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Rutanya and myself, Chiller Theater Oct. 2013 |
When it comes to
movies or TV, often, you hear about the leading actor. Occasionally, you might
hear about a colorful supporting actor or two. But, very rarely do you hear
about the other supporting actors who also make up the film or TV show. Their
performances are essential in providing the movie with a believable background
and environment. Rutanya Alda is that type of actress. She has had a long
career acting in film, TV and theater. Her supporting roles have included
mothers, prostitutes, housekeepers, judges and nurses. Her portrayals are very
subtle in that you believe her as the character, and yet her performances never
get in the way of the film and/or its star.
Two of the biggest
supporting roles Rutanya has had were in the films, The Deer Hunter and Mommie Dearest. In The Deer Hunter, Rutanya is Angela, a pregnant bride who is
marrying Steven (John Savage), who is about to be sent to Vietnam with
Michael(Robert DeNiro) and Nick (Christopher Walken). Angela and Steven’s
wedding takes up the first 50 minutes of the film and shows that Rutanya can
hold her own among such fine actors as DeNiro, Walken and Meryl Streep. In Mommie Dearest, she is Carol Ann, Joan Crawford’s assistant/housekeeper. Carol Ann
patiently endures the battle that goes on between Joan Crawford and her adopted
daughter Christina. Rutanya's subtle and restrained performance is a good
contrast to the more energetic and colorful performance that Faye Dunaway gives
as Joan Crawford.
In her long career,
she has worked with directors such as Michael Cimino, Sam Peckinpah, Brian
DePalma, George Romero and William Lustig. In addition, she was acted with top
actors such as Robert DeNiro, Al Pacino, Meryl Streep, Christopher Walken and
Sean Penn. She has also worked with the contemporary leads of today like
Jessica Chastain. In addition to describing supporting roles, in this interview
she talks about the thrill of playing them and sometimes the disappointment of
seeing the role being edited out of the film. Where many stories often focus on
the leading actor of a project, Rutanya’s story is often an untold one about
being a supporting actress and the often overlooked work of trying to make a
small or supporting role work for the film or TV show.
In this candid
conversation, we look back at the some of the main films she did, in films such
as The Deer Hunter and Mommie Dearest. We also look at her experiences working with some of the top
directors and top actors as well as at what Rutanya is up to currently in her
career. I really want thank Rutanya for taking the time out to do this
interview.
Jeff
Cramer: So how did you get
started in the industry?
Rutanya Alda: I got started . . . well I came to
New York to be an actress and study with the really great people that were
teaching at the time that are all unfortunately passed on. I was like twenty
years old. I'd graduated from college and I came to New York to study and to be
an actress.
So I started
out in … actually I did summer theater and stock in Cape Cod and a couple places
in New Jersey. Then I got into doing films. I started out doing extra work on
films. My first paid SAG job was when I was a student of Sandy Dennis' in
Up the Down Staircase.
Then I did
photo doubling for Mia Farrow for
Rosemary's
Baby. All the long shots are me. Then I did the early Brian DePalma films,
which really gave me my first chance to really do substantial parts. They were
Greetings and
Hi Mom, with another young actor starting out at the time, Robert
DeNiro.
Rutanya in Greetings
JC: Right. Those were
DeNiro’s first films.
RA: Yeah. They're
having a revival of both those films January 15th at the Film Forum in New York
City. So if people in New York haven't had a chance to see them, they should
because they're both really interesting films.
Brian
DePalma in his early films made comedies, believe it or not.
Greetings is a comedy and
Hi, Mom, the sequel is a black comedy. So
people don't realize that about Brian because he went into Hitchcock kinds of
films, but he really had an amazing sense of humor and it comes through on both
films.
JC: Now after doing
DeNiro’s first film, you were also in Panic in Needle Park. This was one of Al Pacino's first films
before he really became Al Pacino.
RA: Yes. I had a little
part in that film in the beginning with Kitty Wynn. I'm the nurse that checks
her into the hospital.
Then my late
husband, Richard Bright, had a major part in that film. He played Al's brother
who was kind of the thief and the drug addict. Course they were all drug
addicts, but I think
Panic in Needle Park
is probably the best movie about drug addiction made and I think everybody
in the movie is just wonderful. It’s by a wonderful director named Jerry
Schatzberg. So I think every school should show that film because it
deglamorizes drug addiction. Also it's a good story and the actors are
wonderful.
JC: You also did with
Jerry and Al a film that I have shown to my friends several times. It's again a
very small role, Scarecrow.
RA: Yes. We went to
Colorado to shoot that. Course all these things, there's always bigger parts
and they always get cut down, like in that film my husband and I were hippies
and we pick up Gene Hackman and Al Pacino, who are hitchhiking. But always you
get cut out. There was more to that scene than that, but in the course of a
film a director has to make a choice where it has to be trimmed and
unfortunately that was trimmed, but it was a lot of fun and I loved working
with Jerry and Al for the second movie.
I recently
worked with Al on the HBO film
You Don't
Know Jack. So it's kind of nice to have that kind of thread through the
years where you reconnect with people. Course my late husband worked with him
in all three
Godfathers.
JC: As Al Neri, yes. Speaking
of cuts, there was one film where I saw you had a much larger part – the original studio version of Pat
Garrett and Billy the Kid.
