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Welcome to ODYSSEY ~ KEIR DULLEA ONLINE @keirdullea.org a site dedicated to the career of actor Keir Dullea. Best known for his role as Commander Dave Bowman in Stanley Kubrick's masterpiece 2001: A Space Odyssey. In a career that has spanned five decades, Keir has worked in film and television including Law & Order, Law & Order: Special Victims Unit, Castle, Damages, The Hoodlum Priest, Bunny Lake Is Missing, The Fox, Paperback Hero, David & Lisa, Madame X, Isn't It Delicious, and the sequel to 2001, 2010: Odyssey Two. Keir's favourite medium is the stage where he's starred in such projects as the original production of Butterflies Are Free, Cat On A Hot Tin Roof, P.S. Your Cat Is Dead, Doubles, Dr. Cook's Garden, I Never Sang for My Father, The Shawshank Redemption, Tales from Hollywood, The Cherry Orchard and many other workshop productions.
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Upcoming Projects
Film: April Flowers
playing Mr. X
Year: 2015
Status: Post-Production
Information | Pictures | Video | Official

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Film: Infinitely Polar Bear
playing Murray Stuart
Year: 2015
Information | Pictures | Video | Official

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Film: Isn't It Delicious
playing Bill Weldon
Year: 2014
Information | Pictures | Video | Official
Keir Dullea in Isn't It Delicious @ kierdullea.org

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ODYSSEY ~ KEIR DULLEA ONLINE @ keirdullea.org is a website dedicated to the work of American actor Keir Dullea. I am in no way affiliated with his person, his management, nor his family. All content, except otherwise noted, is copyrighted to their original owners and no infringement is intended and no rights implied. Content contained within are subject to fair use and used here either in whole or in part as a commentary on the work and career of Keir Dullea.

Posted On: July 05, 2015 | Author: keir dullea online

Another article on Keir and Mia’s upcoming performance in ON GOLDEN POND.

Side by side, Keir Dullea and Mia Dillon take the stage

David Patrick Stearns, Inquirer Classical Music Critic
Posted: Sunday, July 5, 2015, 3:01 AM

NEW YORK – When the call came to do On Golden Pond together at Bucks County Playhouse, Keir Dullea and Mia Dillon asked each other, “Why didn’t we ever think of that?”

Though best known for his role in 2001: A Space Odyssey or his early turn in David and Lisa, Dullea and his wife (since 1999) Dillon lately have been working through the slim but often prestigious body of plays with great roles for actors over that draconian cutoff age, 40.

Dillon, 59, who plays Ethel, is far enough away from her ingenue days that she retrained for a side career in acupuncture when roles started slowing down. Dullea, 79, is the same age as Norman, his character – one of the largest and more complicated roles of his career, a crusty, retired college professor facing heart trouble and failing memory as he turns 80. Rehearsals for the three-week run that begins Friday at the New Hope theater are a scant two weeks.

“This is our eighth gig together,” says Dullea. But by the end of the interview, the count was up to 12, given how often one or the other said, “Oh yes, we also did that.”

The important thing is that, while shows might have been forgotten, lines weren’t. Dullea worked on the play for two months before rehearsals began, determined to be “off-book” on the first day, allowing him to concentrate on higher matters.

Neither Henry Fonda nor Katharine Hepburn, who starred in the 1981 film version and won Oscars, cast long shadows on them. “Every script you get . . . it’s yours and nobody else’s,” said Dullea.

“You can have chemistry with different chemicals,” added Dillon. “This play [by Ernest Thompson] has been around since 1979, and has been done all over the world, and was a major movie. There’s a reason. This pond is deep.”

Just as Lynn Fontanne and Alfred Lunt were known to be stronger than the sum of their parts, Dillon and Dullea help each other as only fellow actors can, whether running lines or just empathizing with each other’s process. Perhaps that’s one reason both seem to be in their primes, discovering roles in plays likeTennessee Williams’ Cat on a Hot Tin Roof that might have seemed beyond them in years past but turned into triumphs. That’s not to downplay their higher-profile glory years – especially because those periods were so interesting.

