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Film Connections Interview with Francis Ford Coppola about the making of “The Rain People”
Film Connections
Interview with Francis Ford Coppola about the making of “The Rain People”
In 1968 the future Oscar-winning filmmaker and his cast and crew ended up in Nebraska for the last few weeks shooting on an intimate road picture he wrote and directed titled “The Rain People.” A very young George Lucas was along for the ride as a production associate whose main task was to film the making of the movie.
Coppola’s indie art film starring Shirley Knight, James Caan and Robert Duvall was released in 1969. The experience forged strong personal and professional bonds. It not only resulted in the Lucas documentary “The Making of The Rain People,” but it’s how Lucas came to cast Duvall to star in his debut feature “THX-1138,” which Coppola produced. Coppola also produced his protege’s second film, “American Grafitti.” The two also co-founded American Zoetrope. Meanwhile. Coppola cast Duvall and Caan in his crowing achievement, “The Godfather.” From obscurity in 1969. Coppola and Lucas became start filmmakers who helped usher in the New Hollywood.
The experience of “The Rain People” also introduced Duvall to a Nebraska ranch-rodeo family, the Petersons. he came to make the subjects of his own first directorial effort, “We’re Not the Jet Set.”
I am documenting this little-known chapter Nebraska Screen Gem as part of my Nebraska Screen Heritage Project, in a college class I’m teaching this fall and in articles I’m writing and in posts I’m making. On this blog you can also find my interviews with Knight, Caan and Duvall. I have also interviewed several others who were part of this confluence of talent and vision and I will be posting those over time.
My next step is to bring back as many of the principals involved in these three films for screenings and discussions.
Here is my interview with Francis Ford Coppola:
LAB: The Rain People is very much a road picture, and you and your small cast and crew traveled in cars and, I think I read somewhere, a mini-bus from Long Island to the South and then to the Midwest to capture the journey Shirley Knight’s character makes. Did you happen to shoot the film largely in sequential order?
FFC: “Generally I tried to shoot in sequential order, though if there was an opportunity to save money to shoot slightly out of it, I would.”
LAB: Is it true you hadn’t finished the screenplay when shooting began?
FFC: “I had a complete screenplay, but was prepared to make any changes if we encountered something interesting along the way.”
LAB: And so I take it that you hadn’t scouted all the locations beforehand but instead left yourself open to discovering places and events you then integrated into the story and captured on film?
FFC: “Exactly. We had a route, and wasn’t sure of exact location, But my associate Ron Colby was scouting a little ahead of us and we were in communication.”
LAB: What about Ogallala, Neb. – was it by design or chance that you ended up there?
FFC: “By chance. but once there, I think we felt at home and there were many good place that suited our story. And the people were nice and there was a nice little picnic grounds. And I remember a big steak cost about $6, so we’d have barbecues and we were all happy there.”
LAB: It was your first time working with the three principal cast members. At that point in your careers, Shirley was probably the best known of anyone on the project. I read somewhere that you met her at the Cannes Film Festival, when she was there with Dutchman, and that you saw her crying after a confrontation with a journalist and you consoled her with, ‘Don’t cry, I’m going to write a film for you.’ Is that right?
FFC: “Yes, that story is true. I think I was influenced by the notion of Europeans working with leading ladies, Monica Vitti or Goddard’s Anna Karinia, and so yes, I said that to her.”
LAB: You obviously admired her work.
FFC: “I liked Dutchman very much, where I also admired (her co-star) Al Freeman Jr.”
LAB: What about Jimmy and Bobby – did you know them before the project, and did any of their previous work make an impression on you?
FFC: “I had chosen Jimmy, and in fact before I even had the money or arrangement to make The Rain People, George Lucas and I went east and shot some ‘second unit’ footage at a football game and different images.”
LAB: Bobby mentioned that he might have replaced another actor who had originally been cast in his role, is that right?
FFC: “Original. For the rehearsals we had Rip Torn, but had as part of his deal that we give him the Harley motorcycle so he could learn to drive it well. We did, and he parked it in front of his house in New York City, and it was stolen. He came back to us and said it was his deal to have a Harley, so we had to buy him another. But all we could afford was a good quality secondhand one -– which then he said wasn’t his deal. It was supposed to be a good one. So later in the production, when Ron Colby called him to say we needed him to get his shoe and calf measured for the boots, he said, ‘That’s it’! and quit. I had seen Bobby in a movie (Countdown’ he made with Jimmy Caan for TV that Robert Altman had directed. I thought both of them were fantastic. So true and real in that kind of movie, so I offered the part to Duvall.”
LAB: I understand that in preproduction you like to rehearse or to at least do table reads with cast, or at least that’s how you preferred to do things then. Did you do anything like that for Rain People?
FFC: “Yes, I had been a theater major in college, and so I was very used to a few weeks of rehearsal and, yes, I did a rehearsal period for The Rain People and I’ve done it for every film after that.”
LAB: As you know, Jimmy and Bobby became fast friends with a local ranch-rodeo family there, the Petersons. They were this loud, rambunctious bunch. Did you meet any of the clan, particularly the patriarch, B.A., who is the central figure in the documentary Duvall made about the family, We’re Not the Jet Set?
FFC: “I remember the family, and Bobby’s interest in them. He was always interested in things that were ‘real’ authentic, as opposed to the fake reality of people in movies and TV shows, and thus he made We’re Not the Jet Set. I remember the song he wrote (?).”
LAB: What about another area ranch-rodeo family Jimmy and Bobby came to know, the Haythorns, did you meet any of them, particularly patriarch Waldo Haythorn?
FFC: “No, I don’t remember them. but perhaps I met them.”
LAB: I know that Duvall has often sought your opinion on the projects he’s directed – did he do so for We’re Not the Jet Set, and assuming you’ve seen the film what do you think of it?
FFC: “Over the years, he’d come visit me and bring me his films and ask for my reaction. I was pleased to be of any help I could be, especially after he did me the great favor of appearing in a tiny role in The Conversation.”
LAB: When you worked with Duvall on Rain People and later on the first two Godfather pictures and The Conversation, did you sense he had a directorial sensibility about him?
FFC: “I didn’t think about it. Iv’e always known that actors make the best directors among all the crafts – writing, editing, assistant directors, et cetera. There’s a long list of actors who became fine directors.”
LAB: After Rain People did you know you wanted to work with Caan and Duvall again? When you got The Godfather did you immediately think of them?
FFC: “I liked working with them very much, and yes, they were on all the early lists of names for The Godfather.'”
LAB: The Rain People production team also included two key collaborators in George Lucas and Mona Skager. The film came at an interesting juncture in your young careers. You had wanted to be an independent director but soon found yourself being a studio wonk. After Finian’s Rainbow it appears you intentionally set out to liberate yourself from the studio apparatus with Rain People, is that right?
