LOOK issue
aRUDE comment
ONLINE content
ARBITERS
Pube King John Waters' Real Life Reality Show interview by Brandon Judell
Room with a View Ismail Merchant's World Travels interview by Brandon Judell
Under the Influence Publisher Delano Greenidge interview by Samuel Jamier
Hard Love Edmund White’s Dark Culture interview by Brandon Judell
French Lieutenant's Woman Author Christine Orban's Faithful Lover
BEAUTY
Beauty Illustrated photography by Olivier Rose
A Girl's Best Friend jewelry photography by Kimio Takeyama
BON APPETIT
Questions For Daniel Boulud by Jody Emmet
Questions For Thomas Keller by Jody Emmet
FASHION
The Idealizing Vision photography by Olivier Rose & Kustaa Saksi
The Perfect Form Chado by Ralph Rucci Essay and interview by Iké Udé
The Conformist photography by Calliope
The Large Glass Aprés Duchamp photography by Norman Watson
Pop photography by Norman Watson
KULTURE & ART CINEMA
Being Sissy Eternal Ingenue Sissy Spacek interview by Brandon Judell
The Seducer Actor Stuart Townsend interview by Brandon Judell
Loosed Woman Ascending Star Kimberly Elise interview by Brandon Judell
Still Pretty Christopher Walken interview by Brandon Judell
PHOTOGRAPHY
Hot Stuff 30 Porn Star Portraits by Timothy Greenfield-Sanders interview by Stephen Greco
Intense Attraction Photographer Patrick McMullan interview by Patrick McDonald
ART
Miami Heat Craig Robins interview by Odili Donald Odita
LEGEND
Je t'aime Icon, Activist, Handbag, Jane Birkin interview by Brandon Judell
Stories of O King of Color and Cut Stephen Burrows interview by Patrick McDonald
OFF THE WALL GREEN IS OUR COLOR
Luigi Leonard Polla
Kenneth Lubbock
Reginald Van Lee
REVIEW
aRUDE Comment by Iké Udé
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company interview by Da Costa Greenidge
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company by Da Costa Greenidge book reviews by Da Costa Greenidge
Corrections
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes.
SHELTER & DESIGN
Design For Living Joe Nahem interview by Cator Sparks
Floral Design K.J. Dinnhaupt
STYLE
Pardon Our Apparance Young Lad circa 1910
Pardon Our Apperance Luigi Ontani circa 1970's
15 Minutes Plus Perennial Deejay and Producer Jerome Sydenham by Anicée Gaddis
15 Minutes Plus Hat-Maker Extraordinaire Rod Keenan by Cator Sparks
Element of Style aRUDE's template for style
Style File Precious Jewelry Designer Mish Tworkowski
Fantasy & Simulacrum Timothy Greenfield-Sanders
aRUDE comment
look_issue_sspacek.php
ONLINE content
ARBITERS
Pube King John Waters' Real Life Reality Show interview by Brandon Judell
Room with a View Ismail Merchant's World Travels interview by Brandon Judell
Under the Influence Publisher Delano Greenidge interview by Samuel Jamier
Hard Love Edmund White’s Dark Culture interview by Brandon Judell
French Lieutenant's Woman Author Christine Orban's Faithful Lover
BEAUTY
Beauty Illustrated photography by Olivier Rose
A Girl's Best Friend jewelry photography by Kimio Takeyama
BON APPETIT
Questions For Daniel Boulud by Jody Emmet
Questions For Thomas Keller by Jody Emmet
FASHION
The Idealizing Vision photography by Olivier Rose & Kustaa Saksi
The Perfect Form Chado by Ralph Rucci Essay and interview by Iké Udé
The Conformist photography by Calliope
The Large Glass Aprés Duchamp photography by Norman Watson
Pop photography by Norman Watson
KULTURE & ART CINEMA
Being Sissy Eternal Ingenue Sissy Spacek interview by Brandon Judell
The Seducer Actor Stuart Townsend interview by Brandon Judell
Loosed Woman Ascending Star Kimberly Elise interview by Brandon Judell
Still Pretty Christopher Walken interview by Brandon Judell
PHOTOGRAPHY
Hot Stuff 30 Porn Star Portraits by Timothy Greenfield-Sanders interview by Stephen Greco
Intense Attraction Photographer Patrick McMullan interview by Patrick McDonald
ART
Miami Heat Craig Robins interview by Odili Donald Odita
LEGEND
Je t'aime Icon, Activist, Handbag, Jane Birkin interview by Brandon Judell
Stories of O King of Color and Cut Stephen Burrows interview by Patrick McDonald
OFF THE WALL GREEN IS OUR COLOR
Luigi Leonard Polla
Kenneth Lubbock
Reginald Van Lee
REVIEW
aRUDE Comment by Iké Udé
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company interview by Da Costa Greenidge
Shakespeare & Company The Bride and the Bachelors: Duchamp and Company by Da Costa Greenidge book reviews by Da Costa Greenidge
Corrections
Telescope A close-up of the stars, notables, scenesters and picturesque dilettantes.