RA: Yes, in the
original studio version I have a much bigger part. Not only does Pat Garrett
hit me, slap me and get me to give him the information about where Billy the
Kid is hiding, but there's this other kind of amazing, wonderful scene where
all the hookers, including me because I play a hooker, are in bed with James
Coburn.
Rutanya with James Coburn in Pat Garrett and Billy the Kid
JC: Right.
RA: I used to run into
James Coburn a lot when he was alive at different restaurants in Los Angeles
and he'd always say, “Weren't you in bed with me? Didn't you sleep?” Of course,
the restaurant patrons not knowing would all be aghast, “Oh my God. Oh yes, it
was wonderful being in bed with you, James.” We'd laugh because people didn't
know what to make of it. But no, that was another one that was cut.
The thing about
doing film, which is so … you kind of hold your breath because you never know
what's gonna be left and what may be left out. That's the difference between
doing stage and doing film because on stage you go on. The play, you know
you're in control the moment the curtain goes up. You know what you're gonna be
doing and you do it.
But in film
you kind of hold your breath and you go … I did a movie directed by Paul
Mazursky and starring George Segal called
Blume
in Love and I had a wonderful, funny scene in the film. The crew all loved
it. They were laughing. They were saying, this is so funny. It's so great. Paul
loved it.
Then Paul
called me up personally, which I thought was a great thing for him to do because
usually you don't hear until you see the movie whether you're in or out. Paul
called me, “Rutayna, the scene was so wonderful and it was so funny, but it
took away from the main story. It branched off and I had to cut the scene.”
So you just
don't know. You film it and you keep your fingers crossed and you think, “Okay,
I don't know if I'm in or out. Is part of it in, part of it out?” You don't
know. So that's the thing about film.
JC: Getting back to Pat
Garrett, I've heard a lot of stories
about Sam Peckinpah, that he was quite a character.
RA: Yes, he was.
JC: I read in a Bob
Dylan biography, which describes Bob Dylan's first appearance with Peckinpah,
that Peckinpah had a gun and he was staring at himself in the mirror and then
firing into it.
RA: Sam was very
theatrical. He had a great sense of theater. He probably wanted to shock Bob
Dylan somehow. I remember Bob Dylan on the set because I was down in Durango,
Mexico where we shot it for eight weeks. Bob was, at that time, I don't know
what he's like now, but he was very quiet and didn't reveal too much of
himself. It was probably Sam's way of just shocking him so that he would
respond in a different way.
Sam did that
to people. He would provoke people or do things to get a reaction from them,
but no, he wasn't a violent person. If he did that, he did that. I'm sure it
was absolutely done with a reason and intention.
But Sam was
also very material. He was a very emotional person and he wanted people that
were very loyal to him and he wanted people to know that they were there for
him and that they would do their best for him. He really wanted that artistic
control of his vision of his film. He was very, very, very upset about when the
studio did their own cut of the movie. I remember talking to him about it.
I liked Sam.
I saw him in New York about two weeks before he died. He was doing this Julian
Lennon video, which he wasn't too happy about doing, but he was in New York. He
was staying at the Algonquin Hotel and we went out, but he couldn't wait to get
back to L.A. because he had written a script that he wanted to do. Then two
weeks later we heard he died of a heart attack. It’s really, really, really
sad. Very upsetting.
JC: Now we get to one of your biggest films, The
Deer Hunter. I re-watched the beginning
of the film. Today I just cannot picture any movie starting off that way, that
they would spend about 45 or 50 minutes on your wedding. Could you talk about
the beginning of the whole wedding sequence?
RA: Well I think that
the studio also tried to cut back the wedding scenes with me and it didn't
work. I think they tried to cut it down because why the wedding … well it's
about the rituals of life, the wedding, the war and the funeral, the three
great rituals of life, but all the characters of the film are introduced in the
wedding.
So if you
don't have that wedding sequence, when they go to war you don't really care
about them. So they're all introduced in the wedding, this ritual of the
wedding.
So I think
in the writing of that, I think [
director]
Michael Cimino understood that. I think he understood that each of these three
– the wedding, the war and the funeral – were important because they helped
tell the story of this group of friends, after the wedding what happens as a
result of them going to war. Then the funeral, how they are still bonded
together through the years.
Rutanya getting married in Deer Hunter
One of the
interesting things was that different cast members went to different towns to
premier this movie. I went to Cleveland, Ohio to the premier and I remember
sitting in the audience in the back and people were really, really . . .I had
people come up to me: a man who had served in Vietnam that said that this was
the first time they could really, really talk about it. This was the first
movie that really got them. The first time they could talk about their
experiences.
So it was a breakthrough
movie of that time. I know Oliver Stone later had a movie about it,
Platoon. It was a very good movie, but
it was mainly in the war. So it didn't address this community of people that
were affected by what happens in war.
I think the
power of the film is, and I always tell people, I'd say, “Try to watch it. Get
all your popcorn and goodies together and try to watch it without putting it on
pause without interruption because I think there's a real power in how the
movie pulls you in and you journey with these people you become fond of.”
It's
interesting because I haven't seen this movie for awhile, many years. The Academy
a couple years ago were honoring certain films and they honored that film. It's
the first time I'd seen it in years and a lot of the audience that came had not
seen it. It was a younger generation.