FFC: “Yes. George Lucas was, and still is, like a younger brother to me. I knew early on that he was a great talent, and though a different personality to my own, one that was very helpful to me, and stimulating to me. hH’s a fine, very generous person, so bright and talented.Ii am very proud of him. Mona was the first ‘key associate’ I had, starting out as a secretary and blossoming into an all-around associate in the entire process.”
LAB: I believe that you, Lucas and Skager formed American Zoetrope not long after the project. Did the idea for Zoetrope come to you during the making of the film or did the experience of that film point you in the direction of launching your own studio?
FFC: “The idea for American Zoetrope really came from the theater club that I was president (or executive producer) of in college, called ‘The Spectrum Players.’ It still exists at Hofstra University in Long Island, and I was the founder and merely took many of the ideas of a creative entity that attempted to create art works with it’s own means. George was essentially a co-founder, and Mona was what they called in those days ‘the Girl Friday’ – today a production supervisor who was involved in all we were trying to do.”
LAB: Rain People certainly fits the vision you had for Zoetrope in terms of small, personal art films. which Godfather I and II, Apocalypse Now and subsequent pictures took you away from for many years before you returned to this model the last few years. Do you still regard Rain People warmly after all these years?
FFC: “Yes, very much. I wish Warner Bros. would allow me to buy it back, as there’s not even a DVD available about it (there is now). It has value, I think, beyond being an early film of mine but as one of the first films to touch on the theme of ‘women’s liberation’.”
LAB: The documentary Lucas made about the making of the film captures you and the others before you became so well known, which makes it a very interesting time piece, don’t you think?
FFC: “George’s film is excellent, if I may say, and he caught the spirit of this exciting trip, which for us was an adventure into filmmaking.”
LAB: In addition to working again with Caan, Duvall, Lucas and Skager, you also ended up working again with Rain People cinematographer Bill Butler, and so that film really forged some key relationships didn’t it?
FFC: “Bill Butler did a terrific job, and it was a pleasure to work with him.”
LAB: And, of course. Lucas ended up casting Duvall in his first feature, THX-1138, which you produced.
FFC: “Yes, George got to meet Bobby and knew he should be in THX-1138.”
LAB: The confluence of talent and connections that arose out of Rain People has always fascinated me, as has the fact that within a few years of its making you and Lucas helped usher in the New Hollywood and became kingpins in the industry. But you tried to escape the constraints and weight of studio filmmaking over the next few decades, and you finally have regained the independence you found on Rain People, all thanks to your wine company. You’ve kind of come full circle, haven’t you?
FFC: “I hope so. With the conclusion of the ‘student’ films I just made, Youth Without Youth, Tetro and Twixt, I feel ready to tackle a new and much bigger project. I feel blessed in my life, and of course hI ope I’m able to enjoy the freedom and autonomy enjoyed in those last three, on the new one, which will need a much bigger budget. I hope fate allows me to do it, as I don’t yet feel i’ve achieved what I long to do in film.”
LAB: As you know, Lucas has long talked about freeing himself from his corporate machine, CGI endeavors and Star Wars franchises to make small experimental films. Have you nudged him at all to say, ‘Hey, look, I did it, you can too’?
FFC: “George is so talented, anything he attempts will be a pleasure to see. Yes, I always ask him to quit fooling with the Star Wars ‘franchise’ and go back to what he and I always wanted: to make personal — experimental films. I have no doubt that he will succeed.”
Nebraska Screen Gems – “The Rain People” & “We’re Not the Jet Set”
Rare screening-discussion of two Screen Gems Made in Nebraska:
“The Rain People” (1969) & “We’re Not the Jet Set” (1977)
Francis Ford Coppola’s dramatic road film “The Rain People” & Robert Duvall’s cinema verite documentary “We’re Not the Jet Set”
Both films shot in and around Ogallala, Nebraska
Wednesday, October 17, 5:45 p.m.
Metro North Express at the Highlander
Non-credit Continuing Ed class
Part of fall Nebraska Screen Gems film class series
Register for the class at:
coned.mccneb.edu/wconnect/CourseStatus.awp?&course=18SECOMM178A
This class in my fall Nebraska Screen Gems series will screen and discuss a pair of films made in Nebraka by Hollywood legends before they were household names.
An unlikely confluence of remarkable cinema talents descended on the dusty backroads of Ogallala, Neb. in the far southwest reaches of the state in the summer of 1968.
None other than future film legend Francis Ford Coppola led this Hollywood caravan. He came as the producer-writer-director of The Rain People, a small, low-budget drama about a disenchanted East Coast housewife who, upon discovering she’s pregnant, flees the conventional trappings of suburban homemaking by taking a solo car trip south, then north and finally west. With no particular destination in mind except escape she gets entangled with two men before returning home.
Coppola’s creative team for this road movie included another future film scion in George Lucas, his then-protege who served as production associate and also shot the documentary The Making of The Rain People. The two young men were obscure but promising figures in a changing industry. With their long hair and film school pedigree they were viewed as interlopers and rebels. Within a few years the filmmakers helped usher in the The New Hollywood through their own American Zoetrope studio and their work for established studios. Coppola ascended to the top with the success of The Godfather I and II. Lucas first made it big with the surprise hit American Graffiti, which touched off the ’50s nostalgia craze, before assuring his enduring place in the industry with the Star Wars franchise that made sci-fi big business.
Rain People cinematographer Bill Butler, who went on to lens The Conversation for Coppola and such projects as One Few Over the Cuckoo’s Nest, Jaws and The Thorn Birds, was the director of photography.
Heading the cast were Shirley Knight, James Caan and Robert Duvall. Though they enjoyed solid reputations, none were household names yet. Caan’s breakthrough role came two years later in the made-for-television sensation Brian’s Song (1970). The pair’s work in Coppola’s The Godfather elevated them to A-list status. Rain People was not the last time the two actors collaborated with the filmmakers. Duvall starred in the first feature Lucas made, the science fiction thriller THX-1138. The actor went on to appear in Coppola’s first two Godfather pictures as well as The Conversation and Apocalypse Now. After his star-making performance as Sonny Corleone in The Godfather Caan later teamed up with Coppola for the director’s Gardens of Stone.
Among Rain People’s principals, the most established by far then was Knight, already a two-time Best Supporting Actress Oscar nominee (for The Dark at the Top of the Stairs and Sweet Bird of Youth).
The experience of working together on the early Coppola film forged relationships that extended well beyond that project and its small circle of cast and crew. Indeed, this is a story about those connections and their reverberations decades later.