SHELTER & DESIGN
Design For Living Joe Nahem interview by Cator Sparks
Floral Design K.J. Dinnhaupt
STYLE
Pardon Our Apparance Young Lad circa 1910
Pardon Our Apperance Luigi Ontani circa 1970's
15 Minutes Plus Perennial Deejay and Producer Jerome Sydenham by Anicée Gaddis
15 Minutes Plus Hat-Maker Extraordinaire Rod Keenan by Cator Sparks
Element of Style aRUDE's template for style
Style File Precious Jewelry Designer Mish Tworkowski
Fantasy & Simulacrum Timothy Greenfield-Sanders
SISSY SPACEK being sissy
interview Brandon Judell
Sissy Spacek photography NYPL click image to enlarge It was a huge shock two years ago when odds-on-favorite Sissy Spacek didn't walk away with her second Best Actress Oscar for Todd Field's In The Bedroom. A lot of people lost a lot of money when Halle Berry tearfully got up to accept before running off to make masterpieces like Gothika and Catwoman.
But Sissy shrugged off the loss; she's been around. The diminutive actress from Quitman, Texas first stole most of our hearts back in 1976 in Brian De Palma's Carrie with the following dialogue:
Margaret White: Take that dress off. I can see your dirty pillows. Carrie White: They're called breasts, mama, and every woman has them.
Spacek bared her bosom again in 1977's Welcome to L.A. She went on to make country singer Loretta Lynn hip in Coal Miner's Daughter (1981), committed suicide in 1986 in 'Night Mother, played a woman who's lived in an underground nuclear fallout shelter for thirty-five years in 1999's Blast From the Past, and just a few months ago lit up the screen opposite Colin Farrell in A Home at the End of the World. This March, Spacek will be in the highly-anticipated horror sequel, The Ring 2, supporting the once-again screaming Naomi Watts.
If In the Bedroom was the feature many considered Sissy's major comeback vehicle, in reality, she has never left. aRUDE caught up with the actress about whom Bette Davis once said, "She seems as though she can do just about anything, and she doesn't care how she looks when she's doing it."
Brandon Judell: When your cousin actor Rip Torn was married to Geraldine Page decades ago, on the door of their West 20's townhouse was a nameplate that read "Torn Page." Since you're married to director/production designer Jack Fisk, is there a label reading "Sissy Jack" on your door?
Sissy Spacek: No. I don't even have a doorbell.
BJ: No?
SS: I have a big knocker. You have to yell, "Yoo-hoo?" when you come to my house.
BJ: Your husband once said, "The closer Sissy gets to Texas, the stronger her accent gets and the safer she feels." With a role like the one you had in In The Bedroom, was it better to feel unsafe?
SS: (Laughs) No. Todd made me feel very safe. He was great. He made me feel very . . . I don't know if I understand the question.
BJ: Sadly, that's not the first time I've been told that. Let me try again. When you play difficult characters, would you rather feel a little unhinged so you can really get into the character?
SS: No, I think for me, personally, feeling safe is always good. If I feel grounded, then I can go out on a limb. If I'm working with someone I trust and respect, you don't worry about making a fool of yourself. You can take risks and not be worried that everybody's going to laugh at you. To take a line from Carrie (in a high pitched voice): "They're all laughing!"
BJ: Did you think about your own mother and children to get into your "mom" parts in Tuck Everlasting and In the Bedroom?
SS: The answer is no, but I don't think any human being gets away unscathed. We all have our pain, and we all have our tragedies in our lives. We draw from the human experience.
BJ: It's hard for actresses over 37 . . .
SS: (Laughs)
BJ: . . . to get roles. Is that why you've turned to independent films? Because that's where the meat is?
SS: I don't really differentiate between the two; to me, it's just about the material. Personally, I've always loved independent films. My beginning was an independent film. You are a little bit left alone to your own devices with low-budget films, which is really nice. Nobody is worried about the money you're wasting, because you're not wasting any.
Let's face it, it is a youth-oriented market; most of the moviegoers are children, so I think that's why there are fewer films made like this. That's why they're hard to get made. And there are benefits to not playing the ingenue your whole life. You kind of lose interest; you've been down that road.
BJ: Do you ever wonder why you are cast the way you are? In In the Bedroom, someone saw you as the uptight wife of Tom Wilkinson. In Blast from the Past, they saw you as the airhead wife of Christopher Walken.
