Where are they now: Franco Zeffirelli’s Romeo and Juliet – Much Madness is Divinest Sense
Hussey, who is now married to third husband David Eisely (pictured) tells of how to cultivate relationships and had no one she could ask for advice. . Olivia Hussey seen with 'Romeo' Leonard Whiting at the TCM. Book review | Olivia Hussey's memoir gives fascinating look at playing Juliet Caleb Porter will be next Crew coach, source confirms . For example, one chapter asks — referring to Hussey and co-star Leonard Whiting — “Was There In fact, the single-page chapter reveals that their relationship never. He is married to his (former?) manager Lynn Presser and has two out that Olivia Hussey and Leonard Whiting apparently dated and were.
But he was not mentally well. So it was actually a very safe house. The star claimed that Jones showed up one night unexpectedly. She alleged Jones then brutally attacked and raped her. I just did not want to read my book out loud.
There were certain events that were extremely traumatizing to me in my life. They married in and had one son Alex, now I started to fall in love with him after that whole tragedy I realized that I loved him all along. While Hussey and Dean Paul split inthey remained close friends until his tragic death in a plane crash in at age They were married from until They share a son, year-old Max.
She married once more in to her current husband, rocker David Glen Eisley. They have a daughter, year-old India. As for Jones, Hussey claimed she last saw him in while at a Hollywood restaurant. Jones, who gave up acting in the late s, died in at age 72 from cancer. You forgive for your well-being.
So they didn't have to watch what was going on in the shooting, which I thought was very respectful and nice. At the time, you get caught up in the role. I don't know what the big deal was all about anyway. Well I think it's hard to imagine a nude scene that is more justified than that one, in a way. But you know, at the time—now, everybody does nude scenes.
But at that time, nobody other than—Vanessa Redgrave did a nude scene in Blow Up. That was at that time. But she was a lot older than I was at that time. And it was such a counter-cultural film, and this was such a traditional one.
But it was really the first nude scene of people our ages, I think. You worked with Zeffirelli, as you mentioned earlier, about a decade later on Jesus of Nazareth. Was the process any different ten years on? Had he changed as a director? No, we have a really—it's like a bond we have. You know, like every great director has their actor that works for them and they—and I'm his. I really believe that.
And he has said it in articles and things as well. We just—you know, I, he—I don't know. We just have a bond.
'Part of me thinks I am Juliet'
I sort of know what he wants and—I wish—in a perfect world, I'd love to work with him all the time. I wish that the last thirty years had been only with Zeffirelli, you know, because I just loved working with him.
I want to ask about Lost Horizon, which was an international smash hit, right? I thought it was— OH: People that loved the film, I've got to tell you, get very upset with me if I knock it. It certainly got knocked here in America. It was voted one of the ten worst films ever made. Yes, it does have that reputation. But it was a great cast. I got to meet Peter Finch—the late, great Peter Finch.
Liv Ullmann, who's a fantastic actress. Michael York again, you know. It was an incredible experience. And I was horribly pregnant during that shooting. So I was vomiting all day long. You know, it was awful. I was trying to pretend I wasn't. Well, it seems like a bizarre kind of torture to have a pregnant woman— OH: Well, he didn't know.
They would have replaced me if they had known. And I really didn't want to miss out on the role just because I was pregnant. And my costumes had to—you know, John Louis, the great designer—they had to keep letting the costumes out because I was getting bigger. And they were saying, "Olivia, are you eating a lot? And you had to do song and dances. And I loved to si—I loved to do the dancing.
But unfortunately, I was so ill— ohhh. Well, I think you come off well in those scenes. I think it's pretty impressive. It was just that I looked so big—because I was three months pregnant—three-and-a-half months. Now you did a beloved cult horror film as well. I was invited—actually this December, again—you know, poor Bob Clark died last year. And it's funny, because every year he'd call me and say, "Olivia, will you come to the screening of Black Christmas?
It's like a cult classic. And every year I'd say, "Oh, Bob.
It starts at midnight. I like to go to bed early. I can't stay up that late. Why don't you just go this time? Any they've got pictures of Bob and I together. And what's really funny is that a few months later—two, three months later, he died. I was really glad that I had actually done that at the end. That's a—you know, when I met Steve Martin, years ago—I had just cut all my long hair off, trying to change my image again. And Steve Martin was doing a film called Roxanne.
And I was called in to go in and meet. And when he heard I was coming in, he stayed behind with the producer. And I went into the meeting with my really short-cropped hair and he said, "You were in one of my all-time favorite films, Olivia. He said, "I saw it twenty-three times, and loved it. And they remade it as well. They remade it, and Bob was one of the executive producers on it, but I heard it was horrible.
It just became like a slasher movie. Now, speaking of horror films, you also made horror film history by playing Norman Bates' mother. I wish that the whole thing had been shot in black and white.
Groucho Reviews: Interview: Olivia Hussey—Romeo and Juliet—01/10/08
It would have really been along the lines of the original Psycho. I loved playing a meanie. Normally, I get cast as the vulnerable victim. Were you pleased then, with that experience and how it turned out? I loved working with Henry Thomas. I thought he was wonderful. Very professional young actor. And it was—I was pleased—I wished the film had been a little—done a little better, I think. You know, I wish it had been in black and white.
At least the flashbacks should have been—but I did get to work with Anthony Perkins, who is a wonderful, wonderful actor.
