Ellen Burstyn wants more sex and no regrets in her acting roles

Ellen Burstyn at the New York City press junket for "The Loss of a Teardrop Diamond"

In a career that spans more than 50 years, Ellen Burstyn has won an Oscar, a Tony, a Golden Globe and an Emmy, but there are still some things that she would like to do as an actress. However, she was recently able to accomplish one of her goals by appearing in a movie written by Tennessee Williams. The film, "The Loss of a Teardrop Diamond" (set in 1920s Southern society), is from a screenplay written by the late Williams. Jodie Markell, who is best known as an actress, makes her feature-film directional debut with "The Loss of a Teardrop Diamond."

As the sharp-tongued Miss Addie in "The Loss of a Teardrop Diamond," Burstyn plays a bed-ridden woman who is near death and addicted to opium. While a debutante party is taking place in her family’s Memphis home, Miss Addie meets the rebellious socialite Fisher Willow (played by Bryce Dallas Howard), who is a friend of Miss Addie’s niece Julie (played by Mamie Gummer). Wracked with pain and no longer willing to live, Miss Addie asks Fisher to give her a drug overdose so that she can die by euthanasia. Fisher is then faced with this moral dilemma in the midst of having lost a valuable diamond earring, which her date/love interest is suspected of stealing. At "The Loss of a Teardrop Diamond" press junket in New York City, I sat down with Burstyn, who shared her thoughts on her favorite moviemaking memories, what it was like to play a dying invalid, and what kinds of roles she would like to see more of for older actresses.

You came out with your memoir, "Lessons in Becoming Myself," in 2006. Looking back and reflecting, what’s the most important thing you’ve learned as a person or as an actress?

I don’t know that know that it can be like a sentence. It’s more like a process, which is finding a way to my own — for lack of a better word — authenticity, so I can have a sense of what’s really true and for me and to be able to act out of that.

Ellen Burstyn at the New York City premiere of "The Loss of a Teardrop Diamond"

Your character in "The Loss of a Teardrop Diamond" is bed-ridden for all of her scenes. Did that present an acting challenge for you?

If the whole being there, then it doesn’t matter if the individual parts work or not. It was embodying her in her restrictions that was kind of a challenge. She’s an interesting character, I think: a travel writer, who can’t move anymore.

Do you think Miss Addie sees something in Fisher Willow that reminds Miss Addie of herself when she was young?

I love Tennessee’s words of what she saw: "something hard and honest." Those are interesting words together: "hard" and "honest." [Miss Addie] recognized that [Fisher] would be able to help [Miss Addie] out of [her] hell … You always wonder what it would be to be trapped in a situation where your whole life is no longer bearable and you can’t get out. That’s hell.

What does it take to get into a character like that?

I went to a hospital and observed a woman who was really worse off than [Miss Addie], because she’d had a stroke and the paralysis, but she also couldn’t speak and was more unavailable [than Miss Addie was]. But I just observed her actions for a while and felt her condition. And then once you kind of get it, what it is from the outside, it’s not so hard to pull it in your body.

Ellen Burstyn at the 2009 Gotham Independent Film Awards in New York City, December 2009

What was your first memory of Tennessee Williams?

It was Marlon Brando. It was in Detroit. I hadn’t come to New York yet, and I saw "A Streetcar Named Desire" … And I remember when he walked on screen, I remember feeling I was seeing something I had never seen before. Now when I look back on it, I realize what I was actually seeing was the transformation of acting from the old style to the new style, but I didn’t know what it was at the time. It was just like [she makes awestruck, gasping sound], "What is this?" So my introduction to Tennessee was through Marlon. And in that period, it was all of Tennessee Williams. What was that movie with Elizabeth Taylor and Paul Newman?

"Cat on a Hot Tin Roof."

"Cat on a Hot Tin Roof," which I did for my audition scene for the Actors Studio with Lee Strasberg. So I saw a lot of [Tennessee Williams’] plays on Broadway, and I saw all of his films. I had some submergence in him in that period. His plays were the most exciting thing and all the award-winning parts turned out to be [from] Tennessee Williams [works]. So by the time I met him, which was toward the end of his career, he was the reigning great writer of America.

What are some of your fondest memories of acting in movies?

I love my film "Resurrection" that I just can’t the studio to make available on DVD — that whole experience, working with Eva La Galliene. I’ve had so many beautiful, wonderful experiences in film. Working with John Gielgud in "Providence," the places that I’ve been to. It’s always the most creative experiences that stay with me.

Certainly, making "The Exorcist" was a big deal. And "Alice Doesn’t Live Here Anymore," which was really my project, had more of me in it than any film, except for "Resurrection." It’s hard to pick one. I’ve had a lot of great experiences. Doing "Same Time, Next Year" on Broadway with Charles Grodin was great.

