The director who changed Jane Fonda’s life: “Oh god, he’s taking me seriously”
There is no one like Jane Fonda, with the actor establishing a career that is as dynamic and magnetic as she is, whether through her on-screen performances, behind-the-scenes drama or passionate advocacy for socio-political issues. After being born into Hollywood royalty, it seemed as though she was destined for the silver screen, with her acting career quickly exploding after roles in Walk on the Wild Side, Any Wednesday and finally, her breakout role in Barbarella, directed by her then husband, Roger Vadim.
The role launched her to notoriety, with the ending of the Hays Code era in Hollywood leading to one of the most sexually explicit films of the decade, whipping audiences up into a hot frenzy. From then on, she starred in critically acclaimed projects like They Shoot Horses, Don’t They?, Klute and Julia. But while she worked with some of the most acclaimed directors in the business, sparking the beginning of the new Hollywood movement through bold and unapologetic stories, Fonda described the experience of working with one director whom she is most fond of.
Sydney Pollack might be one of the most resounding names from Hollywood, earning multiple Oscar nominations for ‘Best Director’ after helming projects like Tootsie, The Way We Were and Three Days of the Condor. He is one of those filmmakers who is able to adapt his style to any tone or genre, whether it be legal dramas, sweeping loves stories or heart-wrenching slice-of-life stories.
But Fonda worked with Pollack on one of his most critically acclaimed projects, They Shoot Horses, Don’t They?, which follows a group of characters during the Great Depression as they compete in a dance marathon for the chance to win $1,500.
Starring alongside Michael Sarrazin and Susannah York, the film was met warmly for its contrast of huge highs and devastating lows, capturing the strength of human resilience and perseverance in the face of hardship, becoming one of the most influential films of the decade.
However, Fonda holds the experience close to her heart not for the awards and critical acclaim, but for the unique working relationship she formed with Pollack and his genuine interest in hearing her perspective on the story, something that Fonda was not used to at this point in her career.
When discussing this, Fonda recalled how Pollack had joined the project at the last minute after another director was fired, saying, “I remember we rented a house in Malibu, and Sydney came to the house and brought the script and the book. He said, ‘Read the book again and tell me what you think is missing in the script.’ The fact that he asked me was such an epiphany for me. It’s like ‘Oh God, he’s taking me seriously.’”
For many women in the industry at the time, respect or being taken seriously was a luxury, with Fonda being surprised by the experience of collaborating with a male director who cared enough to hear her thoughts and valued her creative input. It was for this reason that it stuck out in her memory and remained as one of the most impactful experiences of her career.
