Frankly, after that, he virtually disappeared, appearing in a handful of films that did not garner near the attention or success of Romeo and Juliet. According to a People magazine article published in , Leonard became a writer after retiring from films in the mids, though he is as yet unpublished. He felt he had been typecast and could not overcome it.
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He is married to his former? Here is the most recent picture of him that I could find:. Click to view a popup scan of the People article from It would not appear that Hussey has had the same problem. She recently played Mother Teresa in a made-for-TV movie, she has two movies in post production and an official website.gatsbybuild.co.uk/el-poder-positivo-de-las-emociones-negativas-crecimiento.php
'Part of me thinks I am Juliet'
Michael York is, in my opinion, the one star of this production with the most lucrative and vibrant acting career. Here is what he looks like today:. I suppose one could argue that Benvolio was the only prominent role played by Bruce Robinson, who grew disenchanted with acting waiting for the phone to ring and doing commercials and became a screenwriter. In fact, he wrote the screenplay for the phenomenal movie The Killing Fields. Many biographies cite also a semi-autobiographical movie Withnail and I , which Robinson directed. It is supposed to be a cult classic. Here is what he looks like now:.
He was, in a word, brilliant. He is a well-known British stage actor, but his movie roles have not exactly been few and far between. Here he is now in a recent production of Taking Sides:.
Olivia Hussey - Wikipedia
Incidentally, as I researched information for this post, I found out that Olivia Hussey and Leonard Whiting apparently dated and were quite serious about each other. In fact, in a interview with a Russian journalist, Whiting said,. It is very strange, because we have never spoken to western journalists about the truth.
We madly liked one another, or, at least, I was madly in love with her. But our paths in life have not coincided, unfortunately. No one understands it, but it was the truth. I liked her very much. I appreciate the interest this post continues to receive. I love this film, and I am so pleased that Shakespeare fans everywhere continue to derive enjoyment from it. I am, however, going to close the comments for this post.
In the interests of maintaining a higher level of discourse, comments will no longer be accepted for this particular post. I ask that you use my contact form if you have questions about this post. I refuse to show my classes the Leo DiCaprio version of Romeo and Juliet because… because… because it's such a crock of shit. Zeferelli's version is perfect. Thanks for all your advice! We must get together for bagels and schmeer next time I'm in Atlanta! Yeah…we watched that in English a few weeks ago…I'm trying to write a story about Rosaline now, but I needed a picture of Benvolio the hottie to inspire me.
Great picture of him, btw.
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I thought there was some chemistry between Hussey and Whiting in the movie…I bet it was the bed scene…anyways, yeah…this was a better version than the Leo DiCaprio version, on account of Leo sucks as an actor…Nice article, anyways. I went down to the Brea Mall to special order it, because I couldn't find it anywhere. Luckily for me, I had a big mouth and I was always being interviewed. Hussey discovered that she was pregnant and had a termination. Later, when she had to be less picky, she acted alongside everyone from Bette Davis to Traci Lords.
By 22, Hussey was a divorced single mother who was terrified to leave her house, thanks to agoraphobia aggravated by strangers stopping her on the street. Muktananda, she says, touched her third eye and her vision flooded with blue light. She followed him to a retreat in the Catskills, and another in India, braving the onlookers who wanted an autograph in a moment when she was so shattered, she barely recognised herself.
Hussey herself continues to act sporadically, though now that The Girl on the Balcony is published, her energy has shifted toward animal rights activism. Her twitter page is cluttered with emojis of hearts and tears for an endless stream of rescue dogs and tragic animal heroes, like a video of an armless squirrel named Karamel.
This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. The links are powered by Skimlinks. By clicking on an affiliate link, you accept that Skimlinks cookies will be set. Order by newest oldest recommendations. Show 25 25 50 All. I just loved his genius and the way he worked and—you know, I was crushed when I found out he was gay.
But I was only sixteen halfway through the filming, so I got over it quickly. Now, by today's standards you two were very underpaid, weren't you, for that film? And actually, we toured for eight months, you know, we were really the hottest young actors in the world at that time.
We couldn't go to any country in the world and not be mobbed. It was like the Titanic phenomenon but at that time, you know? I mean it really was. I mean, to this day, when somebody meets me, and they recognize me, I see it in their eyes when they loved Romeo and Juliet , you know? It's a classic, classic film.
