Priscilla Pointer, ‘Dallas' and ‘Carrie' actor and mom to Oscar nominee Amy Irving, dies at 100
She 'died peacefully in her sleep at the age of 100, hopefully to run off with her 2 adoring husbands and her many dogs,' the 'Crossing Delancey' star said Tuesday on social media. 'She most definitely will be missed.'
For 44 episodes of CBS' series 'Dallas,' Pointer played Rebecca Barnes Wentworth, Pamela and Cliff's mother and the head of a rival oil family. In the 1976 movie 'Carrie' she played Mrs. Snell, mother to Sue Snell, who was played by her daughter Amy.
She was just shy of her 101st birthday, according to a family statement obtained by The Times.
'Priscilla had a long acting career. She met her first husband Jules Irving in Europe just after WWII in an army production of 'Brother Rat,'' the statement said. 'They returned to the U.S. and formed the Actor's Workshop in San Francisco. The company eventually took over the Vivian Beaumont Theater in NYC.'
Pointer, who was born in New York City on May 18, 1924, began her stage career in the city the 1940s. She was was married to Irving from 1947 until his death in 1979, moving out west with him after the war. They returned to New York City as the San Francisco troupe was winding down and Irving served as artistic director of Manhattan's Lincoln Center from 1965 to 1972. The couple moved to Southern California after he retired, settling down in Santa Monica.
After her first husband died, Pointer married Robert Symonds. The two knew each other from San Francisco, and Symonds had moved to New York from California to work as Irving's associate director at the Lincoln Center.
Symonds recalled meeting Pointer for the first time at the Actor's Workshop in San Francisco, where she was 'sitting at a desk typing a letter,' he told The Times in 1997. 'I remember she was very, very pretty.'
Former Times staff writer Daryl H. Miller dubbed Pointer a 'natural beauty.'
'Whether hunkered on the floor petting a dog or sitting pertly on a couch,' he wrote, 'she is regal yet casual, arresting yet homespun.'
Amy Irving told The Times in 1997 that her mother and Symonds were 'unbelievably well-suited' as a couple. 'I know my mom and dad were deeply in love with each other, but Mom and Bob have so much in common,' she said. 'There's such harmony in their lives, a really nice balance. They spark each other.'
The couple's joint projects included the 1984 Blake Edwards film 'Micki & Maude,' in which they played Ann Reinking's parents, and the 1993 South Coast Repertory production of 'Morning's at Seven,' in which they played brother- and sister-in-law. 'First Love' at the Odyssey Theater in 2003 and the 2000 production of Athol Fugard's 'Road to Mecca' at the Fountain Theatre in Hollywood were also twofer shows.
When Pointer and Symonds worked together on the 1997 production of 'Fighting Over Beverly,' also at the Fountain, they rehearsed at home and carpooled across town to the theater, but their characters weren't supposed to have seen each other in 50 years.
'That really requires acting,' Pointer told The Times, 'because instead of having known him for 43 years, I have to pretend — and so does he — that we haven't seen each other since we were 18.'
'The unflappable Pointer sails above the general mayhem with a ladylike aplomb that makes her subsequent emotional epiphany all the more moving,' The Times wrote about Pointer's performance in that show.
Amy Irving told The Times in 2007, 'I grew up watching my dad directing Mom and Bob in the leads of plays, and the three of them were best friends. That was where I began to develop my passion for acting and learn how to do it.'
Pointer went solo in shows including 'At Long Last Leo' at South Coast Repertory in 1988 and the 1985 movie 'The Falcon and the Snowman,' amassing close to 100 film and TV credits between 1954 and 2014.
After Symonds died in 2007 from complications of prostate cancer, Pointer kept performing, including a 2017 role in 'Night and Dreams: A Schubert & Beckett Recital' at the Walt Disney Concert Hall, where she played one of the amusing old ladies of Beckett's 'Come and Go.' The women each whispered something about another, then launched into 'Lachen und Weinen,' Schubert's song about laughter being a lover's defense against tears.
