Movies

Inside Gene Hackman’s Struggle: The Pain Behind the Iconic Actor’s Self-Loathing

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During the pre-production phase, Hackman phoned me from his residence in Santa Fe. He proposed that the character of Harry Zimm, played by Gene in ‘Get Shorty’, should have artificially overly white, false teeth.

I loved the idea and added a gold chain with the Jewish letter ‘Hei’ on it. 

Gene advised Harry, the unconventional filmmaker, that he considered himself somewhat of an artist and should sport a goatee. Since I had never noticed Gene with facial hair before, I replied, “Well, maybe. Give it a try. Let’s evaluate it when you arrive in LA.

Gene abruptly exploded with frustration, shouting, ‘I have no intention of growing a goatee only for it to be unused in the movie! Forget it!'”

This version preserves the intensity and emotion of the original, but also makes it suitable for a broader audience.

While I said, “You’re absolutely right, Gene. I love the idea. Definitely grow it,” what I meant was, “It seems quite straightforward not to shave.

If I disliked it, I’d handle his beard face-to-face. Gene showed up in Los Angeles a month afterwards. His goatee, false gold caps on his teeth, and ‘Hei’ were quite striking.

On Monday mornings, we commenced shooting, initially capturing a brief segment featuring Rene Russo and Gene, followed by preparations for the opening scene involving Hackman and John Travolta.

Gene was a professional, memorizing his lines before showing up on the set.

In fact, he had a unique script.

Just before beginning work on a movie, Gene edits his script by eliminating any authorial notes about characters’ actions, emotions, or motivations, which are typically included by writers to aid studios in visualizing and interpreting the story.

In Hackman’s script, rather than having Harry shout “Go to Hell” with great anger as written by the author, it simply read: “Go to Hell.” Harry didn’t appreciate any scriptwriter implying that he should scream in this manner, especially without his explicit approval; such a command would only be acceptable if it was a decision he himself made.

In a private rehearsal limited to ourselves (the two actors, cinematographer, prop person, assistant director, script supervisor), we practiced our scene. Following our work on it, we allowed the entire crew to observe a final run-through of the rehearsed scene. At this point, the actors would proceed with hair styling, makeup application, and wardrobe changes.

The grips and electrics would light and put the camera in position.

Travolta and Hackman were about to shoot their first scene together.

Greetings Gene, I hope you had a lovely weekend, John Travolta said with a friendly tone to the rather formal and imposing Gene Hackman.

To be honest, I had about eight lengthy dialogues to memorize for this task, which occupied most of my entire weekend.

‘That’s a waste of a weekend,’ replied the charmer. ‘Uh oh,’ thought the director.

Indubitably, Hackman memorized every word of the dialogue as he knew the lines by heart. In contrast, it’s likely that John hadn’t reviewed the script much since his agent sealed a highly profitable contract for him.

Stammering over his words or losing track of them completely, it was evident that John was oblivious to the mounting anger of Gene. I sensed that the day ahead would be an extremely lengthy one.

John made mistakes with his lines, showing he didn’t realize how angry Gene was becoming. I could tell we were in for a long, drawn-out day.

It turned out that within an hour, my wife Sweetie would be shedding tears, while the team would be enjoying themselves outside with a frisbee game, taking rests, and sipping coffee.

1. Option A: The performers visited hair styling, makeup application, and costume departments, while the team arranged the lighting for the scene. Meanwhile, Sweetie, one of the producers on the series, dropped by the set located atop Malibu’s hills with a stunning view of the shimmering Pacific Ocean.

2. Option B: The actors headed off to get their hair done, put on makeup, and choose costumes, all while the crew prepared the lighting for the scene. Meanwhile, Sweetie, an assistant producer on the show, swung by the set up in Malibu’s hills, overlooking a dazzling Pacific Ocean.

3. Option C: The actors went to have their hair styled, put on makeup, and pick out costumes; meanwhile, the crew lit the scene. Sweetie, one of the producers for the show, stopped by the set nestled in Malibu’s hills, boasting a breathtaking view of the ocean.

4. Option D: The actors moved to get their hair styled, makeup applied, and wardrobes selected as the crew lit the scene. Meanwhile, Sweetie, an associate producer on the series, dropped by the set that sat atop Malibu’s hills with a beautiful Pacific Ocean view.