It was
really fascinating how it still held up. People were still moved by it. It
still is a wonderful movie and that's nice to know, because sometimes you see
movies and they don't quite hold up. You go, “Okay, it was good then, but it's
not good now,” but I think it's a real classic in that sense like any of the
big classics that you see years later really fall in love with.
Michael was
a wonderful director to work with. I loved working with Michael Cimino. He was
a real pleasure. He really, really cared about the film. He cared about his
actors. He's very supportive. I couldn't have had a happier working experience
than working with Michael. It was wonderful.
JC: I have heard many
stories about Michael’s style of working on Heaven's Gate. Can you tell me about Michael’s style of
working on The Deer Hunter?
I think he
worked us very hard. We shot the opening scenes in Reardon, West Virginia and
Steubenville, Pennsylvania; that area where the steel mines are. Then we went
to Cleveland, Ohio, to do this sequence. We shot in the worst heat wave I think
that had been on record. It was like 120 degrees. My wedding dress never did
get dry. It was so humid.
The funeral
stuff we shot in Cleveland, too. So we were in this winter clothing. It was 120
degrees. It was unbelievable. We all worked sixteen, eighteen hour days and we
worked very hard on everything. I don't remember Michael ever not working just
alongside with us and trying to get the shot in the way he had visualized it
with Vilmos Zsigmond, the director of photography.
But we
worked our butts off on that film and I don't remember ever having a thing
where we did … we did a lot of takes, but where it was not for the film. I
really think Michael was wonderful on the film and with very difficult weather
conditions. I think he really held it together.
Heaven's Gate, I think it got a bad rap.
I think they were out to get him because remember, that same year John Huston
made
Annie and
Annie cost more and lost just as much money as …
JC: Actually Annie came out a few years later after. Well, at
least it was released a few years later.
RA: Nobody gave John
Huston a bad rap. Nobody said, “Oh my God, John Huston lost all this money.” I
think it was even more money than
Heaven’s
Gate. No, because John Huston was an icon in the business.
I don't know
why people wanted to go after Michael Cimino. I'm not sure. I don't know. Maybe
he got to be too much of a perfectionist. Maybe they blamed him for ruining
United Artists. I'm not sure why. I don't really understand it. I thought in
spite of everything that in
Heaven's Gate
you saw where the money went. The money went into the movie, whether it was
perfect or not I can't say, but the money went on the screen. It didn't go into
somebody's pocket.
JC: Michael, in all
his scenes, does devote enormous amounts of detail to the visual quality of his
scenes. However, while there was so much detail in the wedding scene itself, I
couldn’t help wondering whether the dialogue was improvised or scripted?
RA: The dialogue was
pretty much scripted. Of course you can't script the dance sequences because
they're gonna be what they are, but the dialogue, it was pretty well scripted. I
would say at least ninety percent of it. Well, in the wedding you're dancing
and we had to learn these dances in just one day. The lady that was teaching us
the dances said, “Oh, it takes six months to learn these dances.” We said, “Well
that's fine, but we have to do this by tomorrow.”
So we spent
the whole day with her and then at night we would be practicing the dancing in
the hallways and trying to get it down. So on those sequences you can't write
the dancing. Then you did what was there, but any of the dialogue was really
scripted. It was all scripted.
JC: OK, so you had so
far worked with Pacino and DeNiro early in their career. This time around it
was Meryl Streep and Christopher Walken who were not known at that moment. With
all these actors, did you have any idea that these people were gonna be very
big?
RA: Well, no. When I
worked with them early in my career we were all starting out. When I worked on
Deer Hunter, of course Bobby was a big
star by then and Chris and Meryl had a lot of stage credits. I look at them as
colleagues, people that I did a film with, they're my colleagues in the film.
So no, I
really didn't think about it to tell you the truth. Really I just never thought
about that.
Al, after
Panic in Needle Park and especially
after
Godfather, everybody knew he
was gonna be a huge star, but he'd done a lot of theater before. I'd seen him
do theater before in New York.
Who knows? You
just don't know. You think somebody's gonna be a star and it doesn't happen and
then other people, I have no answer how or why it happens.
JC: Now you were
mentioning theater. I think I might backtrack a little bit. I'm not too
familiar with your theater work, but can you talk about some of your theater
work? Anything you did that you liked especially?
RA: Well, I just
finished doing a show. We closed a month and a half ago on theater row on 42nd
Street. I did a wonderful comedy called
Murder
at the Howard Johnson’s, lead character comedy. It was so much fun to do
and the audience enjoyed it so much. It was really outrageous kind of comedy,
but it was just lovely. So I liked doing that.
Rutanya in Murder at Howard Johnson’s
Then before
that I did Tennessee Williams. There was a thing of
Six by Ten by Tennessee Williams. So I did one of his comedies – probably
the only one written – called
The Fat
Man's Wife. That was fun to do. So things like that that come up, I do
them.
JC: Now we're gonna
get to the one film of them all, Mommie Dearest.
RA: Yes.
JC: Tell us from the
beginning how you became involved in that.
