we talked with Glynnis O'Connor about her life and work as an
actress in such pop culture classics as: The Boy in the Plastic
Bubble, Ode to Billy Joe, Jeremy, Baby Blue Marine, Johnny
Dangerously, and The Stranger Beside Me. So, without further
adieu we bring you the talented, beautiful and insightful
What was your first job like?
first job was in Stockton. It was called Senior Year, it
was a pilot. Then we did the series. It was 9 shows and I think
it was in 1973 or so and Dick Donner directed it. He went on to
do wonderful films. It was in Stockton and we stayed in Motor
Inns. It was a blast.
Itís too funny to imagine any movie being filmed in
I think a lot of movies have
been filmed in Stockton.
Was Linda Purl in that one too?
She did one of the shows in
the series. It was me, Gary Frank, DebraLee Scott, and Scott
Columby. It was the same year that Happy Days came out
as well. I think Happy Days became a huge hit. They were
both 1950ís, but ours was a serial drama before its time.
Someone had written that back then you could be mistaken for
Linda Blair or Linda Purl.
There werenít that many
outlets then as there are now for actors and we were all kind
of petite, fair, had honey hair, and we were all around the
same age. Linda Purl also worked with Robby Benson in a film
called Jory before I worked with Robby in Jeremy
which was the first feature film I ever did. I think Linda and
I only did that show together, but of course weíve known each
other over the years. Linda Blair, I think I met once way back.
We all had the same agent. We were all in the same agency. The
business was so different then, so much smaller.
In Jeremy you also sang.
I didÖhowever faintly and
Robby Benson did too.
He sang the title song, "I
have a Blue Balloon." Joe Brooks wrote the song and he (Robby)
of course at that time was writing his own music. I think since
then heís written a whole musical he performed, and I saw it
with Karla (Robbyís wife). Itís wonderful.
Heís a Renaissance man.
He is. Youíre exactly right.
He does everything. You know heís just written a novel.
You did a made for TV movie called, Someone I touched
with Cloris Leachman, and your mom, the actress Lenka Peterson.
This was an early job. Again,
a movie for television when they where big deals. James Olson
was in it and Lou Antonio directed it. Louís directed tons of
television. He goes way back, heís a wonderful director. He
also had known my mother whoís been an actress for years, sheís
82 now. Sheís been around forever and done everything, sheís
still acting. She just did a 2-character play and she was
hilarious in it.
She played my mother and I
played her daughter. It was about Syphilis. I contracted
Syphilis or something because I had an affair with an older man
and I was the daughter, it was hard for her to deal with. It
was a sensitive, thoughtful film about stigma and feelings. I
was so young at the time, it dealt with the irresponsibility of
an adult with an older teenager. It really dealt with it very
sensitively as I recall. I havenít thought about that film in a
Cloris Leachman sang the title song.
Yes, thatís right. Cloris and
my mother go way back. They went to school together in Iowa
City or Northwestern.
With your mother being an actress and your father a producer
for NBC did they influence you to become an actress?
Of course, enormously, itís
almost written. I barely had a breath to think about doing
anything else. In the third grade my first job was as a
munchkin in the Wizard of Oz. My mother, who had five
children, had been acting nonstop all these venues in early
live TV. She had all these kids in school and wanted to spend
time with them. She took 10 years off and started a drama club.
That grew into a teenage theater group of which I was a part as
well. The other director of the teenage theatre group was Al
Chompy. It lasted for over 6 years.
Through theater games we
developed our own shows. It was a remarkable time in all of our
lives. In fact we had a reunion a couple of years ago at her 80th
birthday, there was over 150 people there. Sheís written a book
about it called, "Kids
take the stage". Itís a book for the layman about bringing
kids out through theater. Itís not about making them into
professional actors. Itís a hands-on, good instruction book on
how to use theater to bring out their creativity and who they
are. To give them a chance to find themselves as sort of an
after school program because thatís what she did.
You were in the iconic movie Boy in the Plastic Bubble
with John Travolta which has become a part of pop culture
the coolest thing. I love it. I loved it when that started
happening. I thought Iím actually a part of something that was
part of our culture. I had a bit of a taste of that, which was
Even Seinfeld had an episode about it.
He did? I have to xxxgaggle that.
