Olivia Hussey and Leonard Whiting - Dating, Gossip, News, Photos
Assorted Photos of Leonard Whiting & Olivia Hussey together in when they were Dating;HD Wallpaper and background photos of Leonard. Olivia Hussey (born Olivia Osuna; 17 April ) is an Argentine-British actress. . Hussey and Leonard Whiting reunited as on-screen partners in the film Social . “For safety,” star Olivia Hussey insisted to the Guardian. The paper Zeffirelli directing Hussey and Leonard Whiting in Romeo and Juliet.
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— OH: 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. With crushes on you. I get love letters still. 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— OH: 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. You know, I mean— G: 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. 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.
Olivia Hussey recalls controversial 'Romeo and Juliet' role at 16, reveals personal tragedies
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. And I'm making them a fortune with this film.
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. 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.
‘Romeo & Juliet’ at 50: Olivia Hussey and Leonard Whiting on Viewers’ Big Question
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. It is a classic. 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. I'm that way too. 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— G: 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. Were you conscious of that during the— OH: 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. And you worked with Michael York three times, right? Michael's very, very professional. 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.
That was at that time. But she was a lot older than I was at that time. And it was such a counter-cultural film, and this was such a traditional one. But it was really the first nude scene of people our ages, I think.
Olivia Hussey - Wikipedia
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.Romeo e Giulietta
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? I thought it was— OH: People that loved the film, I've got to tell you, get very upset with me if I knock it. It certainly got knocked here in America. It was voted one of the ten worst films ever made.
Yes, it does have that reputation. But it was a great cast. I got to meet Peter Finch—the late, great Peter Finch. Liv Ullmann, who's a fantastic actress. Michael York again, you know. It was an incredible experience.
And I was horribly pregnant during that shooting. So I was vomiting all day long. You know, it was awful.
I was trying to pretend I wasn't. Well, it seems like a bizarre kind of torture to have a pregnant woman— OH: Well, he didn't know. They would have replaced me if they had known.
And I really didn't want to miss out on the role just because I was pregnant. It was a closed set But soon after they began dating inhe allegedly started physically and emotionally abusing her. I was in love.
Olivia Hussey, star of Zeffirelli’s Romeo and Juliet: 'I was wild' | Film | The Guardian
Nobody told me that until the first time he hit me… We were just talking and then he suddenly leaned over and punched me. But he was not mentally well. So it was actually a very safe house. The star claimed that Jones showed up one night unexpectedly. She alleged Jones then brutally attacked and raped her. I just did not want to read my book out loud. There were certain events that were extremely traumatizing to me in my life.
They married in and had one son Alex, now I started to fall in love with him after that whole tragedy I realized that I loved him all along. While Hussey and Dean Paul split inthey remained close friends until his tragic death in a plane crash in at age They were married from until They share a son, year-old Max. She married once more in to her current husband, rocker David Glen Eisley.