Pointer is survived by her three children from her first marriage, David, Katie and Amy, and many grandchildren.
Times classical music critic Mark Swed and former Times staff writer Daryl H. Miller contributed to this report.
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42 minutes ago
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29 Actors Who Were Cast At The Very Last Second
Recently, Reddit user ValoNoctis asked about last-minute casting that saved a movie, and I can't believe some of these actors almost didn't play these iconic roles. Here are actors who came in at the eleventh hour and killed it. Director Quentin Tarantino struggled to find the right actor to play Hans Landa in Inglourious Basterds. On the podcast The Moment With Brian Koppelman, Tarantino said the movie was already in pre-production, and they hadn't cast the role — which was a problem, as Tarantino had decided to shelve the project for a few years if he couldn't find the perfect actor. "It's Tuesday morning, and by Friday, Universal Pictures sign the check, and now we're making the movie for Universal. And I know if I'm gonna pull the plug, I've gotta pull it before Thursday," he revealed. On Wednesday, Christoph Waltz auditioned, and Tarantino immediately knew he'd found his Landa. Waltz would end up winning an Oscar for his portrayal. Suggested by u/bvmse Gene Wilder wanted the role of Jim in Blazing Saddles, but director Mel Brooks thought he was too young. "I need an older guy — someone who could look like an over-the-hill alcoholic," he told Wilder. He went with Gig Young, who was known to struggle with alcoholism in real life, which Brooks thought would work well with the character. However, on the very first morning of filming, Young was dealing with alcohol withdrawal — which was made worse by the fact that his character was upside-down. "We draped Gig Young's legs over and hung him upside down. And he started to talk and he started shaking." At first, Brooks thought this was just great acting. Suggested by u/hedbopper But..."The shaking never stopped, and green stuff started spewing out of his mouth and nose, and he started screaming." Brooks said he learned his lesson not to cast someone with alcoholism as a character with alcoholism: "I said, 'That's the last time I'll ever cast anybody who really is that person.'" He continued, "Poor Gig Young, it was the first shot on Friday, nine in the morning, and an ambulance came and took him away. I had no movie." Brooks quickly called up Wilder, who flew out the next day to film. They were shooting again on Monday. Wilder ended up being perfect for the role, cementing the movie in comedy history. Another actor who was replaced after filming started? Harvey Keitel in Apocalypse Now. He actually shot for a full week before being recast. The film's director, Francis Ford Coppola, apparently felt he wasn't right for the role, and also that Keitel was uncomfortable filming in the jungle (which Keitel has disputed). Coppola convinced Martin Sheen to take the role instead — he'd originally wanted Sheen for the role, but he was unavailable. Sheen's performance would end up being the most memorable part of the film. Suggested by u/congo66 Joaquin Phoenix was originally cast as the lead in Split, but dropped out only weeks before filming began. James McAvoy stepped in to play the role and said he only had two weeks to prepare. While Phoenix obviously is a talented actor, McAvoy's performance was stellar, garnering critical acclaim — one reviewer called it "the performance of his career." Suggested by u/ralo229 Tim Colceri spent weeks rehearsing for his role as a drill sergeant in Full Metal Jacket, with director Stanley Kubrick continuously telling him shooting would begin the next day, then not following through. Eventually, Colceri was given a letter by Kubrick stating he had been recast with R. Lee Ermey. Ermey, a Vietnam War veteran, had been initially hired as a technical consultant on the film. However, he won Kubrick over with an unsolicited audition tape, earning the role over Colceri, who had been cast eight months earlier. Ermey knocked it out of the park, with the scene of him yelling at the recruits — which was half improvised — becoming one of the most memorable parts of the film. Colceri was cast in a smaller role. Suggested by u/Alteredego619 Paul Dano only had about four days to prepare for his role as