It was so much fun making that movie. It was warm, it was just
a great atmosphere, it was dare I say a loving set. It always
comes from the script doesnít it? If itís in the script, and if
youíre lucky enough to have a real capable, good director like
Randal Kleiser, John of course and everybody, Diana. So many
people came out of that movie. Iíve just watched them go on.
Another pleasure having worked
so many years is to watch peopleís careers just grow and bloom
at different times in their lives. Like Helen Hunt, I was in a
movie with her called
All Together Now that Randal Kleiser directed as well.
That was my first TV movie. It was one of those early ones and
John Rubinstein, Helen Hunt, Brad Savage, and I played a family
who lost their parents and they tried to separate us, that
sometimes happens. It was about the family trying to stay
together and the older brother feeling the pressure. It was a
really nice movie and Helen played the younger sister. I
remember Helen as being so aware, very quietly aware watching
everything. She was very sensitive and very real. Just watching
her bloom has been so amazing. Itís great. Itís one of the
benefits of getting older and you can look back at all these
generations coming up. Itís sobering yes, but itís a real
On The Boy in the Plastic Bubble did you have any
idea that John Travolta and Diana Hyland were in a
I guess they fell in love on
the film. Iím usually the last person to realize these things.
The affection was apparent that it was all there. It was also
just the atmosphere of it. Iím sure that was part of what
contributed to it was their feelings for each other. It was all
just happening at the time. I canít say, "Oh yeah, they became
an item on the set." It was far quieter than that.
Did you already know how to ride a horse?
I had to learn, but I had
ridden when I was a kid a little bit. Thatís whatís best about
being an actor you get to learn how to do all these things. You
get these wonderful lessons. I learned how to drive a
stick-shift on one of the sets of something. Itís great, you
get out with one of the drivers and drive around the back lot.
I remember driving around learning to drive a stick on the back
lot of Universal and seeing deers hop around the streets and
the dirt roads.
Is there anything youíre allergic to?
You mean substance wise?
Poison Ivy which Iíve gotten on films about three times. I look
at it and I break out.
The Boy in the Plastic Bubble is a great movie.
Getting back to John too, it
was clear when you talk about the atmosphere on the set. One of
the things that was palpable was John. It was as if you were
watching it happening with him. It was as if you were waiting
for the world to find out about John Travolta. Everybody was
discovering who he was right at that time. It was like the
quiet before the storm. John was opening up to the world. The
world discovering him in a big, huge way and you could feel it.
However, at the same time there was no attitude. It was just a
feeling and it was all happy and positive. It wasnít as if,
"Oh, heís going to be a star or Iím going to be a star so Iím
not going to talk to you." It wasnít like that at all. Thatís
just not part of his makeup and it never was and it never will
be. It was an exciting sense that was there.
Did they grind that out pretty quickly?
They shot them all pretty
quickly. I think they shoot them much faster now. They actually
gave you more time in those days; of course we had weekends
People donít realize before cable, those made for TV movies
were a big deal.
They were big events. There
was TV guide, it was a big magazine. They had the TV program
layout in the newspapers and the whole sections. It was so
When you read the script to Ode to Billy Joe where
you surprised or did you find it unusual at the time?
It was an unusual, quiet
indictment of society and what society will press on
individuals to have to cloud their whole understanding of
themselves. To push them into desperate acts because they think
somethingís wrong with them. I love the last scene of that
movie because Jimmy Best right at the very end comes to terms
with the girl Bobbie Lee and itís as if theyíre both looking at
each other and saying, "You know it really sucks. Our society
really sucks. Why canít we just live with how weíre made?"
It was an innovative movie for something so long ago.
So early at the time. True,
youíre right, I didnít even realize it at the time.
I started re-reading the synopsis of the movie because itís
been awhile since I watched it and I was surprised by the plot.
I remember the press of the
movie as I recall they made a big deal about the song of
course. Rightly so, because it was such a hit song, she sang it
so well. She actually came to the set and it was so exciting. I
remember when we were doing press for it. Do you remember in
the days when they sent you on press junkets and you traveled
all over the country? I saw so much of the country just with
these press junkets for these films. It was before the days
where you could go into a studio and do all of the interviews
over the internet. Youíd be on camera and you could cover the
country from one studio. Weíd got into so many radio stations.
