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15.07.2016
Jacqueline Bisset has been an international film star since the 1960s and has worked with directors John Huston, George Cukor and Roman Polanski, to name a few, and her co-stars have included Anthony Quinn, Paul Newman, Nick Nolte, Steve McQueen and Charles Bronson.
Film appearances include The Knack … and How to Get It (uncredited), Cul-de-sac, Casino Royale, The Cape Town Affair, The Detective, Bullitt, Airport, Murder on the Orient Express, The Life and Times of Judge Roy Bean, The Thief Who Came to Dinner, The Deep, Swing, Two Jacks, and Welcome to New York. Melissa Parker (Smashing Interviews Magazine): How did you become involved in Miss You Already? Melissa Parker (Smashing Interviews Magazine): I believe Catherine Hardwicke said that you had input into your character Miranda? Melissa Parker (Smashing Interviews Magazine): Had you previously worked with Drew Barrymore?
Melissa Parker (Smashing Interviews Magazine): Have you had friends or family that had cancer or lost anyone close to you from the disease? Melissa Parker (Smashing Interviews Magazine): How did that affect your career and personal life? For the first few years, it was a day at a time, and I was really looking forward to having my own life more. I think you have to go through a very big journey in your own self to not worry about what people think because people do judge, and they don’t really like being around people who are often unwell or who have dementia.
Somehow in the presence of losing her memory, she forgot a lot of the bad things in her life, and on some level, she was really quite blissed out by the end.
Everybody’s been around people who have seen this aging process, but the thing is that she was relatively young when this all started, so it was difficult.
I’m not saying that when I see very sweet children, I don’t think, “Oh how lovely.” But I think we all have different jobs in life, and that seems to have been my job.
Melissa Parker (Smashing Interviews Magazine): Did you audition for The Knack … and How to Get It (1965)?
Melissa Parker (Smashing Interviews Magazine): But it wasn’t your big break in show business. Charlotte Rampling was also in that film, and the English actress, Jane Birkin, was also amongst the girls.
Melissa Parker (Smashing Interviews Magazine): Was that the first time you felt you might become a successful actor? Jacqueline Bisset: Well, no, I had done some extra things, but I didn’t feel like I had any particular instinct. Melissa Parker (Smashing Interviews Magazine): I can’t believe it has been 35 years since Steve McQueen passed away. Melissa Parker (Smashing Interviews Magazine): Tell me about the experience of working on Bullitt (1968)? I went up there and tried to drive a stick shift car and had a horrible time on those slopes, trying not to go down backwards. Then finally I went up there, took an apartment and tried to do what the director said without any real knowledge of what he was talking about (laughs). Melissa Parker (Smashing Interviews Magazine): Is it true that you did not approve of the infamous t-shirt photo taken during filming of The Deep? When we came out of the water, there was always somebody there with a dressing gown, a robe, to put around me so that this would not happen, and I felt pretty secure. Then when they saw the rushes which was a couple of weeks later, for whatever reason, they were thinking that the girl who would be doubling for me would be doing much more than she did.
Melissa Parker (Smashing Interviews Magazine): I liked your portrayal of Jacqueline Kennedy Onassis. Melissa Parker (Smashing Interviews Magazine): How unkind is Hollywood toward women and older actors especially?


