Payday Loans
Faye Dunaway

1. -    Daniela Bianchi, From Russia With Love, 1963.

2. -    Claudine Auger, Thunderball, 1965.

3.  - Jane Fonda, The Chase, 1965. For Sam Spiegel’s  first Hollywood production  in 14 years (right after the might  Lawrence of Arabia), his casting director made one colossal error…  After her audition, he told Dunaway to run away.  “Not pretty enough for movies!  Stick to the stage.”   Fonda embarrassed her screen lover, James Fox, when he found shw was totally naked under her gown.

4. -    Eva Renzi, Funeral In Berlin, 1966.   "Harry Saltzman signed her,"Michael Caine told me in London.  "That's howI first met Faye. I suppose Sam Spiegel offered her a better deal for The Happening."They co-starredon her second film, Hurry Sundown.

5. -  Katharine Ross, The Graduate, 1967

6. - Jane Fonda, Hurry Sundown, 1967.    "She tried too much for what shethought was perfection," said Otto Preminger, giving Faye a secondary role and a six-film deal.Mike Caine called her a cross between Patricia Neal and Brigitte Bardot -while Preminger was just cross -between Santa Claus and The Godfather.

7. -   Jean Seberg, Paint Your Wagon, 1968. Julie (and her usual reserve: Sally Ann Howes), Faye Dunaway, Mia Farrow,  Lesley Ann Warren andTuesday Weld all passed on the rose between two thorns, Clint Eastwood and Lee Marvin  Diana Rigg proved unwell. Kim Novak pounced.  But the US star of the French nouvelle vaguewon Elizabeth and, for a while, Eastwood. She even started divorcing hubby for him. Until the unit returned from Oregon to  LA and she no longer existed for him.

8. -   Donyale Luna, Skidoo, 1968.   Terrible title for a director on the skids with four consecutive flops. No wonder Dunaway went thataway. He never made her a star - Bonnie and Clyde did. (Never made a star of the Detroit model, either). Skidoo skidaddled from his grasp because he knew zilch about comedy, drugs or hippies and actually subdued Jackie Gleason and - no, really! - Groucho Marx. "She's what we hippies call up-tight," moaned Otto The Ogre. "I don't hold it against her..." Even so, he ripped up her contract. Well, settled out of court.for refusing to be Gleason and Carol Channing's daughter f in what we hippies call a total cow-pat. Then again, her Hurry Sundown fee of $25,000 had risen ten-fold since Bonnie and Clyde, 1966.

9. - Geneviève Bujold, Anne of the Thousand Days, 1968.   Why would Bonnie want Anne Boleyn...? Or Lara, Juliet, Cleopatra? Julie Christie, Olivia Hussey, were equally disinterested. And frankly, my dear, Elizabeth Taylor was way too old – even if Richard Burton was Henry VIII. Also up for the chop: Geraldine Chaplin and Charlotte Rampling. The BBC had offered the role to Jean Simmons in 1957 when trying to mount a TVersion of Maxwell Anderson’s 1948 Broadway play.

10 - Jennie Linden, Women In Love, 1968.   Probably connected with the fact that Glenda Jackson (and her new, improved, pregnant bosom) had the better role of Gudrun, everyone else passed on being Ursula. Dunaway, Shirley MacLaine (anti-nudity), Vanessa Redgrave (never anti-nudity, calling her body part of her acting instrument) and Carol White reportedly refused a £10,000 offer. Maybe they were right. Ken Russell chose Linden because of her (unsuccessful) test with Peter O’Toole for A Lion In Winter, but Russell’s film didn’t do much as expected for her career. Then again, the frontally nude wrestlers - Alan Bates v Oliver Reed - easily stole the entire movie from a few naked boobs.


11 - Natalie Wood, Bob & Carol & Ted & Alice, 1968.   Carol. Having learned her lesson from West Side Story, 1961, Natalie took points in lieu of her usual $750,000 salary and collected $3m.

12 -  Marianne Faithfull, Hamlet, 1969.   Richard Harris' choice for Ophelia for his version, beaten to the battlements by director Tony Richardson's Elsinore soap.

13 - Jean Seberg, Paint Your Wagon, 1969.   Accoring to her autobio, Dunaway went thataway when asked to play the wife bought and shared by Clint Eastwood and Lee Marvin in the Western musical.