It was really fun.
What about the director
Max Baer Jr.? (Jethro in the Beverly Hillbillies)
Yes, what a character. Heís
hilarious. He had a big, big, booming personality. Big guy, he
was a big presence on the set. He was very caring with his
actors, fun. I have real good memories of Max.
You filmed on location.
Down in Itta Bena and
Greenwood, Mississippi. It was stifling. Everybody was taking
salt pills. We would shoot at night. In one scene it took the
whole film magazine. We had an 11 minute scene and in the
middle of the take these huge Cicadas would fly in the middle
of our faces. Weíd have to back track a couple of lines to keep
the scene going. We couldnít stop because otherwise weíd never
get through it.
The cloud cover, weíd be doing
these walking shots and weíd have to wait. Down there it just
rains, then it opens up, then the sun shines, then the clouds.
Itís not like Los Angeles. I was early enough on it in
filmmaking that it wasnít part of my vocabulary as much. As an
actor you do enough films and it becomes part of yourself. You
donít even think about that thing. You automatically know how
to hit a mark without looking down because you know where to
look and the feel of the camera, where you have to be
emotionally as buildup to the clappers, the action, and the
speed. I just love working on movies. Itís so much fun.
A movie like that must have rocketed you to fame?
I went through that for about
5 minutes. Just long enough for it to be quirky, fun, exciting,
and titillating. Then to have it be odd and threatening, then
to have it be intrusive and then it kind of faded fortunately.
Mostly because Iím a terrible celebrity, I really am. I didnít
do all the things youíre supposed to do as a celebrity. I did a
play with Susan Sarandon once. The director of the play said,
"If you and Susan were caught in a rain storm in Manhattan
Susan would get the first taxi in five minutes and you would go
find a stray cat in the doorway." Thatís the difference and he
was right. Susan is enormously talented and I think that has a
little bit to do with it too.
I experienced enough of being
recognized to kind of know what that is like. One of the
aspects of it that is a little disconcerting is you feel very
much alone because when people mark you either at a cocktail
party, a gathering. Youíre always aware of it. Its part of you,
you can never completelyÖI mean one canít or I couldnít
completely relax. When people meet you theyíre very invested in
showing you who they are because youíre a target kind of a
thing. You rarely get a real conversation with people because
theyíre too aware of who you are and consequently too aware of
how theyíre coming across to you. Theyíre too aware of
experiencing themselves talking to this celebrity. Itís really
I did a movie called, "Why
me" about a woman who lost half of her face in a traffic
accident with Armand Assante. I spent nearly the whole film in
this horrendous makeup and I experienced the same thing on the
set because people had such reactions to the makeup,
understandably so, that they had a hard time just standing with
me and talking.
Wasnít she a military nurse to?
Yes, thatís right. Annie Potts
was in that. She went on Designing Women.
right. She even did a pilot with my brother Darren OíConnor
called, Hollywood High. Darrenís now an attorney in
Albany. I love Annie Potts and Armand is heaven.
Was it difficult to kiss Robby Benson?
In Jeremy? Probably I
was an old enough teenager that it wasnít. Itís different when
youíre on a film set. Itís not like youíre doing a school play
and youíre with all your friends. When youíre on a film set and
youíre that age youíre sort of removed from the peer pressure
of school. Itís such a refreshingly different atmosphere from
school. We were so young and here we are doing these scenes. I
didnít know anything. I loved it. Loved it! It was a gas, just
loved doing those scenes. I didnít have a big problem. However,
having said that I felt like my stomach was turning inside out
the night before.
He was such a heartthrob.
True, but that came later. I
didnít have to deal with any of that anxiety of acting with
someone who was already kind of a "heartthrob". In a way his
popularity started growing at that time. With Robby, he was
always a fellow actor to me. We dated of course. He was my
first real boyfriend. Robby now is like a brother. He was so
much a part of my formative years. We kind of grew up together
in a lot of ways. We did these intimate parts at different
times in our relationship and growing up. The affection was
always right there, it never wavered, and it never stopped. We
were always in sync with each other. It always just kind of
Did you ever feel this was going to be the person you were
going to marry?
Oh, of course. You always
think that at those ages and of course you never do. Youíre so
young. I was a teenager.