For example, Duvall and Caan were already horse and Old West aficionados when they were befriended by a couple of Nebraska ranch-rodeo families, the Petersons and Haythorns. The interaction that followed only deepened the artists’ interest in riding and in Western lore. This convergence of New York actors and authentic Great Plains characters produced some unexpected spin-offs and helped cement enduring friendships. Duvall and Caan remain best buddies to this day.
Duvall became so enamored with the colorful, cantankerous Peterson clan, a large, boisterous family of trick riders led by their late patriarch, B.A. Peterson, that he made a documentary about them and their lifestyle called We’re Not the Jet Set. The actor returned to Nebraska several times to visit the family and to shoot the film with a skeleton crew. It was his first film as a director and it’s easy to find resonance in it with his future directorial work (Angelo My Love, The Apostle, Assassination Tango).
With this class I am trying to bring this story to light and to help revive interest in these films, particularly We’re Not the Jet Set. Recently, Turner Classic Movies added The Rain People to its rotating gallery of films shown on the cable network. But Jet Set remains inaccessible. I would also like to see the Lucas documentary, The Making of the Rain People, revived since it is a portrait of the early Coppola and his methods a full decade before his wife Eleanor shot the documentary Hearts of Darkness about the anguished making of Apocalypse Now. The story I’m telling is also an interesting time capsule at a moment in film history when brash young figures like Coppola, Lucas, Duvall, and Caan were part of the vanguard for the New Hollywood and the creative freedom that artists sought and won.
With their reputation as expert horsemen and women preceding them, several of the Petersons ended up in the film industry as wranglers, trainers and stunt people, boasting credits on many major Hollywood projects. One member of the family, K.C. Peterson, even ended up working on a film Duvall appeared in, Geronimo, An American Legend.
We’re Not the Jet Set has rarely been seen since its late 1970s release owing to rights issues, which is a real shame because it’s a superb film that takes an authentic look at some real American types. Duvall is justly proud of what he captured in his directorial debut. Don’t miss this chace to see what is a true gem.
Here is a link to register for the class:
coned.mccneb.edu/wconnect/CourseStatus.awp?&course=18SECOMM178A
Shirley Knight Interview
Here’s the latest interview I did for my Film Connections story-event project. It’s with actress Shirley Knight. She starred in the 1969 Francis Ford Coppola film The Rain People. She plays a discontented, pregnant, suburban housewife back East who feels trapped and suddenly flees her life to take a road trip across the country. She meets a couple men along the way and after a series of experiences she returns home to resume her life. The film’s final few weeks of shooting in 1968 happened in and around Ogallala, Neb. In addition to writer-director Coppola and lead actress Knight the production brought to this dusty hamlet a young assistant and then-protege of Coppola’s by the name of George Lucas, who directed the documentary The Making of The Rain People, cinematographer Bill Butler, and co-stars James Caan and Robert Duvall. The experience of The Rain People forged some important relationships that led to many collaborations by these artists. Coppola and Lucas formed American Zoetrope studio, Lucas cast Duvall as the lead in his feature directorial debut, THX-1138, which Coppola produced along with American Graffiti and Coppola cast both Duvall and Caan in The Godfather and went onto work with the actors on later films as well. While making Rain People Caan and Duvall fell in with a ranch-rodeo family who became the subject of a documentary Duvall made about them, We’re Not the Jet Set. My project examines these and more connections. You can find on this blog my interviews with Duvall and Caan. Soon I will be posting interviews I did with Coppola and Butler. That just leaves Lucas for me to get to. If anyone can help with that, I’d appreciate it.
LAB: Francis Coppola told me that he met you at Cannes, where your starring vehicle Dutchman (1967) was playing, which he greatly admired, and he came upon one one day to find you crying, after a confrontation with a journalist, and he consoled you with, “Don’t cry, I’m going to write a film for you.” And that film of course became The Rain People and the protagonist Natalie Ravenna was written for you.
SK: “Well, crying…I remember meeting him and talking with him. I don’t remember…I mean, it could be I had some sort of altercation with a journalist but I don’t remember. It’s so funny because a magazine told that story and the way they told it made it seem as if he was writing a film for me because I cried and I thought, ‘Well, that’s a very strange thing to say because I don’t think a Francis Ford Coppola would write a film for someone because they cried. I think they’d write a film for someone because they admired their work.
“I of course was very proud of Dutchman because it’s a film I also produced and we won the Critics Prize at Cannes for this little, bitty film which has become kind of iconic. I was very, very proud of my work in that film and also just the fact that I managed to get an independent film made.”
LAB: As you know better than me, a woman producing a feature then was a rarity. That was quite an accomplishment.
SK: “People always say, ‘Why isn’t your name on Dutchman?’ I just had the producing credit at the end, calling it Kaitlin Productions, which was me. Later on I regretted not taking my full credit. I allowed my husband at the time (to take credit). I guess I felt, ‘Well, I’m starring in the film..’ But honestly I think I should have been more true to myself and not given that up and of course it was my idea to make the film.
“I had done the play and I said, ‘I’m going to make a film of this,’ and he (her then husband) thought I was insane, as did everyone. They said it’s too short, it’s too political, it’s too this, it’s too that, and I said. ‘I don’t care, I’m going to make this film.’ And then I got him on board and he really helped. He had produced the production of the play.”
LAB: You’re justifiably proud of that project.
SK: “Yes, well, it’s become a film that’s taught in all black studies courses across the country. In 2000 the film was recognized as the most important about civil rights by a museum in New York. I tell my students that I think it’s so important that if there’s something you have to do because it’s close to your heart and you want to see it through to do it.”
LAB: You could count the number of women producers and directors then on one hand.
SK: “I remember years ago I did a television show that Ida Lupino directed and she was so cross with the editors that they wouldn’t edit the film exactly the way she wanted it. And what she would do is if she set up a close up that she knew she was not going to use in the editing room she would put her hand in front of my face, so that they had to cut to the other person. I was fascinated by her and her courage that she was going to have her film the way she wanted her film.
“Geraldine Fitzgerald played my mom in it and it was about Aimee Semple McPherson. It probably does not exist. It was like a two hour television film. She’s the only woman director I worked with. I’ll never forget her courage and how admirable I thought that was.”
LAB: Dutchman was a controversial film in its time for its racial content.
SK: “We did it on the fly, shot it in one week. We stole shots in the subway with an Arriflex and a paper bag. At the time nobody, apart from Europe, was going to recognize independent film (the film was completely ignored by the Academy Awards). We were recognized at Cannes and also I won the Best Actress at Venice for Dutchman. We tried to promote it in the United States. I showed it to my agents at William Morris and some of them even walked out if you can imagine. I was disappointed that I wasn’t recognized for my work in Dutchman in the United States but we were very backward at that point in terms of independent films.