RA: Well, Frank Perry
was seeing people and he was one of the few directors that didn't audition,
which I thought was wonderful. Neither did Michael Cimino, by the way. You just
met with him. So I just met with Frank. I
think it was in December – it was very cold – in his apartment on Park Avenue.
He had set
aside thirty minutes to meet with me and talk with me. So we just sat basically
and talked. He sat behind his desk and I sat in front of him in a very
comfortable chair and we just talked about – I forget what we talked about. Just
general things. He asked me questions just about life and stuff like that.
So I left
and then about two weeks later he called me on the phone and says, “Well, I
want you to do this part.” So then I flew out New Year's Day. I flew out to Los
Angeles. I think the following day we started having wardrobe fittings and
screen tested some of the make-up and stuff. It was just one of those things. Who
knows why he decided to cast me, but I'm glad he did. I had a lot of fun on
that movie. It was really a good experience.
JC: Now originally Anne
Bancroft was gonna be playing Joan Crawford. Were you already cast when she was
offered the role?
RA: No. I'm not exactly
sure. I know I heard that they had planned on doing the film with her, but then
she dropped out actually several months before the movie started. So they
hadn't done any preparations on her or wardrobe or make-up or anything.
So I think .
. . I believe she was the only one that was set at the time and then for some
reason she didn't wanna do it. Then they started casting the film for sure. They
had not cast the rest of the film when they were talking to Anne Bancroft. Then
I think a few months later they started casting and setting the production
tables on it. It would have been a different film with her though, right?
JC: Right. But it was
Faye Dunaway, and she’s primarily the reason we've talked about this film. Is
this the film you get the most attention from? [I could not find an exact photo
of Rutanya as Carol Ann so I included a clip that not only features Rutanya but
captures the essence of Mommie Dearest. Click here to watch the clip.]
RA: It definitely is. I
have people, which is wonderful, that know these lines better than I know them.
Honest to God. It makes me laugh every time. People come up and they give me
the lines. I know the general gist of the lines fine, but they know them letter
perfect. It's always amazing to me that it is the big hit that it is. It's
really a kind of an iconic movie.
JC: When I was getting
my hair cut, I was talking to this hairdresser. He just started a conversation
with me and I also started talking about this blog we're doing. I told him you
were my next interview. He asks what films you had done. I mention Deer
Hunter, doesn’t know it. I then mention Mommie
Dearest. Well, he knew that movie.
Likewise, I then say you play Carol
Ann. He knew your character, too.
RA
: All
the hairdressers know me. Sure. It's like their favorite film. Anyway, go
ahead. I'm sorry.
JC: So, since we're
never gonna hear from Faye Dunaway what really went on in the film, you're
gonna have to tell us. You have to tell all the hairdressers and all the film’s
fans. What went on when Faye was cast?
RA: I just finished my
book,
The Mommie Dearest Diary. I
just gotta get the photographs together and I gotta get a foreword by David
Kuntz who was one of the producers. So hopefully in the next couple of months
I'll have that out and you can read all the day-by-day tales, which were kind
of interesting.
I actually
thought Faye did a great job in the film. I think she took it to the extreme,
but she made a choice and she went with it, but in a way, I think the film
became about Joan Crawford instead of Christina Crawford.
The book is
very different. If you read
Mommie
Dearest by Christina, it's from Christina's point of view. I think when
they did the script, somehow it got to be from Joan's point of view. It got to
be about Joan more than about Christina.
So it got
turned around a little bit, but I think it's kind of sad that Faye cut that
movie out of her life and refuses to talk about it because I think her work is
very different in that movie than the other stuff that she's done, and I
thought it was very brave of her to do what she did in the film. There were a
lot of ups and downs there.
The reason
that I started keeping the diary was because, sometimes the days when she was
on set, it got a little crazed. So I thought, “Well, in order to keep my
perspective on it, let me just write down what's happening.” So that's what I
did.
I wish she
would get looser about it and just say, “Okay, I did it, I think I did a great
job and so what. You like it or you don't like it.” Whatever it is, but I liked her work in it. I
thought it was a little large, but you know what? That's what she decided to
do.
JC: What's interesting
about the film is that she hit both extremes in critical opinion, I remember
she won some critic circle award and then she was also nominated for a Razzie
(an award show, the inverse of the Oscars, that awards the worst in film).
RA: Yeah. You know what
I think happened is also that this was the very first tell-all book. I think
people were shocked in the early 80s that somebody would really come and tell
on a big movie star. I think the industry still held it against Christina that
she would have exposed that. I think that the movie, had it been made five
years later or ten years later, I don't think it would have had that shock
value. I think it got that shock value because it was the first of the tell-alls.
Joan
Crawford had a lot of, lot of fans, people in the business. The hairdresser
that I worked with and make-up person I had worked with had all worked on many
Joan Crawford films. Everybody loved her because apparently she knew all the
crew members' names, she sent everybody gifts, she remembered their birthday. She
would send out cards. She was very organized that way, and in a sense, the
movie shows that. She treated them all as fans, the people she worked with. They
were her fans.
So they were
very loyal to her because they had only experienced that part of Joan. I think
they were all torn with their loyalty. So because of that era, because a lot of
people had worked with Joan Crawford, it wasn't long enough, it wasn't far
enough away. I think if it had been done later this movie would not have been
so vilified.