Born in Colorado and raised in Newtown Square, Dillon had her share of big-award nominations for provocative plays such as Once a Catholic and Crimes of the Heart, plus TV credits that include Mary and Rhoda as well as Law & Order and its various offshoots.

Dullea, who grew up in New York City but was educated at Bucks County’s George School, was cast in films as disturbed and disturbing individuals (the Marquis de Sade, for one), even if his less-demanding astronaut turn in 2001: A Space Odyssey is the role for which he is best known. “You could do a lot worse,” he says.

Some of his headier assignments were also the least pleasant, such as 1965’s Bunny Lake Is Missing, in which he played opposite Sir Laurence Olivier but had to endure merciless bullying from director Otto Preminger as well as the frustration of sharing a film with the great Noel Coward but having no scenes with him. Dullea nevertheless insisted on meeting Coward, who immediately delivered what sounds like an insulting quip: “Keir Dullea, gone tomorrow.”

But Dullea was flattered, noting, “How many people have a quote from such a man?”

Both he and Dillon feel that their good old days are now. Many stage actors are living on borrowed time after 70 due to memory issues and vocal decline. Some implode from the wear and tear of always going where the work is. But Dullea has worked fairly constantly, fondly recalling summer theaters in one-stoplight towns in Ohio. He looks terrific – certainly better than those late scenes in 2001: A Space Odyssey, in which he aged all the way to his deathbed. He often bicycles 20 miles a day near his home in Fairfield, Conn. You can see him these days on the towpath trails in New Hope.

The subtly radiant Dillon casually quotes the Dalai Lama and sees important parallels between acting and acupuncture. “Both of them, I believe, are about healing,” she said. “In the theater, the shared communion of stories, when you’re laughing and crying as a group. . . . That’s what I love about the theater, that feeling of connection.”

“In serious sections,” said Dullea, “there’s what I call ‘the roar of silence’ from the audience. The attention, the connection is palpable. I can’t explain it, but it’s there.”

Carrying that sense of connection offstage is perhaps crucial. “There’s almost a period of mourning after a play, for the family that you gathered together and that incredible energy that you had onstage,” Dillon said. “The work is emotionally intense and then you have nothing. I can see how actors sink into alcohol and drugs. But if you have something spiritual – and it doesn’t have to be religion – you still have a feeling of connectedness and being alive.”

Such insights leave the two of them with little taste for sitcom-ish scripts – one reason why they happily went against type in Cat on a Hot Tin Roof two years ago when they played the aging Southern power couple in Provincetown.

Dullea says he momentarily failed to recognize Dillon in the part, so completely had she transformed herself into Big Mama with powers of illusion – and a matronly fat suit. “I have some steel magnolias . . . in my family,” she says.

Dullea has little in common with portly Burl Ives, the most famous portrayer of Big Daddy. “But to me, it was the personal pinnacle of everything I’ve ever done in film, stage, or TV,” he says. “I grew a long beard . . . and used a voice I’d never used, way down here. . . .” He says a few lines, and you hear what he means. They both want to do it again.

Something they won’t touch is Who’s Afraid of Virginia Woolf? Though they had success in Edward Albee’s A Delicate Balance (playing the secondary, non-warring couple), they won’t take on the playwright’s better-known piece for fear of ruining their marriage.

“People who play Martha and George, even if they’re friends to start with, there’s a rift in their relationship,” says Dillon. “There’s something about the cruelty of the play that changes their relationship.”

Other actors might simply wait at home for the Big Phone Call to come, offering something like the film version of Driving Miss Daisy. Not Dullea: “I’ve had those calls already.”


TWO FOR THE SHOW

On Golden Pond

Friday through Aug. 2 at Bucks County Playhouse, 70 S. Main St., New Hope.