14 -   Susannah York, X, Y and Zee, 1971.   Unwilling to be seduced by Liz Taylor.

15 -   Jill St John, Diamonds Are Forever, 1971.

16 - Marsha Mason, Cinderella Liberty, 1973.   Fox wanted a name - Jane Fonda or Dunaway - as sailor James Caan's hooker. Then, while scouting harbour locations in San Francisco, director Mark Rydell fell for Mason on-stage in The Doll's House. "The studio cut my budget in half but after the first week's dailies, they said I was right."

17 - Mia Farrow, The Great Gatsby, 1973.     Brought her own make-up man and hairdresser and took four hours preparing for her test of a few minutes for Jack Clayton. She made the  the final five Daisy Buchanans –  with Candice Bergen, Lois Chiles, Katharine Ross and, of course, Farrow. - after Paramount’s owner Charles Bludhorn ruled that Ali MacGraw, wed to the studio’s production chief, Robert Evans, “is not doing this picture. Is. That. Clear?”  Tuesday Weld and Natalie Wood were also in the loop buyt Bergen and Farrow went to the wire. Producer David Merrick wanted “aristocratic looks, hard to find in an actress.”  Farrow won - with the looks of a ‘flu victim with a 103 temperature. ( Chiles won the other girl – the “fast” Jordan Baker).

18 -    Jennifer Warren, Night Moves, 1974.    Director Arthur Penn found his Bonnie was too busy. Well, whose fault was that!    

19 -    Louise Fletcher, One Flew Over The Cuckoo’s Nest, 1975.

20 - Candice Bergen, The Wind and the Lion, 1975.  LA auteur John Milius' first choice for Eden Pedecaris abducted by Sean Connery's  Berbers in Morocco. "I sort of dropped the ball after Bonnie and Clyde."  Indeed. 


21 - Jenny Runacre, Professione: reporter  (UK: The Passenger), Italy, 1975.     Not the greatest role in the film, but not easy to turn down Italian  maestro  Michelangelo Antonioni and  Jack Nicholson!

22 -  Helen Morse, Caddie, 1975.    After open calls in Adelaide, Melbourne and Sydney, six actresses were tested and Helen won her breakthrough. Even though one distributor had made it clear: no deal unless the famous  Sydney barmaid, Catherine Beatrice “Caddie” Edmonds was Dunaway or Julie Christie.

23 -   Karen Black, Family Plot, 1976.   At one time, Alfred Hitchcock's casting for what proved his last hurrah was a Chinatown reunion of Dunaway and Nicholson. She passed on being the latest (in fact, alas, the last) of the Hitchcock blonde heroines - in what he called “a melodrama treated with a bit of levity and sophistication. I want the feeling of Lubitsch making a mystery thriller.” Black was brunette. And delicious. Hitchcock was prepping The Short Night when he died, at age 80, on April 29, 1980.

24 -   Vanessa Redgrave, Julia, 1977.   And the Oscar goes to....

25 -    Jane Fonda, Fun With Dick and Jane, 1977.    Rejected down the comedy role of Jane Harper, the wife of George Segal.

26 -  Marthe Keller,  Fedora, 1977.  For his final movie (a bookend to his Hollywood Blvd, 1949, also starring William Holden), director legend Billy Wilder wanted Marlene Dietrich and Faye Dunaway, as mother and daighter.  Exactly what the film required.  Keller was turgid and Kneff were naff… even if based upon parts of the lives of such movie queens as Greta Garbo, Pola Negri, Olga Tschechowa... and Dietrich, herself. Which is exactly why she refused!    She sent his script sbackl tpol him, marked: HOW COULD YOU POSSIBLY THINK..!

27 -    Sally Field, Norma Rae, 1979.  What do they know?  Dunaway, Jill Clayburgh, Jane Fonda and  Marsha Mason spurned director Martin Ritt and had to watch the delightful Sally win Best Actress at Cannes and  on Oscar night! No wonder she made two more Marty movies: Back Road,1980, and Murphy’s Romance, 1984. Plus, he didn’t hit on her like Bob Rafaelson did during Stay Hungry, in 1975.