Ellen Burstyn in "Alice Doesn't Live Here Anymore"

What do you mean when you say that "Alice Doesn’t Live Here Anymore" has more of you than any other film?

It was right at the time of the women’s movement, when we were all waking up and realizing, as Alice says in the film, "It’s my life! It’s not some man’s life that I’m helping him out with!" It was kind of a new change that was happening in our consciousness. The writer [of the "Alice Doesn’t Live Here Anymore" movie], Bob Getchell, was very open and receptive to my contributions, so I felt like what was going on in my life was what was happening in his script. It was a good collaboration.

Do you get more satisfaction out of working on the character, for example, in rehearsals or do you get more satisfaction from actually performing?

It’s more than the discovery of the character. Every once in a while, there are moments that are very [much about] energy. Like in "Requiem for a Dream," there’s a scene that I love that was difficult to accomplish creatively, but I managed to do it. And nothing feels better than actually doing what you hoped you would be able to do. I have a lot of enrichment from creative experiences. It’s the discovery. Rehearsals are always my favorite. I miss them in film now. There are very few films where you get a rehearsal period, and I always think that’s the richest part.

But luckily you got to rehearse for "The Loss of a Teardrop Diamond."

Yeah. I think directors make a mistake when they think rehearsal can be dispensed with. I think it's the most important thing. All those films I made in the ‘70s like '"The Last Picture Show" and "Alice Doesn’t Live Here Anymore," "The Exorcist," we all had two weeks of rehearsal before we started shooting, so I think more directors should learn from that.

Ellen Burstyn and Bryce Dallas Howard at the New York City premiere of "The Loss of a Teardrop Diamond"

How do you think films have changed for better or worse since you started doing movies?

A couple of things: Since the studios have been bought by the multinational corporations, the criteria for making a film is how much money it will make, period. I always think how much money will be made is a result of a creative effort, not a purpose, and it’s gotten to be a purpose. And therefore, there are more and more films being made that are sequels to films that have already made money. The explosions and the special effects and the violence and all of that playing to a demographic — and it’s not any longer, "I really want to tell this story." Occasionally it is that … And I’m hoping that the pendulum will swing the other way pretty soon and we’ll get back to the purpose of making movies, which is to tell stories.

Is there any type of role you’ve always wanted to play that you haven’t done yet?

Oh, lots of them! I always wanted to play Joan of Arc. I never got to. I think all that’s left is to play her grandmother at this point. And Tennessee Williams — I’m sorry I didn’t do more of Tennessee Williams when I could’ve. And also Shakespeare. I didn’t do enough Shakespeare. And now, at this age, my choices are getting smaller and fewer. But I have a rule that I don’t allow regrets, because I think regret makes bad skin and sour stomachs and unhappy faces, so I try not to regret.

Are you happy with the scripts that are coming your way or do you find that they have a lot of stereotypes?

There aren’t a lot of scripts around right now. The business is not very active, but what I am getting, I said to my agent, "Just don’t send me another script about, ‘Should we or shouldn’t we put Grandma in a nursing home?’ I’ve done that, thank you. There must be some other plot line at this age."

Ellen Burstyn, Bryce Dallas Howard and Jodie Markell at the New York City premiere of "The Loss of a Teardrop Diamond"

Did it help that "The Loss of a Teardrop Diamond" director Jodie Markell has acting experience?

Absolutely! All of my favorite directors — not all — but many of my favorites directors, were actors because they understand what the process is, what's going on inside. It’s very helpful. And they also have, I think, a better sense of what is good acting.

What types of roles for older women would you like to see more of in acting?

A sexy role. Face it: Sex continues beyond teenage years. And it would be interesting to see what people are really dealing with in their 70s and 80s. It’s not just health. It’s the absolute clarity of mortality, that it presents itself as a daily possibility. I think that could be done in an interesting and poetic way.

"Main Street" director John Doyle, Ellen Burstyn, Patricia Clarkson and Colin Firth on the set of "Main Street" in Durham, North Carolina, in April 2009

What can you say about your movie "Main Street"?

I think it’s a beautiful film and I’m hoping it gets a distributor.

Have you seen your "Main Street" co-star Colin Firth in "A Single Man"?

Not yet. I’m going to see it soon. He’s wonderful. So is Orlando Bloom in this film. And, of course, Patricia Clarkson is just a gem. It’s a very good cast, and I hope it gets distribution.

What is your favorite memory of doing "The Loss of a Teardrop Diamond"?

I think it’s just that I got to do a new Tennessee Williams [production], much to my surprise. It’s always good to be surprised, isn’t it?