1935
01:21:23,341 --> 01:21:27,303
you have to be realistic
at a certain point
1936
01:21:27,303 --> 01:21:28,763
and shut down.
1937
01:21:28,763 --> 01:21:30,807
Faye:
Very devastating.
1938
01:21:30,807 --> 01:21:33,852
I was in pieces
for quite some time.
1939
01:21:33,852 --> 01:21:37,230
You know, locked up in my room,
going to analysis.
1940
01:21:37,230 --> 01:21:39,024
It's just when you have
a dream like that,
1941
01:21:39,024 --> 01:21:40,650
and you've worked on it
for so long,
1942
01:21:40,650 --> 01:21:44,237
I knew what-what it was about.
I knew what she was about.
1943
01:21:44,237 --> 01:21:46,031
But, I wanted too much
for myself.
1944
01:21:46,031 --> 01:21:48,700
I should have set it up
and got a good director
1945
01:21:48,700 --> 01:21:49,993
and I would act in it.
1946
01:21:49,993 --> 01:21:51,870
But, I wanted too much
at that time.
1947
01:21:51,870 --> 01:21:54,289
So, it was a mistake.
1948
01:21:54,289 --> 01:21:57,375
(music building)
1949
01:22:03,381 --> 01:22:07,552
Laurent:
Eventually, you decided to move
back to New York City.
1950
01:22:07,552 --> 01:22:09,387
What is it about New York?
1951
01:22:09,387 --> 01:22:11,389
Faye:
Well, it's always been my city.
1952
01:22:11,389 --> 01:22:13,725
You know? I mean, I remember
when I first hit New York
1953
01:22:13,725 --> 01:22:15,810
as a young Southern girl,
you know,
1954
01:22:15,810 --> 01:22:18,897
and standing off that curb and
putting your hand up for a taxi
1955
01:22:18,897 --> 01:22:20,190
and the pace of it.
1956
01:22:20,190 --> 01:22:22,817
You can't duplicate
that anywhere.
1957
01:22:22,817 --> 01:22:24,611
And LA is much more laid back.
1958
01:22:24,611 --> 01:22:26,905
I like the energy of New York.
1959
01:22:26,905 --> 01:22:28,907
So, that's why I moved back.
1960
01:22:29,407 --> 01:22:31,618
Liam:
My mom hadn't worked
for a period of time,
1961
01:22:31,618 --> 01:22:34,913
and she really wanted
to get back into it
1962
01:22:34,913 --> 01:22:36,164
‘cause acting
was her passion.
1963
01:22:36,164 --> 01:22:38,708
And my mom has always
loved the theater.
1964
01:22:38,708 --> 01:22:39,959
That's, like,
her first passion.
1965
01:22:39,959 --> 01:22:42,462
So, I presented the play
"Tea at Five,"
1966
01:22:42,462 --> 01:22:45,173
where my mom would be playing
Katharine Hepburn.
1967
01:22:45,173 --> 01:22:48,927
And at first, she was
very excited to do it.
1968
01:22:48,927 --> 01:22:50,970
Faye:
I felt like I needed to do it
1969
01:22:50,970 --> 01:22:53,765
for the experience
back on the stage,
1970
01:22:53,765 --> 01:22:56,017
but I didn't feel
I was right for it
1971
01:22:56,017 --> 01:22:58,937
because Katharine
Hepburn's New England,
1972
01:22:58,937 --> 01:23:00,146
and I'm from the South,
1973
01:23:00,146 --> 01:23:02,440
and so such
a different sensibility
1974
01:23:02,440 --> 01:23:06,444
that I was worried about my
being able to really play it.
1975
01:23:06,444 --> 01:23:08,780
And it began to make me
more and more irritated.
1976
01:23:08,780 --> 01:23:10,782
And I, I'm pretty sure--
I know,
1977
01:23:10,782 --> 01:23:13,284
that was the bipolar kicking in.
1978
01:23:13,284 --> 01:23:15,954
It was one of those things
where she didn't wanna quit,
1979
01:23:15,954 --> 01:23:17,831
but, at the same time,
she didn't wanna do it.
1980
01:23:17,831 --> 01:23:21,626
Slowly, as the shows went on,
she started losing her temper.
1981
01:23:21,626 --> 01:23:23,211
She started acting out.
1982
01:23:23,211 --> 01:23:25,463
Her demons kind of got
a hold of her
1983
01:23:25,463 --> 01:23:28,174
and she was fired from it,
and they cancelled it,
1984
01:23:28,174 --> 01:23:30,969
and it just--
That was that.
1985
01:23:31,386 --> 01:23:33,221
Faye:
The erratic behavior.
1986
01:23:33,221 --> 01:23:37,225
That's down to these
biological, physical realities.
1987
01:23:37,225 --> 01:23:39,811
It's the sensitivity,
and it's something that...
1988
01:23:40,311 --> 01:23:42,272
is just a part of my makeup.
1989
01:23:42,272 --> 01:23:44,107
Thank God that there
is medication
1990
01:23:44,107 --> 01:23:45,567
and there's--
there are studies
1991
01:23:45,567 --> 01:23:47,610
and there are doctors
who deal with this.