Eli in There Will Be Blood. He had already been cast as Paul, and Kel O'Neill had been cast as Eli (who was not initially Paul's brother). In fact, O'Neill had already filmed for weeks. However, O'Neill did not work well with the director, Paul Thomas Anderson, so Anderson decided to give Dano the additional role and make the characters twins. "I just went for it, threw myself in there and gave it everything I had," Dano said. "That was just guts and instinct, not a lot of preparation. ... I had to cut loose and go for it," he said. Dano was nominated for a BAFTA for his role as the twins. Suggested by u/MrAldoRayne Director John Carpenter was unsure about casting Kurt Russell as R.J. MacReady in The Thing and only decided on him the day they flew out to film the movie. There's actually a scene where MacReady flies a helicopter that's not even Russell — it's a pilot in the character's costume because they didn't have Russell on hand yet. The film ended up being one of Russell's best roles. Dianna Agron was cast the day before the pilot for Glee began shooting. Producers were actually about to cut her character as they hadn't found someone for the role — and her casting ended up vastly changing how they envisioned the character. Series creator Ryan Murphy said Agron "ruined the part" for him because she "humanized" Quinn. "She can cry at the drop of a hat. So now her character has a conscience, a soul, and great vulnerability." Murphy was right; Agron imbued the character with a complexity that elevated the role beyond a basic cheerleader role. Viggo Mortensen was cast after production began for The Lord of the Rings. He replaced Stuart Townsend, who was deemed too young for the role and fired the day before filming began. "I felt unprepared," Mortensen revealed. "The other actors had been there for weeks and months, in some cases, preparing for the arduous task of shooting the whole trilogy. I also felt awkward because I'd never been in a position of replacing another actor." Despite his fears, Mortensen killed it in the role. Suggested by u/revdon Stuart Townsend was also replaced in Thor just days before the start of filming. Josh Dallas was cast in the role instead after "creative differences" (though there were rumors Townsend had been late for a screen test and was fired), and he only had a few days before he had to film. Nevertheless, he did well in the small role. Stanley Tucci similarly replaced another actor days before production began. After Ryan Gosling was cast in The Lovely Bones, he started drinking melted ice cream and gained 60 pounds because he "really believed he should be 210 pounds." However, he didn't communicate this to director Peter Jackson, who "had a different idea of how the character should look." When Gosling showed up on set to film, Jackson fired him. Tucci was cast in the role instead, and was the perfect level of creepy. Peter Jackson's wife and collaborator Fran Walsh said it was more Gosling's youth that led to him being ousted, saying Gosling believed he was too young for the role and "was so uncomfortable moving forward, and we began to feel he was not right." Speaking of Tucci, he accepted his role in The Devil Wears Prada only 72 hours before the start of shooting. "I was cast at the 11th hour," Tucci told Entertainment Weekly. "But it was just such a beautiful piece of writing, and there's no way that you could ever say no to such a thing. ... It touched you emotionally. It's the perfect Hollywood movie." Today, it's one of Tucci's most beloved roles. Over 40 women auditioned to play Nurse Ratched in One Flew Over the Cuckoo's Nest, and Louise Fletcher eventually nabbed the part — days before filming began. "It's a miracle I survived the first day. I was so scared. It was only later that I realized that everybody was scared," she said. Fletcher earned an Oscar for her portrayal. Michael Garza was cast as Ramón Morales in Scary Stories to Tell in the Dark only "a couple of days before filming" because writer/producer Guillermo del Toro and director Andre Ovredal couldn't find someone they wanted for the role. "It was a last-minute audition, and I got it. It was crazy, a whirlwind of emotions," Garza revealed. Garza was nominated for an Imagen Award for his portrayal. A week before Prison Break began shooting, it didn't have either of its leads. Wentworth Miller was cast only a week before shooting. And Dominic