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Faye Dunaway

Faye Dunaway
Birthday
January 14th, 1941
From
Bascom, Florida, USA
Actor

Faye Dunaway Biography

Dorothy Faye Dunaway (born January 14, 1941) is a European-American actress. She is the recipient of such accolades as an Academy Award, three Golden Globes, and a British Academy Film Award. Her career began in the early 1960s on Broadway. She made her screen debut in the 1967 film The Happening, and rose to fame that same year with her portrayal of outlaw Bonnie Parker in Arthur Penn's Bonnie and Clyde, for which she received her first Academy Award nomination.

Her most notable films include the crime caper The Thomas Crown Affair (1968), the drama The Arrangement (1969), the revisionist western Little Big Man (1970), an adaptation of the Alexandre Dumas classic The Three Musketeers (1973), the neo-noir mystery Chinatown (1974), for which she earned her second Oscar nomination, the action-drama disaster The Towering Inferno (1974), the political thriller Three Days of the Condor (1975), the satire Network (1976), for which she won an Academy Award for Best Actress, and the thriller Eyes of Laura Mars (1978).

Her career evolved to more mature and character roles in subsequent years, often in independent films, beginning with her controversial portrayal of Joan Crawford in the 1981 film Mommie Dearest. Other notable films in which she has appeared include Barfly (1987), The Handmaid's Tale (1990), Arizona Dream (1994), Don Juan DeMarco (1995), The Twilight of the Golds (1997), Gia (1998) and The Rules of Attraction (2002).

Dunaway also performed on stage in several plays including A Man for All Seasons (1961–63), After the Fall (1964), Hogan's Goat (1965–67), A Streetcar Named Desire (1973) and was awarded the Sarah Siddons Award for her portrayal of opera singer Maria Callas in Master Class (1996). Description above from the Wikipedia article Faye Dunaway, licensed under CC-BY-SA, full list of contributors on Wikipedia.

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Faye Dunaway Movies

Faye Dunaway TV Shows

Faye Dunaway Quotes

Human Connection Amidst Emotional Turmoil

Diana Christensen: Will you go back to your wife?
Max Schumacher: I'll give it a try, but I don't think she'll jump at it. But don't worry about me. I'll manage. I always have, I always will. I'm more concerned about you. You're not the boozer type. So I figure a year, maybe two, before you crack up. Or jump out of your 14th floor office window.
Diana Christensen: Stop selling, Max. I don't need you. I don't want your pain. I don't want your menopausal decay and death! I don't need you, Max. Now get out of here!
Max Schumacher: You need me. You need me badly. Because I'm your last contact with human reality. I love you. And that painful, decaying love is the only thing between you and the shrieking nothingness you live the rest of the day.
Diana Christensen: Then don't leave me.
Max Schumacher: It's too late, Diana. There's nothing left in you that I can live with. You're one of Howard's humanoids. If I stay with you, I'll be destroyed. Like Howard Beale was destroyed. Like Laureen Hobbs was destroyed. Like everything you and the institution of television touch is destroyed. You're television incarnate, Diana. Indifferent to suffering, insensitive to joy. All of life is reduced to the common rubble of banality. War, murder, death are all the same to you as bottles of beer. And the daily business of life is a corrupt comedy. You even shatter the sensations of time and space into split seconds and instant replays. You're madness, Diana. Virulent madness. And everything you touch dies with you. But not me. Not as long as I can feel pleasure and pain and love. And it's a happy ending. Wayward husband comes to his senses, returns to his wife, with whom he has established a long and sustaining love. Heartless young woman left alone in her arctic desolation. Music up with a swell. Final commercial. And here are a few scenes from next week's show.

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