I thought
the sets and the costumes in this film were absolutely stunning and should have
gotten some recognition and some nominations, but there wasn't one single
nomination. I think people really boycotted the film because they were angry
that Joan Crawford had been in their eyes vilified.
But
everybody has their own … the person you are in public is not always the person
you are in private. So you have to be one way in public and then, especially if
you're under a lot of stress and duress, in private it comes out. That's why
people beat up their wives or beat up their kids or whatever. They have to put
it somewhere and it's horrible when it happens.
I think the
film just shows that she was adored in her public life, but I think a lot of
the stress that she was going through came out in her private life with the
little idiosyncrasies she had – cleanliness and neatness and the kids being a
certain way and there wouldn't be a wire hanger and all of this stuff that she
exaggerated. In a lot of people's eyes, you think, “Why would you beat up your
kid for a wire hanger,” but I think it
came out in different ways.
I think that
just at the time, the people felt that these things should not be revealed. I
remember Helen Hayes: they asked her whether it was true, and she didn't go
into it either. Nobody wanted to talk about it, but she said she thought Joan
Crawford should never have been a mother. That was Helen Hayes' way of saying,
whatever, that she had probably seen some things.
But I think
it's just that era. I think it was sensationalized because of that era, but
also it's really interesting to me. I was just at an event this summer at the
Ziegfeld theater, which is a beautiful theater in New York. It holds about
1,000 people and the wonderful Hedda Lettuce was hosting it. There was a huge
turnout. The whole theater was just packed. Over 1,000 people came and that was
mostly my gay audience.
Invitation to Mommie Dearest at the Ziegfeld
They were so
amazingly wonderful. Hedda interviewed me before the film started. I tell you
I've never received such a great ovation and applause and just a wave of love
just came from that audience that night. It was something I'll never forget. It
was so wonderful.
Rutanya being interviewed by Hedda Lettuce
I thought, “Boy,
these people that went into this film really love this film. I'm so happy to be
in a film that is so loved by a certain audience.” I'm thrilled. I couldn't be happier. It's one
of these classic films more so than
Deer
Hunter that won the Academy Award. This didn't win anything, but it's
memorable.
JC: No, it didn’t win
anything, but just as Faye Dunaway got nominated for both a critics' award and a Razzie,
you too came on for the same fate: the Razzies did nominate you, but I also
remember Andrew Sarris of the Village Voice thought you were one of the best supporting actresses that year.
RA: Yes. He awarded me
one of the best supporting actresses that year. Too bad that Razzies people
didn't invite me. They didn't invite me there to accept my award. I would have
showed up. I’m proud of my work in
Mommie
Dearest. I think it's wonderful.
Again, it's
a movie that a lot of it was cut. Thirty minutes of that movie was cut out, but
I guess somebody wanted to put it down or make fun of it or whatever. That's
fine with me. It is what it is and I actually like it.
Again, I
hadn't seen
Mommie Dearest in a long
time and then I saw it in the Ziegfeld. I thought, “This is a good movie,” and
the audience knew all the lines. They were saying all the lines. It was a
really fun night. I thought, “Well, if this movie can give so much pleasure so
many years later, gosh, I’m glad to be in this movie.”
JC: One of the movies
we'll talk about is Amityville II,
and what's interesting about it is, as
you know, that I've actually interviewed the actress who played your daughter,
Diane Franklin.
RA: I love Diane
Franklin. She's great. She's a lovely, lovely woman.
JC: Now in that movie,
to be honest, the very first half about that whole dysfunctional family is not
only the most horrifying thing to me in Amityville II but of the whole entire series.
The biggest
thing is most haunted house stories, when they introduce the family, usually
the family is well adjusted, but you and Diane are part of such a dysfunctional
family. In fact, the family is already destroying itself long before they've
entered the Amityville house.
RA: Well, I think that
was Damiano Damiani, the Italian director, I think that was his vision of the
movie. I think he brought that to the movie. That these people that are
basically dysfunctional, because of the evil of the house, they really become
crazed. I think the director, I have to say more than anything I think more
than anything it was his vision of the movie he wanted to make.
I actually
liked working on that movie also. We shot a lot of it – the exteriors of the
house – in Tom's River, New Jersey, and then the interior, all the rest of the
interior were shot at the Churubusco Studios in Mexico City.
Of course I
loved working with Diane. Diane was just lovely. I actually liked working with
everybody in the movie. Jack Magner played my son. He was terrific. Burt Young
was wonderful. James Olson played the priest. I think it was a really good
group of people.
Rutanya tries to stop her son from killing her husband
in Amityville II
JC: But there are
certain things about your character that I like. One thing is the constant referral
to the priest to solve everything.
RA: Yes. Well that was
Damiano, coming from a Catholic country in which everything goes to the
religion and the religion would solve it and the faith and everything would
turn out all right. I think that was his contribution that he felt like that is
the way this woman lived. She lived knowing and anyone … she begs Burt Young on
the stairs, “Please, please, just please come and please let the Father bless
the house.” Through the blessing of the
house that everything will be fine.
I think a
lot of people that are very religious feel that way. That they feel like
problems in their life can be solved through these blessings and through their
religion, but of course they don't live in a haunted house.