I feel very honored—and so is Leonard—to have been a part of it. Now another rumor was that you weren't legally allowed to watch the film premiere, technically, because of the nudity. At that time, they didn't really. No, but I did watch it. I watched it in London. And we stayed up until four in the morning at the—I can't remember what it was—the Wal—the Astoria—the Waldorf Hotel or something like that—.
Waiting for the reviews. And the reviews came in and—in London—and they were so mean. You know, and I cried and Franco said, "Don't worry, it's just jealousy. Well, there was, of course, much praise as well. But I know there were mixed reviews. Of course, in London, they were so protective of the Shakespearean—.
But you know what? Franco said, "I really don't want it to be lost in the dialogue. I really want to make it a classic film that appeals to young people in fifty years from today. I get e-mails today from—on my web page—twelve, eleven-year-old kids. You know, it's great. Now, had you been prepared at all to handle—obviously it was such a whirlwind experience—it's impossible to imagine a headier experience than playing the most important role in dramatic literature for nine months in Italy—.
Well, playing the role was easy. It was heaven, and it became a whole way of life. We all became like a big family. It was the PR that took over. Nobody was prepared for—I mean it really was a phenomenon of its time. You know, it really was. It was—I mean everywhere. We were on the covers of magazines all over the world. We'd be shooting fourteen hours a day. And lunchtime would be—the Paramount people would come and say, "You've got two interviews during this lunchtime.
Each one half-an-hour long.
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And surreal moments like—didn't you dance with Prince Charles at the Royal premiere? Yes, I got to see—he asked to sit next to me at the dinner and we danced together, and my feet were hurting and I took my shoes off, and I put my leg up on his leg—because he was so sweet and so charming and you know, so lovely. Now, you've always been very complimentary, of course, about the great Zeffirelli. But for all he did for you, his was kind of a tough love, wasn't it?
He's a—well, he's a genius in my mind. He really can do anything, you know. He's got his demons like everybody else. But he's really—once you work with Franco, you're totally spoiled because he just demands so much. I just adore him. And he can be really hard to work with. But it's only because he wants the best. He can be charming and nice to some people—I mean, with me, he was so comfortable—that, you know, he's completely himself.
I just completely understood him. Even when we did Jesus of Nazareth , Franco only has to look at me for whatever role, and I just say, "I know, let me try. Let me do this. And then I'd say, "What was that like during, like, the balcony scene? What was that take like? So after that, it was really, really tough.
I couldn't work for two years after Romeo and Juliet because I just didn't want to. I was, at then, sixteen years old, almost seventeen. And we'd toured all over the world with this thing—opening the film all over the world. And you know, Paramount never so much as gave us like a little bonus check for personal appearances. I mean, it was incredible. We were very, very underpaid. We had horrible contracts—seven-year contracts. The only clause that I liked was that if we didn't like scripts being sent to us, we couldn't be forced to do them. So of course I turned everything that came down.
Which, in a way, I regret it now because my body of work would have been much bigger. You know, one of the biggest things that happened to me—I'll tell you—that I really, really regret was that we were touring and we were so tired. You can remember how young we were. And we were in New York—we traveled—we'd gone to Canada the day before, and we'd flown in, and Hal Wallis, the big American producer wanted to meet me to talk about a couple of films he had in mind for me. I was there promoting Romeo and Juliet , and I was in a bad mood because I didn't have anything nice to wear. You know, and so they put me—I went into this meeting and met Hal Wallis.
He was a charming gentleman, and he said to me, "You know, I've got two projects in mind for you, Olivia, that I think you'd be perfect for. Of course, later I found out what a great producer he was. But at the time, I didn't care who he was.
I was in a bad mood, I was young, I was tired. And I said, "What are those? Oh thank you, I'd love that. Richard Burton's one of my favorites. I met him last month in London with Franco. And he was so sweet. And I would love to play that. The other project is a project called True Grit with John Wayne. And I said, "But John Wayne can't act. And I really blew it. And I didn't mean to. You know, now I'm older. And after that I said John Wayne's an American institution. He's a great, you know, movie star. Who cares if he's not Richard Burton on the stage?
He is who he is. But at the time I didn't know. You know, you get very opinionated when you're young—as I'm telling my fourteen-year-old now. You know, we all think we know everything when we're young and then as we grow older we realize we know nothing. But at the time—so I blew those two parts. That was—I really regret that because those would have been two really good pieces of work.