SS: Todd wanted the people to be grown-ups, which is a real departure for me. None of us actors really want to know too much about the casting process, because it can be really ugly. (Laughs) So we don't really go there very often. That's something we leave to those dark rooms and those funny little lists that we hear about.
BJ: Bedroom was about grief, and how men and women mourn differently.
SS: I don't know if I'd say men and women grieve differently. But individuals grieve differently. Maybe that's why tragedies split up some families, and with others, it brings them closer together.
interview Brandon Judell
Sissy Spacek photography NYPL click image to enlarge It was a huge shock two years ago when odds-on-favorite Sissy Spacek didn't walk away with her second Best Actress Oscar for Todd Field's In The Bedroom. A lot of people lost a lot of money when Halle Berry tearfully got up to accept before running off to make masterpieces like Gothika and Catwoman.
But Sissy shrugged off the loss; she's been around. The diminutive actress from Quitman, Texas first stole most of our hearts back in 1976 in Brian De Palma's Carrie with the following dialogue:
Margaret White: Take that dress off. I can see your dirty pillows. Carrie White: They're called breasts, mama, and every woman has them.
Spacek bared her bosom again in 1977's Welcome to L.A. She went on to make country singer Loretta Lynn hip in Coal Miner's Daughter (1981), committed suicide in 1986 in 'Night Mother, played a woman who's lived in an underground nuclear fallout shelter for thirty-five years in 1999's Blast From the Past, and just a few months ago lit up the screen opposite Colin Farrell in A Home at the End of the World. This March, Spacek will be in the highly-anticipated horror sequel, The Ring 2, supporting the once-again screaming Naomi Watts.
If In the Bedroom was the feature many considered Sissy's major comeback vehicle, in reality, she has never left. aRUDE caught up with the actress about whom Bette Davis once said, "She seems as though she can do just about anything, and she doesn't care how she looks when she's doing it."
Brandon Judell: When your cousin actor Rip Torn was married to Geraldine Page decades ago, on the door of their West 20's townhouse was a nameplate that read "Torn Page." Since you're married to director/production designer Jack Fisk, is there a label reading "Sissy Jack" on your door?
Sissy Spacek: No. I don't even have a doorbell.
BJ: No?
SS: I have a big knocker. You have to yell, "Yoo-hoo?" when you come to my house.
BJ: Your husband once said, "The closer Sissy gets to Texas, the stronger her accent gets and the safer she feels." With a role like the one you had in In The Bedroom, was it better to feel unsafe?
SS: (Laughs) No. Todd made me feel very safe. He was great. He made me feel very . . . I don't know if I understand the question.
BJ: Sadly, that's not the first time I've been told that. Let me try again. When you play difficult characters, would you rather feel a little unhinged so you can really get into the character?
SS: No, I think for me, personally, feeling safe is always good. If I feel grounded, then I can go out on a limb. If I'm working with someone I trust and respect, you don't worry about making a fool of yourself. You can take risks and not be worried that everybody's going to laugh at you. To take a line from Carrie (in a high pitched voice): "They're all laughing!"
BJ: Did you think about your own mother and children to get into your "mom" parts in Tuck Everlasting and In the Bedroom?
SS: The answer is no, but I don't think any human being gets away unscathed. We all have our pain, and we all have our tragedies in our lives. We draw from the human experience.
In independent films, nobody is worried about the money you're wasting,
because you're not wasting any.
BJ: It's hard for actresses over 37 . . .
SS: (Laughs)
BJ: . . . to get roles. Is that why you've turned to independent films? Because that's where the meat is?
SS: I don't really differentiate between the two; to me, it's just about the material. Personally, I've always loved independent films. My beginning was an independent film. You are a little bit left alone to your own devices with low-budget films, which is really nice. Nobody is worried about the money you're wasting, because you're not wasting any.
Let's face it, it is a youth-oriented market; most of the moviegoers are children, so I think that's why there are fewer films made like this. That's why they're hard to get made. And there are benefits to not playing the ingenue your whole life. You kind of lose interest; you've been down that road.
BJ: Do you ever wonder why you are cast the way you are? In In the Bedroom, someone saw you as the uptight wife of Tom Wilkinson. In Blast from the Past, they saw you as the airhead wife of Christopher Walken.
SS: Todd wanted the people to be grown-ups, which is a real departure for me. None of us actors really want to know too much about the casting process, because it can be really ugly. (Laughs) So we don't really go there very often. That's something we leave to those dark rooms and those funny little lists that we hear about.
BJ: Bedroom was about grief, and how men and women mourn differently.
SS: I don't know if I'd say men and women grieve differently. But individuals grieve differently. Maybe that's why tragedies split up some families, and with others, it brings them closer together.