28 -    Maggie Smith, The Missionary, 1982.     The film’s music co-ordinator, Ray Cooper, suggested Dunaway or  Helen Mirren as Lady Ames.   “And he knows Dunaway,” noted the film’s scenarist, star and diarist Michael Palin.  Apparently, not well  enough to win her for “Mish”.  Maggie reminded Palin of his late sister Angela: “Bright, but brittle.”

29 -    Maud Adams, Octopussy, 1983.

30 -    Jacqueline Bisset, Under The Volcano, 1984.   Producer Robert Evans was only interested in the previous Anthony Harvey-Jorge Seprum script because Faye was in the package.


31 -   Diana Rigg, King Lear, TV, 1984.   Anti-Shakespeare? She refused Ophelia in 1969 and now Regan - opposite Laurence Olivier! She actually preferred the lead in (of all things) Michael Winner’s re-hash of The Wicked Lady. Margaret Lockwood, of blessed memory, was more wicked in 1945.

32 - Stephanie Beacham, The Colbys, TV, 1985-1987.   For billionaire Charlton Heston’s British art gallery owning wife, Sable (first cousin of Dynasty’s Joan Collins character), Faye Dunway wanted a bigger payday. (The budget was already $1m per episode). Elizabeth Ashley, Angie Dickinson were next up. Then, the Brits… Sue Lloyd and Kate O’Mara (who became Caress Morrell in Dynasty during 1986). Plus Diana Rigg, Susannah York  who quite simply refused the soppy soap.

33 -    Julie Andrews, Duet For One, 1986.   Faye's then-husband, photographer Terry O’Neill was due to direct in the Spring of ’83.  "It should be easier than other films," she said, "as we already have shorthand communication " They next had a divorce as he tried to resurrect his own career. For ’85, Russian director Andrei Konchalovsky came aboard. And within a few months Faye had quit. 

  (Clic to enlarge)  

* The idea was for Faye Dunaway's then-husband, British photographer Terry O'Neill, to make his directing  debut with Duet For One, in the Spring of '83.  They divorced before that came about. Two years on, Russian director Andrei Konchalovsky made the film... with Julie Andrews.



34 -    Glenn Close, Fatal Attraction, 1987.

35 -    Jacqueline Bisset, Scenes From The Class Struggle In Beverly Hills,1989.   While waiting a year for it to start, Barfly came out in ’87 and she was hotagain and acceptedbetter paid offers.

36 -    Madonna, Dick Tracy, 1990.    Warren Beatty wanted his Bonnie (plus GeneH ackman, Estelle Parsons) when planning to fill his over-arty movie with prostheticised stars. Only Estelle, the sole Oscar-winner from Bonnie and Clyde, remained faithful and made the film - as Tess Truehart's mother. 

37 -    Marie-Christine Barrault, Amour fou, France, TV, 1993.   Roger Vadim adapted his own book, Le fou amoureaux, and after losing Joanna Pacula, he had won Faye. Finally, his fifth and final wife took over.

38 -    Alberta Watson, Spanking The Monkey, 1994.  The title is USlang for masturbation.  (Learn something new every day, right?). New Line chief Bob Shaye would only bankroll the film with an A-list star as the incestuous mother.   Dunaway, for example.   ”I went to her house,” recalled new auteur David O Russell, “and she laughed in my face.”  Considering Russell’s (then) aggressive reputation, it’s surprising he didn’t slap her in the mouth.

39  - Ellen Burstyn, Requiem for a Dream,1999.  “We recognise the actors, but barely,” said Roger Ebert. Maybe Dunaway and Anne Bancroft wished to be recognised or had never seen Pi, the hallucinatory 1997 debut of auteur Darren Aronofsky. Either way, they refused the actor’s dream role of Sara Goldfarb - which won Burstyn her fourth Oscar nomination.

40 -    Eva Mendes, The Women, 2007.   After  15 years trying to make  her version of MGM’s 1938 magic,  the fizz  had left the bubbly for the TV Murphy Brown creator Diane English. You know somwething was awry  when the only idea for the old Joan Crawford role was the star of the Crawford biopic!!  Certainly,  Eva was no substitute… for either of them. 

41 -    Taylor Schilling, Atlas Shrugged: Part 1, 2010.



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