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Faye Dunaway Poster

Biography

Jump to: Overview (4) | Mini Bio (1) | Spouse (2) | Trade Mark (3) | Trivia (44) | Personal Quotes (21) | Salary (5)

Overview (4)

Born in Bascom, Florida, USA
Birth NameDorothy Faye Dunaway
Nickname Miss Faye
Height 5' 7" (1.7 m)

Mini Bio (1)

She is one of the great models who transitioned successfully into acting! "Thomas Crown Affair" being one of the greatest performances causing all to take notice! Playing intelligent women with ability to match her contemporary male powerful counterparts into in-depth presence of the changes appearing in time as images of histories "Bonnie & Clyde"; How Spirit and Mind transcend the age differences in "Arizona Dreams" as her "performing a miracle" for the great representation of France's historical continuance though "The Messenger Jeanne D'arc ... ".

- IMDb Mini Biography By: Courenthea

Spouse (2)

Terry O'Neill (1982 - 26 March 1987) (divorced) (1 child)
Peter Wolf (7 August 1974 - 1979) (divorced)

Trade Mark (3)

Deep husky yet smooth voice
Classic beauty with delicate high cheekbones
Often plays tough, spiteful and difficult women

Trivia (44)

Auditioned for the role of Daisy Buchanan in The Great Gatsby (1974), which went to Mia Farrow. Her 1995 autobiography was titled "Looking for Gatsby: My Life".
Attended Boston University. Gave up a Fulbright Scholarship to the Royal Academy of Dramatic Art in London to join the original training program at the Lincoln Center Repertory Theater in New York. She got her first starring role in "A Man for All Seasons" just days after graduating from college. She was the daughter of a career army man which resulted in her traveling constantly in her early life.
Her son with ex-husband Terry O'Neill, Liam Dunaway O'Neill, was born in the summer of 1980. In 2003, Terry dropped a bombshell by revealing that Liam was adopted.
Her first husband, Peter Wolf, was the lead singer of the rock band J. Geils.
Ranked #65 in Empire (UK) magazine's "The Top 100 Movie Stars of All Time" list. [October 1997]
Converted to Roman Catholicism while in Boston, Massachusetts on December 27, 1996.
Has a connection with the James Bond - 007 franchise: was considered for the role of Domino Derval in Thunderball (1965) and as the female lead in Octopussy (1983) (Maud Adams ended up with the role). Faye had a chance to work with Pierce Brosnan (the fifth 007) in the remake of The Thomas Crown Affair (1999).
Competing for beauty titles was considered de rigueur for Southern girls in the 1950s, and Dunaway remembers in her autobiography that she was somehow convinced that she could not leave Florida until she won one. She missed being crowned May Queen at Leon High School in Tallahassee by a mere six votes, and had another near-miss at a title when she was voted runner up for Miss University of Florida in 1959. Dunaway finally scored her beauty crown when she was named Sweetheart of Sigma Chi, and promptly transferred to Boston University.
Tuesday Weld, Ann-Margret, Natalie Wood, Jane Fonda and Julie Christie were each offered Dunaway's breakthrough role of Bonnie Parker in Bonnie and Clyde (1967) but turned it down. Other actresses considered for the part included Leslie Caron (who was rejected as being too old), Sue Lyon, Carol Lynley, Sharon Tate, Jean Hale, Cher and even Warren Beatty's sister Shirley MacLaine.
By her own admission in a New York Times interview many years back, she and late comedian Lenny Bruce were briefly lovers and lived together for a week, circa 1963. She was also engaged to director Jerry Schatzberg in the mid-1960s.
In order to be taken seriously as an actress, she turned down a regular role on Guiding Light (1952) in 1965.
Her portrayal of actress Joan Crawford in the critically panned film Mommie Dearest (1981) was ranked #41 on the villains list of the 100 years of "The Greatest Screen Heroes and Legends", while her portrayal of Bonnie Parker in Bonnie and Clyde (1967) - which she shared with Warren Beatty was ranked #32. She is one of only two actresses - the other being Bette Davis - to have two villainous roles in the list.
Is a member of Pi Beta Phi Sorority.