“I think that atmosphere kind of affected The Rain People as well.”
LAB: Let’s talk about your working on The Rain People.
SK: “We of course did a lot of work improvising and all of that when we were working on the film. We were trying to write about a woman being an independent creature and trying to find herself.
“Did Francis tell you we made it under one regime at Warners and then it was released by the next regime?”
LAB: No, this is the first I’ve heard of it, though it’s not hard to believe and a lot of films have been the victim of similar regime changes and going from favored project with the former regime to out of favor with the succeeding one.
SK: “Well, I believe that’s what happened, I don’t know exactly. I think what happened was they didn’t care, you know they didn’t make the film, so they didn’t do a very good release, which was strange. But at any rate, to start at the beginning…we did meet at Cannes and he had You’re a Big Boy Now there.”
LAB: Were you impressed by it?
SK: “Yes, I thought it was a very sweet film”
LAB: Did you have any trepidations about working with someone as young as Coppola or was the chance to work with someone with a new voice and a new set of eyes actually appealing?
SK: “Absolutely. I’ve always been a person who’s sort of went against the flow. I’ve done that a lot, particularly in the theater, causing riots with plays I did like Dutchman and Losing Time, where we literally almost were run out of town. I like cutting edge. In my opinion art is about…we only have two things in life that help us to become better people and help us understand the world, and that’s art and philosophy, and so I think as artists we need to be responsible in terms of the work we do. That’s why I’m terrified by all the degradation of society by the reality television shows. I find it very frightening in terms of whats happening to the world.”
LAB: So Coppola told you he’d write you a film and he did
SK: “And then I think it was a few months later – I was in London working and Francis phoned and came with the script. I was staying at a little cottage in Hampstead, north of London. It was so sweet because he asked me would I mind reading the script right then. I said, ‘No, that’s fine.’ I remember I fixed him something to eat and then I went in the other room and he played with my daughter Kaitlin, who was around 5 years old. I read it and came back out and said, ‘Yes, I’d love to do it.”
LAB: What did you respond to most strongly in the script?
SK: “I responded to the character and also to the idea that we were going to make a film where we weren’t restricted. I was under contract to Warners and I had done a lot of films that were basically either on the Warner Bros. ranch or backlot or lot, so I loved the idea we were going to make a film where we were at liberty to do what we wanted, that we were going to drive here and drive there. I loved that aspect of his creativity.
“We had a few indoor sets (but otherwise the film was all actual locations).
NOTE: She said other than Dutchman and The Rain People very few of the films she made early in her career utilized actual locations. Another exception was Sidney Lumet’s The Group.
SK: “Sidney Lumet was very good at using locations. When we made the film The Group we shot that in New York on location, in the streets and on the subway and in churches and so an and so forth. In the films Sidney did with Al Pacino he shot outside a lot.”
LAB: Let’s get back to the story of your accepting the part of Natalie in The Rain People and working with Coppola.
SK: “I was excited about that and about this new young filmmaker and we sat down and talked about who he wanted to put in the film with me. He mentioned Rip Torn whom he had worked with in You’re a Big Boy Now, and he wanted him to play the motorcycle policeman and I said, ‘Great,’ because I knew Rip – we did Sweet Bird of Youth and I was very close friends with his wife (Geraldine Page). And Francis mentioned James Caan (as Jimmy “Killer” Kilgannon), and I thought that was a very interesting choice for that role.”
LAB: Torn ended up being replaced by Robert Duvall.
SK: “What happened was, we were in New York and we did a lot of rehearsing with Rip and we added a bunch of improvs that Rip and I came up with and then we started making the film. That character (the cop) doesn’t come in until about half way into the film. We were out in Ogallala, Neb, and I don’t know the exact thing that happened, all I know is Francis came to me and said there was a difficulty with Rip, that we’ve lost Rip. The bought a motorcycle and it wasn’t a large budget and Rip lost it or he left it outside and somebody stole it.”
LAB: Yes, it was stolen, Coppola told me the whole story.
SK: “Knowing Rip, I wasn’t surprised. He had lost the role he was going to do in Easy Rider. He was supposed to play the role Jack (Nicholson) eventually played and it made Jack’s career. Well, he quarreled with Peter (Fonda) and Dennis (Hopper) and lost that and so I was upset for him that he was yet again spoiling a chance. If one thinks about what happened after it’s really sad because he might have been the person who did The Godfather films and Apocalypse Now.
“So we then had Robert Duvall play that role and that changed a lot of film history actually if you think about it because he started doing all that work (with Coppola). I remember mentioning to Francis Bobby Duvall. I had done a television show with him where we played husband and wife and I liked him, and he was thrown in the mix and eventually did the role, which was nice. He was lovely and that all worked out fine.”
LAB:: How did that small intimate ensemble of you, Duvall and Caan work out?
SK: “I think it was very good. I mean, you know, we had our ups and downs as one always does, especially in a long shoot, and there were times when we didn’t always agree, and that always happens. But the whole experience and the film that resulted from it was I thought very positive. And the only disappointment was it didn’t get the recognition and accolades I feel it should have.”
LAB: “What did you most identify with in the character of Natalie?
SK: “At the time I was leaving my first husband and I had met and was going to marry John Hopkins and I was actually pregnant with my daughter Sophie, so I was in an awkward point in my life because I was changing a lot of things. I was going to be moving to England, I was marrying an Englishman, and was about to have a child and we were doing this film about a woman who was in flux. Now when I first read the film that wasn’t the case but when I was doing the film it sort of was, not that I was her. I just think that sometimes life aligns with roles you play.”
LAB: What’s your take on why Natalie goes off on this adventure, having this series of experiences on the road with men, and then returns home to resume her life as a housewife and expectant mother?
SK: “It’s a road to discovery. I think what was happening with women at that time was that they were coming out of the ’50s as lovely housewives in their aprons into an era when women were becoming doctors and lawyers and entering politics and becoming independent. Natalie was caught up in that, she had married young and suddenly was feeling like she didn’t have control over her life and here she was pregnant and the responsibility of that and how that affected what her life was going to be.
“And I think the trip, the discovery for her was that in the course of the drive and meeting the two men she was able to determine that the life that she has was a good life. What she learned was that she could be her own person with another person. It didn’t require to reject this lovely man she loved in order for her to become independent.”
LAB: What was your experience in Ogallala like?
SN: “Well, it was kind of a relief to be in one place because wed’ been driving so much so that when we finally got to Ogallala it was rather nice. My daughter came out and played with Francis’ boys. One anecdote thats’ amusing, at the time it wasn’t amusing – his oldest boy and Kaitlin were playing and they thought it would be a good idea to strike some matches in one of the rooms at the motel and they started a little fire, as children will, but fortunately I had a nanny with my daughter and she saved the day.”