JC: The one
interesting moment is that you're the only one in the family that is aware that
there's something going on inappropriately between brother and sister.
RA: Oh yeah.
JC: And your first
reactions is that you automatically blame the daughter, not the son.
RA: I think it's an old
world way of looking: – if a woman gets
raped, a lot of people … “Well, she was wearing a short skirt. She was
provocative. Her breasts hung out. She led him on.” Well, this whole thing I think this is an old
traditional way of looking, – if
something happens that somehow the woman has instigated it.
I think it
still holds up today. Look at some stuff people say: “Well look at her. She was
scantily dressed.” It's a terrible way to look at rape or anything there, but
there is a tendency to blame women for this. I think that's what the mother
does, coming from a traditional religious kind of way, that she tends to blame
the girl instead of going into the guy, the son, and saying, “What did you do
and why did you do that?” She blames the girl. That's exactly right. Exactly
what she does.
JC: Right. Its scenes
like that why I find the first part more terrifying then the second half, where
it is copying The Exorcist. I find
the realism of a dysfunctional family to be more scary than the haunted house
stuff.
RA: That's interesting
that you should say that. I think that's a very good point. I'm glad that you
saw that. That's wonderful because I think that's exactly what Damiano had in
mind. To show that you're right because it kind of gets into the haunting,
becomes familiar to people, but hopefully the first part people can get into
the craziness of the family.
JC: The next film, Vigilante, is how I found out you were on Facebook,
because I'm friends with the writer of Vigilante, Richard Vetere.
RA: Oh yes.
JC: So he mentioned
the recent appearance of Vigilante
you did with him.
RA: At BAM (Brooklyn
Academy of Music
), yeah.
JC: Now, unlike Amityville
II, you are a much more strong-willed
character this time. When the gang leader is harassing the gas station owner,
you're willing to smack him right there, the only one to take action at the
whole station.
RA: Yes.
JC: Even though it's
probably what led to him and his gang following you and your son afterwards.
RA: Yeah, the revenge.
I gotta say I have not seen that movie in so many years and I'm sitting at BAM
and I'd brought my son who'd never seen it and his friend. I thought to myself,
“Oh, this is really interesting because I have no idea what this film is gonna
look like all these years later.”
Rutanya screaming in Vigilante
It's one of
these movies I think it's better today than it was when we made it. I saw it on
the big screen, which also made a difference, because it had a grittiness about
New York. It was that gritty New York Brooklyn scene and it was visually so
well photographed and the people were so real that I told Richard Vetere
afterwards, I said, “This was really a good script.”
I thought
this movie really holds up. It's a real 80s movie and it really is of that 80s
era, but it was a very, very low budget movie and we shot everything, again, it
was in the winter. It was very cold, but we shot everything like it was
basically one take because they didn't really have enough money to do more than
one take. Maybe two takes, but it had to be shot very quickly and everything
because it was on a very, very tight budget; no budget budget.
JC: Not to mention,
your character shows some strength again, cause even when the gang does invade
your home and attack you, you manage to give the same gang member a smack again.
RA: Well she's fighting
for her life now. She's fighting for her life and the life of her son.
Interesting, because the whole scene, running through the laundry, was sort of
an accidental thing because I said, “I'm gonna run out” and I said to the
director of photography, “Why don't we run through the laundry? Let's put up
more laundry. Let's put up more sheets and stuff and have her run so there's a
little obstacle for her to run through before she gets to the fence and
realizes she can't get out. She's trapped.”
So that was
done in a hurry and the DP said, “Oh, that's a good idea. Let's do that.” So
that part wasn't really written in. We just improvised that part, but I thought
that worked really well.
JC: I really like the
performance of the gang member responsible for killing your son: Don Blakely.
RA: Oh, Don Blakely was
a very good friend of mine. I did a play with him in Los Angeles called
Dirty Laundry. I did a play with him and
he died maybe a couple of months later. I didn't even know he died. Somebody
came by and said, “Don Blakely died.” I was so shocked because I had just
finished doing the play with him.
Don was a
wonderful guy, a friend of mine for many years. Started in New York. He and my
late husband, Richard Bright, had done a play together on Broadway. That's
where I met Donnie. Donnie was just a great guy. He was just really a
sweetheart. A gentle soul, a very gentle guy. So to have him play this killer
was – it wasn't a stretch because he was a wonderful actor and he loved doing
it because it was nothing like him.
But I was
just really shocked when he died because I had just finished a six-week
performance with him.
JC: I do also like the
scene in Vigilante where you walk out
on your husband: Robert Forster.
RA: Yeah. I think she
just can't deal with any kind of reminder of her life and she feels like her
husband failed her. He didn't show up and he didn't help them and he wasn't
there. So she doesn't realize the course that he's gonna take. To her it's just,
“I just have to get out of here. I can't be with you.”
I think that
happens to people, too. Rather than coming together, they go apart forever.
JC: I’d like to talk
about one of the other films you later did, Dark Half.
RA:Oh, that was George
Romero.
JC: Right.
RA: I actually had that
really violent scene where Timothy Hutton kills me.
JC: Yes. [To see this
clip, click here.]