1992
01:23:47,610 --> 01:23:50,363
And I've been able
to benefit from that.
1993
01:23:50,363 --> 01:23:52,323
But, the medication
is crucial,
1994
01:23:52,323 --> 01:23:54,743
and without it,
you fall back into, you know,
1995
01:23:54,743 --> 01:23:57,954
what is there psychologically
and biologically.
1996
01:23:58,955 --> 01:24:02,542
Liam:
For me, I've dealt with that
so much over my life.
1997
01:24:02,542 --> 01:24:05,003
I mean, even now,
I can pick up the phone,
1998
01:24:05,003 --> 01:24:07,213
and if she's just
a little bit off, I'm like,
1999
01:24:07,213 --> 01:24:09,466
"Have you taken your medicine
today?" And she's like,
2000
01:24:09,466 --> 01:24:11,509
"Oh, I don't know. Lemme check.
Oh, no, I haven't."
2001
01:24:11,509 --> 01:24:13,887
Now, for me,
it's like pinpoint accuracy.
2002
01:24:14,220 --> 01:24:16,389
Faye:
I'm much happier now.
2003
01:24:16,389 --> 01:24:18,224
I feel better about things,
2004
01:24:18,224 --> 01:24:20,268
and I, I think
the better you feel,
2005
01:24:20,268 --> 01:24:24,022
the more you're gonna be able
to do work that is meaningful.
2006
01:24:24,022 --> 01:24:27,776
(upbeat music playing)
2007
01:24:29,861 --> 01:24:33,948
Annette:
I actually see Faye Dunaway
from time to time
2008
01:24:33,948 --> 01:24:36,618
because we work out
at the same gym.
2009
01:24:37,702 --> 01:24:39,996
So, I have seen her lately.
2010
01:24:39,996 --> 01:24:42,332
She works hard.
She looks great.
2011
01:24:42,332 --> 01:24:45,251
She really does take seriously
2012
01:24:45,251 --> 01:24:47,253
taking care of herself
2013
01:24:47,253 --> 01:24:51,007
and looking, frankly,
quite magnificent at her age.
2014
01:24:51,007 --> 01:24:53,051
Which is why I think
that there's still more
2015
01:24:53,051 --> 01:24:56,012
that this legendary actress
has to offer.
2016
01:24:56,012 --> 01:24:59,557
(crowd cheering)
2017
01:24:59,557 --> 01:25:02,560
Liam:
Since I was very young,
we always went to Cannes.
2018
01:25:02,560 --> 01:25:05,230
We went every single year.
My mom loves Cannes.
2019
01:25:05,230 --> 01:25:07,774
She loves France.
She loves the French people.
2020
01:25:07,774 --> 01:25:10,694
And she becomes like
a whole different person
when she's over there.
2021
01:25:10,694 --> 01:25:13,905
A lot happier, full of life,
2022
01:25:13,905 --> 01:25:16,866
and she was almost shocked
2023
01:25:16,866 --> 01:25:19,911
when they wanted her
to be the face of Cannes.
2024
01:25:19,911 --> 01:25:21,413
It was the greatest honor
for her
2025
01:25:21,413 --> 01:25:23,039
just because she just
loves going over there.
2026
01:25:23,039 --> 01:25:24,165
Faye:
This is my festival
2027
01:25:24,165 --> 01:25:26,626
that I always go
to learn filmmaking,
2028
01:25:26,626 --> 01:25:29,796
and to have my face there
is very humbling,
2029
01:25:29,796 --> 01:25:33,925
and it's very much an honor,
and I'm very grateful.
2030
01:25:34,092 --> 01:25:36,302
Jerry Schatzberg
took that picture
2031
01:25:36,302 --> 01:25:39,014
and with the big banner
up over the Palais,
2032
01:25:39,014 --> 01:25:42,100
it was a great thing that
Cannes did that year for him
2033
01:25:42,100 --> 01:25:43,268
and for me.
2034
01:25:43,268 --> 01:25:44,269
It was very nice.
2035
01:25:44,269 --> 01:25:45,687
I come to see the films.
2036
01:25:45,687 --> 01:25:47,897
It's the best films in the world
at a given moment.
2037
01:25:47,897 --> 01:25:49,107
Liam:
The funny thing about my mom
2038
01:25:49,107 --> 01:25:51,735
is no matter
how bad things get,
2039
01:25:51,735 --> 01:25:53,987
when the lights
and the camera come on,
2040
01:25:53,987 --> 01:25:56,281
there's no questioning it.
You know, I think she feels
2041
01:25:56,281 --> 01:25:57,991
like she's in her 30s again.
2042
01:25:58,700 --> 01:26:00,744
Tova:
They were showing
"Bonnie and Clyde"
2043
01:26:00,744 --> 01:26:04,456
in Cannes in one of those
retrospective thing.
2044
01:26:04,456 --> 01:26:07,542
And seeing it again,
"Bonnie and Clyde"
2045
01:26:07,542 --> 01:26:11,129
was just as exciting
and amazing
2046
01:26:11,129 --> 01:26:13,798
as when you saw it
for the first time.