Is one of only four actresses, along with Halle Berry, Sandra Bullock and Liza Minnelli, to win both the Academy Award for Best Actress and the Razzie Award for Worst Actress (Dunaway shared her award with Bo Derek).
Is only 14 years older than Diana Scarwid, who played her daughter in Mommie Dearest (1981).
She was the only actress to appear in both The Thomas Crown Affair (1968) and The Thomas Crown Affair (1999).
Her performance as Evelyn Cross Mulwray in Chinatown (1974) is ranked #36 on Premiere magazine's 100 Greatest Performances of All Time (2006).
Her performance as Bonnie Parker in Bonnie and Clyde (1967) is ranked #34 on Premiere magazine's 100 Greatest Movie Characters of All Time.
According to the DVD commentary by John Waters on Mommie Dearest (1981), Dunaway feels the film's reception ruined her career, to an extent, and she refuses to discuss the film (hence her lack of participation in its release).
Turned down leading roles in Paint Your Wagon (1969) (because of scheduling conflicts), Fun with Dick and Jane (1977) ("without regret") and Norma Rae (1979) which earned a Best Actress Oscar for Sally Field.
Was offered the role of Lillian Hellman in the drama film Julia (1977) which she turned down. Jane Fonda, who went on to receive a Best Actress Oscar nomination for her performance, was cast instead.
She studied drama at HB Studio in Greenwich Village, New York City.
She presented the Palme d'Or to Wim Wenders for Paris, Texas (1984) at the 37th Cannes Film Festival in 1984.
Was hired to replace Glenn Close as Norma Desmond in the Broadway production of "Sunset Boulevard". However, she was dismissed as Andrew Lloyd Webber felt her voice was not up to the role.
Her New York City landlord was seeking to evict Dunaway from a rent-stabilized one-bedroom apartment, alleging she was not entitled to it since her primary residence is a house in West Hollywood. [August 2011]
Her small production company, Port Bascom, is named for her hometown.
Prior to living in a very modest New York City apartment on East 78th Street between First and Second Avenues, Dunaway had resided at the huge, sumptuous Eldorado on Central Park West.
Lived with Marcello Mastroianni from 1968-70. She ended their relationship over Mastroianni's refusal to divorce his estranged wife and marry her.
When she made the cover of Newsweek magazine (March 4, 1968), the photograph was taken by then fiancée Jerry Schatzberg for "The New American Beauties" issue.
She was awarded a Star on the Hollywood Walk of Fame at 7021 Hollywood Boulevard in Hollywood, California on September 26, 1996.
Was offered the role of Fran in Alfred Hitchcock's final film Family Plot (1976) but turned it down.
Born at 8:15 p.m. (CST).
Was the 79th actress to receive an Academy Award; she won the Best Actress Oscar for Network (1976) at The 49th Annual Academy Awards (1977) on March 28, 1977.
Was one of the presenters of the Best Director Golden Globe in 1986 which was awarded to John Huston for Prizzi's Honor (1985). They had previously co-starred together in the mystery film Chinatown (1974).
Has appeared with Richard Chamberlain in five films: The Woman I Love (1972), The Three Musketeers (1973), The Four Musketeers: Milady's Revenge (1974), The Towering Inferno (1974) and Casanova (1987).
Has appeared with Marlon Brando in Don Juan DeMarco (1994). Dunaway played a villain named Selena in Supergirl (1984), and Brando played Superman's father, Joe-El, in Superman (1978).
She was awarded Officer of the Order of Arts and Letters by French culture minister Frederic Mitterrand on May 15, 2011.
She has English, German and Scots-Irish ancestry.
Daughter of John MacDowell and Grace April Dunaway.
Was originally cast in Asphalte (2015) as Jeanne Meyer but had to pull out due to health issues and was replaced by Isabelle Huppert.
Born three months premature.
Turned down Requiem for a Dream (2000).
After playing famed opera singer Maria Callas in a touring stage production of "Master Class" in 1996, Dunaway bought the rights to the play and announced her intention of writing, directing and starring in a film version. It has been in development limbo for nearly two decades.
Had a drug problem in her 30s.