Purcell wasn't officially cast until three days prior to filming. Both actors were perfect for the role and contributed to the show lasting five seasons. Similarly, Richard Dreyfuss and Robert Shaw, who played two of the leading roles in Jaws, were cast only nine days before shooting began. Both earned critical acclaim for their performances. Michael J. Fox was cast in Back to the Future five weeks after it started filming. Eric Stoltz had initially been cast in the role and even filmed for multiple weeks before director Robert Zemeckis and writer Bob Gale decided he didn't have the right comedic tone for Marty. They decided to replace him with Fox, their first choice for the role. However, they couldn't do this right away (Fox was still busy shooting Family Ties) and continued to film with Stoltz for days knowing they wouldn't use the footage. It ended up becoming Fox's most memorable role. Suggested by u/Drewp655321 Sam Waterston was cast in Godless at the last minute because the actor who was supposed to play Marshal John Cook got sick. He only had four days to prepare for the role — yet he killed it in the critically acclaimed series. Chris Sheffield was cast in The Maze Runner so late that the director, Wes Ball, and the producers for the film were already in Louisiana, preparing the production. A few days later, Sheffield was heading to Louisiana, too, to shoot, crafting a strong performance despite his lack of preparation. David Hayman was cast days before Bull started shooting because the original actor had dropped out. "I had no time to think about it," Hayman revealed. "I love Paul Andrew Williams's work. His movies and work are challenging. I love the cast. So it was a no-brainer for me to do it." Hayman's performance was highly praised in reviews. Patrick Renna was the last actor cast in The Sandlot after another actor dropped out only two days before production started on location. Director David Mickey Evans called meeting Renna a "godsend" as he was perfect for the role. Michael Biehn was cast in Aliens weeks into filming, as James Remar had recently been fired after getting arrested for drug possession. According to Biehn, Aliens producer Gale Anne Hurd called him on a Friday and asked if he had a current passport — which, luckily, he did. By Monday, he was on set, giving a legendary performance. Suggested by u/jayseventwo Ed Harris was cast to play Christof in The Truman Show when principal photography was almost done, and shot for only 10 days. He replaced Dennis Hopper, who left the cast due to "creative differences." Harris was nominated for an Oscar for the role. 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Colin Firth had initially taken on the role but came to a mutual agreement with producers that his voice sounded too mature. "That was a bit scary because it was late in the process. We'd shot the film, but it was the right call," recalled producer David Heyman. Firth's exit was in June, and the film was set to come out in November. Luckily, since Whishaw was just providing a voice, they could still finish the movie for its November release. Paddington would end up becoming critically acclaimed, with Whishaw's voice fitting perfectly. The same happened with Scarlett Johansson in Her. Samantha Morton had originally been cast and worked on set throughout filming. While editing during post-production, director Spike Jonze "realized that what the character/movie needed was different from what Samantha and I had created together." They recast Johansson in the role in the 11th hour, re-recording the character's dialogue. Johansson's voice ended up being a much better fit for the role. And finally, Dougray Scott was originally meant to play Wolverine in the first X-Men film, but issues relating to Scott's role in Mission Impossible II forced him to drop out just as they were about to start shooting. Hugh Jackman — who had first auditioned for the role nine months earlier — took on the role at the 11th hour and was unprepared. In fact, Jackman said that they had to push back the first scene he was meant to shoot, which was a shirtless scene, because he needed time to bulk up. Jackman's performance would end up being one of the most memorable of his career. Suggested by u/Fun-Contribution-601 What do you think? Were these actors the right choice? How did they do considering they had no prep time? Let us know in the comments!