2047
01:26:13,798 --> 01:26:17,427
(gunfire)
2048
01:26:17,427 --> 01:26:20,513
So, at the end of it,
when the lights go up,
2049
01:26:20,513 --> 01:26:24,351
she turns to her son, Liam,
and she said, "So?
2050
01:26:24,351 --> 01:26:26,353
Now, you're proud
of your mother?"
2051
01:26:26,644 --> 01:26:30,940
And he said,
"I'm always proud of you, Mom."
2052
01:26:30,940 --> 01:26:33,693
That was really touching, honestly.
2053
01:26:33,693 --> 01:26:35,028
(soft music playing)
2054
01:26:35,028 --> 01:26:37,072
Liam:
When someone gets sick
2055
01:26:37,072 --> 01:26:39,741
or is unable
to take care of themselves,
2056
01:26:39,741 --> 01:26:43,078
it falls upon someone
who's close to them
2057
01:26:43,078 --> 01:26:45,163
in order to help them.
2058
01:26:45,163 --> 01:26:47,999
And when she has
her fits of mania,
2059
01:26:47,999 --> 01:26:50,001
or her depression,
or her bipolar,
2060
01:26:50,001 --> 01:26:51,461
it comes out in this mood.
2061
01:26:51,461 --> 01:26:54,839
You see it. It's almost
like "Mommie Dearest."
2062
01:26:54,839 --> 01:26:56,257
She just has that energy.
2063
01:26:56,675 --> 01:27:00,261
I fought worse monsters
than you for years in Hollywood!
2064
01:27:00,261 --> 01:27:02,472
I know how to win the hard way!
2065
01:27:02,472 --> 01:27:04,516
When she goes into, like,
our lawyer's office,
2066
01:27:04,516 --> 01:27:06,351
it switches to "Network,"
where she's like,
2067
01:27:06,351 --> 01:27:08,937
"I know what I'm talking about,
this is how it's done."
2068
01:27:08,937 --> 01:27:11,064
I'll be in LA until Saturday,
2069
01:27:11,064 --> 01:27:12,941
and I'd like to get it rolling.
2070
01:27:12,941 --> 01:27:16,152
Liam:
And I think you have to ask
yourself this question:
2071
01:27:16,152 --> 01:27:19,656
If she wasn't in so much pain,
2072
01:27:19,656 --> 01:27:22,701
would she have been that good?
Which then, in turn,
2073
01:27:22,701 --> 01:27:26,371
wouldn't have made her be able
to touch people acting.
2074
01:27:27,038 --> 01:27:29,541
You gotta take the good
with the bad. You know?
That's just life.
2075
01:27:29,541 --> 01:27:32,961
- (laughs) Here he is! (laughs)
- Hi! Hi! How are you doing?
2076
01:27:32,961 --> 01:27:35,547
Hang on.
Gotta hold him properly.
2077
01:27:35,547 --> 01:27:37,549
My favorite thing in my life
2078
01:27:37,549 --> 01:27:40,343
is my son.
It's always been him first.
2079
01:27:40,343 --> 01:27:42,303
And my grandson.
2080
01:27:42,303 --> 01:27:44,014
Those are my refuge.
Those are the things
2081
01:27:44,014 --> 01:27:45,724
that I hang on to
and cling to
2082
01:27:45,724 --> 01:27:46,975
more than anything.
2083
01:27:46,975 --> 01:27:50,270
Also, in closing, my,
my son.
2084
01:27:50,270 --> 01:27:51,688
I'd like to thank him.
2085
01:27:51,688 --> 01:27:54,065
Liam, you're the best.
And thank you all.
2086
01:27:54,065 --> 01:27:55,608
(applause)
2087
01:27:55,608 --> 01:27:59,404
Liam: She started off
as a normal person
2088
01:27:59,404 --> 01:28:01,781
trying to be famous,
2089
01:28:01,781 --> 01:28:05,493
and is ending as a famous person
trying to be normal.
2090
01:28:05,493 --> 01:28:08,788
(emotional saxophone
music playing)
2091
01:28:09,372 --> 01:28:11,374
Faye:
I'm definitely Faye Dunaway.
2092
01:28:11,374 --> 01:28:12,751
That's who I am.
2093
01:28:12,751 --> 01:28:15,420
And the Dorothy Faye is in
the background somewhere.
2094
01:28:15,420 --> 01:28:18,465
That's the child persona
that was there.
2095
01:28:18,465 --> 01:28:20,550
I certainly kind of like that.
2096
01:28:20,550 --> 01:28:24,095
The Faye Dunaway
is the surface, I suppose.
The shell.
2097
01:28:24,095 --> 01:28:27,390
(music building)
2098
01:28:28,808 --> 01:28:32,645
But, still, my deepest soul
is Dorothy Faye.
2099
01:28:35,231 --> 01:28:38,485
(gentle crescendo)
2100
01:28:43,281 --> 01:28:46,534
♪
2101
01:30:01,359 --> 01:30:03,611
(music fades out)