Tickets: $29-$85. Information: 215-862-2121 or bcptheater.org
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Posted On: July 03, 2015 | Author: keir dullea online

Keir and Mia are in rehearsals for a production of the play ON GOLDEN POND to be performed in a limited run from late July to early August. If anyone is able to go see this, please feel free to leave a comment on how awesome Keir and Mia are. The information is in the article to follow with some photos from the rehearsal featuring Keir and Mia.

  • [015] REHEARSAL PHOTOS: ON GOLDEN POND

    

Photo Flash: In Rehearsal with Keir Dullea and Mia Dillon for ON GOLDEN POND at Bucks County Playhouse

The real-life acting couple Keir Dullea (2001: A SPACE ODYSSEY) and Mia Dillon (CRIMES OF THE HEART, Broadway original cast) will be joined by actors Todd Cerveris, Cameron Clifford, Don Noble and Christa Scott-Reed in the BUCKS COUNTY PLAYHOUSE production of Ernest Thompson’s comedy ON GOLDEN POND, running July 10 to August 2, at the Playhouse, located at 70 S. Main Street in New Hope, Pa. Dullea and Dillon portray the long-time married couple Norman and Ethel Thayer as they spend the summer on their lakeside cottage in Maine. Mr. Dullea and Miss Dillon have themselves been married for 16 years. BroadwayWorld has a sneak peek at the cast in rehearsal below!

ON GOLDEN POND is directed by Jonathan Silverstein, who recently directed the acclaimed Off-Broadway productions of the musical JOHN & JEN, the hit THE TEMPERAMENTALS and A WALK IN THE WOODS starring Kathleen Chalfant.

Keir Dullea has appeared in more than 25 feature films since 1957 including DAVID AND LISA (Golden Globe Award for “New Star of the Year”); 2001: A SPACE ODYSSEY; MADAM X opposite Lana Turner; and BUNNY LAKE IS MISSING with Sir Laurence Olivier. His Broadway roles include in CAT ON A HOT TIN ROOF, BUTTERFLIES ARE FREE and P.S. YOUR CAT IS DEAD. Upcoming films include: ISN’T IT DELICIOUS and as Mark Ruffalo’s father in INFINITELY POLAR BEAR.

Mia Dillon has appeared on Broadway in OUR TOWN, THE MISER, HAY FEVER, CRIMES OF THE HEART (Tony Award nomination), AGNES OF GOD, THE CORN IS GREEN, ONCE A CATHOLIC and DA. Film and TV credits include GODS & GENERALS, A SHOCK TO THE SYSTEM, THE MONEY PIT, TERMS OF ENDEARMENT and a recurring role on THE JURY.

Scenic design for ON GOLDEN POND is by Steven C. Kemp; costume design by Jennifer Paar; lighting design by Gina Scherr; and original music and sound design by Obadiah Eaves.
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Posted On: June 28, 2015 | Author: keir dullea online

According to a new article on SlashFilm.com, seventeen minutes of footage has been found from Stanley Kubrick’s original cut of 2001: A SPACE ODYSSEY. The film was originally 160 minutes long, but for pacing reasons Kubrick cut it back to the length it is now. I for one would love to see a new home video release with the footage restored and two versions on the disc. Now there are some purists who will say to leave the film as it is, but why not allow Douglas Trumbull to restore the footage and let the critics speak. I’m always a fan of the longer version of any film. Sometimes when scenes are cut, for whatever reason, it may not be so good for the context of the film. For instance, in James Cameron’s blockbuster Titanic, the scene where Rose (Kate Winslet) went to the stern of the ship to jump off and before Jack (Leonardo DiCaprio) met her, Cameron left out an integral scene where Rose after leaving the lounge where her mother and other women were gossiping about Rose’s upcoming nuptials, with Rose sitting there almost catatonic. The scene entailed Rose returning to her stateroom where she begins tearing at the pins and combs in her hair, frantically trying to remove them. Then she also tries to get out of the corset she’s been jammed into as with the convention of the time. The scene shows her frustration at not being able to fulfill her own destiny without the constraints on her sex. This scene for me would have added a little more gravitas the Rose’s reasons for attempting to jump from the ship. Without the scene it just plays that she’s this petulant little teenager. I’ll be posting the article after the cut, but there is reportedly one scene where Moonwatcher (Dan Richter) is filmed at a low angle looking up at The Monolith clarifying the connection between the two. That would have been an integral scene to show The Monolith was definitely having an impact on the progression of the violence in the ape community and its influence on Moonwatcher. What I say is neither Eyes Wide Shut or AI: Artificial Intelligence are the films Kubrick meant for us to see. Eyes Wide Shut was edited further from Kubrick’s original edit after his 1999 death. With AI: Artificial Intelligence Steven Spielberg certainly did not make the film Kubrick envisioned.

