Compiled by: Jack Foley
Q: How do you deal with the problem of portraying someone
like Katharine Hepburn who is so well known?
A: I tried not to look at it like a problem. I tried
to look at it as a challenge. But it was more than daunting, it
was completely and utterly terrifying. I don't know that I knew
what I had agreed to do. When Martin Scorsese calls you just go
into this reverie... I'm such a fan... and so when he asked, of
course I said yes.
Then I realised the consequences, but I had agreed to do it. You
just have to get on.
I find the technical work fascinating. You have to find a balance
between paying homage to her as an actress and being irreverent
and serving the script and unlocking the private human being.
She was enormously private.
Q: There must have been tons of material... books, films, TV
interviews... for your home work?
A: There is not a lot of newsreel footage actually.
It's not like now, where there's a lot of interviews with film
actors outside the domain of the sound stage.
The interview I found most helpful was one she gave in 1973, to
Dick Cavet. I had read about that in a biography - and this is
the great thing about working with Martin Scorsese, he is so into
research and his research team found that TV interview for me.
And that became my bible. It was listening to the woman herself,
even though her voice had calcified, I think, as had her personality,
as she approached, or was in her seventies. But watching her be
uncomfortable, it was like a gambler looking at another gambler
could see where the 'tell' is.
After watching that interview, I went back and watched her films
and tried to compare the awkward gestures with the gestures that
she had as a young actress, before she had really crystallised
into Hepburn as we know her.
Q. Was Dick Cavet pursuing personal things during that
A: Yes. It was the first interview she had ever given
on television. So
the first 15 minutes she didn't really know that she wanted to
interview at all.
Cavet invited her into the studio. He said... come out, see how
you feel, we'll just talk and if you are not interested or don't
like it, then we won't do it.
Very fortuitously, they were rolling the cameras and she did not
know they were on.... she came in, re-arranged the furniture,
criticised the carpet, changed the seating plan because she wasn't
being shot from the right angle, was talking about the theatre.
And I thought it was interesting how her nerves were manifesting
I tried to look into the behaviour behind the action and it was
interesting to watch that many, many times.
Then I turned off the visuals and just recorded the sound and
listened to the way she breathed, what she chose to laugh at,
and when he would ask her more personal questions, what she would
do with that information.
You can hear what someone thinks when you are not watching them.
So the inter face between that and the biographies was interesting.
Q: What about getting to grips with her distinctive,
almost iconic voice?
A: It's a bit like a language lab, if you want to get
a feeling for an accent, you have to immerse yourself in it.
Someone said you can tell if someone has the feeling for an accent
because they'll be able to hesitate in the language.
That became very important to me. You learn it technically, and
then you have to get fluid with it and forget the preparation.
Q: What about getting the physical side of her?
A: It was painstaking putting the freckles on. It was
a nightmare when I was wearing the dress in the Coconut Grove
scene because my arms were bare and the freckles were individually
I felt most like her when it was just freckles and no make-up.
People have said she was so scrubbed clean of any make-up that
she shined. So that's when I felt most like her.
Q: Could you switch off?
A: She remained with me in the sense that I became very
athletic during the course of the film. I had to play golf.
Before this I was a complete stranger to golf. Which was probably
I started off learning and I was brilliant! The golf instructor's
jaw dropped. But then I got progressively worse and realise why
people break their sticks over their knees because it is such
a frustrating game.
You are competing with yourself. Then I thought that was interesting
because that was Hepburn's sport of choice... to compete with
I picked up tennis again and tried to take cold showers because
she went swimming every day, even when she had to break the ice.
I'm sure that's why she lived as long as she did, genes as well.
But I couldn't do the cold shower thing. My husband gave me golf
clubs that Christmas, but I was pregnant, now we are thinking
of joining a club and taking it up.
I understand what the challenge of golf is now and when you go
back and read her biography and read how the family dealt with
the death of her brother, you see that there is a key there with
the way Hepburn deals with emotion, frustration and anger. She
just switches off.
That's why it is great to embark on something as challenging as
this and fill your head with as much stuff and after several weeks
things float to the surface.
Q: A great scene is the lunch with the Hepburn family.
Were they intellectual monsters?
A: I think they were voracious and very opinionated.
Maybe it is me
being protective of the Hepburns, but what the scene doesn't reveal
is that Hughes would often come to lunch and take a business call.
It wasn't in the days of mobile phones. The phone was in the dining
room and they'd be having lunch, and he'd be on the phone for
That is rude by anyone's book, but particularly before telephone
culture came. It was unforgivable.
So I don't think he was ever embraced by the family.
Q: What did they see in each other and need from each
A: I think the energy of them was very alike. They were
both gripped by their own passage through life.
It's interesting that neither of them had conventional relationships.
Even though Hepburn was connected to Spencer Tracy, they never
They never even lived together. They were very individual and
very ambitious. By the time they met, I'm sure it must have been
a tension for Hepburn that Hughes's celebrity was greater than
Hepburn said she went to Hollywood wanting to be famous and then
decided she wanted to be
They were both from money, which gave them a freedom. Also, they
were both eccentric by anyone's standard, even by today.
When you consider what Hepburn achieved in changing what it meant
to be female in Hollywood, and also the longevity and diversity
of her career - she must have been remarkably self-possessed as
a young woman.
Q: Did he ever stop loving her?
A: I wonder if anyone can connect with Hepburn and not
be irrevocably connected.
He used to call her at 3am at the latter stage of his life. Leo
spoke to Terry Moore and she said he had a puppy dog quality that
meant you couldn't stay angry at him for long.
I have the sense from Hepburn's biography that it was mutual,
so much was going on for both of
them that they drifted apart.
It wasn't acrimonious. Then maybe at the time it was and time
has softened that.
Q: Do you share her love of being in aeroplanes, particularly
A: I don't think Hepburn would have flown as much as
the average actress today.
The more you fly the worse it gets. But as far as Hughes was concerned
- the crashes he was in and getting straight back again!
I'm not a great fan of heights. But do switch off. It would have
been exhilarating for her being in the plane with him. It was
like flying to
the moon because it was such a new frontier.
Q: Did it make you understand more about Hughes?
A: I know more about him. He is one of those people the
more you find out the less you know.
That's what makes him enigmatic and fascinating. It depends at
which angle you look what is revealed.
The map the film lays out of his life draws a very strong connection
to his upbringing. The whole needing to be cleansed, re-born and
clean and new.