I position myself either standing or sitting right beside the camera during filming, so that I can act as an instant spectator for the actors. This way, when I shout ‘cut’, I can quickly offer suggestions or feedback.

Watching actors perform live gives me a more accurate understanding of their performance compared to viewing it on a monitor. Being in ‘video village,’ surrounded by producers, studio execs, and crew, often watching actors on a TV screen, can lead to complacency and unsolicited suggestions.

As a devoted follower, I find myself perched upon a unique rolling throne that bears an uncanny resemblance to a wheeled saddle. This design not only encourages an upright posture but also provides my back with the comfort it deserves, far surpassing the discomfort of traditional canvas director’s chairs that tend to sag. Moreover, the chair boasts twelve wheels strategically placed at each corner, offering a sense of reassuring stability as I swiftly navigate my way towards actors without having to stand up.

In this setup, both Hackman and Travolta appeared together within the camera’s view, capturing them in a single image or scene.

In most films, and particularly comedies, it’s ideal for actors to deliver their lines quickly. Comedies tend to work best when using master shots, where both action and reaction occur within the same frame. Constantly switching angles to establish pace or performance can detract from the humor in a comedy. Instead, the pace should be established during filming, not during editing.

Playing a scene in a master shot obviously requires both actors to know their lines!

Unfortunately, over the weekend, it seems Hackman was busy honing his skills, but as for John, it’s unclear what he was up to. Speaking of Gene, he gave a stellar performance, however, John appeared to be struggling, stumbling and muttering through the scene.

Hackman was getting more and more frustrated with John’s delayed responses and lack of pace.

While the camera was being reloaded, I dismounted, left the set, and strolled towards Sweetie who was observing the takes from video village.

‘Hackman is fantastic, isn’t he?’

‘Just great,’ Sweetie replied. ‘Really great.’

‘Loaded,’ the camera assistant announced. I walked back to the set.

I requested, “Let’s start recording,” I said. “Gene, let’s try standing for the previous take. It might add some humor to it.” And we began filming then.

In this instance, Gene, rather than delivering the lines as scripted, let out a passionate exclamation: “You realize, don’t you? Turn off that camera! Honestly, do you have any idea? You’ll listen to advice from anyone. Even direction from your wife? Haven’t you got any opinions of your own?

I turned to the first assistant director: ‘Check with the caterer. See if they’re ready for lunch.’

‘Ready for lunch? They won’t be ready for at least three hours.’

‘Ask them.’

I was looking at Sweetie. She was mortified, with tears welling up in her eyes.

‘Two hours, if they rush.’

‘OK, everyone,’ I heard myself say. ‘That’s lunch.’

Approaching the front door with obvious anger, I interrupted Gene saying, “Hey, Gene. Hang on a moment. Just wanted to let you know, feel free to shout throughout the whole movie if that helps. It doesn’t phase me in the slightest, so carry on venting.

‘What the f*** are you talking about?’

It seems to me that you’re not upset with me. Instead, you’re frustrated with John for forgetting his lines, and since you’ll be working together for the next ten weeks, you can’t scold him directly.

I understand that you feel the need to express your frustration, but my wife isn’t the one to take it out on. Feel free to vent your feelings towards me instead. Let’s keep Sweetie out of this situation.

29 years ago, Hackman spoke words that continue to send a shiver down my spine: ‘Let’s go to my camper for lunch.’

Apart from working with Gene Hackman just once, I’ve collaborated with Tommy Lee Jones on no less than three projects. Despite being different individuals, they share many similarities, though they wouldn’t appreciate being compared. It’s said that their professional relationship was strained during the filming of The Package.

Gene and Tommy, despite being rugged, masculine individuals, share an unusual profession – they’re both accomplished actors. Gene navigates the skies as a pilot and once raced cars, while Tommy is a cowboy by trade. However, their macho personas clash with their acting roles, making them uncomfortable with aspects like wearing costumes or having makeup applied. They detest being overly groomed or having lint removed from their clothes. Yet, here they are, two rough-and-tumble, well-compensated actors. These contrasting roles sometimes lead to inner conflict and self-criticism.