Los Angeles Times
42 minutes ago
- Los Angeles Times
New Jonathan Demme biography spotlights director's clashes with powerful stars — and his humanity
Before he set his sights on Hollywood, Jonathan Demme studied to become a vet. Movies may have mesmerized him since childhood, but animals were his 'parallel obsession,' writes film journalist David M. Stewart in 'There's No Going Back,' an uneven biography of the Oscar-winning director of 'The Silence of the Lambs.' In the end, chemistry classes proved too hard, and only one animal sustained Demme's interest long enough: the Alligator, the University of Florida newspaper that let him contribute film reviews. A career as a veterinarian was abandoned in favor of the movies. Demme, who died in 2017, forged a career defined by films that centered voices from society's ever-shifting margins. He spotlighted women ('Swing Shift'), Black people ('Beloved') and HIV-positive gay men ('Philadelphia') in narratives that celebrated their trials through an empathetic camera lens. Interspersed among Hollywood projects were documentaries such as 'The Agronomist,' on Haiti's only independent radio station; 'Right to Return,' about Hurricane Katrina victims fighting to access their homes again; and 'Stop Making Sense.' Demme himself witnessed the difficulty those at society's fringes faced entering spaces men (often white) had claimed and refused to relinquish. His grandmother retold rose-tinted stories of building aircraft equipment during World War II before being forcibly relegated back to her domestic life. Growing up Miami's Overtown neighborhood, Demme saw how Black people created their own unique 'music and communal energy' during segregation, a culture he would repeatedly honor in his own films. After college, Demme landed a publicity job at United Artists. During a chance encounter chauffeuring François Truffaut around, the master auteur told the desperate factotum that he had an eye for directing. Demme insisted he wasn't interested in being a director, even after the French filmmaker inscribed his copy of 'Hitchcock.' 'Yes, you are,' was Truffaut's reply. Despite these early protests, Demme moved west to Hollywood, working for B-movie producer Roger Corman on films such as the 1971 bike picture 'Angels Hard as They Come' and the salacious 1973 prison escape story 'Black Mama White Mama' before he directed 'Caged Heat' with a feminist take on the women-in-prison film that embraced satire and progressive politics. Demme directed socially conscious projects during the 1970s, tackling the disenfranchised and forgotten through action and comedy tales. 'Crazy Mama,' about a housewife intent on exacting vengeance on the men who murdered her husband, highlighted Demme's desire to recognize women's ongoing struggles against a patriarchal world. 'Fighting Mad' and 'Citizens Band' (subsequently titled 'Handle with Care') touched on corporate greed, ecological destruction and finding human connection in small-town America. 'Melvin and Howard' won two Oscars and was nominated for a third. But in an experience that would unfortunately repeat itself, the Goldie Hawn-produced 'Swing Shift' was a deeply demoralizing project for Demme. He had wanted to make a 'feminist perspective of women during wartime,' writes Stewart, while Hawn had imagined the film as a sugary rom-com. The veto power Hawn had meant the entire ending was reshot, mostly sapping Demme's dream of its political message. A decade later, Demme would suffer similar strife on the set of 'Beloved,' quarreling with Oprah Winfrey over aspects of characterization in the supernatural slavery epic. ( Winfrey told Stewart that she was banned from viewing the dailies for a brief period.) But creative comfort was found, as Demme repeated over the years, in music. There was his Talking Heads concert film 'Stop Making Sense' and several Neil Young concert films; 'Something Wild,' a Melanie Griffith movie he made after 'Swing Shift,' prominently featured Jamaican singer Sister Carol and her cover of 'Wild Thing.' Still, it was his passion for female protagonists who were 'reliable in a world of lying men' that also fueled his output, if only partly dealt with in Stewart's shorthand approach. 'The Silence of the Lambs,' 'Rachel Getting Married' and 'Ricki and the Flash' each etched, in equal parts, the strength and vulnerability of a different women — battling the criminal justice system, besieged by addiction and estranged from family — who reject victimhood as an option. 