For you itís even harder itís almost like art imitates life
in that Jeremy is about this relationship and you had
one in real life.
know. I know.
Did you date for a year?
A couple of years.
Your first guy.
Then you just go on. Even
though we had both gone on with our lives such as they were, we
were so young. Our beginning lives, we were still forming
ourselves in those years. One is still forming themselves.
Thank God I didnít, I waited years to get married. Thank God, I
would have become far too neurotic. Thank God for Robby, he
didnít marry me.
You also did a short with Amy Heckerling called Getting
it Over with.
It was fun. We shot it at the
old AFI mansion in Beverly Hills, way into the night. Amy I
knew because her cinematographer
Rob Hahn was also at AFI. He has gone on to become a major
cinematographer. Heís wonderful and a dear friend. Rob I knew
because he lived down the street. He had worked on a short
called Skin with my mother and she was staying with me.
Thatís how I met Rob then thatís how I met Amy. I believe
thatís how it went. I ended up doing Amy Heckerlingís first
movie. I havenít seen her in a few years, she hasnít changed,
but of course sheís grown older and more mature. Sheís so
wonderfully accomplished, and inventive. She had her finger
right on the pulse of that age group and comedy. Then I did her
other film Johnny Dangerously.
That movie had some big
names in comedy : Michael Keaton and Joe Piscopo.
Stapleton, Ed Griffin Dune, the DA. I played his wife. It was
really fun to make. Marilu Henner was so good at getting people
together because sheís a dancer. When you get a bunch of
dancers together you just get down and become a family. Marilu
made everyone into a family and everyone was having so much fun
anyway. We used to finish filming and all gather in one of the
dressing room trailers, usually Maureenís and play games.
Yes, we did and you know how
actors get so tired. Itís exhausting filming. You just want to
go home. No, we would finish filming, weíd get together with
Maureen, weíd laugh, and weíd play card games. It was a gas. We
had the best time on that movie.
I watched it recently and thought it was a funny parody on
I got to wear this incredible
red dress for the first scene that was later cut. We did a
musical number on New York Street on the Fox lot.
They need a special edition DVD with the extra footage.
Wouldnít that be cool. They
should do that. Iíd be in and out on these little bits. Youíd
be surprised at how long you have to be on a set. We did a lot
of things that got cut and one of the things was that huge
musical number. We had to rehearse and rehearse and rehearse it
like you do a musical and they always bring people together in
a big way. The feeling of that set was one of being in a
musical stage play. Everybody kind of was working together in a
couple of big scenes involving music numbers. You had to learn
the steps, learn the music.
Too bad Amyís short isnít on DVD.
It was cute, really funny. It
was very light.
You were the queen of teenage angst for awhile. When you see
Jeremy, to a certain extent The Boy in the Plastic
Bubble, and Ode to Billy Joe.
I also did Our Town too.
That was the third movie you did with Robby.
Itís almost as if what youíre
going throughÖonly itís in front of a camera because I was all
those ages. The venues were so limited in those days. I was one
of the only people of that age in film at that time doing all
these parts. Youíre right I was the queen of teenage angst
briefly there me and Linda Purl and a few others.
I recently watched a movie with you called Kid Vengeance.
We shot that in the Sinai
desert. You know what I would do when I went to work in the
morning Iíd look for a big rock so I could have a place to go
to the bathroom. We didnít have any bathrooms. The only person
who had a bathroom was Lee Van Cleef because he had a trailer.
I got to ride a horse in the Sinai desert. I got to gallop all
over the place. I only ride horses because I learned on sets.
It was beautiful. It was all Israelis and Iíd never been to the
It was a Golan Globas.
It was a Golan Globas
production. Thatís right. Itís an Israeli production company.
Was Leif Garrett cool at that time? Not too full of himself?
It was very early on. Again,
it was his first. I donít know where in his career, but it was
early on. He wasnít famous. We were all just actors on a movie.
Everybody was making a movie. Lee and John Marley were some of
the established, elder statesmen. There were a couple of guys
on it. There was one actor who could do the New York Times
crossword puzzle in 15 minutes. I remember in those days my
parents would send me the Sunday New York Times through the
mail so I could read it. To think back it was like yesterday,
answering machines had just come into vogue.