LAB: Having grown up in Kansas as you did being in the middle of Nebraska was not too unfamiliar to you then.
SK: “Not at all, the Midwest, and I always say Midwesterners make the best people. You know, Midwesterners are very open and nice. I’m still very close friends with my classmates from high school. I go to Kansas quite frequently because I started the William Inge Festival in Independence years ago.
“And I must tell you I made a horrible mistake when I was in Ogallala, Neb. I was offered the lead in a film called They Shoot Horses Don’t They? and I was so tired and pregnant and i said no to that amazing role, so I made a dreadful mistake, but one does that, so that happens.”
LAB: By the way, what did you make of the young George Lucas, who was an assistant on the project and also directed The Making of the Rain People?
SK: “I thought he was adorable. Francis said to me, ‘Do you mind if this kid comes along? I saw his student film and he wants to come along with us.’ And I said of course not, the more the merrier. And I tell that story when I teach because I could have been Miss Grand Dame and said, No, no. I always say to all my students, ‘Be nice to everybody. You don’t know, because that assistant could turn out to be George Lucas.'”
LAB: When The Rain People was made you were by far the biggest name among the films’ principal talents.
SK: “Well, I have a whole theory about fame. I always say, ‘It isn’t really something to aspire to in the sense that many many people who are very famous are ridiculous. I mean, look at the Kardashians. There are people walking around who don’t know who The Beatles were. So again something I tell my students, ‘If you think your food is you want to be famous you’re going to starve to death. Your food has to be you want to do good work and you want to become better at what you do. I quit movies and went to New York so I could become the best I could at my craft.
“The fame thing is absurd…ridiculous. It has nothing to do with what an artist does. And there’s a lot of young people now who don’t know who Francis is. They haven’t seen The Godfather. They know who Christopher Nolan is. So it’s all fleeting that whole thing. The people who really know who I am are people who are my age because they’ve grown up with me or they’re people who see me in those silly Adam Sandler films I do. I have a whole flock of young boys who stop me on the street and show me on their machines, which makes me laugh a lot.”
LAB: How do you regard The Rain People today
SK: “When people ask me my favorite films I always say Dutchman obviously because I think that’s my finest performance and a lot of that has to do with the fact that I did it in the theater. You don’t get better if all you do is film, you sort of stay the same. I think Rain People is certainly up there and then the other film I think is remarkable and I don’t have the lead in is Petulia. I think Richard Lester was one of the genius directors and I got to work with him twice and I think Petulia is an amazing film. If you said this is a film about the ’60s that would be the film because it is so much the ’60s. And I think As Good as it Gets is a wonderful film as well. Sweet Bird of Youth is a wonderful film. But I would say my top two would be Rain People and Dutchman.
“When they honored Jane Fonda and I at the Rome Film Festival they showed three of her films and three of mine, and the three of mine were Dutchman, The Rain People and Sweet Bird of Youth. It was very nice.”
LAB: Have you remained close to anyone from The Rain People over the years?
SK: “You know, not really. I’ve of course spoken to Francis and when he was honored at Lincoln Center I was one of the people who spoke. I’d love to work with him again. Francis and I were both at the Rome Film Festival when they honored Jane Fonda and I.
“But you know what it’s like, you just keep going on, its’ endless. I just finished an independent film in Oregon that I have great hopes for. It’s lovely. And I’m just about to start a Stephen King film, something I’ve never done, so that’ll be interesting. Anyway. I keep going. I’m one of the few actors evidently that has never been out of work, so I’m quite fortunate.”
LAB: Coppola always intended to make small personal art films like The Rain People and then The Godfather happened and the trajectory of his career changed. It’s only in the last decade he’s gotten back to doing what he really wanted to do all along.
NOTE: Shirley’s a big fan of one of Coppola’s later works, Youth Without Youth.
SK: “I thought that was amazing, fascinating. It was a very mystical film.”
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Robert Duvall Interview
I am developing a film story-event project that’s piecing together what happened when a confluence of remarkable talents came together to make a low budget road movie in the late 1960s and their production journey brought them to western Nebraska. The road pic was Francis Ford Coppola’s art house special, The Rain People, starring Shirley Knight. That production cemented a relationship between Coppola and a young protege, George Lucas, who was along as a production associate and to document the making of the film. The project also connected Coppola with two actors who would go on to play prominent roles in his future pics: James Caan and Robert Duvall. That’s not all. The Rain People additionally led to Duvall starring in Lucas’ first feature, THX-1138, and to the actor directing his first film, the documentary We’re Not the Jet Set, which profiles an Ogallala, Neb. area ranch-rodeo family, the Petersons, whom Duvall became very close to. As I make progress on the story I will be posting interviews I’ve conducted with many of the principles involved in the films. What follows is an interview I did with Robert Duvall. I recently posted an interview from this project I did with James Caan. Look for upcoming interviews I did with Francis Ford Coppola, cinematographers Bill Butler (Rain People) and Joseph Friedman (Jet Set) and editor Stephen Mack.
Robert Duvall Interview: From My Film Connections Project (An In-Progress Film Story-Event Project)
©by Leo Adam Biga
LAB: Thanks for agreeing to speak with me about The Rain People and We’re Not the Jet Set.
RD: “I’m glad you called, man. I’m driving along in my car. I’ve got this little mobile phone but hopefully it’ll hold out OK. How ya’ doin’, good?”
LAB: Just fine. And how about yourself?
RD: “I’m all right. We’ve been traveling, but we like Virginia here, my wife and I. So we’re trying to settle in for a little while, and see what’s next. Life is full of what’s next, you know.”
LAB: And I’m speaking to you from Nebraska.
RD: “A nice state up there. A lot going on up in Nebraska. When are you going to do coach what’s his name from way back? Your teams aren’t like they used to be there at the university. The parity in college football. I bumped into Joe Theisman, that quarterback for the Redskins. And probably everybody would disagree with him and me, but I told him, ‘I think some of these college teams could beat some of the pros from about 30 years ago.’ And he said, ‘I’ll tell you, some of the college teams could beat some of the pro teams of today’ It’s possible. I think USC would play the Detroit Lions at 0-15 very well.
“Alright man, whatveer you want to ask me I’ll see what I can answer.”
LAB: Well, before we begin I wanted to let you know that I’ve spoken with members of the Peterson family you got to know so well when you came to Nebraska to act in Coppola’s The Rain People and then when you profile them in your documentary We’re Not the Jet Set.
RD: “Where was Casey (Peterson) at? Is he back in Nebraska?”
LAB: Yes, I believe he is.
RD: “But he lives in Calif., too, right?”
LAB: That I’m not sure about.