17 Minutes of Lost ‘2001: A Space Odyssey’ Footage Found

Almost like discovering a monolith buried underground, Warner Brothers recently found 17 minutes of lost footage from Stanley Kubrick‘s masterpiece 2001: A Space Odyssey in a salt-mine vault in Kansas. But before you go and drop acid in anticipation of an extended cut of the film, consider the slippery slope this footage constitutes. One, just because the footage was found doesn’t necessarily mean it’s going to make it into the public eye. Two, Kubrick himself reportedly cut the footage from the film because he felt it created pacing issues. And three, the film is just about perfect as is, do you really want to screw it up?

Hit the jump for more details on the footage as well as what it might contain.

The Film Stage first alerted us to the news of this footage. They point us to a reports from Forgotten Silver and Blastr about an event in Toronto where Douglas Trumbull and David Larson, who were working on the now canceled documentary 2001: Beyond the Infinite: The Making of a Masterpiece, mentioned the footage had been found in perfect condition. Though they weren’t sure what the plans for the footage are, they did show images of never before seen scenes that will be in an upcoming photo book. It was unclear if these images were from the found footage or not.

According the 2001 IMDB page, when the film premiered in 1968, it ran 160 minutes. Kubrick then went in and trimmed a good 19 minutes or so. It’s assumed this would be the footage that was found in Kansas. Here’s what the IMDB says was cut:

  • Some shots from the “Dawn of Man” sequence and a new scene was inserted where an ape pauses with the bone it is about to use as a tool. The new scene was a low-angle shot of the monolith, done in order to portray and clarify the connection between the man-ape using the tool and the monolith.
  • Some shots of Frank Poole jogging in the centrifuge.
  • An entire sequence of several shots in which Dave Bowman searches for the replacement antenna part in storage.
  • A scene where HAL severs radio communication between the “Discovery” and Poole’s pod before killing him. This scene explains a line that stayed in the film in which Bowman addresses HAL on the subject.
  • Some shots of Poole’s space walk before he is killed.

While none of that sounds particularly exciting, new Kubrick is new Kubrick and it would be pretty cool for this footage to make its way onto some sort of epic, mega Blu-ray release one day. Still, I don’t know if I’d want to see it edited into the film. Kubrick cut it, why would anyone want to go against his wishes? But, if there is any money to be made from this footage, Warner’s will surely find a way.

Do you think this footage should be released? Do you want to see it? Do you want to see it cut back into the movie?

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Posted On: May 30, 2015 | Author: keir dullea online

On behalf of ODYSSEY, I’d like to wish Keir the happiest of birthdays. He turns a ripe and spry 79 today and it is my deepest wish for a day full of happiness and joy. Here’s to a huge cake, a vintage bottle of wine and the love of family and friends.

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Posted On: March 18, 2015 | Author: keir dullea online

I’m currently working on a huge gallery update including stills from Keir’s films, television work, stage and events from 1968 straight through to present. Those updates will be rolled out slowly so you can get a good look at what there is. Some of these photos are very rare finds and it has been my pleasure to collect them from various photo sources and bring them to you. I also have a new layout for both the main site and the gallery that will be up within the next two to three weeks, that is if I can finally get some things to work out. These images total about 500. I know compared to the amount of images in the gallery so far that figure might be somewhat low, however, a lot of these are rarities and are of a high resolution, unlike a lot of the screencaps from Keir’s work that are in medium quality. So I’m hoping that you stay tuned.