Did you do your own stunts?
I did some. Iím not big on
doing my own. I played a lot of my own tennis in
Little Mo. That was lucky, of course you didnít see
where the ball went most of the time.
What a sad story that was. People have called your
Thatís so kind.
Itís unfortunate it hasnít come to
DVD. I was reading that someone did a documentary.
You also did a movie with Jan Michael Vincent Baby Blue
I really liked that script and
it was really fun working on that. It was a lovely script to be
working on. John Hancock directed that. We shot it up in Mt.
Shasta, California. I could live up there. Itís so pretty. I
remember John taught me how to fly fish on days off.
Even Richard Gere had one of his early performances in it.
He played the Marine raider
who gets the young baby blue drunk and switches with him. He
had white hair from the fright. He was terrific in that. I
remember Richard being quiet and concentrated. He was very much
into his role a lot of the time. I wish I had more scenes with
Richard. He was good to work with.
Itís sad when you think of what Jan Michael Vincent has gone
Whatís up with him now?
Heís had a couple of car accidents and heís
had it bad.
Iím sorry for him.
Itís a tough business. Itís amazing when people have such
long running careers. You have such talent and drive to
Thank you, thatís so kind of
you to say. I tell you though Iím really impressed with people.
Donna McKechnie who was the original Cassie in A Chorus Line
once said that there are only two professions that are equal or
tougher than being an actor: being a prize fighter and being a
prostitute. Those are the only two. In many ways itís very
true. You do have to have the skin of an armadillo and
sensitivity. Film acting in particular, stage acting is rough
too because it can be wrenching on your body. Film acting is so
hard, you get so tired. These actors work so hard. I look at
actors in series like Law & Order Iíve done a bunch of
them. Iíve done all of them. I mean if youíre an actor in New
York you canít get away without doing Law and Order.
These people work nonstop and they work such long hours, far
longer than in the old days and much faster because thereís not
as much money as there used to be. Even movies theyíre not made
like they used to be unless theyíre really high (budget).
On the other hand you can do
the high def video and keep shooting the scene over and youíre
not spending enormous amounts of money so it may be different
now that people are able to make movies without so much money &
have them be really good.
You also worked with Telly Savalas in a Kojak movie.
We did a big Kojak
movie in New York. He was hilarious. He was a cutup on the set.
I donít know if you know this, but he was really funny. He was
a love, really professional. I loved him. He was funny, warm,
and kooky. He had a quirky funniness about him which was a
He seems almost gruff.
Very, heís not like that. Heís
really funny. Itís not like heís funny ha ha, laugh at me. Heís
just warm, cuddly funny.
A lot of people were scared to death of Mark Harmon after
They made him look very much
like Ted Bundy. In fact my husband was nervous at the time
because Bundy was still alive. He was afraid Bundy was going to
get out and come after me. Oh boy, that was a creepy movie to
work on. Everybody was creeped out by that. I know Mark was. He
did a really good job. Mark Iíve worked with four times. In
that I played a really depressed character. Someone who is
really a rag, my character is his girlfriend, a person who
would stay with someone, who had seriously low self esteem and
who had not a clue of what was going on and was used by him.
That must have been a long shoot?
It was a long shoot. We shot
in Utah and in Los Angeles. In fact wasnít that a 3 hour? It
was a mini-series type thing, one of those long TV things. I
remember it as being a long shoot, I sort of came in and out of
it, Utah and then LA. Again, a real nice set, Mark is the
ultimate. Heís so professional and heís such a dear. Loved
working with Mark every single time I worked with him.
Is there a time in your career that you would consider the
peak or the best movie?
I think there are many. There
was a film I did called Ellen Foster, we did a couple of
scenes in that and I really love the work I did. What comes to
me is moments and thereís a moment in Why me. Thereís a
couple of scenes in that where I could say, "Okay, I really did
what I wanted to do in those scenes." There are scenes in
The Trouble with Cali, itís not out yet. I think the work
was pretty good.