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I want to ask about something that you maybe don't get asked about as much, which is actually the character of Juliet—playing the character. She's an everygirl in a sense, but what was Zeffirelli's thought about how the character needed to be played and how did you see her? No, he just said she needs to be like a young girl of fourteen who's found love for the first time. She has to be a spitfire—full of passion and full of the emotions a fourteen-year-old feels.
And just—"So basically Olivia, be yourself," you know? And that's how it was. And then—at first I thought, "Well, this dialogue is difficult," but then once you actually—the thing about Shakespeare, the beauty of Shakespeare, is once you know the dialogue, then you can let all the emotions come in. And another thing that I found over the years, is nobody rewrites Shakespeare. One of the worst things is when you take a job and you approve the script—you take the job, especially on television here—you know, you show up for work and they say, "Well, we've decided"—usually the producers—"We've decided to rewrite the scene.
The beauty of Shakespeare is that nobody can rewrite it. All they can do is delete. They can delete certain speeches or certain lines. And they can't rewrite. Which is really—and he—once you actually get the dialogue down, then you understand it, and it's just—it's absolutely beautiful.
And as an actor, it's very fulfilling to play. Because the dialogue is really, I think, not quite as important as the feelings. But if the dialogue is right, then it should come out at the right moment. And the feelings—it's the feelings that are more important. I think the whole vibe of Romeo and Juliet was that they were two beautiful, young people who found love for the first time and were willing to die for it. And that's something that's ageless.
I mean to this day—I think if Paramount re-released Romeo and Juliet , even in this jaded world of today, I think a lot of people would go see it again on the big screen and be moved all over again. From our enlightened perspective now, of forty years later, one thing looking back was about—you know, I think you were pressured at the time about your weight. Because I loved to eat. And I was a very compulsive person. And so when somebody ate one plate of pasta, I'd have to have three. And all my life I battled you know—until I hit like forty and then I said, "You know what?
I'm going to get healthy, and I don't care anymore, you know. I'm just not going to worry about it. And I said, "You know, you've got this one life. Just really enjoy every day and accept yourself the way you are. Once you start to breathe deep and do that, you know, your weight will adjust.
Everything adjusts as soon as you relax. You know, don't take it all so seriously. We're lucky if we get ninety years on this planet—. We're not here that long. But unfortunately, you have to, you know, live through a large portion of your life before that hits home. For some people, it never does. One of the probably memorable parts of the experience that we haven't talked about of making Romeo and Juliet was the rehearsal period--living in the villa—Franco's villa. Did you feel like it was a good preparation—that time—or chaotic, or both? Oh, I had a ball. Franco was so colorful and so full of life.
And you know, we were all sharing different stories, and people would come, and he always had lots of rooms in the villa—it was fantastic. And he just—for me, anyway, it was fantastic. I had a ball. And Franco had a reputation for seducing male cast members that would probably be considered harassment today. And I suppose because I was so young I wasn't exposed to that. And I've heard from a few people that it was tough on them. But, being a girl, I didn't have any problems at all. I just had a really good experience, you know? I became really good friends with Bruce Robinson and, um, um, oh, Mercutio.
I don't see either one of them now. It was a long time ago. But I loved them. We used to hang out a lot. And of course, Leonard. We became like a big family. Your co-star Leonard complained about the nude scene—at least after the fact. What was your attitude about that—I mean obviously you were so young—and the controversy that surrounded that. Well at the time, I don't think anybody this young in English cinema had ever done anything like that. But it was done so tastefully that it really, you know, I mean—Franco shot it towards the very end of the film, so obviously we'd been working together for months on end.
We all knew each other. And when the bedroom scene actually came around, you know, he sent Mauro, the makeup gentleman, to come up to my dressing room—and he said, "Franco wants you made up from head to toe. And I said, "But why? I'm going to have a long nightgown on. It will be done in the best of taste. So then, it wasn't that difficult. And then the grips at that time, all the men in the crew, you know, got to know us all, and we were the youngest people on the set.
So when we did the bedroom scene, a lot of the men, when they didn't have to, you know, be lighting something, they'd stand there with their backs to us. 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. And it was such a counter-cultural film, and this was such a traditional one. 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. 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?
People that loved the film, I've got to tell you, get very upset with me if I knock it. But it was a great cast. I got to meet Peter Finch—the late, great Peter Finch. Liv Ullmann, who's a fantastic actress.