RA: That was the only
scene that George Romero kept cutting back, cutting back, cutting back, cutting
back. He said to me, “Rutanya, this is the only scene that really scares me.” He
said, “This scene” – I said, “George, you of all people, you made all these
movies –
Night of the Living Dead, The
Crazies.” He said, “No, this scene scared me. I had to cut it back.” So he
did cut it back, but it's still scary. It's a scary scene if somebody you know
is gonna get murdered. She gets murdered little by little by Timothy Hutton,
The Dark Half.
So Timothy
said to me afterwards, the next day he gave me a hug, he said, “I feel closer
to you than I do anybody else on this movie.” I understood what he meant. When
you go to those really dark places, you go there together and you do feel close
to each other.
I haven't
seen Timothy in several years, but if I would ever see him again I would feel a
closeness to him because you go to these extreme emotional levels with someone
and you just feel kind of bonded to them.
JC: You have done
plenty of other films besides the one I mention. It’s such a huge resume that
we would be here for days if we discussed them all. Are there any other film roles
you wanted to talk about?
RA: Maybe just the one
with Sean Penn where I play his mother, and also Nicholas Cage is in it.
JC: Racing with
the Moon.
RA:
Racing with the Moon, right.
JC: Okay. Let's talk
about that then.
RA: That's my heartbreak
movie, where I had some really great scenes, including the birthday party scene
with myself, John Carlin who plays my husband, Sean, Nicholas and Elizabeth
McGovern where my son turns eighteen. It takes place during World War II.
Sean’s going to go into the Army. That was one of the most beautiful scenes
ever. It was one of the few times the crew gave me a round of applause because
it was really very emotional. When she's making the cake and the husband comes
in and then she serves the cake to the three kids. It was cut out of the film.
Cut out of the film!
Then when my
friend, Laurent Bouzereau, who does the
DVD interviews, when he interviewed Richard Benjamin, he said, “Well why did
you cut that scene out of the film?” He said, “Oh, the scene's in the film.” Laurent
said, “No, it's not in the film.” They didn't keep any footage of it in the
thing.
In
his mind Richard Benjamin had thought it was still in the film, and it wasn't.
I thought when I was looking at it and they said, “Oh, we're gonna cut that
scene out?” I said, “How can you cut that scene out? That is the heart of this
movie for this woman.” But they cut it out.
Those
are the things that a little bit of a pain is still there, thinking, “Oh, when
the work is so good and it's not in the movie.”
It still affects me. And that's the business and you just have to say, “Okay, I
have no control over the editing of it.”
So
I don't wanna leave this on a down note, but I had such a good experience
working with Sean. Loved working with him and Elizabeth McGovern. They were
wonderful. They were so in love during that film. They were in love for many
months after the film and I thought they were gonna get married for sure, but
then their lives took different routes. So, I love them. Still love them.
JC: You've also done a
lot of TV work. Is there anything in TV that you especially enjoyed?
RA: Well, my favorite
stuff was the
Law & Order stuff
because I had three great parts. I did two of the original
Law & Orders and I did a
Law
& Order CI where I play Rose. She's getting Alzheimer's, but she's got
the stone baby. I loved doing those three shows the best of all my television
because they had the best written parts. They were substantial. There were
about three different women.
Rutanya as Rose in Law and Order: CI
It's all in
the writing. I tell you, it's in the writing. If you have writing that just
helps you soar. It helps you create. It gives you a really great foundation to
take off and do your work and your interpretation.
I think of
all the television I've done it's those three, the two original
Law & Orders and
Law & Order CI that I did with Vincent D’Onforio. He's so wonderful. He's so
giving. So supportive.
We had an
eighteen page scene to do in the garage; you just don't get eighteen pages in
television. The director called it the aria scene because you usually get one
or two pages, quick scenes, quick cuts. So those are I think my favorite ones
because they were just so wonderfully written and wonderful to realize these
women.
I would love
to be able to do another television show that was so well written. I loved
doing
You Don't Know Jack with Al,
but it was just a short thing. It was quick. It didn't have the substance that
the … I think the early
Law & Orders
were so well written that that's what made their shows so great.
JC: One thing: since
we've become Facebook friends, I notice that in addition to acting in the past
with classic actors such as DeNiro and Pacino, you are acting with contemporary
actors such as Jessica Chastain, who now stars in Zero Dark Thirty.
Jessica Chastain and Rutanya Alda
RA: I played an older
version of Jessica Chastain in a film called
Stolen. Wasn't a very good film, but I played an older version of
herself. She played the young, beautiful woman, which she is and I played … of course
they put more make-up on me because I wasn't quite old enough. So they put that
wrinkly stuff on, the glue stuff that makes you have all the wrinkles. She's a
lovely woman.
That was
four or five years ago that I did that. There's a career that's just happened
in the last four or five years. What a career she's having, but it's support
and she's getting these parts that are so well written and she's such a lovely,
talented actress. But you get those parts, you can realize them, and she's
certainly doing it. She's just a lovely woman. We had lunch when they were
promoting her new film,
Zero Dark Thirty.
So I re-met her again. She was just a lovely, lovely person. She's having a
hell of a career.
JC: One thing,
particularly in acting, is that you've managed to stick around for a very long
time. We hear about people who usually have their couple of years in the sun
and then it's all over. But you are still continuing to act.