'There's No Going Back' stresses it's not a definitive biography but an effort to 'understand Demme as a filmmaker.' If Stewart can be forgiven for the light detail on Demme's upbringing for this reason (only a few pages), he is less absolved for his inconsistent, often abridged, treatments of Demme's films and what messages to glean from a long view of the director. Patchy approaches — 'Rachel Getting Married' gets some dissection with minimal production detail, while 'The Silence of the Lambs' gets extensive production detail with no film analysis — doesn't help extract Demme's thematic throughlines as a filmmaker. To end the book with his passing and without any final remarks only compounds this problem. What does somewhat redeem 'There's No Going Back' is the detail given on Demme's lifelong activism. Starting first with the freedom of expression movement, Demme moved to documenting Haiti's transformation from a dictatorship to a democracy in several energized documentaries. If political connections aren't always made back to his dramatized films, appreciating how Demme championed voices from the likes of Haiti and in the aftermath of Katrina does at least highlight his lifelong advocacy of society's most forgotten — on- and off-screen. When Demme was a young boy, his mother told him to write about the movies he so ardently watched 'to uncover the secrets behind the magic.' It may be an unfortunate irony then that this same advice Stewart recounts proves largely absent in 'There's No Going Back.' While well-intended and admiring, the biography often proves facile, showing difficulty reckoning with Demme's oeuvre and its deeper political and cinematic lessons. The book has still set some of the groundwork for a future project that may more adeptly synthesize life with art. Smith is a books and culture writer.
Yahoo
2 hours ago
- Yahoo
Jamie Lee Curtis confirms she'll star in 'Murder, She Wrote' movie: 'Oh, it's happening'
She also teased that she's "very excited" to dive into the role first brought to life on TV by Angela Lansbury. The mystery of who will star in the lead role of a Murder, She Wrote film adaptation has been solved. When asked point-blank what the chances are that fans could see her pick up the mantel of Jessica Fletcher, the mystery writer and amateur detective first brought to life by the late Angela Lansbury in the long-running CBS series of the same name, Jamie Lee Curtis didn't hold back. "Oh, it's… happening," Curtis playfully confirmed to Entertainment Tonight at the world premiere of Freakier Friday. "We're a minute away, but yeah, [I'm] very excited. Very excited. But I'm tamping down my enthusiasm until we start shooting. I have a couple of other things to hustle, but then I'll get to enjoy that work." Deadline first reported in December that the Oscar winner was in talks to star in a Murder, She Wrote film at Universal written by Lauren Schuker Blum and Rebecca Angelo, with producers Phil Lord, Christopher Miller, and Amy Pascal. Previously, in October 2013, it was reported that NBC was planning a reboot of the series, but by January 2014 it was revealed that it was not moving forward. The original Murder, She Wrote, which ran for 12 seasons from 1984 to 1996, focused on Lansbury's Jessica Fletcher, who became embroiled in various murder cases that took place in the fictional town of Cabot Cove, Maine, as well as other locales around the globe. Created by Peter S. Fischer, Richard Levinson and William Link, the crime drama also starred Tom Bosley, William Windom and Ron Masak. Considered one of the most successful and long-running series in history, Murder, She Wrote was a hit with the industry and public alike. At the height of its popularity, it averaged 30 million viewers per week, according to the L.A. Times. Though she never won, the role earned Lansbury a whopping 12 Emmy nominations for Outstanding Lead Actress in a Drama Series. The update from Curtis is a positive one for the reboot. As she alluded to, though, Curtis has much on her plate at the moment before she can pick up a magnifying glass. First up for the star is reprising her role of Tess Coleman in Freakier Friday, the sequel to the beloved 2003 film starring Lindsay December, she'll be seen in James L. Brooks' dramedy film Ella McCay alongside Emma Mackey, Woody Harrelson, Kumail Nanjiani, Spike Fearn, Ayo Edebiri, Jack Lowden, Rebecca Hall, Julie Kavner, Becky Ann Baker, Joey Brooks, and Albert Brooks. In addition to Murder, She Wrote, Curtis currently has another three projects in various stages of development. Read the original article on Entertainment Weekly
