I'm not going back to acting class, although I've thought of it. The classic training that people get usually when they start out, I never had, and I always felt and still feel the lack of it, so there's a lot of basic stuff that I just don't have a clue about.
I still get stopped by those freaky fundamentalists going "Oh, I'm so glad you did Tribulation." And I wanna go, "Don't count me into your group, honeybuns. I'm not one of you."
Just the dream of every aging has-been actress who slipped out in public is to work with a bunch of gay boys.
I got a reputation for being sort of nuts and difficult, because I was at that point, so I wasn't much in demand. And also, on the basic level, I'd made a lot of movies that didn't make money. And if you make movies that don't make money - I mean, it is a business, after all - you are not in demand.
When you finally end something like Superman and then find yourself world-famous, it's pretty weird, lemme tell ya. Fame is weird, is what it really is. It's the weirdest thing in the world.
I remember when we were doing the love scene in Some Kind Of Hero, we got in bed nervously. Then he looked up, and it was very genuine, and he went, " Richard Pryor's in bed with Lois Lane!" And it was so cute!
Making Superman was so hard. We were a year over schedule. We were there a year and a half, the first time. And in a year and a half, you go through everything you go through in a life. So you can't really go, "Oh, it must have been fun to work with Chris Reeve." In a year and a half, you bonded like a family, so you know someone far too well to think something as simplistic as "Oh, it's just fun." You know their secrets. I mean, it was everything. It was truly - it's a cliché to say we were family, but we really were.
I, like everybody else, have lost most of my pension plan in this economic crash. So I have to. I'm going to call it I Slept With Everyone On Television.
I'll have that inscribed on my damn grave. I still get stopped for being Lois Lane, and I'm 60 and have two grandchildren. So it's kind of weird.
I just fell in love with Thomas McGuane the minute I saw him. He was the handsomest guy I'd ever seen, and gorgeous and sexy, and he had long hair and cowboy boots and tight jeans. So it was truly an act of love, to say the least, and it ended up having a permanent impact on my life, obviously.
There's a lot of bullshit in Peter Fonda's autobiography. A great deal of it is complete fabrication.
It's no accident that all the awards are for smaller movies. When you have $100 million in the budget for a movie, there's something obscenely wrong with the picture. But we didn't in those days, so it was fun.
I do remember when I first read the script of the 92 In The Shade. I was in the house at Nicholas Beach, and that gang was starting to break up, and I read this terribly well-written dialogue, not figuring out that films are about structure and the thing was totally unstructured, and I thought, "Who is this writer? God, he's great."
Mostly, in The Great Waldo Pepper I remember the lovely Ed Herrmann befriending me and taking care of me. I was crying a lot. I was a real mess when we made that. But this is all such ancient history, Jesus Lord. Was this before or after The Sting?
The studios still had development programs for young people. Because you weren't talking about the budgets of small nations the way you are now when you make a movie. There was a lot more freedom to fail.
The only movie that ever really scared me was The Exorcist,but even then, I was laughing part of the time.
I wandered around not knowing what I was doing in The Great Waldo Pepper and feeling pretty lost, and they rightly cut my part down. I don't think I was in very good emotional shape. I think I was a bit of a mess. I'd done about six movies back-to-back, and was in a state of complete exhaustion.
I was saying to Paul Schrader that he missed the idealism and the passion of that era in Hollywood, but also in American life, that '60s sense of optimism and hope.
Peter Biskind's Easy Riders, Raging Bulls was made all about drugs, when to most of us, that just meant pot and magic mushrooms. He made it seem like we were all shooting heroin into our eyeballs. But that's part of the whole '60s and what it represented: feminism and civil rights and trying to stop the war. Hopefully we're starting to see some of that optimism again, through the excitement around Barack Obama.
I'm not really into horror movies.
I was with Brian De Palma at the time, and he said he wrote the role specifically for me. I don't know what that says about the way he saw me, since the role was of a castrating killer. Brian came one morning to the house, said "Here's your Christmas present." He wrote the character to have a Swedish accent, but since I couldn't pull that off, he switched it to French-Canadian. It was such a romantic time in my life. Everyone was young and passionate and convinced they were going to change film forever.
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