Photoplay (Jul-Dec 1963)

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State Street — Chicago 3, Illinois with Paul, they recognize me. But if I’m by myself, they sometimes look at me as if “That seems to be a familiar face,” but I keep changing my hair, and I play, you know — I play character roles. So there is no identity for them to fasten on to, as there is with Paul. FRED: How do you think motherhood has changed you? JOANNE: I think it’s probably made me less involved with my career. Not with acting, because acting I love. But I find now that I’d just as soon do a scene at the Actor’s Studio, or do an off-Broadway play as we’re going to do next year, as do a movie. Because, in the first place, movies take me away from the children too much, and I don’t like it; and they don’t like it. Even the baby resents it very much, when I'm gone all day, and by the time 1 get home at night the baby is either in bed. or just going to bed. And now I have only an hour with Nel before she has to go to bed. And I tried that hokum of keeping them up late at night; but I realized that you can’t. Children need a certain stability, even if Mommy isn’t there. FRED: What kind of a father is Paul? JOANNE: I think he’s a marvelous father. He’s not terribly related to very small children — to babies. But I don’t think most men are, anyway, you know; you have to be a mother to go “go-goo.” But with the older children and with Nel, who’s three and a half, he’s wonderful; because he has enough of the child in him to be able to enjoy them, and yet he is intelligent enough to know that he simply can’t be a companion to them; he must also be a father. It’s a wonderful combination. FRED: Is Paul moody? JOANNE: Oh, no. He’s the easiest man in the world to live with. The only trouble is that he wants to stay up all night. And he gets up happy in the morning, which drives me crazy. I do like to stay up late and read; I love to do that. But on the other hand, when I wake up in the morning nobody should speak to me for like an hour, until I wake up. But Paul bounces out of bed, all smiles. And it’s the only time when I want to kill him. FRED: He’s interested, as I know you are too, in world happenings. JOANNE: I think we both feel that here is little Joanne Woodward from Greenville, S.C., and little Paulie Newman, from Cleveland, Ohio; and what are we doing here? And that gives you a sense of responsibility. If you have so much, then you have to do as much to deserve it, for other people. Paul even more so than I; he is vitally interested in politics, in the U.N.; he works with several committees at the United Nations, and of course is always flying off to the Phillipines or something to do a person-toperson show, which, even though I miss him. I wouldn’t have him not do it for the world. I’m glad he feels that way; and he is the one who has made me feel that way. FRED: How can people say that actors have no voice in politics? It concerns everyone. JOANNE: And not only does it concern every single person on earth, but who has a better right than an actor, who can make himself heard? What better right than to say what he feels? He has a right; he’s a citizen. But there is still a large element of people, in this country, particularly, who have a feeling that actors really aren’t citizens; they’re sort of like children, who should be kept away from everything. But actors are thinking human beings. It’s a tough business, as you know; you have to be a thinking human being to survive in it. Paul has had this argument with many, many people, because he feels very strongly about his political feelings and about his feelings about the world, and he expresses them loudly, and sometimes vehemently. FRED: You play a hard-bitten kind of a fashion designer in “New Kind of Love.” JOANNE: Yes, with glasses and a short haircut and everything, who suddenly pretends that she’s the French lady of the evening. Well — I don’t know if you can say French, because my accent is something other than French; I don’t know what it is. Maybe a little Yiddish. It’s a little Eva Gabor, is what it really is. FRED: It’s a great kick when you can close yourself in two different roles. JOANNE: As long as I can close myself in a role it’s fine; when I have to play straight, I’m in serious difficulty. FRED: Is it because you’re not happy with yourself? Or you’re happier being somebody else? JOANNE: To me, acting has always meant being something else. I don’t understand the whole theory of finding a personality and playing only that, which is fine if you can do it. I never really manage to achieve that. Besides, I don’t think it would be any fun. I would rather play as many different kinds of parts as I can find. FRED: Do you like working with him? JOANNE: Yes, and no. He is inclined to stand off-camera and say, “Honey, hold your chin up; hold your chin up.” And this is a little unnerving. Other than that, it’s marvelous, because he is the hardestworking actor I know. And I am inclined to be lazy — but not around him. FRED: I hear you tear up quite a storm, Joanne, in “The Stripper.” I’ve heard it’s a very exciting thing. JOANNE: Oh, it’s a marvelous part; that is, I think it will probably be one of my favorite parts that I’ve ever played, because it’s the first time I ever got to sing, or dance — although I have a feeling that some of my dancing got cut out. Unfortunately, Mr. Zanuck didn’t feel that I danced that well. But the picture itself is, I think, pretty good. FRED: I read somewhere that Paul got jealous during that picture — some kind of a love scene going on. Is that true? JOANNE: ( Laughs ) With Bob Weber. Yes, well, that was — I hope he was kidding, although he kept saying that he felt that Bob was holding on to me much too long, and he kept throwing dirt at us off-camera. He wasn’t very happy about it. What he really didn’t like was the striptease, because I had to do a strip number, and he sat and watched the entire thing, fuming. FRED: It must be funny to watch your wife strip for — not just the camera, but just potentially millions of people. JOANNE: It must have felt funny, because he sure didn’t like it. But I couldn’t do the same to him; I couldn’t bear to go on the set and watch him, you know, making love to somebody else. I would hate it.