RD: “Oh, he’s a character that kid. He’s grown up now. What a character, my God.”
LAB: I’d like to begin with your experience on The Rain People.
RD: “Oh, yeah, with Jimmy Caan.”
LAB: Do I understand that you were not originally attached to that production in the role of the motorcycle cop?
RD: “I think another actor was scheduled to play the part and…he left or something and I came in, and I knew Jimmy, and I hadn’t known Francis (Coppola) yet when I came in to do that. He (Caan) kind of coordinated it. Jimmy Caan came out first and then I went out there.”
NOTE (Rain People cinematographer Bill Butler told me in a separate interview that Rip Torn was originally cast in the cop part but quit the project when he learned he wouldn’t be given the motorcycle he would be riding in the picture.)
LAB: The Nebraska part of the shoot mostly centered around the Ogallala area in the far southwest region of the state.
RD: “It was pleasant working there, I enjoyed working there and that’s how we met the Petersons because Jimmy wanted to go down…we liked horses. He said, ‘I’m going to a branding, you wanna go?’ I used to do that on my uncle’s ranch. It’s a lot of work. So I said, ‘No, Jimmy you can go do that.’ But we met them, the Petersons, because of the movie,.”
LAB: Denny Peterson remembers the initial meeting between you , Jimmy and his family as going something like this: you and Jimmy spotted Denny working with some horses in the family’s outdoor arena and you sidled up and asked if you could ride and he told you, ‘Hell, no, I make a living with these horses…’
RD: “No, I don’t think so, I think that’s a romantic aspect on Denny’s part. Maybe Denny said that to somebody. I don’t remember that at all. I’ll tell you the exact thing that happened. We went to their front yard, which was on the highway, the alternate road to Calif., and Shelley (Peterson) was riding a horse called Rock Red, which was a world champion cutting horse, and we started talking with the dad, B.A., and he said, ‘Are you boys from the movie?’ ‘Yeah.’ ‘You can come on down any time you want and ride some horses-You been getting any pussy?’ All in one breath. It was so funny. And we kept going down there and we formed a nice friendship.”
LAB: Horses and riding have been a big part of your life.
RD: “Not on his (Denny Peterson) level, but I’ve ridden a lot horses. But Denny was like a champion trick rider and everything like that.”
LAB: Did you know right away you’d come upon some authentic Western characters you could mine for inspiration?
RD: “Oh, boy, very unique, a very unique family, a rodeo circus mentality, you know. They were kind of an identity unto themselves even in that small community I think.”
LAB: In a sense the Petersons were following a bit in the tradition of William F. Cody and the Wild West Show troupe.
RD: “There were some pretty rough and tumble people back then. Like the Petersons. Lots of fist fights.”
LAB: For a lot of people HBO’s Deadwood became the definitive vision of the West come to life.
RD: “But I didn’t hear that kind of language from them. I think it was a different take on what the West was like, but I think there’s a definite connection maybe to the Petersons. I was talking to Denny and he said, ‘When my dad died I didn’t get the full impact of it till Walt ‘Waldo’ Haythorn died.’ He was the other rancher out there we met. That guy and B.A. were really good friends. He (Waldo) was probably like a surrogate uncle or something to Denny. Denny felt close to him. So he felt the full impact of his dad’s death when Waldo died a few years later. Because Waldo was a character, Jesus he was a character, too.
“So we’ve been involved with some good cowboys here and there.”
LAB: Didn’t the Haythorns’ real life early adventures on the Great Plains inform your mini-series Broken Trail?
RD: “Absolutely, the story of one of their grandfathers driving horses east from Oregon.”
LAB: You also grew close to the Haythorns, visiting their ranch a number of times.
RD: “They wanted me to be in the rodeo in North Platte. I hadn’t been on a horse in a couple years when I went up to do rope and trail up there. I bought a horse a year in advance to get ready because I busted some ribs on another project. The best horse I’ve ever been on in my life. He was three times a national bronc riding champion. They’re (the Haythorns) a wonderful family too. Not quite as wild (as the Petersons), but they have their wild side, too. Waldo, he let me use his personal horse and what a horse, my God, that horse was just…the best I’ve ever been on.
“And the Haythorns are out there still…They’ve gone down in Texas and won that (national ranch horse championship). You know the son, Craig, he’s getting old, too.
“When I was down in Argentina and I talked with the greatest polo player that ever lived, Adolfo Cambiaso..They own that, nobody can touch them in polo. He said he does like the American quarter horses as a breed a lot, although the thoroughbred’s better for polo because a little more endurance.”
LAB: Is it fair to say you’ve always had a fascination with the West?
RD: “Well, to a point, yeah. Ever since I was 12-13 I went and spent two summers on my uncle’s ranch in northern Montana and that gave me whatever wisdom, whatever knowledge, whatever enthusiasm I had for that, and respect for that to play those characters. I don’t know if I could have ever done Augustus McCrae in Lonesome Dove if i hadn’t maybe been introduced to that way of life as a young guy. I would say that’s true. Of course, they say the hardest part of that life way back then was to get a good night’s sleep on the ground, so it wasn’t as romantic as sometimes the movies portray.”
LAB: It seems like you’re drawn to down-to-earth, grassroots stories and settings and characters.
RD: “I like certain aspects of America, not just the two coasts.”
LAB: In B.A. Peterson you met a rough-hewn, bigger-than-life figure.
RD: “In that same place he was building a shed one time, and I wasn’t there, but the building inspector came down and said, ‘You don’t have a permit to build that,’ and B.A. said, ‘You keep staring at it and watch it go up.’ That was B.A., he didn’t back up from anybody.”
LAB: How did someone like Francis Coppola respond to the Petersons?
RD: “Coppola said about the Petersons, ‘Oh, they kind of scare me.’ Well, then he goes and makes a movie on the mafia (laughing).”
LAB: What was your experience like working on Rain People?
RD: “You know, it was a nice movie to work on. That’s when Coppola was doing those smaller films, before he did The Godfather and everything. It was a stepping stone to other things.”
LAB: What did you make of the young Francis Coppola?
RD: “He was a very serious guy, very preoccupied.”
LAB: Did you have a sense for how this road picture of a project was coming together?
RD: “It was hard to tell because it was a small film and they’d been working on it for a while. I came into it at the last minute.”
LAB: And what was Coppola like so far removed from his comfort zone?
RD: “I don’t think he felt he fit in there. He said the Petersons are dangerous. He wanted to go back to New York. I was more into Coppola on The Godfather I when the studio was against him. I gained a lot of respect for Coppola on Godfather I. It was Copolla’s picture. He was the one who made that film work. He had a lot on his plate.”