My parents weren’t really pleased with me making films, but she was proud of me, in and out of her consciousness.
I was interested in drama, and I liked Shakespeare, but I didn’t allow myself to think I could be an actor.
Not when he was working and actually shooting, but when he was in that other kind of co-producer type mood. But they said we looked so different underwater that they wanted me to do a lot more than I bargained for. There were no photographers underwater except for the National Geographic guy who was there photographing.
But I was wearing her type of sunglasses, and I was being dressed by Halston, so there were all kinds of inconsistencies.
They’re talking about it more now and relevant to women who aren’t getting any jobs in directing. I think men say, “If women make lots of money, they’ll be working more, rather than what they bring into the business.” I don’t think that’s true.
The film also stars Toni Collette, Drew Barrymore, Dominic Cooper and Paddy Considine and was directed by Catherine Hardwicke. So the men were good sports about it, and I just really realized that you can’t have people in your life that don’t get it if you’re in that situation. What it did do was make me think, “What a mad business this is!” We were all dressed the same.
I had been very interested in cinema, but I was interested in French and Italian cinema, so I thought this was absolutely rubbish.
But the most interesting of the ones I got was a part in a Roman Polanski film called Cul-de-sac. But I felt I had a certain degree of knowledge about life, which was really odd at that time.
There were a couple of scenes where we came out of the water at the boat, and there was a wet t-shirt look, but it was not focused on at all. I hadn’t seen the film, but I was getting very little feedback from that level and thought it was all in hand. I don’t know for sure, but I believe the photos that were taken of me and then used, were taken by the National Geographic photographer. You’re not really playing her, but Halston’s dressed you, and we’d like you to wear those kind of sunglasses and stuff. Catherine Hardwicke has made a lot of money, but I don’t think she finds it easy to get the money for projects. Supposedly, there are 4,000 film festivals in the world, and we’ve been unable to find a good place to show our film.
This material may not be published, broadcast, rewritten or redistributed without the express written consent of the publisher. I was thinking about doing another movie at the time which was rather depressing, but Miss You Already, even though it was a cancer story, was predominantly about friendship. I didn’t decide then, but I thought I’d rather do that film than the other one I was talking about doing.
She went through almost 30 years with cancer and made it into her 80s with extraordinary spirit and determination and was very productive in that period of her life. There were about 20 girls, and we were all wearing little gray skirts and white jumpers and were all outside the Royal Albert Hall in London in this scene that made no sense whatsoever, and I had no idea what kind of a film it was. He would rush up and say a few words and then rush off again because it was his first co-production with his own company.


That was an extraordinary experience to not know what you’re going to be playing, not to know even what sexuality you were from episode to episode. I try not to think about that too much because I’d just get into a depressed mood thinking, “Does it mean that men don’t like women who are older? My director, Linda Yellen, had the real difficult job of pulling the whole thing together, and we finished it, and she has just finished it.
She was a mother who was sort of a bit distracted and a bit vain, always saying something about how she looks.
You can’t have people being snobbish about being around somebody who’s not well or doing things that aren’t appropriate. I went the opposite way which was actually good, and some of it was really just good common sense.
Peter said, “Come up for a few days and learn what it’s like to be living in San Francisco.” Well, I didn’t know what that meant. About ten weeks went by, and I thought, “This role is being removed.” I thought I was being taken out of the film because it never happened when they said it would. It really sped up her creative juices to get to write and do things that she’d not focused on completely before.
If I’d been told that I would have been looking after my mother for 40 years, I don’t know what I would’ve done. Mommy would do things that weren’t appropriate at times, and you would need to say, “This person’s not well.” You’d just try and get on with keeping them clean and safe.
I think it gave me quite a strong backbone for the things in my career and life in general.
I was really wanting to work, and I felt like I had a rather large baby in my life (laughs).
Often one woman or one person gets to be the caretaker, and the others sort of go off with their own lives.
So that was a bit of my motivation in the very beginning, but then I really felt it was a job that I would be interested in. The script would just change direction completely from episode to episode, and it was pretty wild. I don’t think her daughter knew her, and she ultimately did not know her daughter that well. But we discovered all that together and really didn’t know where that was going to go, and I certainly didn’t think I would be in it. But when Tony Quinn turned up on set the first day in Greece looking absolutely like Aristotle Onassis, I said, “Oh my God. I got to be interested in her, and I found her very interesting, and I also began to understand her psychology a little bit. If he’s playing him, I’m obviously playing her.” But I hadn’t studied her accent or anything.
In some series, the actors are never able to relax because they keep changing the dialogue, and then you’re in a state of complete anxiety because you don’t know if you’ll remember it or learn it well.
I really have to try and will myself to do it because I know it’s broadening my perspective.



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