Personal Quotes (21)

I really hate talking about Mommie Dearest (1981)! It is like an obsession with people! Why do people need to focus so much on one film I made over 20 years ago? It was not a great time in my life and the film was not an experience I want to think about. Period!
The rhythms of being an actress are by definition intensity and then letting out. It's like a heartbeat.
[on signing a six-picture deal with Otto Preminger that she later got out of] As much as it cost me to get out of the deal with Otto, if I'd had to do those movies with him, then I wouldn't have done Bonnie and Clyde (1967), or The Thomas Crown Affair (1968), or any of the movies I was suddenly in a position to choose to do. Beyond the movies I might have missed, it would have been a kind of Chinese water torture to have been stuck in five more terrible movies. It's impossible to assess the damage that might have done to me that early on in my career.
[on playing an alcoholic in Barfly (1987)] This character, who has given over her days and nights to a bottle, is my way back to the light. This is a role that I care deeply about. I haven't felt this passion for a character since Network (1976). I saw the promise of a comeback for me in the deglamorized face of Wanda, a woman of sweet vulnerability.
[on Supergirl (1984)] The film was really just a send-up, a spoof, and I had a lot of fun with Selena. But every time I tried to do something funny, [director Jeannot Szwarc] wouldn't let me. He said, "you have to be the straight person". I always wanted to do comedy but it's daunting when you've not done it before.
[2008] I am furious that they think I'm too old to play the love interest of guys like Jack Nicholson and Clint Eastwood. Why should I play sisters and mothers while guys like Jack and Clint, who are older than me, have on-screen lovers half their age?
Dick Van Dyke is one of the sweetest and funniest men in the world.
Though I loved making The Wicked Lady (1983), in the end it just didn't have the juice it needed to be a hit. It seemed to never quite decide whether to be a farce or a drama, and so it failed by being neither.
'Old Times' affected me in a lot of very complex ways. The play itself reminded me during a difficult point in my life that there are a million facets to life. There is never just one answer. Professionally, if I hadn't taken that step to go back to the stage, in a serious way, I think I would have suffered for it.
I know you have a life, and you act many roles. But after Mommie Dearest (1981), my own personality and the memory of all my other roles got lost along the way in the mind of the public and in the mind of many in Hollywood. It was a performance. That's all that it was. For better or worse, the roles we play become a part of our persona, and the actress and the woman are identified with that persona. People thought of me as being like [Joan Crawford]. And that was the unfortunate reality for me about this project.
[on portraying Joan Crawford in Mommie Dearest (1981)] If your mind is on a woman who is dead and you're trying to find out who she was and do right by her, you do feel a presence. I felt it at home at night sometimes. It wasn't pleasant. I felt Joan was not at rest.
[on working with Steve McQueen in The Thomas Crown Affair (1968)] It was really my first time to play opposite someone who was a great big old movie star, and that's exactly what Steve was. He was one of the best-loved actors around, one whose talent more than equaled his sizable commercial appeal.
[on playing Blanche DuBois in a stage adaptation of 'A Streetcar Named Desire'] It was a fun performance for me, but hard, very draining. At the height of the madness each night, I would go from standing straight up to falling to my knees, in one swift move. [Tennessee Williams] told me later that he thought I was brave and adorable and reminded him of a precocious child, and that my performance ranked with the very best. It was high praise indeed coming from him.
[on playing Bonnie Parker in Bonnie and Clyde (1967)] That movie touched the core of my being. Never have I felt so close to a character as I felt to Bonnie. She was a yearning, edgy, ambitious southern girl who wanted to get out of wherever she was. I knew everything about wanting to get out, and the getting out doesn't come easy. But with Bonnie there was a real tragic irony. She got out only to see that she was heading nowhere and that the end was death.
[on winning an Emmy for her guest appearance on Columbo (1971)] I was overwhelmed by the generosity of spirit my colleagues extended me that night. It was like being wrapped up in a warm embrace. Though this is more often than not a town of grand illusions and transitory friendships, the moment seemed heartfelt, and touched me deeply.
With the exception of my mother, my brother, and my beloved son, William Alfred has been without question the most important single figure in my lifetime. A teacher, a mentor, and I suppose the father I never had, the parent and companion I would always wanted, if that choice had been mine. He has taught me so much about the virtue of a simple life, about spirituality, about the purity of real beauty, and how to go at this messy business of life.
[on Bonnie and Clyde (1967)] It put me firmly in the ranks of actresses that would do work that was art. There are those who elevate the craft of acting to the art of acting, and now I would be among them. I was the golden girl at that time. One of those women who was going to be nominated year after year for an Oscar and would win at least one. The movie established the quality of my work. 'Bonnie and Clyde' would also turn me into a star.
[on clashing with Roman Polanski on the set of Chinatown (1974)] Roman was very much an autocrat, always forcing things. It ranged from the physical to the mental. He was very domineering and abrasive and made it clear he wanted to manipulate the performance. That approach has never worked with me.
What gave [Cold Sassy Tree (1989)] its heart were the people who were involved. It was an incredible collaboration, and I treasure the experience as much as the result, of which I am extremely proud.
[on winning the Best Actress Oscar for Network (1976) at The 49th Annual Academy Awards (1977)] I will never forget the moment, and the feeling, when I heard my name. It was, without question, one of the most wonderful nights of my life. The Oscar represented the epitome of what I had struggled for and dreamt about since I was a child. The emotional rush of getting this accolade, the highest one this industry can award you, just hit me like a bomb. It was the symbol of everything I ever thought I wanted as an actress.
[on portraying Joan Crawford in Mommie Dearest (1981)] Though [Christina Crawford's] book was obviously an exploitation book, the first one of its kind, my task was to portray a woman, a full woman who she was in all her facets, not just one. I tried to illuminate who this woman was. But it was more than just about being angry, it was about trying to examine and explore the forces that undermined her.

Salary (5)

Bonnie and Clyde (1967) $60,000
The Extraordinary Seaman (1969) $300,000
Chinatown (1974) $50,000
Network (1976) $200,000
Eyes of Laura Mars (1978) $1,000,000

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