LAB: It was only in doing research for my project that I discovered George Lucas was part of The Rain People company and his main job was to shoot and edit the documentary, The Making of The Rain People.
RD: “I met George Lucas on that. He’s a nice guy, quiet kind of private guy. I did his (USC) thesis film (THX-1138). When we did The Rain People he was like 115 pounds and he had a camera and sound equipment strapped on himself, this little thin guy, and the documentary is as interesting as the movie.”
LAB: You and Jimmy Caan became fast friends on projects like that one and Robert Altman’s Countdown before working together more famously on The Godfather.
RD: “We had a lot fun between me and Jimmy Caan and his brother (who doubled for Duvall on the motorcycle in Rain People), who’s nuts, riding along on that motorcycle. and they didn’t have motorcycle police in Nebraska then. We got stopped and got a ticket. I had to learn how to drive that thing. One night I came in and parked the thing. It took ten takes, and then it fell over. Oh, man, we laughed so hard. But we had a good time out there. It was a memorable time working there for those weeks there in Nebraska. It was great.
“Jimmy’s great to work with. He gets restless though.”
LAB: I must tell you that I consider We’re Not the Jet Set a superb piece of filmmaking. It’s one of the better documentaries of that era.
RD: “Well, you know who else liked it a lot, unsolicited…I knew Peter Falk and he took it and showed it to John Cassavetes and Cassavetes loved that film.. Also, I wouldn’t call it a pure documentary because there were certain scenes we set up and then they could do them in a pure way like a documentary, you know what I’m saying? The bathing scene where B.A. hoses his little boy and then puts him in the bath tub, that was kind of set up, but it’s what they do and so it comes out a pretty pure behavior.”
LAB: There’s no way you could have portrayed the family as intimately as you did had you not become like an adopted family member immersed into the family scene.
RD: “Exactly, that’s what happened. When I worked with the gypsies (for his Angelo, My Love), the same way. I mean, you really gotta become part of something without trying to patronize, but tell it like it is. Do you know what I’m saying? Because so many films in Hollywood they do patronize the interior aspects of the United States between the two coast lines. But you gotta turn it around and let it come from them.”
LAB: It’s somewhat surprising to me that B.A. would have approved exposing himself and his family so starkly.
RD: “The first time we got out there he said, ‘What if I wouldn’t let you do this?’ I said, ‘Well, what are you going to do, we figured you would.’ Before they signed any releases or anything, there was no money exchanged because you know I didn’t have any money to do this. I think we went out six times in like two years or something like that.”
LAB: So you financed the project yourself?
RD: “Oh yeah, it was myself. I told Brando about it when I was doing Godfather I. He went for the truth. You know he used to watch Candid Camera to study to be an actor. He was that interested in real behavior, which I am and was.”
LAB: I like how Jet Set and your other films as a director are infused with little moments, gestures, asides, glimpses of authentic, truthful behavior, all of it unadorned, and much of it provided by nonprofessionals.
RD: “Yeah, I think so because once again we turned the camera around and let it come from them. It’s their life. I can’t tell them, ‘Do this, do that.’ And I think more feature film directors should do that – they should see what the nonactor comes up with. When you mix the nonactors with the actors sometimes they’ll put the professional actor on notice because they don’t have any bad habits. So I do try to go after reality, like lifelike behavior within the discipline of movie time.”
LAB: In addition to the colorful characters in Jet Set you captured the expressive Sandhills.
RD: “Oh yeah, the Sandhills country.”
LAB: It’s like another character unto itself in.
RD: “Oh totally, absolutely. There was one scene, we lost the footage. I wanted to start the film with it, where Casey was bathing his pony in like a big rain puddle. But we could never find it, it was unaccountable, so we started instead with some truck with Jake and B.J. I believe it was.”
LAB: The way B.A. comes off in the film and the way you describe him he was just savvy and ambitious and vain enough that the idea of a documentary obviously appealed to him. Besides, he was a showman and he probably saw promotional possibilities in agreeing to be featured in a way that anticipated Reality TV.
RD: “Our troubles were more internal. Our troubles were with a certain cameramen and certain guys that wanted to do it this way. That’s where the problems were, the problems weren’t with the Petersons. The problems were on our side of the camera, the egos there.
“It was tough to do. Usually the actors are prima donnas but the freaking cameraman was the prima donnas on that one.”
LAB: I’m curious to know if Jimmy ever accompanied you on your visits back to Neb. to shoot Jet Set?
RD: “No, he never did. Wilford Brimley did once. No, but they (the Petersons) liked Jimmy a lot and Jimmy’s the kind of guy I always say – ‘You change your telephone number every three months when you don’t have to.”
LAB: A bit mercurial is he?
RD: “Yeah, and also paranoid, I don’t know. He got out there and they were out there branding, and one of them said, ‘Hey there Hollywood, Caan – sounds Jewish.’ He said, ‘My grandparents were Dutch. I said, ‘Why didn’t you tell them you’re Jewish?’ He said, ‘Well , I don’t know, the way they were, I didn’t know what was going to happen.’ But they loved Jimmy, Jewish or whatever he was, they loved him. He and Waldo gave each other their hats.
“No, we had good times together. (Laughs). You’d tell him a joke and B.A. would laugh for five minutes. He had a great sense of humor that guy.”
LAB: Caan got so into the whole branding and herding scene that he ended up becoming a professional rodeo competitor.
RD: “He claims he was a professional rodeo guy. He was a header and heeler in team roping. He did quite a bit of that for a while.”
RD: “I talk to Jimmy all the time. He’s a good guy – one of the few actors I keep in contact with. We stayed friends. We’re trying to get a project off the ground. We may be going to Cuba. A guy’s going to write a script for me, Jimmy and Pacino. It’s a story about life there before the revolution.”
LAB: Is it fair to say then that Jet Set was a labor of love for you?
RD: “Yes, sir, absolutely and that helped me to play Westerns from then on out, being around those people, the real thing, that helped me when I went on to do things like…especially Lonesome Dove. That was my favorite part. Also that Broken Trail, that’s right up there with that. I loved doing that.”
LAB: It sounds like you’ve maintained ties with the Petersons all through the years.
RD: “Yeah, but we’re not as close. I hadn’t seen Casey in a few years and then when I saw him (on the movie Geronimo, An American Legend) he was almost 40 years old. He was working on that. It was like 20 years or so (since they’d last seen each other). They (the Petersons) got into movies, not because of me, I wasn’t instrumental. I’d like that to be known up front. They totally got that on their own. Shelley, the older daughter, her first husband was a rodeo clown and then she married another guy that was in the movies, and she still does that. And then Rex went off and he’s really done well. He worked under Corky Randall (famed animal wrangler). He’s done a lot of movies. He worked on The Horse Whisperer and a lot of other stuff. So they’ve done well.
