We started to do a little bit of the script and in no time he pushed me up against the wall. “I went on a Monday and was put in a private room. Her first encounter with Kazan was in Spiegel’s apartment, after which she was asked to go for a more formal meeting at his production office the following week. So confident were Spiegel and Pinter that she was a shoo-in for the part of Kathleen, the troubled Englishwoman with whom studio chief Monroe Stahr becomes obsessed, that they involved her for months in the development of the character. By then in his 60s, Kazan was a pioneer of method acting who had made stars of Marlon Brando and James Dean through classics such as A Streetcar Named Desire, On the Waterfront and East of Eden.ĭrinkwater, the convent-educated daughter of Anglo-Irish parents, was also method-trained, as a graduate of north London’s Drama Centre. But most exciting of all was the prospect of working with one of her biggest heroes, the Greek-American director Elia Kazan. It was an adaptation of F Scott Fitzgerald’s unfinished novel The Last Tycoon, produced by Sam Spiegel, with a screenplay by Harold Pinter.
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