Geneviève Bujold Poster


Jump to: Overview (2) | Mini Bio (1) | Spouse (1) | Trivia (8) | Personal Quotes (7)

Overview (2)

Date of Birth 1 July 1942Montréal, Québec, Canada
Height 5' 4" (1.63 m)

Mini Bio (1)

Genevieve Bujold spent her first twelve school years in Montreal's oppressive Hochelaga Convent where opportunities for self-expression were limited to making welcoming speeches for visiting clerics. As a child she felt 'as if I were in a long dark tunnel trying to convince myself that if I could ever get out there was light ahead'. Caught reading a forbidden novel, she was handed her ticket out of the convent and she then enrolled in Montreal's free Conservatoire d'Art Dramatique. There she was trained in classical French drama and shortly before graduation was offered a part in a professional production of Beaumarchais' 'The Barber of Seville'. In 1965 while on a theatrical tour of Paris with another Montreal company, Rideau Vert, Bujold was recommended to director 'Alain Renais' (by his mother) who cast her opposite Yves Montand in The War Is Over (1966). She then made two other French films in quick succession, the Philippe de Broca cult classic King of Hearts (1966) and Louis Malle's The Thief of Paris (1967). She was also very active during 'this time in Canadian television where she met and married director 'Paul Almond' in 1967. They had one child and divorced in 1973. Two remarkable appearances - first as Shaw's Saint Joan on television in 12/67, then as Anne Boleyn in her Hollywood debut role Anne of the Thousand Days (1969), co-starring Richard Burton- introduced Bujold to American audiences and yielded Emmy and Oscar nominations respectively. Immediately after 'Anne', while under contract with Universal, she opted out of a planned _Mary, Queen of Scots_ ('it would be the same producer, the same director, the same costumes, the same me') prompting the studio to sue her for $750,000. Rather than pay, she went to Greece to film The Trojan Women (1971) with Katharine Hepburn. Her virtuoso performance as the mad seer Cassandra led critic Pauline Kael to prophesy 'prodigies ahead' but to assuage Universal, Bujold eventually returned to Hollywood to make _Earthquake_, co-starring Charlton Heston, which was a box office hit. A host of other films of varying quality followed, most notably _Obsession_, _Coma_, The Last Flight of Noah's Ark (1980), and Tightrope (1984), but she managed nevertheless to transcend the material and deliver performances with her trademark combination of ferocious intensity and childlike vulnerability. In the 1980s she found her way to director Alan Rudolphs nether world and joined his film family for three movies including the memorable Choose Me (1984). Highlights of recent work are her brave performance in the David Cronenberg film Dead Ringers (1988) and a lovely turn in the autumnal romance Les noces de papier (1990).

- IMDb Mini Biography By: Terry Desser <terrydesser@forsythe.stanford.edu>

Spouse (1)

Paul Almond (18 March 1967 - 1973) (divorced) (1 child)

Trivia (8)

She gave up the demanding job of Captain of the USS Voyager (Star Trek: Voyager (1995)) after only one day of filming. Kate Mulgrew followed her into the Captain's Chair.
Was cast as Baroness Kessler in Roman Polanski's The Ninth Gate (1999), but became ill at the last moment and had to give up the part.
Her son with director Paul Almond, Matt Almond, is also an actor and director.
Is related to the late Louis Cyr, who was named the strongest person in the world.
Gave birth to her 2nd child at age 37, a son Emmanuel Claude Bujold on April 27, 1980. Child's father is her partner, Dennis Hastings.
Footage of Genevieve Bujold appearing as Captain Kathryn Janeway (Star Trek: Voyager) is one of the most sought-after video pieces among certain group of Trek fans.
According to Richard Burton's biography "And God Created Burton" Bujold had an affair with the actor when they were filming Anne of the Thousand Days (1969) together.
Is one of 9 actresses who have received an Academy Award nomination for portraying a real-life queen. The others in chronological order are Norma Shearer for Marie Antoinette (1938), Katharine Hepburn for The Lion in Winter (1968), Vanessa Redgrave for Mary, Queen of Scots (1971), Janet Suzman for Nicholas and Alexandra (1971), Helen Mirren for The Madness of King George (1994) and The Queen (2006), Judi Dench for Mrs Brown (1997) and Shakespeare in Love (1998), Cate Blanchett for Elizabeth (1998) and Elizabeth: The Golden Age (2007), and Helena Bonham Carter for The King's Speech (2010).

Personal Quotes (7)

"Her hair is shiny and gleaming as a stallion's mane, her eyes big and brown as chocolate jawbreakers, her tiny mouth a rosebud of surprise. Packed into her five-foot, four-inch doll's frame is an intriguing mixture of purloined innocence, succulent sexuality, and guerrilla warfare." Rex Reed, Valentines and Vitriol, p. 258, 1977.
"I confess it, I love the camera. When it's not on me, I'm not quite alive." Genevieve Bujold, Time 3/30/70.
"I don't like to intellectualize about my acting. I don't sit around and study the pages of a script over and over again. I don't worry whether the period is contemporary or three hundred years ago. Human beings are all alike. The main thing in acting is honesty, to feel the humanity and get to the essence of the character. You can't put anything into a character that you haven't got within you." Genevieve Bujold, Seventeen, 11/69.
Un role m'apprend quelque chose quand j'arrive a trouver le courage de faire ce qui me fait peur, a surmonter des craintes terribles. J'en ressors plus forte. Genevieve Bujold, Revue du Cinema, 4/91
"It isn't so easy to live with an actress. I married Genevieve--not Isabel or St. Joan or Anne Boleyn--but I live with them all...There is a curious internal process going on in her that begins the moment she signs to do a picture. At the first "Action!" she has become the character, and it never leaves her until long after the last "Cut!" Paul Almond (ex-husband)
[on her film 'Still Mine'] I liked the script because it doesn't treat old people like they're all the same or tell them what to do: be impeccable, remain the same, and never die. I picked the film because it has a quiet way of growing on you, of slowly, gently becoming implanted in your heart.
At this age [seventy-one] I am incapable of doing things I don't want to do. I live modestly, so that I'm never forced to do a job to pay a mortgage, and I don't own anything. I simply do not do what's not essential. This is because I have realized the secret of life: all the external decorations are less important than giving yourself the gift of time.

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