Categories: KEIR DULLEA, ODYSSEY
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Posted On: March 16, 2015 | Author: keir dullea online

Keir will be taking part in a film festival in their hometown of Fairfield with the screening of three films, among them will be ALL ME ALL THE TIME and Keir’s screen debut from 1961 HOODLUM PRIEST. Information below.

Theatre Artists Workshop 2015 Film Festival

Theatre Artists Workshop will screen four award-winning Connecticut-based films in its second annual TAW Film Festival the weekend of March 20th through 22nd. Reprising last year’s successful format, the festival will give audiences the opportunity to interact with the filmmakers in a talkback after each screening. A donation of $10 is suggested for each show, or $20 for a weekend pass. No reservations are necessary. Popcorn will be sold!

On Friday night, March 20, at 8 PM, screenwriter Susan Cinoman hosts a screening of her films, “All Me All the Time” (2009, 75 minutes), and “Love and Class in Connecticut” (2007, 40 minutes). Directed by Ms. Cinoman’s husband, Doug Tenaglia, and starring TAW actors Mia Dillon, Keir Dullea, and Sachi Parker, “All Me” is about two girls partying wildly on the night of their high school graduation while their parents marriages unravel. “Love and Class” stars TAW actors Joanna Keylock, Carol Schweid, and Bill Phillips, and was also directed by Doug Tenaglia. The film, about the arrival of the uninvited black sheep sister at a baby naming ceremony, won “Best Narrative” at the the New England Film and Video Festival and was a “Judge’s Choice” at the Connecticut Film Festival.

On Saturday March 21st, at 8 PM, the Workshop’s founding member, Keir Dullea, will host the a screening of “The Hoodlum Priest” (1961, 101 minutes), the film in which he made his debut portraying Billy Lee Jackson, a doomed, troubled youth. Based on the real-life Jesuit priest, Charles Clark, a minister to street gangs in 1959 Saint Louis, the film was directed by Irvin Kershner, and written by Joseph Landon and Don Murray. Winner of the OCIC Award at the Cannes Film Festival, 1961, “The Hoodlum Priest” was named to the National Board of Review USA Top Ten Films of 1961. Mr. Dullea later achieved fame as astronaut David Bowman in American Film Institute’s #1 sci-fi film of all time, “2001: A Space Odyssey,” directed by Stanley Kubrick.

On Sunday, March 22nd, at 3:00, Sachi Parker will host a viewing of “The Wicked Witch of the West is Dead” (2008, 115 minutes), a family drama with English subtitles about a troubled high school student sent to live in the country with her wise and “witchy” grandmother (Parker). Shot in Japan, directed by Shunichi Nagasaki and written by Kaho Nashiki and Kaori Mizushima, the film was an award winner at the Mainichi Film Concours in 2009. Sachi’s films include: “Back To The Future” (1985), “About Last Night” (1986), and “Peggy Sue Got Married” (1986). Sachi is also author, with Fred Stroppel, of “Lucky me: My Life With – with and without-My Mom, Shirley Maclaine”, published in 2013.

The Theatre Artist’s Workshop, founded over 30 years ago by Keir Dullea, has over one hundred members and is the only professional theatre of its kind in Connecticut. Each Monday night, Workshop actors, writers, and directors meet to put up scenes, audition pieces, and new written scripts to receive the support and critique of other members, develop new work, and hone the craft, and then several times a year share their talents in public performances, including the Film Festival; the upcoming Classic Night Reading of “The Man Who Came to Dinner” (Friday, April 24th and Sat. April 25th at 8 PM; Sunday April 26th at 3 PM), and the Spring Playwrights Festival, featuring new work by TAW playwrights (Friday May 29th and Sat. May 30th at 8 PM and Sunday May 31st at 3 PM).

Date: Friday and Saturday March 20th and 21st at 8 PM; Sunday, March 22nd , at 3 PM
Place: Theatre Artists Workshop, 5 Gregory Blvd., East Norwalk, CT.

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