FAYE DUNAWAY: Our Vintage Interview with the Dynamic Actress
By Paul Freeman [1994 Interview] From "Bonnie and Clyde" to "Mommie Dearest," "Chinatown" to "Network," Faye Dunaway has made an indelible impression on screen. She shot to stardom in 1967 and continues to work in film more than half a century later. Among her many other memorable movies are "The Thomas Crown Affair," "The Arrangement," "Little Big Man," "Doc," "The Three Musketeers," The Towering Inferno," "Three Days of the Condor" and "Eyes of Laura Mars." We interviewed the Academy Award-winning actress in 1994, at a press junket, where she was promoting the film "Don Juan DeMarco," in which she co-starred with Johnny Depp and Marlon Brando. How was it working with Marlon Brando? FAYE DUNAWAY: And what I loved about working with him was that he finds a way to get into the role, to really wear it and mold it into him. And it's by not being rigid at all. And it's by moving into it and mixing himself with it. It's all the stuff you learn, when you learn how to act. And he does it perfectly. Did he use the earpiece, to have his lines fed to him? DUNAWAY: And I tell you, I'm tempted to try it. And I might. Because you don't know what the words actually are. So when the word comes there, it's as if it just came into your head. My hunch is it must be like this. And you say it. I think it's a fascinating way to work. I mean, who are we...? His performance is great. Who says you've got to learn all those lines? [Laughs] Did you have any preconceived notions about him that were dispelled during this shoot? DUNAWAY: Did you find that, even in his current physical state, there's still a sexy magnetism about him? DUNAWAY:
For women in Hollywood, isn't it much more difficult, the aging process, still being accepted, valued? DUNAWAY: There's also an alternative audience out there, which I think "Fried Green Tomatoes" proved. I hope "Don Juan DeMarco" will prove that, as well. There's people out there who want to see different kinds of movies. The trick is, the businessman doesn't know how to identify a new "Don Juan DeMarco" or a new "Fried Green Tomatoes," because it's not a formula. So you need an artist to say, "Guys, this will make it." So I don't think it's what they do best -- identify that kind of material. So I think that's part of the reason that there aren't the opportunities there, for women as they age. I mean, the whole cultural thing about why Paul Newman is in a movie with Melanie Griffith as his love interest instead of me or Jane or Shirley. The thing about this industry, and this society of ours, it's maddening in many ways, but the thing about the industry is that the fulcrum of what happens here turns on the passion of an individual, the will and the intelligence and the ability to fight through, for an idea. It's true of Steven Spielberg. It's true of John Travolta., I bet you. He got very lucky there, when Quentin said, "I want him to do this." But there are many other examples of people who... I mean, nobody would have that John Travolta would be nominated as Best Actor this year. Five years ago, people didn't even think he could act [laughs]. We were all wrong, weren't we? So conventional wisdom doesn't work. You have to have patience. But you also have to get mad sometimes. You've worked with Johnny Depp before {on 'Arizona Dream"]. Can you talk about him? DUNAWAY: When he plays a scene, you never notice him playing it. It occurred to me a little while ago that that's very much what one hears about Spencer Tracy. And about the best actors -- that you think it looks so easy. And he does have that in everything he does. He's also very modern. Going all the way back to "Bonnie and Clyde," you've had great chemistry on screen with many of your co-stars. What's the key to developing that? DUNAWAY: Did you know you'd have chemistry with Warren Beatty before you began shooting that film? DUNAWAY:
Is "Bonnie and Clyde" your favorite among the films you've done? If not, what is? DUNAWAY: What about "Barfly" [1987]? DUNAWAY: And how did you feel about "Mommie Dearest"? DUNAWAY: There aren't many films these days with the fire of Paddy Chayefsky's writing on "Network." DUNAWAY: Are you still open to working in television and theatre? Oh, sure. I always did television. I did "After The Fall." I did Aimee Semple McPherson. I recently did the musical "Sunset Boulevard" on stage. I started in theatre. I'm interested in all three of the media. You can't just do one, not now. I just want to do better work, always better work, more authentic, more real. More actresses are now producing their own projects. Is that something that appeals to you? DUNAWAY: But no one can tell what you really want to do. What I bought with my own money was "Cold Sassy Tree." Oprah wanted it after a while. And there's a long story to that. But I wanted to play that kind of gutsy, Southern woman who took a whole town on. And that's a heroine. That's a leading lady. But I don't know at that point in my career [1989] that anyone would have thought of me for it. You've got to really develop it for yourself. So, as a producer, you have to do it. And you have to have three or four or five things. And it takes a mindset, too, because you've got to go out there and each day do something toward achieving that dream. What's coming up for you? DUNAWAY: I just finished a film called "Drunks." And it's for Peter Cohn, a very Cassavetes kind of director. It's really good. It's about an AA meeting. It's about a group of alcoholics. Dianne Wiest is in it. She's wonderful. And Amanda Plummer. And we all have these monologues, five-page kind of shares. And so there's a chance to do all these moments of great acting, because they open your souls and hearts. Richard Lewis plays one of the men in it, Lenny Bruce-y in character. And lots of other people that you would know. It's a great company of actors. What did you think of "The Two Jakes" ["Chinatown" sequel]? DUNAWAY: |