ВСЁ, ЧТО ВЫ ХОТЕЛИ ЗНАТЬ ОБ АЛЕКЕ БОЛДУИНЕ, НО БОЯЛИСЬ СПРОСИТЬ
An Interview by Christian Conti on April 8, 1997
C.C.: Your first film was Forever, Lulu in 1987. Since then, what work have you been most proud of?
A.B.: My two best pieces would have to be Ghosts of Mississippi and my new film Bookworm. Bookworm was special for me to do because I really idolize the writings of Mamet. Also, I got to work with Tony Hopkins, and I really love Tony.
C.C.: As I understand it, you have performed multiple versions of Streetcar Named Desire with Jessica Lange. What motivated you to do this piece more than once with the same actress?
A.B.: I really wanted to do this play. A major revival of Tennessee Willams only comes along once every generation, and I knew that I wouldn't get this chance again. What I wanted to do was to compete with the Brando Stanley, and to make them forget the film for just one night. I kind of regret doing it for television and film, because it was a waste. There was already a great film available, and there was no need for another. Also, the television director wanted to tone down my Stanley. He was was more sympathetic to Blanche and had a dislike for Stanley's character. I think that directors have to understand all the characters that they are directing.
C.C.: Well, working with that idea of two or more visions of a piece, how do actors deal with trying to create a unified piece that works for everyone?
A.B.: Well, actors get very frustrated with giving control to other people. They have their own ideas and wants for their characters. Warren Beatty once told me that he thought actors ended up directing out of frustration. If you have a strong sense of how to communicate a film, you should direct. The problem is that it is a huge commitment. I'd rather direct a play than a film due to the time. A movie can tie you up for a year or more.
C.C.: You have done extensive work in many forms of the performing arts. Of your time on stage, television and screen, which do find most personally satisfying?
A.B.: Stage, definitely. It's only because the audience is there and you are experiencing it at the same time. Nothing can replace the communion with the audience that happens in a good production.
C.C.: How do you account for your success in films ranging in subject and tone from The Shadow to Ghosts of Mississippi?
A.B.: Honesty. You just try to be truthful. If you are passionate and truthful, you find success. There are a more people who have lasted forever as actors earlier because films used to be character driven and now they are mostly plot driven. Much of the most delicate work being done today is on television. It often has the best acting because of their ability to be truthful.