“Back then (on Jet Set), everybody was young. Denny was the guy on horseback, and then Casey, athletically, he refined many things. Rex became kind of the star of the family without anybody having predicted that within the family, I think.”
LAB: The Petersons said they got close to your family and even visited you on the set of The Godfather.
RD: “My sterpdaughters at the time got on well with them. They came to the set of The Godfather.”
LAB: What about your Jet Set crew? For instance, your editor on that, Stephen Mack, has gone on to edit all of your films as a director.
RD: Steve Mack? Did a good job editing. He was a good editor for that.”
LAB: Were you nervous showing the finished film to the Petersons because of how close you’d become to them and of how unvarnished a portrait of them you made?
RD: “Yeah, because sometimes you get with the real deal and they want to see the artificial. I’m not saying that’s true in this case. Sometimes a cowboy or somebody else will want to see a Hollywood presentation more than they do the every day stuff they live and see, which is boring to them. You know what I mean? So, yeah, I wondered. I wasn’t sure because it’s a revealing thing. I think Denny was a little shy about it more than the others because he’s the oldest. I think it took him a while to accept it –that I’m not trying to make fun of them but that I do want to participate and enjoy the idiosyncrasies and the humor without condescending to it. Just show it, flat out, and I think that’s why a guy like John Cassavetes responded so strongly to the film. I mean, he really liked that film. I didn’t know him that well.”
LAB: In case you didn’t already know it, the Petersons all regard the film as a great gift you gave the family.
RD: “Well, I’m glad, it’s very moving to hear that because you never know if they’re going to accept something real. Like I took one guy out to help me film. It was the night of the graduation, and he said, ‘You’re invading these people’s privacy, how can you film?’ That was the point. I wasn’t invading to make fun, I was invading to show it as it is. And if you can’t get in there then you’re going to miss things, so we had to get in there and really rub elbows with them as we filmed.”
LAB: What would say to anyone who has a problem with the film and its subjects’ lack of political correctness?
RD: “If anybody would say anything I would say, ‘There’s the exit.’ My wife’s from Argentina, she’s very perceptive, she loved the film when she saw it.”
LAB: Before starting Jet Set did you consult with Coppola or any other established filmmaker?
RD: “No. just kind of plunged in.”
LAB: But you had a style in mind and it was patterned to a point on the work of some filmmakers you admired.
RD: “Kenneth Loach. Everybody says, ‘Your directorial comes from Cassavetes.’ I say, ‘Not really.’ The real influences were people like Kenneth Loach.”
LAB: Your projects as a director are so personal and idiosyncratic that it’s as if only you could have made them.
RD: “Maybe. The films I’ve directed have come from only stuff I could find from the ground up and develop from the ground up. It had to be from my point of view. I’ve had a few offers (to direct Hollywood films). I couldn’t have done it before. I could probably do it now. But it’d have to be stuff from the ground up.”
LAB: What kind of release, exposure did Jet Set get upon its completion?
RD: “I was going through a breakup with my wife then. It showed at Deauville, France and it did well. People enjoyed it, accepted it.”
LAB: Did it ever got a theatrical release?
RD: “Uh, just to a point. I didn’t get any money out of it. Some of my projects I’ve never made money off of them. The Apostle, I sold it. But the gypsy film, I never made money, I lost money.”
LAB: You didn’t get wide distribution of that.
RD: “No…it happened with my gypsy film. Some of it’s my fault – not working with the right people.But what are you going to do? You do it for the love of it. You gotta do certain things for the love of it and you make money on other projects you aren’t totally committed to but then it helps you pay for those that you want to do.
“It’s a strange and fickle business.”
NOTE (Jet Set enjoyed runs at New York and other big city art houses and it also played on national public television.)
RD: “I do care about it. I haven’t seen it in a long time. I do care about that one. Years ago it had been accepted at a film festival in Argentina. My wife saw it and she loved it. She’s very perceptive.”
LAB: After its initial release though Jet Set has pretty much been unseen. But the manager of your defunct production company Butcher’s Run was nice enough to send me a DVD of it.
RD: “We had to get a print to refurbish it so to speak. I’m terrible at keeping track of things. I want to sit down and watch it again one of these days. George Jones and Tammy Wynette, they gave us that song (the title track the film gets its name from). They waived the $10,000 fee. They gave us the title and song. She was a wonderful lady, Tammy Wynette. I showed it to Merle Haggard way back then. He liked it. I always thought Merle would make a good actor. I always meant to put him in a film. It just never happened.”
LAB: Speaking of actors, you’ve worked with some greats. You mentioned Marlon Brando before and your good buddy Jimmy Caan. What about John Wayne?
RD: “John Wayne was a far better actor than a lot of people gave him credit for. The Shootist is a brilliant performance.”
LAB: The movies have been very good to you and to some of your acting contemporaries like Caan, Gene Hackman, Dustin Hoffman, Jon Voight….
RD: “Cinema’s become like the in medium going into the 21st century. Young people instead of becoming writers they want to become directors or this and that.”
LAB: An actor with strong Omaha ties is our own John Beasley, who played opposite you in The Apostle.
RD: “Oh, yeah, a good guy, a good actor that guy. He’s a fine actor. They said, ‘Where’d you find that nonreactor?’ I said, ‘Well, that nonactor played Othello and King Lear up in Omaha.’ Oh, give him my regards, he’s a wonderful guy. When we were doing The ApostleI said to him, ‘I want to talk Johnny Rodgers,’ one of the greatest college football players, and he said, ‘No, I want to talk theater.’ I loved Johnny Rodgers, God almighty. I was talking football and he said, ‘I don’t want to talk football.'”
LAB: Well, since you brought him up, I think Rodgers one of the most underappreciated greats of all time.
RD: “Well, that’s because he went up to Canada I think rather than the NFL. He came from the same area as Gale Sayers.”
LAB: You’re still very busy as an actor.
RD: “I just did a film down in Georgia, Get Low, based loosely on fact. Bill Murray. Sissy Spacek. I did that other thing, The Road. I’ve got two things coming out this year that are as good as anything I’ve done in my life.”
LAB: “Actors of a certain age often find good parts are scarce, but you seem to be the exception to that rule.
RD: “It’s true, but you’ve got to find yours.”
LAB: Do you still ride much?
RD: “I started back three weeks ago after not riding for two-three years. My wife rides well. Once a year we have the oldest horse show in america (in Virginia). It’s a good hobby.”
LAB: And then there’s you love for the tango.
RD: “It’s all connected. It’s a hobby. I go down to Argentina. Buenos Aires. I love that city.”
Related articles
- James Caan Interview: From My Film Connections Project (leoadambiga.wordpress.com)
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