You know most of the time I
wish I could go back and play everything over again. Itís like
wanting to go back and do Juliet, but you canít because
youíre too old or wanting to go back and do Nina and the
Seagull which I did, but now I feel like I could play it
better. I would love to go back and do Taming of the Shrew
again because now I could play it. I feel that way with a lot
of movies; I have a real hard time watching myself. I really,
really donít like it. I cringe. I hate it. I just canít hardly
bare it because I want to go back and do it all over again. I
donít want to, but I wish that I could because Iíd fix it all.
Early on was it unusual for you to see your name on a
marquee and to know a movie you starred in was playing inside?
It was a heady experience to
be so young and seeing your name on the marquee in the town
where you grew up. Thatís really fun. Everyone should have that
experience and then go on and have their life. Know that it is
what it is and itís all that it is and you gotta go on and live
your life. It was odd because so many people were still trying
to figure out what they were going to do and there I was
working nonstop. I remember I loved to be working and I worked
so young for so many years, never stopping working so that
sometimes it seems like another life.
Youíre definitely a working actress. You have so many titles
to your name. Youíre a powerhouse.
I donít think of myself as
that way at all. I should have probably kept on working. The
problem was that I think I worked for so many years for so long
for so young that I really needed some breathers. I needed some
time to do some other things like write, have children, live
somewhere else other than Los Angeles. Get a bit of a
perspective on it.
Tell me what it was like working with Russ Emanuel on his
had so much fun on P.J.
I worked on P.J. in the midst of working on this other
film, The Trouble with Cali down in Scranton,
Pennsylvania and then I came up and came in during the week
between Christmas and New Years. I came out to Brooklyn to
where they were shooting and shot those scenes with John on the
set. It was so lovely, they were so organized, and John Heard
who Iíve know for years never changes. Heís so bloody talented
and irascible and vulnerable and witty and everything so that
youíre always on your toes. Not only acting with him, but
simply having a conversation with him.
Russ has so much energy. When
I talked to Russ and Howard Nash on the phone, when we were
talking about the story and the character I first fell in love
with the story and then I really fell in love with them. They
complimented each other so well. They had so much enthusiasm.
They wanted to get there, tell the story, and they were happy
and excited. It was just such a nice atmosphere to be in.
Really nice, I wish I could have worked more with the other
actors too. Like Patricia who is wonderful in it. Patricia Rae
is so good in it. Howard is wonderful. I didnít get to act with
Howard, but I got to drive to the set with him.
Are there other roles you auditioned for, but didnít get?
Where you up for Fast Times at Ridgemont High?
No, I donít know what I was
doing then. A lot of the time youíre doing something else so
youíre unavailable. Iím not saying Amy even wanted me. I was
probably too old maybe. I remember visiting Taps and
meeting Sean Penn because my friend Rob was shooting it. They
were shooting in Pennsylvania and I was in New York. I drove
down to visit the set and I remember meeting Sean. Sean was
just wild running all around the place. He was bouncing off the
walls. We were out in the field, in the parking lot. I remember
watching him thinking, "Whoís this crazy actor?" Heís gone on
to do these incredible things. Thatís another instance where I
think back, "God, did I ever think at that time watching this
guy bouncing around. Just this kid."
Where you up for the Exorcist?
No, I wasnít. You know what I
wish I could have auditioned for Star Wars. That would
have been fun. I know and I really like her (Carrie Fisher). We
met each other at parties. I just think sheís such a hilarious
writer of course. She is the Princess Leia, but I wish that I
had. That would have been the ultimate cool thing. That would
have been so cool. Yes, there were many, but I canít really
think of them right now.
Looking back on your career is there a movie you didnít care
for that you were in?
I think California Dreaming,
again directed by John Hancock, sort of a slice of life of
characters on a beach. We filmed it on Pismo Beach. I remember
Seymour Cassel played my dad and I love Seymour, he was a crazy
guy. It was a whacky, wild set. Every film itís that famous
Francois Truffaut quote, he says it in Days for Night.
He says, "Making a film is like a stagecoach ride. You start
out with the expectations itís going to be this wonderful,
absolutely terrific ride, you get to the middle and it starts
getting rough. By the time you get to the last third of the
ride youíre hanging on for dear life and you hope you survive
it." Truffaut is right, making a movie is like that, you just
want to get it done at the end. When you start out itís all
going to be wonderful, when you get any group of people
together. Usually, the films that are the hardest or difficult
sets or somebody is difficult they usually turn out to be good.