And like I say, it's an interesting little piece of that history. And I think I did the best I could do with it. You know, I certainly had a ball playing such a mean person. And you know, after some of the scenes I would say "Henry, please. I'm not like this. I'm a great mom, you know. In fact, I e-mailed Henry last year.
He sent me an e-mail of his little girl. Because he and his wife Marie had a beautiful little daughter. And he was in Germany somewhere.
Really just a—he should have—he should be working all the time, Henry—he's such a good actor. Now, another little show-biz history that you brushed against was when you worked with Bette Davis on Death on the Nile. A never-ending film, I tell you. That was, out of all of my projects—I had the worst time on that film.
I was fighting my own demons at the time and, you know, I have the agoraphobia that I've had all my life. I cope with it. And it's just fine. But my panic attacks were awful at that time.
You know, I had no business going on a set. I hadn't left my house for months before I did Death on the Nile. And so I took the part, but I was really in no shape to do it because of the agoraphobia. So I was on all kinds of like medication—Nardil, it was called. And just, ohh, the whole experience.
It was very hard. And John Guillerman, the director, was not the nicest person. So he'd like shout on the set. And all these seasoned veterans would be, like, quaking in their boots. And he was so charming and nice when you met him, but when he was on the set, I think the pressure got to him.
But I hit it off really well with David Niven. And Peter Ustinov, as well, was very special. David Niven had me in hysterics. And we couldn't look at each other without getting into giggling fits. You remind me of the two of them pushed together.
And he said, "You know what, darling? I cannot make eye contact with you because you make me laugh. So what should we do? I'll look at your chin, and you look at my forehead when we have close-ups together. And of course, John Guillerman—God forbid we should giggle on his time. But I loved working with David Niven. I read the whole book all the flight. I was on the floor in laughter. Such a brilliant book. Such a funny, nice gentleman. Now you ended up on Bette Davis' bad side, right?
She had a reputation for that. But I don't know why. We all said, "Oh my God. We get to meet the great Bette Davis. And yet, she's one of my favorite actresses. You know, she's classic, and we all couldn't wait to meet her.
And, you know, when one of the younger actresses had a close up, she'd sit behind the camera and try to psych you out. And by the end of the film, even the crew didn't like her. She was just not a nice, giving human being. But I think, to her defense, she came from that old Hollywood where, I guess, people didn't help each other, you know?
She had to fight her way. And she was one of the greatest American actresses of all time. But, let me tell you. I wouldn't want to work with her again. Well on a more positive note— OH: Angela Lansbury was fantastic. Well, you got to play a —you've done a lot of films with a religious side to them. You played the Virgin Mary.
You did a film based on one of Pope John Paul's plays. Yes, The Jeweller's Shop. And then, you finally got to play, after over twenty years of thinking about it, Mother Teresa.
Dreaming about it and wanting to play it and Mother herself approved me to play her. You know, she had—and Jacqueline Onassis in one interview said, "You know, if any actress plays you, Mother, it should be Olivia Hussey.
And the script that you ended up filming—was that close to the script that—I read that Mother Teresa actually approved the script, as well or initialed it. No, she approved one of the scripts of a production that almost happened fifteen years ago—and then fell apart because they wanted to replace me with—I don't remember who it was.
I think it was Cher or somebody. And Michael Anderson, the director, said, "No, no. It obviously wasn't meant to be at that time, you know?
I mean, I told Franco years ago, I wanted Franco to do it. I wanted him to do the life of Mother Teresa of Calcutta. And he'd say, "Oh, darling. I don't want to go to India. But I think it would have been just a masterpiece if he'd done it. And what was your physical approach to the role? Um, I think because I didn't physically resemble her, it wasn't really physical.
It was more coming from my heart. But I don't know what it was about—well, when I did Jesus of Nazareth, so many interviewers would say, "Well, my God, you've played Juliet.
Now you've played Mary.
Olivia Hussey recalls controversial 'Romeo and Juliet' role at 16, reveals personal tragedies
What do you do after Mary? How do you follow that? I've got interviews of me fifteen years ago saying, "I want to play Mother Teresa of Calcutta, you know, because, out of all the women in the world, she puts her love into action and she's changed so many lives.
And she's such a good human being. And that's who I'd love to play next. I'm glad that worked out for you. Yes, and it was a dream come true for me. And I was deathly ill through the whole shooting. We shot fourteen hours a day.
And those roles come few and far between. So that's why I don't work a lot now. Because there really isn't that much out there for older actresses. And when you choose, you want to know that you're going to do something that's worth your time. I mean, once in a while I've made a few mistakes here and there, but it's always been for the right reasons. I mean, I made a movie that's always on Showtime right now called Headspace.
And it's not a very good film. He was twenty-four years old. A new, young producer-director. He said, "I really want you in my movie. I just—you know, this is like my third attempt at—" You know, and he got Sean Young. He got Dee Wallace.
- Where are they now: Franco Zeffirelli’s Romeo and Juliet
- ‘Romeo & Juliet’ at 50: Olivia Hussey and Leonard Whiting on Viewers’ Big Question
He just—he just talked us into it. And who doesn't want to encourage a new young director? A new young actor, if it's something that makes sense. But, you know, it was hardly the best film. Now you have your own product line. Yes, my new passion is my kaftans and my tunics: I forgot all about that. But I've been working for two years on this line. And they're things that make women, no matter what age or what size, feel beautiful.
We're actually going in February to the Magic Show in Las Vegas where all the people come from all over the world to put in orders and things. And I'm making some public appearances there to promote it.Olivia Hussey - Then and Now