RA: Well, I've always
been a character actress. I think that helps, but it's also what I love doing,
Jeff. It's like I love doing this kind of work and it wasn't just for five
years or ten years. That's why Lois Smith is such an inspiration to me, because
she's had an even longer career than I have had. So wonderful, by the way.
Rutanya with her idol Lois Smith and Django
Unchained’s Dennis Christopher
But I'm
looking forward to getting into even into my older age so I can do the older
parts. I saw that movie
Amour, and
Emmanuelle Riva that plays the older woman, the wife, it's an inspiration to me
to see this woman be so great and so wonderful in this movie. I think it's an
inspiration to me. I think, “Thank God I saw this movie because I wanna do some
of this work as an older actress and as I get older even yet.”
Lois Smith
is the same thing. She did a play when I was doing a play so I didn't get a
chance to see her in the play she did because we were performing at the same
time, but I hope people write things for older actresses. I think Michael
Haneke who wrote
Amour was just … it
was a blessing that he writes parts for older actors that mean something.
So hoping
that I will continue into my old, old age, and then I'll be able to do more
really good work. I'm better now than I've ever been. I do workshops all the
time and I take classes still.
I'm doing a
workshop next week with Jean-Louis Rodrigue, my teacher, is coming in to do
workshops. So I'm doing a scene for him that I was working on earlier. I think
I'm at a point in my life where I'm probably better than I have ever been. I
must say I'm a rare bird and a lot of actor friends make fun of me because I
still study.
Jack Garfien
was in from Paris this last summer. I studied with him for a number of months.
So I pick people. My teacher, Jean-Louis Rodrigue out of LA, he comes in here,
does several workshops a year. Then I go to LA and I take some with him.
So I'm
always still studying. So I feel like I’m growing and I think a lot of people
that are stars today, they've sort of stopped at a certain level of stardom,
which is wonderful, but I wish that they would continue to grow. I think the
only way you can grow is to really be brave enough to study and work on your
craft and not in front of an audience, but really try in that workshop with
other people and to continue growing as an artist and as a human being.
I think a
lot of my friends don't do that and they think I'm really strange and weird,
but I love it. I think you find certain teachers that are so wonderful that you
feel like, “Oh, I wanna take that journey with them.” So I enjoy it, too.
JC: For
any young upcoming actors, what would you say your secret is to have a long
acting career as you had?
RA: Well,
do what you love. If you do what you love, stick with it. Stick with it through
all the ups and downs. I always say to a young actress starting out, “Do you
have a second choice?” If they say “Yes,
there's something else I wanna do, too.” I always say, “Well, do your second
choice, because I think in acting especially you have to have just no second
choice. It has to be just that one choice. Because of that you stay with it.”
But
to tell you the truth, if I had had a second choice, Jeff, I probably would
have left acting ages ago. Plenty of friends that I started acting with who were
very talented, left five, six, seven years into it. It's too painful sometimes
and they had other choices. They left and they became very successful and now
they have other professions.
But
I say if you have no second choice, just stick with what you love and do it and
just go and enjoy the ride. You'll have your ups and downs. You'll have your
bumps in the road, but if it's something you love, you'll enjoy it. That's what
I say to people when they ask me. I say, “If you have a second choice, do your
second choice. Second or third choice.”
Sometimes
people say, “Well there's a couple other things I've been wanting to do.” I
said, “Well do them.” One parent looked at me and they thought I was being very
harsh. I said, “No, I’m really not being harsh, because you have no idea what
this industry will do to you. If you have other choices and they'll be in and
out in a few years.”
So
I say if you love it, follow your passion, follow your love, follow what you
wanna do and get with your skills and take classes and study and grow and enjoy
that. So just get better. So many people today, young people I think, young actors
… when I was young everybody wanted to be good. Everybody studied. It wasn't
just about being a star. We wanted to be really good at what we did.
So
many young people today because they're beautiful or they're a certain type,
they feel that they don't have to study. They feel, “Oh, I'm this type.” Well,
yes, that might serve you for maybe a TV series or that might serve you for one
or two movies, but in the long run that will not serve you, because you're
gonna grow older. There'll always be somebody more beautiful and younger coming
up. So if you have a craft, if you really develop your skills and your talent,
you can grow into that, but if you just depend upon your looks, you're going to
be unhappy in the long run.
So
I would say do what you love and get good at it. Study. Get good at it. Enjoy
it and enjoy the study. Enjoy the thing of it. Life is too short. It goes by so
fast. So enjoy the ride. Enjoy the journey.
2 comments:
Rutanya Alda is great! She was sitting in front of me at the British production of Mary Stuart that was on B'way a few years back, and after the show I finally got my nerve up to tell her how much I admired her Carol Ann, the calm in the storm of Mommie Dearest. She mentioned the Diaries book then. I'm glad it is at last coming out.
I wish I had attended that screening of Mommie Dearest! I've seen a couple of Joan films hosted by Hedda Lettuce - Harriet Craig and Female on the Beach - and they were a scream. Nice that Rutanya took the experience in stride, and even enjoyed it. She'd be a big hit at the Castro Theatre in San Francisco!
Thanks for a wonderful interview - and for posting a link on her imdb page.
Great interview with a most interesting and talented person. Bravo!
Linda Haynes (Sylvander)
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