The sets that are often all copathetic and everyone is happy &
wonderful it translates to the movie and itís tedious.
Itís better to have a little friction.
Could be, yea.
In California Dreaming they talk about you looking
great in a bikini in most of the movie.
There was a lot of silliness.
It didnít turn out to be. I donít know how John felt about the
final film. Parts of it were funny & there were some really fun
performances in it.
There was a writer who said it was supposed to be a certain
way, but was pulled in a lot of directions.
Ned Wynn right? On that
particular film. It didnít end up being the film that youíd
imagine it was going to be.
Iíve even talked to actors and actresses where they say,
"Iíve signed up for the movie, but it had a different movie
title." Then the name changed and the movie continued to get
Thatís why so many actors who
are really capable and are able to pull it off become producers
and direct their own and get control because youíre really only
in control of your performance. Thatís the only thing youíre in
control of and even then in a film you donít know what the
angle is. You know what the angle is, but you ultimately donít.
Of course with playback nowÖfilm sets are so odd now because
everybodyís huddled around the video monitor. Then youíre over
on the set with the cinematographer. Itís like these two
different worlds. On P.J. it was real low budget yet
there was this gorgeous flat screen monitor. I remember when
they first started using monitors it drove me insane. I really
resented it because I missed having the director so close.
I miss having the director
right next to the camera. I wanted the director there, beside
me, right next to the camera and it was really hard to get used
to the director not being there and being off looking at a
monitor instead of watching what was in front of the camera.
Itís changed a lot that way.
Now on every set the director
comes onto the set and talks, then goes back, sits in the
chair, puts his headphones on and watches the monitor.
Unless itís too hard to see
and heís got to watch it from the cameras. Once in awhile
theyíll come watch from the camera. It drove me insane. Still
Youíve probably seen quite a few changes in the years that
Thatís a big change, but
fundamentally, no, not that big of change.
Who did you have a retroCRUSH on while growing up?
Leonard Whiting, remember
Romeo, Zeffirelliís Romeo and Juliet.
An Italian production.
Yes, Olivia Hussey was in it.
I fell in love with that whole movie. Remember, the musical
Oliver, from England as well, the guy who played the artful
dodger, Jack Wild. I remember I fell in love with the movie
Butch Cassidy, it made me have to be in movies. I fell in
love with the whole movie. It made me buy black blue jeans. I
fell in love with Robert Redford, Paul Newman, and everybody.
Then I bought black blue jeans and wore them because I wanted
to assimilate that movie and be the Sundance Kid kind of thing
and be his girlfriend at the same time.
Is there anything else youíd like to tell your legion of
life seriously, but donít take it so seriously. Appreciate the
moment! Read Our Town and take it seriously itís really
a metaphysical text. Iíd love to go back and play the stage
manager in Our Town now. In fact Iíd love to go back and
play Emily again of course I never will, but Iíd love to play
that again because now I know how to play that part.
They say it was one of the
best Our Townís ever made.
It was a great Our Town. It
wasnít because of me because I should have done a better job,
but it was a great Our Town. Hal Holbrook was wonderful and
Barbara Bel Geddes.
You've done a lot of drama.
I wish I could be funny. I
don't think I'm funny.
Going forward where do you see yourself?
You know what would be great,
if I could somehow find a way and I think itís possible too
once my 7 year old grows up a little bit more. I have a 17 year
old and a 7 year old and I got to the point where I got tired
of being on sets and locations. I got tired of arranging the
household because my husband works as well, itís not as if I
can dump everything. Iíd love to be able to do a really
interesting role every once in awhile. Maybe once a year in a
film somehow, but perhaps not have to carry the whole film. A
really interesting role and then a play every other year,
thatís what I would love to do. I would also love to write a
screenplay, although I probably never will. Youíd think I would
You find that interesting.
Itís much harder and far more
exposing I think to write then it is to act. Itís harder, at
least with acting you have company. There are parts to play.
When I grow up I want to play the mom in August of Osage
County this big hit Broadway show thatís on now. I would
love to do Edward Albee plays. I would love to work with Randal
Kleiser again. I also would love to be directed by Helen Hunt.
I think it would be cool to work with Robby Benson again
somehow, but I donít think it will ever happen.