In Gene’s humble abode, I find myself longing for other landscapes, as Hackman casually mentions his preference for wearing a coarse garment made of animal hair, a choice that seems to discomfort him deliberately. This attire, reminiscent of an ancient British penance, is his personal fashion statement.

Gene is perpetually tormented by deep self-hatred. It’s a tough situation for him, but it’s challenging for Barry as well. He confides in me about his intense self-dislike, the struggles he faces daily, and his persistent anger.

In all instances where Travolta and Hackman clashed, it was always John who seemed unaware of Gene’s annoyance, leaving me to absorb the full force of his anger instead.

The second incident was the next day, also at the Malibu house.

In order to maintain a steady pace and stay within the frame during the master shot, I found it necessary to create large cue cards for John. This was something I hadn’t done before or since, but it proved helpful in the situation.

In Rene Russo’s dining area, Hackman, Travolta, and Rene herself are present. At a certain moment, John inquired about our starting point, but before I could respond, Gene, indicating towards the script cards, clarified to John: ‘We’re starting here, John. Right at the top of your script card.’

It hadn’t occurred to John that Gene was mocking him. Since Gene’s outrage during that particular instance seemed unrelated to John, he found the situation amusing.

Gene’s last outburst wasn’t particularly amusing; instead, I found myself serving as his sparring partner yet again. Our day on set was challenging, filmed at the upscale Southwestern eatery in Santa Monica called Abiquiu. With various scene arrangements, we had a complex schedule that included John physically guiding Jim Gandolfini’s stunt double down a staircase.

The place we rented was quite pricey, and our time there was constrained. We opted to purchase their lunch services instead, but we needed to vacate before dinner.

Sadly, it turns out that Travolta had received an Academy Award nomination for Pulp Fiction, and today he chose to accept offers from different fashion designers to provide him with a free tuxedo for the Oscars.

waitingly, Hackman, Rene Russo, Gandolfini, and Delroy Lindo had been biding their time for quite a while, eagerly anticipating John’s exit from his camper. Meanwhile, my sciatica was causing me discomfort. Eventually, following the third knock on the camper door, it was John who emerged to join us.

Among all the people I’ve collaborated with, none seemed to cherish the role of a movie star as ardently as John Travolta. Don’t get me wrong; he certainly appreciated acting too. However, what Tommy Lee Jones and Gene Hackman detested – the limelight, glamour, and all that comes with it – was something John Travolta seemed to adore.

John has a captivating personality but lacks self-consciousness. On the day of the rehearsal, it seemed as if he didn’t realize he had made others wait. He then inquired about the cast’s opinions on different fashion designers.

Gene had no opinions.

After wrapping up our rehearsal, I called the cast to a halt and made sure to address my cinematographer and script supervisor. I pointed out that during Gene’s close-up, his gaze should be directed at John, but unfortunately, this would violate screen direction. To rectify this, I suggested we capture an additional angle where Gene’s looks would align correctly with our scene requirements.

As an ardent admirer, let me recount an incident where Gene, with the liberties Hackman took in scolding me, and given his palpable anger towards John, erupted with passion: “Locate a camera angle that showcases my every glance flawlessly. I refuse to perform a scene where only parts of the shot seem fitting.

‘The truth is, Gene …’

‘In my entire f***ing career, I have never worked with a more clueless, inept director.’

‘Actually, Gene …’

‘Never have I done a shot where only some of my looks were usable.’

It seems that nearly every day you’ve been on a film set, there have been instances where the camera angles captured some of your expressions facing the incorrect way on the screen.

‘Bullsh*t. Find a camera angle where all my looks work.’

Alright, I’ve located what we need. Please take some time to put on your clothes and do your makeup now. Once you return, the camera will be positioned so that it follows your line of sight correctly.

As a devoted follower, I anticipated that Gene would settle down once he let off steam. And sure enough, just as I had guessed, the conversation about screen direction slipped his mind in no time.

Based on the book “Best Possible Place, Worst Possible Time: True Stories from a Career in Hollywood,” authored by Barry Sonnenfeld and published by Grand Central Publishing on October 1, 2024. Copyright © 2024 by Barry Sonnenfeld. This text is used here with permission. All rights reserved.

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2025-03-14 00:05

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